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Category Archives: ASU Concert Band

Edwin Franko Goldman (1878-1956) was one of America’s premiere bandmasters.  He was born in Lexington, Kentucky to a musical family.  They moved to New York in his youth, where he studied composition with Antonin Dvorak and later began his career playing trumpet in the Metropolitan Opera orchestra.  In 1911, he formed the organization that would become the Goldman Band, a professional concert band that played outdoor concerts in New York City.  He also founded the American Bandmasters Association, an important and exclusive professional organization for band directors.  Through these groups, Goldman would commission and premiere numerous new works that are now standard repertoire for wind bands.  He was also a composer in his own right, with over 150 original works to his name.

He wrote The Chimes of Liberty in 1922 for the Goldman Band.  It is a standard American march, but with a chimes solo in the trio and a piccolo solo that sounds like it was ripped straight from The Stars and Stripes Forever. Like other Goldman marches, the trio section had words:

They’re the chimes of liberty,
Chimes that ring for you and me,
Where every loyal heart beats true,
They bring joy anew;
‘Tis a song of loyalty,
Of a nation brave and free,
Let us pray that they will ring for aye,
Our country’s chimes of liberty!

Feel free to sing along as The President’s Own United States Marine Band plays the march:

Loathe as I am to quibble with the US Marine Band on march style, I like to do a few things differently from this performance, which is largely by the book of the latest Schissel edition.  These changes add variety and excitement to the piece, and can be applied to any number of other marches.  They are based on my studies of march form with Wayne Bailey at Arizona State University, and have been tested in performance.

  • In the first strain, have the trombone countermelody folks play a little under dynamic the first time, then have them play out the second time.
  • In the second strain, take out everyone except tubas, horns, saxes, and clarinets the first time, and have the clarinets play down an octave.  Everyone who does play should stay at piano throughout.  Second time, as written.  All of these changes start on the PICKUP, by the way.
  • Trio first time, have the trumpets play the last note of their fanfare figure long.  Dr. Bailey also had them use cup mutes in this section.
  • Speed up ever so slightly in the last four bars, and place the stinger a hair early.

Read more about Goldman and his band.  If you’re looking for more information on the Goldman Band, look at print sources like Frank Battisti’s The Winds of Change or Richard Hansen’s The American Wind Band: A Cultural History. The websites that do exist (goldmanband.org and goldmanband.net) are relics from the Band’s acrimonious last days in 2005 (and have not been updated since), and they contain little in the way of history.

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In spring 2014, I continued my DMA studies in wind conducting at Arizona State University. I studied primarily with Gary Hill and Wayne Bailey, but I also worked with Timothy RussellWilliam Reber, and David Schildkret.  I was involved with the bands plus a lot of other very interesting projects!

The semester started with the combined forces of ASU’s Wind Orchestra and about half of the Wind Ensemble going to the Arizona Music Educators Association conference on January 31.  They played Percy Grainger’s Lincolnshire Posy under the direction of Gary Hill to an audience of band directors and music teachers from around the state.

2 days later on February 2, Serena Weren had her doctoral conducting recital, which included the Stravinsky Octet and the Octandre of Edgard Varèse.

10 days later, Serena and I and the orchestral conducting TAs conducted the Concert of Soloists, featuring the winners of the ASU School of Music’s Concerto Competition with full orchestra/band:

Concerto for Clarinet and String Orchestra – Henri Tomasi, conducted by me, featuring the amazing Kristi Hanno on clarinet

Concertino for Tuba and Wind Orchestra – Rolf Wilhelm, conducted by Serena Weren

and more!

The Concert Band, under my direction, had its first concert on March 1.  The original plan was to play outdoors and call the concert “A Sunny Afternoon”, not an unreasonable assumption in the desert.  However, Mother Nature was not pleased with my concert-planning hubris, and it rained torrentially that day, the first rainfall of 2014 in the Phoenix area.  So we moved the concert indoors to Gammage 301 and called it “Rain or Shine”.  We had a wonderful turnout, and played spectacularly well.  The repertoire was:

The Black Horse Troop – John Philip Sousa

Country Gardens – Percy Grainger, arr. John Philip Sousa

Alligator Alley – Michael Daugherty

Music for Shakespeare (first movement) – Edward Green, arr. Pease

Cowboy Rhapsody – Morton Gould, arr. Bennett

West Side Story Selection – Leonard Bernstein, arr. Duthoit

Fandango – Frank Perkins, arr. Werle

The Wind Ensemble (under Wayne Bailey) and Wind Orchestra (under Gary Hill) together presented “Under the Influence” on March 4, featuring music influenced by other music.  Selections included:

