robert nathaniel dett after the cake walk fs perusal.pdf · symphony hall in boston as a pianist...

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Copyright © 2018 Southern Music Company (ASCAP). International Copyright secured. All rights reserved. FULL SCORE Robert Nathaniel Dett After the Cake Walk Characteristic March Two Step Arranged (1901) for Band by Lee Orean Smith Edited (2014) by Dana Paul Perna INSTRUMENTATION 1-FULL SCORE 1-PICCOLO 3-1st FLUTE 3-2nd FLUTE 1-1st OBOE 1-2nd OBOE 1-CLARINET in Eb 4-1st CLARINET in Bb 4-2nd CLARINET in Bb 4-3rd CLARINET in Bb 1-ALTO CLARINET in Eb (not shown on score) 2-BASS CLARINET in Bb 1-CONTRA ALTO CLARINET in Eb or CONTRABASS CLARINET in Bb (not shown on score) 1-1st BASSOON 1-2nd BASSOON 1-SOPRANO SAXOPHONE in Bb 3-ALTO SAXOPHONE in Eb 2-TENOR SAXOPHONE in Bb 1-BARITONE SAXOPHONE in Eb 2-1st CORNET in Bb 2-2nd CORNET in Bb 2-3rd CORNET in Bb 2-1st TRUMPET in Bb 2-2nd TRUMPET in Bb 1-1st HORN in F 1-2nd HORN in F 1-3rd HORN in F 1-4th HORN in F 2-1st TROMBONE 2-2nd TROMBONE 2-3rd TROMBONE 3-EUPHONIUM in Treble and Bass Clef 4-TUBAS 1-STRING BASS (not shown on score) 6-PERCUSSION: Snare Drum, Cymbals, Bass Drum, Bells Grade 4 Duration: Approx. 4 Minutes Perusal

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Page 1: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

Copyright © 2018 Southern Music Company (ASCAP). International Copyright secured. All rights reserved.

FULL SCORE

Robert Nathaniel Dett

After the Cake Walk Characteristic March

Two Step

Arranged (1901) for Band by

Lee Orean Smith

Edited (2014) by

Dana Paul Perna

INSTRUMENTATION

1-FULL SCORE

1-PICCOLO

3-1st FLUTE

3-2nd FLUTE

1-1st OBOE

1-2nd OBOE

1-CLARINET in Eb

4-1st CLARINET in Bb

4-2nd CLARINET in Bb

4-3rd CLARINET in Bb

1-ALTO CLARINET in Eb

(not shown on score)

2-BASS CLARINET in Bb

1-CONTRA ALTO CLARINET in Eb or

CONTRABASS CLARINET in Bb

(not shown on score)

1-1st BASSOON

1-2nd BASSOON

1-SOPRANO SAXOPHONE in Bb

3-ALTO SAXOPHONE in Eb

2-TENOR SAXOPHONE in Bb

1-BARITONE SAXOPHONE in Eb

2-1st CORNET in Bb

2-2nd CORNET in Bb

2-3rd CORNET in Bb

2-1st TRUMPET in Bb

2-2nd TRUMPET in Bb

1-1st HORN in F

1-2nd HORN in F

1-3rd HORN in F

1-4th HORN in F

2-1st TROMBONE

2-2nd TROMBONE

2-3rd TROMBONE

3-EUPHONIUM in Treble and Bass Clef

4-TUBAS

1-STRING BASS

(not shown on score)

6-PERCUSSION: Snare Drum,

Cymbals, Bass Drum, Bells

Grade 4 Duration: Approx. 4 Minutes Perusa

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Page 2: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

