Star Trek began as a 1960s television series that imagined a future of interstellar travel and exploration of progressive values. While the original series lasted only 3 seasons, its impact continues to be felt today, and it stories and characters have spawned some of the most devoted, passionate fans that have ever existed (“Trekkies“). There have been many spin-off shows, including an animated series with the original characters and new casts in The Next Generation, Deep Space Nine, Voyager, and Enterprise. There have also been 12 feature films made in the Star Trek franchise (13 if you count the 1999 parody Galaxy Quest). Alexander Courage’s theme music from the original show is almost universally recognized. Composer Michael Giacchino used this theme when composing new music for the 2009 reboot of the movie franchise. The Symphonic Suite uses chunks of Giacchino’s original film score, including the bit that highlights Courage’s original theme.
Here is the Columbia Summer Winds performing the Symphonic Suite in Central Park in 2010:
Here are some clips from the actual movie soundtrack. This one begins with “Enterprising Young Men”, which forms the beginning of this arrangement.
CFW 2013 band directors: click here for free, printable parts for the massed band.
Washington, D.C. native and legendary bandmaster John Philip Sousa (1854-1932) wrote a dozen operettas, six full-length operas, and over 100 marches, earning the title “March King”. He enlisted in the United States Marine Corps at an early age and went on to become the conductor of the President’s Own Marine Band at age 26. In 1892 he formed “Sousa and his Band”, which toured the United States and the world under his directorship for the next forty years to great acclaim. Not only was Sousa’s band hugely popular, but it also exposed audiences all over the world to the latest, cutting-edge music, bringing excerpts of Wagner’s Parsifal to New York a decade before the Metropolitan Opera staged it, and introducing ragtime to Europe, helping to spark many a composer’s interest in American music.
Sousa originally wrote Liberty Bell in 1893. It features the chimes, perhaps in homage to the famous American landmark after which it is named. The march is now most famous for its use as the theme song to Monty Python’s Flying Circus.
The march as used in the opening of Monty Python’s Flying Circus, the 1970s British comedy show:
Now here it is in full played by the US Marine Band, complete with a short explanation of the piece by their conductor:
Respighi, a renowned Italian composer of late Romantic-era music, wrote this piece in 1932, his only original composition for wind band. It is dedicated to Edwin Franko Goldman and the American Bandmaster’s Association. His inspiration for the piece came from a visit to Huntingtower Castle in Scotland.
Victory at Sea is a 1950s television documentary series that chronicles the Pacific theater of World War II from the American perspective. Famed Broadway composer Richard Rodgers (South Pacific, The King and I, The Sound of Music) composed 12 themes to form the basis of the series’s music. Robert Russell Bennett is credited as orchestrator for the series (as he was for several Rodgers and Hammerstein musicals), but in reality he composed the bulk of the music for the 13-hour series using Rodgers’s themes as his basis.
The Austin Symphonic Band performs Victory at Sea:
Jan Van der Roost is a contemporary Belgian composer. His inspiration for Canterbury Chorale came from a visit to Canterbury Cathedral in England. Follow the links below for a description of the piece in Van der Roost’s own words.
Gustav Holst (1874-1934) was a British composer and teacher. After studying composition at London’s Royal College of Music, he spent the early part of his career playing trombone in an opera orchestra. It was not until the early 1900s that his career as a composer began to take off. Around this same time he acquired positions at both St. Paul’s Girls’ School and Morley College that he would hold until retirement, despite his rising star as a composer. His music was influenced by his interest in English folk songs and Hindu mysticism, late-Romantic era composers like Strauss and Delius, and avante-garde composers of his time like Stravinsky and Schoenberg. He is perhaps best known for composing The Planets, a massive orchestral suite that depicts the astrological character of each known planet. His works for wind band (two suites and a tone poem, Hammersmith) are foundational to the modern wind literature.
The First Suite is particularly important to the later development of artistic music for wind band. Holst wrote it in 1909 for an ensemble that came to define the instrumentation that bands would use for at least the next century and beyond. Oddly, it was not performed until 1920, and published a year later. Since then, the First Suite has left an indelible mark on band musicians and audiences around the world. Its appeal is in its simplicity and its artistry. While there are difficult passages and exposed solo work in many instruments, it places few extreme demands on the players, and it uses a straightforward and easily-identifiable theme throughout its 3 movements. Yet this theme is turned and pulled into many different forms, and put on an emotional roller-coaster of doubts, sweet reveries, ecstatic joy, and triumph. Truly, the impact that the First Suite still makes on those who hear it is impossible to put into words. It is a classic piece of art music that has helped to define the development of a century of wind band music.
The US Marine Band performing the complete Suite on Youtube. Not much to look at, but GREAT listening!
Leroy Anderson (pronounced le-ROY) wrote several legendary classical-pops pieces that remain popular, many of which he also arranged for wind band. Among them are Sleigh Ride, The Irish Washerwoman, Bugler’s Holiday, and Belle of the Ball. June 29, 2008 marked the centennial of Anderson’s birth, and so our performance of Belle of the Ball will help to celebrate that milestone.
A German community band with a rockin’ horn section performs Belle of the Ball:
LeroyAnderson.com – a treasure trove of information on the composer and his music, including a listening room.
Robert Jager is an American composer educated at the University of Michigan. He has written dozens of works for several media. He is the only composer to have won the Ostwald Prize from the American Bandmasters’ Association three times. He wrote Esprit de Corps in 1984 on a commission from the United States Marine Band and its conductor, Colonel John Bourgeois. The piece is a fantasy on The Marine’s Hymn, taking the familiar theme in new, exciting directions.