Wind Ensemble:

Chimes of Liberty – Edwin Franko Goldman

If Thou Be Near – Johann Sebastian Bach

Impercynations – Steven Bryant, conducted by me

Blue Shades – Frank Ticheli

Wind Orchestra:

Variants on a Medieval Tune – Norman Dello Joio, conducted by Serena Weren

The Frozen Cathedral – John Mackey

Gone – Scott McAllister

Point Blank – Paul Dooley

On March 15, Gary Hill conducted Mozart’s Gran Partita KV 361 (370a) at the CBDNA West/Northwest conference in Reno with an ASU chamber ensemble made up of studio faculty and top students.  It was very warmly received, even getting a commendation from distinguished music historian Richard Taruskin, who was an honored guest at the conference.

The weekend of April 10-12 ASU played host to the Arizona All-State festival.  UMKC director of bands Steve Davis conducted the All-State band in Vincent Persichetti’s Symphony no. 6 and other works.

On April 17, the Wind Orchestra hosted special guests John Mackey, Steven Bryant, and Joe Alessi.  They were in residence for several days, attending rehearsals and other special events.  Mr. Alessi did a trombone masterclass for the ASU players.  Bryant and Mackey were joined by Michael Markowski for a question and answer session with the ASU composition studio.  Bryant and Mackey also joined Gary Hill in an interview with KBAQ classical music radio.  All of this was buildup for “Carnival V: Concertos”, featuring two massive and wonderful pieces:

Harvest: Concerto for Trombone – John Mackey

Concerto for Wind Ensemble – Steven Bryant

On April 22, the Wind Ensemble (under Wayne Bailey) and Concert Band (under me) presented “Wet Ink”, featuring new wind band music written since 2010.  In preparation for this, the Wind Ensemble got to work with John Mackey, and the Concert Band with both Michael Markowski and Chris Lamb, who wrote a new piece especially for us.  The repertoire:

Wind Ensemble:

Xerxes – John Mackey, conducted by me

Rest – Frank Ticheli

The Three Embraces – Carter Pann

Concert Band:

Jalan-jalan di Singapura (Singapore Walkabout March) – Yasuhide Ito

City Trees – Michael Markowski

Les Cités obscures – Benoît Chantry

Crypto-Atlas – Chris Lamb

All in all, it was a great semester filled with music spanning over 200 years.  This DMA experience has NOT disappointed!

Chris Lamb (b. 1989) is an award-winning, American-born composer who has lived in various locales around the United States and the world (which you can read about further on his wonderful website).  His compositions include several works for band, a handful of orchestral pieces, a wealth of chamber music, and a three-act opera.  2014’s Crypto-Atlas was written on a commission from Andy Pease (yes, that’s me) and the Arizona State University Concert Band for their Wet Ink concert, meant to feature new compositions for band.  Asked for a grade 3 work using extended techniques, Lamb incorporated aleatory, hisses and tongue-clicks, and instrumental air sounds into the piece, making for a truly unique yet accessible sound world.  He provides the following program note:

Across the United States mysterious beasts are sighted every year.  From a Nessie-like creatures in the Chesapeake Bay and Lake Powell, AZ to a Giant Killer Octopus in Oklahoma and a Winged Alligator-Snake in Washington State, these beasts have enraptured our land and captured our imagination.  The question of “what lies beneath that body of water” haunts us and the unexplained phenomena that can only be attributed to the presence of such mythical creatures.

These wondrous beasts enhance our country’s rich history.  The answer the unanswerable and inspire awe in believers and skeptics alike.  They are America’s mythology, supernatural, and tall-tales all wrapped up into a legend that will live for years to come.

Below is the world premiere performance, with ASU Concert Band under my baton on April 22, 2014.  I encourage you to read along in the perusal score that Lamb provides!  Note that it starts VERY softly – give it a minute or so to get going.

Belgian composer Benoît Chantry (b. 1975) writes music for wind bands, musical theatre, and more, with a penchant for mixing styles.  He started music study early at the Tournai (Doornik) Conservatory, where he is now a professor and director of the wind band.  He also teaches at the Belgian Royal Conservatory of Music in Brussels.  Read more about him at windmusic.orgTierolff publishing, and the European Contemporary Orchestra.  He also has a MySpace page where you can hear more of his music.