About the Composer

Robert Nathaniel Dett (October 11, 1882 – October 2, 1943), was a composer, organist, pianist and music

professor. While born in Canada, he spent most of his professional career in the United States. During his lifetime he was a leading Black composer, known for his use of African-American folk songs and sprituals as the basis for choral and piano compositions in the 19th century Romantic style. He was one of the first Black composers to be a member of the American Society of Composers, Authors and Publishers (ASCAP). His works were often featured on the programs of Will Marion Cook’s New York Syncopated Orchestra. Dett performed at Carnegie Hall and at Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part of Niagara Falls), where he began piano study at an early age. In 1893 the family moved to Niagara Falls, NY. At about age 14 he began playing piano for his local church. He studied at the Oliver Willis Halstead Conservatory of Music and the Lockport Conservatory before entering the Oberlin Conservatory of Music. It was at Oberlin when he was first introduced to the idea of using spirituals in classical music; he heard the music of Dvořák which reminded him of the spirituals he had learned from his grandmother. He was the first black student to complete the five-year course at Oberlin.

His position as a major pianist-composer was earned in 1914. His piece Magnolia was performed at the

Samuel Coleridge-Taylor Club. On June 3 that year he performed Magnolia and In the Bottoms. The Chicato Evening Post reported that among the works on the “All Colored” program, his works were the most innovative and complimented his high level of piano skills. On December 27, 1916, he married Helen Elise Smith - the first black graduate of the Institute of Musical Art, which later became the Juilliard School. In 1918, Dett wrote of his compositional goals:

We have this wonderful store of folk music – the melodies of an enslaved people . . . But this store

will be of no value unless we utilize it, unless we treat it in such manner that it can be presented in choral

form, in lyric and operatic works, in concertos and suites and salon music—unless our musical architects

take the rough timber of Negro themes and fashion from it music which will prove that we, too, have

national feelings and characteristics, as have the European peoples whose forms we have zealously

followed for so long.

Late in his career, his style shifted from that of his earlier neo-romantic works as he adopted more contemporary idioms. In this later period he wrote piano suites such as American Ordering of Moses (1937), Tropic Winter (1938), and Eight Bible Vignettes (1941–1943) — his final piano suite.

Dett joined the United Service Organization (USO) as a choral advisor to contribute to the war efforts.

Traveling with the USO chorus, he died of a heart attack on October 2, 1943. He was buried beside his wife as well as his two daughters, in the town of his birth at Niagara Falls, Ontario. Honors followed Nathaniel Dett after his death. The Chapel of the British Methodist Episcopal Church in Niagara Falls, Ontario, was named in his honor, commemorating his term as organist at the church from 1898 to 1903. The church was designated a National Historic Site of Canada in 2001.

In the 2000s, Dett is remembered most for his work in combining the music in the style of the European

Romantic composers with African-American spirituals. Canada’s Nathaniel Dett Chorale, founded in 1998, bears his name and performs his music as well as that of other composers of African descent. The chorale is one of many that have recorded his music. In 2014, Dett’s oratorio “The Ordering of Moses” was revived by the Cincinnati May Festival, and performed the same week in Music Hall in Cincinnati and at Carnegie Hall in New York. The incident from the world premiere in 1937, where the live broadcast was cut off by the NBC network during the performance, was re-created, using actual tapes of the announcer. There is no documentary evidence of the reason for the interruption of the broadcast, although it is considered likely to have occurred because of complaints received by the network from those objecting to the playing of music composed by an African-American. Peru

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Page 3: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

About the Edition

Although Nathaniel Dett was to achieve notoriety for his compositions in more extended forms during his adulthood, earning the admiration of John Philip Sousa, Percy Grainger, and Sir Eugene Goossens (among countless others), his earliest known compositions were redolent of the popular music he would have been exposed to during his youth, namely marches, polkas, waltzes, cakewalks, and the current rage of that period, ragtime. Among Dett’s earliest titles was After the Cake Walk “Characteristic March Two-Step”. Perhaps written as early as 1899, when Dett was just a teenager, the Southern Music Company current edition is wholly based upon an original 1901 band publication arranged by Lee Orean Smith. Smith was also responsible for preparing Dett’s piano solo version for publication, as well as its forms for “theatre” orchestra and “mandolin club”. Owing to the fact that Smith’s highly idiomatic scoring was prepared for the band of 1901, rather than today’s concert band, I adapted, edited and extended Smith’s instrumentation in order to make it possible for Dett’s music to become available to a new generation of musicians and listeners alike. For conductors who desire to perform this work in the it’s original 1901 edition, that instrumentation is as follows:

