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Monumental Works for Winds Giuseppe VERDI (1813-1901)
Triumphal March from Aida (1871) arr. Creatore [5:08] Igor STRAVINSKY (1882-1971)
Symphonies of Wind Instruments (1920) [8:24] Vincent PERSICHETTI (1915-87)
Symphony for Band Op.69 (1956) [15:46] Jaromir WEINBERGER (1896-1967)
Polka and Fugue from Schwanda the Bagpiper (1927) arr. Bainum [8:15] Aaron COPLAND (1900-90)
Emblems (1963) [11:03] Percy GRAINGER (1882-1961)
Over the Hills and Far Away – Children’s March (1919) [7:03] Sir William WALTON (1902-83)
Crown Imperial (1937) transcr. Duthoit [8:38]
‘The President’s Own’ United States
Marine Band/Col. Timothy W Foley (retd), Col. John R Bourgeois (retd) (Grainger)
rec. date and location not given NAXOS 8.570243 [64:16]
This
disc contains a rather strange and, in my opinion, ill-matched
programme though the execution of the music is well nigh
flawless. No information whatsoever is given about recording
dates or location though we are told that “all titles previously
released”, which is a bit like saying ‘this product contains
nuts’.
When
I got the disc and looked at the track-listing I thought
that items such as the Verdi and the Weinberger sat oddly
with some of the other items; so it proved when I started
listening. The Verdi is sonorously played and I’m sure
that both that piece and the Weinberger are skilfully arranged
but, to be honest, I much prefer this music in its original
full orchestral dress. The same is true of the Walton;
it’s only when hearing an arrangement such as this that
one fully appreciates how intrinsic are the strings in
Walton’s original scoring.
Turning
then to the original band works, the Persichetti piece,
apparently his Sixth Symphony, was new to me. I enjoyed
it. The author of the note says that Grit and Grace were
two major characteristics of Persichetti’s music. Well,
the subdued and songful second movement of this piece falls
very firmly into the Grace category as does the
short, delicate and rather charming third movement. In
both of the outer movements percussion is inventively deployed
to drive the music along. This is an attractive piece and
I’m glad to have made its acquaintance.
Earlier
I mentioned that the programme doesn’t quite seem to hang
together and for me this applies also to the inclusion
of Stravinsky’s Symphonies of Wind Instruments.
I once played this work, years ago, under the direction
of Arthur Butterworth. Now, as then, it’s a work that doesn’t
really move me. I find it too austere and, to be honest,
I don’t really understand it – but that’s a failing on
my part. That said, I do wonder at its inclusion here,
as it seems rather isolated in musical terms from everything
else on the programme. The Marine players display technical
excellence but the performance seemed to me to be rather
too cool and objective. To be frank, I found it dull.
Copland’s Emblems is
another work I haven’t come across before, though I’m a
great fan of his music. It was written in 1964 to a commission
from the College Band Directors’ National Association.
The notes reproduce a quotation about the purpose of the
commission, attributing this to Copland himself. In fact,
in his part autobiography Copland makes it clear that the
comment in question was addressed to him by the
President of the CBDNA (Aaron Copland & Vivian Perlis: Copland
since 1943 New York, 1989, p. 343). Copland says of
the commission, with refreshing candour: “I hesitated for
a moment but accepted when I was told the piece would be
bought sight unseen by at least 200 bands!” (ibid)
By his own admission the piece was not desperately well
received by the College Band fraternity. In a way I’m not
surprised. It’s not as forbidding as some of Copland’s
later music can seem but, despite quotations of Amazing
Grace, it lacks the immediate appeal of, say, his great
ballet scores. However, I found it to be an attractive,
enjoyable piece even if it isn’t perhaps top drawer Copland
and it builds to a grand conclusion. Like everything else
on the CD it’s tremendously well played by the Marine Band.
The
inclusion of the Grainger march is quite appropriate because
it was composed at a time when Grainger was serving in
the US armed forces. The way in which he uses double reed
instruments gives a nice bite to the textures. This jaunty
march is done with style and it sounds as if the optional
vocal parts – for the band players – are included though
they’re rather indistinct.
Overall,
this expertly played and well-recorded collection is probably
one for specialist collectors. I’m most likely to return
to it for the Persichetti.
John Quinn
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