Chantry wrote Les Cités obscures in 2013 for the 20th anniversary of Hafabra Music (which published the piece) and its founder Louis Martinu.  The piece is based on a collection of graphic novels of the same name by the Belgian comic book artist François Schuiten and writer Benoît Peeters.  The series takes place on a counter-Earth in which individual city-states have developed independent civilizations and architectural styles.  Chantry’s piece attempts to depict the differences between these civilizations, obscured as they are from us and each other.

Listen to a partial recording of Les Cités obscures at Hafabra Music.  It is not on YouTube yet!

The graphic novel series was originally written in French, but translations are available in most Western European languages.  In English, early versions are called “Cities of the Fantastic” or “Stories of the Fantastic”, although more recently fans have started calling them “The Obscure Cities”, a closer (but still approximate) match to the original French.  New volumes are still appearing, since both creators are still very much active.  Read more on wikipedia or The Obscure Cities, a site run by the American publishers of the series.  For a more complete picture of the series, check out a Google Image Search!

Yasuhide Ito (b. 1960) is one of Japan’s premier composers of original music for wind band.  He is best known for his 1990 suite for wind band Gloriosawhich is performed frequently all over the world.  He has written several dozen other pieces for band and other media, including symphonies for band and at least one full opera, going back to his first band work, On the March, of 1978, written when he was in his third year of high school.  Ito is also a renowned pianist, conductor, lecturer, and translator.

Below are the program notes from the score of Ito’s 2012 Jalan-jalan di Singapura.  Note that I had to edit the rehearsal letters mentioned in the notes, since they seemed to point to the wrong places:

Singapore is a vibrant city.  Though modern buildings line its streets, cultures of Chinese, Indians, and Malays can still be found everywhere.

The cheerful march has been composed to capture this crosslink of cultures in Singapore.  The title Jalan-jalan di Singapura is in Malay and translates literally to “A Walk in Singapore”.  Singapura-ku, a melody from Singapore, can be heard at the end of the march at rehearsal letter [J].  A motif from Movement 2 of Sinfonia Singaporia (Singapore Symphony, composed [by Ito] in 2005) can also be heard from rehearsal letters [F] to [H].  With this short march, the composer aims to capture a variety of musical characteristics that are clearly unique and symbolic of Singapore.

This work is commissioned by and dedicated to the Band Directors’ Association, Singapore.  (BDAS) The premiere was performed on the 25th of July 2012 under the baton of the composer with the NYWO (Singapore Youth Wind Orchestra) during the Opening Ceremony gala of the concert of the 17th Conference of the Asia Pacific Band Directors’ Association held in Singapore at the SIA Theatre of Lasalle College of Arts.

Interestingly, Jalan-jalan di Singapura has no snare drum part, yet Ito indicates that “percussion can be substituted by players’ own idea”, leaving the door open to that and much more.

Here is the march itself, recorded by the NYWO in rehearsal:

Ito very clearly quotes his own Sinfonia Singapuriana in the middle of the march.  Below is the second movement:

Singapura-ku is a national folk song that is popular enough to have been performed in this spectacular context:

It is worth it to read up on the history of Singapore, a small and prosperous island city-state on the crossroads between Malaysia and Indonesia, to understand the cultural influences that led to the creation of this march.

More on the composer on wikipedia, Bravo Music, and his own (mostly Japanese language!) website.

Composer Michael Markowski (b. 1986) claims that he is “fully qualified to watch movies and cartoons” on the basis of his bachelors degree in film from Arizona State University.  Despite this non-musical training, he is gaining attention as a composer of unique and sophisticated works for wind band and other media.  City Trees was commissioned in 2012 by the Lesbian and Gay Band Association “to commemorate 30 years of Music, Visibility, and Pride.”  It was premiered on September 15 of that year in Dallas, Texas by the LGBA 30th Anniversary Band.  Markowski describes the origin of the piece:

I had just moved from Arizona to New York City when I began sketching the first fragments of City Trees. After being born, growing up, and living in the desert for 25 years of my life, moving to New York so suddenly was and continues to be one of the most challenging things I’ve ever done. I think it has also been one of the bravest. I left my friends, my family, and my ridiculously cheap rent all without much planning.