Piccolo in D-flat (no specific indication for parts for flute) Oboes Bassoons E-flat Clarinet 3 B-flat Clarinets (printed as two parts: “Solo or 1st B-flat Clarinet” and “2nd & 3rd B-flat Clarinets”) B-flat Soprano Saxophone E-flat Alto Saxophone B-flat Tenor Saxophone E-flat Baritone Saxophone 3 B-flat Cornets (printed as two parts: “Solo B-flat Cornet (Conductor) and “2nd & 3rd B-flat Cornets”) 4 E-flat Horns (appearing in this edition as 4 Horns in F) 3 Trombones (the third also as “Bass Trombone”) 2 Tenors (which are Trombones 1 & 2 notated in treble clef) Baritone (presented as Euphonium/Baritone in this edition) Basses in either E-flat or B-flat (presented by Tuba in this edition) Percussion (three players - cymbals, snare drum and bass drum; the bells/glockenspiel having been added by Perna)

In this current publication, a full score was prepared in order to clarify what Smith had written, since scores were not published during that period - “Solo B-flat Cornet (Conductor)” was considered sufficient in those days. From there, all matters regarding orchestration were carefully considered with regard towards alignment of measures, balance, markings, dynamics, repeat signs, and everything else that is editorial in nature. Some modifications were made in order to best serve whichever size of forces a conductor may decide to use. The final strain (ms. 82 to 93) takes the 1st B-flat Clarinets into their highest register, exactly where Smith scored it. If this range poses too great a challenge for your players, it may certainly be played an octave lower. The E-flat Clarinet part (highly desirable) is higher still, but the Flute parts (added by Perna) can carry the day if a competent E-flat Clarinet player is not to be found. Certain additions to Smith’s instrumentation were included for greater balance and depth of color; for example, in order to complete the harmony in the cornet parts, two “trumpet” parts have been added. As stated previously, please keep in mind that, given the idiom and period this work hails from, certain parts to this “Characteristic March Two-Step” can be omitted since their tone-strands are sufficiently covered. Dett’s music came to the attention of a wider public on an international scale due to his association and personal friendship with Percy Grainger, whose 10 February 1920 recording of “Juba Dance” (Columbia A6145), as well as his subsequent Duo-Art piano roll proved something of a commercial “hit.” With regard to After the Cake Walk specifically, I became better acquainted with it while working on a recording (still available on the Altarus label) by the late pianist Denver Oldham (1936-2012) on which it is included. Coupled with an earlier version I had prepared for brass band in dedication to Ringebu Musikkforening (a Norway-based brass band by whom that version was premiered), I felt that its preparation for a band’s instrumentation became absolutely necessary. Upon discovering that Smith had already prepared one when this opus was new, everything made sense. It has been a tremendous honor to return this lesser known title to the band literature where it rightfully belongs.

Dana Paul Perna Recording Secretary, International Percy Grainger Society, Palm Coast, FL December 22, 2014

Perusa

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Page 4: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

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Page 5: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

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Page 14: Robert Nathaniel Dett After the Cake Walk FS perusal.pdf · Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part

Selected Concert Band Publications

FULL ENSEMBLE WORKS

ALFORD, KENNETH JRogers, Mark

Eagle Squadron March (Grade 4)S946CB HL172750

When the Second World War began, the British "March King" Kenneth J. Alford (pseudonym for Major F. J. Ricketts, R.M.) was increasingly in bad health and had composed relatively little music recently. As Hitler’s armies marched victoriously across Europe, Britain was soon alone facing the Nazi peril. Alford’s great contribution to the war effort was the composition of two of his great masterpieces - ARMY OF THE NILE, celebrating the first Allied victories over the Germans in North Africa and EAGLE SQUADRON. The latter of these marches celebrates American airmen who travelled to England during the early years of the war (before the entry of the United States into the conflict) to volunteer for service with the Royal Air Force, serving with great distinction during the Battle of Britain. Alford skillfully weaves a number of well-known tunes into the fabric of the music, including the "Royal Air Force March" and "The Star-Spangled Banner," while also including a reference to the Siegfried motive from Wagner’s "Ring of the Nibelung." Mark Rogers’ edition of this classic march includes a handsome full score and concert size set of parts.