From the title page of the Esprit de Corps score:
Based on The Marines’ Hymn, this work is a kind of fantasy-march, as well as a tribute to the United States Marine Band. Full of energy and drama, the composition has its solemn moments and its lighter moments (for example, the quasi-waltz in the middle of the piece). The composer intends that this work should display the fervor and virtuosity of the Marine Band and the musical spirit and integrity of its conductor, Colonel John R. Bourgeois, for whom the initial tempo marking, “Tempo di Bourgeois,” is named. Colonel John Bourgeois is a dramatic, spirited conductor, who reflects the excitement of the music being played. When a tempo is supposed to be “bright” he makes sure it is exactly that. Because the tempo of Esprit de Corps is to be very bright, the marking just had to be “Tempo di Bourgeois!”
Aaron Copland (1900-1990) is one of the titans of American art music. A native New Yorker, he went to France at age 21 and became the first American to study with the legendary Nadia Boulanger. His Organ Symphony, written for Boulanger, provided his breakthrough into composition stardom. After experimenting with many different styles, he became best known for his idiomatic treatment of Americana, leaving behind such chestnuts as The Tender Land (1954), Billy The Kid (1938), and Appalachian Spring (1944). This last piece won Copland the Pulitzer Prize in Music in 1945. He was also an acclaimed conductor and writer.
John Steinbeck’s 1933 novella The Red Pony was adapted into a feature length film of the same name in 1949. Aaron Copland composed the score for the film. The Oklamhoma City University band program note database provides more information on the music and its origin:
Copland wrote the music for the film The Red Pony in 1948, on the studio lot of Republic Pictures in the San Fernando Valley, California. The orchestral concert suite, completed during August of the same year, was prepared in response to a commission from Efrem Kurtz, who included it in his first program as conductor of the Houston Symphony Orchestra on October 30, 1948. The band version of The Red Pony was made by the composer in 1966. Four movements of the six-part orchestral suite were retained as best suitable for band transcription. The first performance of this work was scheduled for the U.S. Navy Band under Anthony Mitchell at the Midwest Band and Orchestra Clinic in December 1968.
John Steinbeck’s well-known tale is a series of vignettes concerning a ten-year-old boy named Jody and his life in a California ranch setting. In the first movement, “Dream March and Circus Music”, Jody has a way of going off into daydreams. Two of them are pictured here: in the first, Jody imagines himself with the cow-hand Billy Buck at the head of an army of knights in silvery armor; in the second, Jody is a whip-cracking ringmaster at the circus. The fourth movement, “Happy Ending”, contains a folk-like melody suggesting the open-air quality of country living and then builds to a climax.
Copland has a huge presence on the internet, thus this site will feature only the main portals into his work. Please click far beyond the sites listed here for a complete idea of Copland’s footprint on the web.
Fanfare for Aaron Copland – a blog with information on the composer, extraordinarily useful links, and some downloadable versions of old LP recordings. This is the place to explore the several links beyond the main site.
French composer Hector Berlioz (1803-1869) is a unique figure in music history. He never mastered one single instrument, dabbling in the guitar and flute early in his life. He initially studied medicine before leaving school to become a composer. His most famous work is among his earliest: the Symphonie Fantastique. He developed a great love for Shakespeare, basing several of his composition on the bard’s work. He was prone to fits of passion and obsession in both his life and his music. As a young man he fell madly in love with Harriet Smithson, an actress whom he saw play Ophelia in Hamlet. He pursued her for years and finally convinced her to marry him, only to have the marriage fall apart in short order. He wrote his music on a grand scale: his Requiem, for example, was scored for: 20 woodwinds; a brass section of 12 horns, 4 cornets and tubas, and 4 additional antiphonal brass choirs of 38 musicians total; 26 percussionists on 16 timpani, 10 cymbals and more; more than 100 strings; a choir of at least 210 voices, plus a tenor soloist. That’s over 400 musicians in total. His experience with such immense musical forces lent him great expertise in instrumentation and orchestration, and led him to write a treatise on the subject. He was prolific as a writer and critic throughout his life, often supporting his family on his writer’s income between compositions.
The “March to the Scaffold” is the fourth of five movements in the Symphonie Fantastique. The symphony as a whole tells the story, in music, of a troubled young artist and his quest for his true love. The true love is represented musically by a melody known as the idee fixe (fixed idea). This melody appears in every movement of the symphony. The first movement introduces the idee fixe and chronicles the beginnings of the young artist’s quest. The second is a waltz, moving the action to a fabulous-sounding ball. The third moves to an imagined countryside where a storm is brewing, reminiscent of Beethoven’s Pastoral Symphony. The fourth movement takes on a nightmarish character: having taken opium, the young artist dreams that he has killed his true love and is about to be executed for his crime. This movement thus depicts the artist’s forced march to the scaffold. The idee fixe appears only once, as a sudden remeniscence just before the guillotine strikes the young man’s head right off and the movement comes to a perversely joyous conclusion. The symphony’s final movement imagines the young artist, still in his opium dream, transported to hell. Here he sees his true love, now grotesque and distorted in comically demonic fashion. The creatures of hell amass around the artist, gleefully celebrating his demise.
Berlioz wrote his own program to the piece, which he provided for audience members to read as they listened. Two versions of it are reprinted here. I prefer the first.
There is one go-to site on Berlioz: The Hector Berlioz Website. Go here for literally everything you could possibly want to know about him, including a detailed biography, descriptions of every work, and also downloadable scores of several of his works.
Symphonie Fantastique has many varied descriptions and tributes on the web:
Wind Band Literature 