Every time I walk down a street in New York, I notice the trees shackled by the sidewalk. Some have little fences around them, many have trash nestled up next to their exposed roots, and others have grown so big and become so strong that they have broken right through the concrete pavement. As I pass beneath them, they all seem to wave their leafy pom-poms in the wind, a thousand leaves applauding, cheering me on as if I had just returned from the moon.

These trees have learned how to brave the concrete jungle, and it gave me solace knowing that they had flourished in such a challenging environment. Over time, the impossibilities of the city have become familiar, and although I continue to learn new lessons everyday, I’ve slowly begun to assimilate, finding my way around, discovering new places, and making friends while still keeping close with those who aren’t close by. The music in City Trees began to take on a growing sense of perseverance, embodied by the expansive melodies that sweep over the pensive, rhythmic undercurrent.

For me, City Trees is a reflection of the bravery that it often takes to venture into new worlds, embrace other cultures, and lovingly encourage new ideas. I am deeply honored to dedicate this piece to the Lesbian and Gay Band Association. Although I may never completely understand the unique challenges my friends have faced and had to overcome, I am inspired by the overwhelming courage that has been so firmly planted for 30 years and that continues to grow, perhaps slowly, but always stronger.

Everything you’ll ever need to know about City Trees is on Markowski’s comprehensive website for the piece, which includes a recording, an interactive sample score (here’s the pdf version), a SoundCloud recording, an analysis by Dr. Marc R. Dickey, the program note I quoted above, and more.

Now, in case you didn’t already find it among the links above, here is City Trees on video:

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 United States 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.

Frederick Fennell’s program notes to his edition of The Black Horse Troop tell the whole story of the march from a personal perspective:

The Black Horse Troop was completed December 30, 1924, at Sousa’s Sands Point, Long Island estate.  It was played for the first time about ten months later on October 17, 1925, at a concert of the Sousa Band in the Public Auditorium, Cleveland, Ohio – and I was there.  I had not been to such an event as this one; I remember that as Sousa’s march was being played, Troop A rode the stage and stood behind the band to the tumultuous cheering of all.  The March King enjoyed a long relationship with the men and horses of Cleveland’s Ohio National Guard, known as Troop A.

Once again his special comprehension of the thrilling spectacle of regimental movement produced a compelling musical experience for both the player and the listener, commanding our particular awareness of his use of the trumpets and drums at various dynamic levels.

During the half-century of his career as the most successful bandmaster who ever lived, there was both reason and necessity for his creating these wonderful marches – and among them all The Black Horse Troop is a positive standout.

Read more about the Sousa Band and its history at naxosdirect.com. Click the link that says “Read more about this recording.”

Sousa shrine – including biography, complete works, and much more – at the Dallas Wind Symphony website.

John Philip Sousa on Wikipedia

The Black Horse Troop in a modern performance by the US Marine Band:

Morton Gould (1913-1996) was an American conductor, composer, and pianist.  He was recognized as a child prodigy very early in his life, and as a result he published his first composition before his seventh birthday.  His talents led him to become the staff pianist for Radio City Music Hall when it opened in 1932.  He went on to compose movie soundtracks, Broadway musicals, and instrumental pieces for orchestra and band while also cultivating an international career as a conductor.  Among the honors he received were the 1995 Pulitzer Prize, the 1994 Kennedy Center Honor, a 1983 Gold Baton Award, and a 1966 Grammy Award.  By the time of his death in 1996 he was widely revered as an icon of American classical music.

Cowboy Rhapsody exists in both an orchestral version (the original) and a band version, arranged with some edits by David Bennett.  The band version was premiered by the University of Michigan Band under William Revelli in 1940.  This performance reportedly inspired Gould to write more for band, leading to his several famous contributions to the literature.  Cowboy Rhapsody uses several famous cowboy songs, including “The Trail to Mexico“, “Little Old Sod Shanty“, “Home on the Range“, “Old Paint“, and others, to create a piece that straddles the line between tone poem and medley.  Gould’s treatment, especially the off-stage echoes in the middle, captures the wide-open atmosphere of the cowboy lifestyle of legend.

I performed this with the Arizona State University Concert Band on March 1. You’ll hear a lot of trumpet given the camera placement, but otherwise this is a solid performance that represents how the piece is supposed to go:

“The Trail to Mexico” performed by country music legend Foy Willing:

“Little Old Sod Shanty” performed by Yodelin’ Slim Clark

“Home on the Range”, still famous across the USA:

A good deal of my Cowboy Rhapsody information came from this dissertation.  It also gets a mention in these program notes, and it is featured (in its orchestral version) on this compilation.  It is a piece that deserves more study and performance.