BARNES, JAMES

Caribbean Hideaway (Grade 4)S689CB HL3778075

This fun encore piece for symphonic band is full of lively syncopated rhythms, and offers a lot for the percussion in terms of both instrumentation and style.

Italian Wedding Song, Op. 151 (Grade 4)S948CB HL172764

Italian Wedding Song is a lyric, very romantic song in g minor, reminiscent in some ways of the music of Puccini and Verdi. Like Barnes’ Yorkshire Ballad, it is a brief, solemn work, perfect for teaching students to play in an emotional, legato style. If you have a good Euphonium player, this work is a must; it is an excellent choice for a moment of touching repose on your next concert. Italian Wedding Song is carefully scored and cross-cued, and the ranges are very reasonable for all instruments.

BERLIOZ, HECTORRogers, Mark

March to the Scaffold (Grade 4)S762CB HL3778378

The best known work by Berlioz, "Symphonie Fantastique" for orchestra is a well-regarded example of programatic music. This transcription for band of the 4th movement, "March To The Scaffold", depicts the following scene of a young, dreaming musician: "He dreams that he has killed his beloved, that he is condemned to death and led to the scaffold. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled sound of heavy steps gives way without transition to the noisiest clamor. At the end, the idee fixe returns for a moment, like a last thought of love interrupted by the fatal blow." This transcription by Mark Rogers carefully adapts the orchestral version in such a way as to best match the intent of the original, and is meant to set the standard by which all other scores of this sort may be measured. Three of the movements of "Symphonie Fantastique" have been transcribed for band and are available from he publisher: Movement II- "Un Bal", Movement IV- "March To The Scaffold", and Movement V- "Dream of a Witches Sabbath".

EWAZEN, ERIC

A Hymn for the Lost and the Living (band)

(Grade 4)

S817 HL3778602

After witnessing the tragic aftermath of the September 11, 2001 attack on New York firsthand, Ewazen composed this as a memorial to those who lost their lives, and as a tribute to the resilience and determination of those left behind. Available for band, orchestra, and solo trumpet with piano. (2002) Ca. 9'

GIBSON, JOHN

Resting in the Peace of His Hands (Grade 4)S670 HL3778009

GOLDMAN, EDWIN FRANKORogers, Mark

Christmas March (Grade 4)S951CB HL172768

Among Goldman’s many contributions to the band’s repertoire, his pastiche marches such as “Children’s March” and the “Christmas March” have been especially popular. Familiar seasonal tunes include Good King Wenceslas, Adeste Fideles, Jingle Bells, It Came Upon the Midnight Clear, The First Noël, Deck the Halls and Hark! the Herald Angels Sing. An optional short coda reduces the playing time to approximately 4:00. A handsome full score and judicious rescoring of the upper woodwinds makes this an ideal alternative for community bands looking for new sounds in a classic, yet familiar style for their December programs.

GOOSSENS, EUGENEGrainger, Percy Aldridge

Sheep-Shearing Song (Folk-Tune) (Grade 4)S954CB HL236105

“Folk Tune” (also known as “Sheep Shearing Song”) was originally composed for piano by Eugène Goosens. This setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for.