There are several short biographies of Gould on the Internet.  Each one is more glowing than the last:

Wikipedia – concise biography and list of works.

G. Schirmer – Gould’s publisher gives a much more eloquent account of the composer’s life (which wikipedia seems to have stolen and mangled).

Kennedy Center – Heaps yet more praise on the composer.

There is even an entire book dedicated to the biography of Morton Gould, by Peter W. Goodman.  It is called American Salute.

Google books preview of the book here.

Review of said book here.

Percy Grainger (1882-1961) was a piano prodigy turned composer who was known for his strange personal habits, his colorful prose, and his equally unusual music – his many admirers today still recognize that he possessed “the supreme virtue of never being dull.”  Born in Australia, he began studying piano at an early age.  He came to the U. S. at the outbreak of World War I and enlisted as an Army bandsman, becoming an American citizen in 1918.  He went on to explore the frontiers of music with his idiosyncratic folk song settings, his lifelong advocacy for the saxophone, and his Free Music machines which predated electronic synthesizers.  His many masterworks for winds include Lincolnshire Posy, Irish Tune from County Derry, and Molly on the Shore.

Country Gardens is an English folk tune that Cecil Sharp collected in 1908 and passed on to Grainger, who played improvisations on it during his World War I tours as a concert pianist for the US Army.  According to Grainger, it is a dance version of the tune “The Vicar of Bray“.  Once published in its original piano form, the tune brought Grainger great success.  However, it was not among his favorite compositions.  To quote Keith Brion and Loras Schissel‘s score of the Sousa edition:

Later in life, despite the steady stream of income from its royalties, the fame of Country Gardens and the widespread public association of this work as being his best known piece, came to haunt Grainger.  Mentally, it became his albatross.  He came to think of his own brilliant original music as “my wretched tone art.”.  He once remarked, “The typical English country garden is not often used to grow flowers in; it is more likely to be a vegetable plot.  So you can think of turnips as I play it.”

When asked in 1950 by Leopold Stokowski to make a new arrangement for Stokowski’s orchestra, Grainger obliged with a wildly satirical version that literally sticks out its tongue at the success of the little tune.  In 1953, he rescored that arrangement for band.  Reflecting his mood at the time, it is a bitingly sophisticated parody that was to become his only band setting of the music.

Aside from that extremely worthwhile score which you should all read, you can see more about Country Gardens at Wikipedia, IMSLP (piano version), and Song Facts.

There are a great many different versions of Country Gardens, including at least four for band. Here is the bitingly satirical one from 1953 by Grainger himself:

There is another that John Philip Sousa arranged in 1925 with Grainger’s blessing:

And another that Brant Karrick arranged from Grainger’s piano version in 2013:

And yet one more arranged by Tom Clark in 1931 that is out of print and does not get played anymore.  As you can hear, all but Grainger’s treat the tune as a light romp.  But that is just the tip of this piece’s iceberg, lest we forget Grainger’s 1950 orchestral version:

Or his original piano version from 1918 (here played twice):

Or the Muppets’ 1977 four hands (paws?) piano version:

Percygrainger.com – much general information on the composer with a focus on his wind band works.

International Percy Grainger Society – Based in White Plains, NY, they take care of the Grainger house there as well as the archives that remain there.  They also like to support concerts in the New York metro area that feature Grainger’s music.

Grainger Museum – in his hometown of Melbourne, Australia, at the University there.

Grainger’s works and performances available at Naxos.com

Two interesting Grainger articles at The Guardian and WRTI.

Dr. Edward Green is an award-winning composer and music educator, as well as a prolific scholar in the field of music history.  He currently sits on the faculties of both the Manhattan School of Music and the Aesthetic Realism Foundation.  He has received numerous awards for his work.

He provides his own extensive notes, plus some additional biography, for his 1999 orchestral suite, Music for Shakespeare:

This orchestral suite was composed in 1999 and premiered by the Minnesota Sinfonia early in 2000. In 2013, Andy Pease gave it a parallel form for concert winds.

This suite grew out of incidental music Dr. Green had originally written to accompany Shakespearian productions by the Aesthetic Realism Theater Company—and throughout the writing of this music, he explained, he was inspired by this principle of Aesthetic Realism, which he learned from the great American philosopher Eli Siegel:  “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.”

A key pair of opposites is old and new; in this music, the composer has said, he wanted to be true to both the Elizabethan spirit and the music of our own times.  With melody always in the forefront, the suite evokes the dances of Shakespeare’s day, and the rhythms of our own. As a result, the style is both heartfelt and surprising: serious, yet filled with warmth, charm, humor.

“Love Music” is the title to the opening movement, and its long-arched melody is in the bright tonality of E Lydian. “When I wrote this melody,” the composer has said, “I had in mind Shakespeare’s heroines and also my wife, the actress Carrie Wilson.  In fact, I wrote this melody immediately after seeing her in the role of Desdemona with the Aesthetic Realism Theater Company.”

The second movement is in five parts: a complete “Dance Suite” unto itself. It begins with an Elizabethan “Gigue”—only written not in the traditional 12/8 meter, but in a modernistic 11/8—which gives it delightful irregularity. It is followed by an “Air,” and then three dances which flow into each other: a “Galliard”—depicting some of Shakespeare’s more comic (and slightly drunken) characters, such as Sir Toby Belch—a “Pavane,” and then a “Rigadoon,” which is written in rousing five-bar phrases.

Music for Shakespeare is perhaps Edward Green’s most frequently performed orchestral work. But hardly his only one—for orchestras across the US and also in England, Russia, Argentina, Australia, the Czech Republic and several other countries have also performed such works as his Piano, Trumpet and Saxophone concertos, all three of which have appeared on commercial CDs. He has also written much chamber and choral music, and a Symphony for Band, which was jointly commissioned by a consortium of thirteen of America’s leading concert wind ensembles.  He is currently at work on a ballet based on Milton’s Paradise Lost, and on a symphony commissioned by the Catskill Symphony Orchestra.

In addition to his creative activities—which likewise includes work as a film composer in collaboration with the Emmy Award-winning director Ken Kimmelman—Edward Green is also an active music educator.  He teaches at Manhattan School of Music, where he is a professor in the departments of Composition, Music History, and Jazz, and also at the Aesthetic Realism Foundation. Trained in Ohio (Oberlin Conservatory) and New York (NYU), he has appeared as a guest composer and lecturer throughout Europe and both North and South America.  He is editor of the forthcoming Cambridge Companion to Duke Ellington, and was editor of China and the West: The Birth of a New Music (Shanghai Conservatory Press).

Among his many professional honors is the Zoltan Kodaly Composers’ Award, and a 2009 Grammy nomination for his Piano Concertino (Best Contemporary Classical Composition). He also was the recipient, in 2004, of the highly sought-after Music Alive! Award from the American Symphony Orchestra League.

In putting together the wind band version of Music for Shakespeare, I retained the opening “Love Music” as a separate movement and split the second “Dance Suite” movement into its five component dances: “Gigue”, “Air”, “Galliard”, “Pavane”, and “Rigadoon”, of which the last three run together attacca.  I made several key adjustments, so that the “Love Music” is now in E-flat rather than E, and the final four movements are down a whole step from where they began, putting them in more wind-friendly keys.  I also rebarred the “Gigue” from 11/8 to a mix of 5/8 and 6/8, making it easier for players (and hopefully conductors) to interpret the length of each beat.  At every step, I was in contact with Dr. Green, who approved all of the changes and endorsed the final product.

Listen to a MIDI mock-up below.  Feel free, also, to read along in the score (.pdf):

Here is the Arizona State University Concert Band performing the first movement, “Love Music”, on March 1, 2014.  Please excuse the trumpet-heavy mix, owing to the camera placement:

As Green said, the orchestral version has been performed around the world.  The band version will have its first partial airing by the Arizona State University Concert Band on Saturday, March 1 on the ASU campus.  Anyone else who is interested performing it should contact me: misterpease “at” gmail.com.

Dr. Green has an extensive website that includes his full biography.  I recommend exploring the site a good deal.  His scholarly articles are probing and very accessible.  The site also has mp3s of several of his compositions, including this recording of the orchestral Music for Shakespeare (scroll to the bottom to find it).  These are very much worth a listen as window into his style.

Dr. Green’s faculty page at the Manhattan School of Music.

His faculty page at the Aesthetic Realism Foundation.