GRAINGER, PERCY ALDRIDGERogers, Mark

Colonial Song (Grade 4)S702 HL3778130

Grainger's art inextricably linkded to folk music, this composition, which uses no traditional tunes but is meant to express feelings aroused by thoughts of the scenery and people of his native Australia, is perhaps the finest, and may well be the most well-crafted, of any of his original works. Intended to be the first of a set of pieces written in a sweetly romantic vein called "Sentimentals", the composer dedicated this composition to his mother, though it remains the only piece in the set following her death. This edition returned to the original arrangement for band produced by Grainger to create the most authentic version, true to the composer's intentions, with small adjustments in instrumentation made to accommodate the contemporary band.

Shepherd's Hey (Grade 4)S667 HL3777995

"In agricultural districts in various parts of England, teams of 'Morris Men,' decked out with jingling bells and other finery, can still be seen dancing to 'Sheperd's Hey' and other traditional dance tunes played on the fiddle or on the 'pipe and tabor' (a sort of drum and fife).- Percy Aldridge Grainger, 1918. Part of the composer's British Folk-Music Settings, Grainger arranged the tune "Shepherd's Hey" for a variety of settings. The wind band version is considered to be largely derived with from his orchestra setting.

The Gum Suckers March (Grade 4)S684CB HL3778056

From Grainger: "Gum-suckers" is a nick-name for Australians hailing from the state of Victoria, the home state of the composer. The leaves of the 'gum' (Eucalyptus) trees are very refreshing to suck in the parching summer weather." The 4th movement of his "In a Nutshell" suite for orchestra, the composer himself arranged this piece for band, as he did for much of his orchestral music. However, due to some contemporary methods of transposing and the lack of a full score, that original version contains numerous errors. This edition was carefully crafted, pulling from all available resources and archives to determine the composer's original intent. In addition to corrections, this edition updates the instrumentation to reflect current bands and offers generous cross-cueing for those bands without the full instrumentation for which Grainger customarily wrote.

HERBERT, VICTORClarke, Herbert

March of the Toys (Grade 4)S739 HL3778286

Victor Herbert (1859-1924) was a German composer who emigrated to the United States where he became a well-known composer of light music and operettas and, along with John Philip Sousa, was one of the founders of the American Society of Composers, Authors, and Publishers (ASCAP). One of the many "hits" from Victor Herbert's operettas which are still well-known today is the "March of the Toys" from 1903's "Babes in Toyland". In this charming work, Herbert's gift for melody meets with his experience as a military band conductor to inspire a delightful concert work which effectively blend the "march miniature" style utilized by Tchaikovsky and others with the "grand march" style heard in the operas of Verdi and Wagner. Herbert Clarke's masterful setting for the Sousa Band allows audiences to experience a work which is a perennial holiday classic, in an arrangement which brings band performers in touch with some of the greatest names from the golden age of the American concert band. R. Mark Rogers edition of the "March of the Toys", the first to present Herbert L. Clarke's arrangement in full score with complete instrumentation, gives modern conductors and educators the means to secure the place of this item in the repertory for generations to come.

JARRE, MAURICEReed, Alfred/ Rogers, Mark

Lawrence of Arabia (Grade 4)S947CB HL172752

David Lean’s epic film “Lawrence of Arabia” was nominated for ten Academy Awards and won seven, including Best Original Score for Maurice Jarre’s masterful musical depiction of the exotic world through which T.H. Lawrence passed. Alfred Reed’s setting of the music for concert band, available here for the first time in full score with newly edited parts, is built on two of the main themes: the Arabian motif, with its blazing color and almost-barbaric effects; and the Lawrence theme, a haunting, poignant melody that reflects both his love of the desert and his internal, psychological conflicts.

MCBETH, W FRANCIS

Masque (Grade 4)S407 HL3777047

Commissioned in 1967 by the State College of Arkansas Band, Dr. Silas Snow, President, for the dedication of the Fine Arts Center. It was premiered by the same band the same band, Homer Brown, conductor.

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Selected Concert Band Publications

FULL ENSEMBLE WORKS

BARNES, JAMES

Fantasy Variations on a Theme of Paganini

(Grade 5)

S612 HL3777785

Commissioned by the United States Marine Band, the set of twenty variations is based on the famous theme of Paganini's 24th Caprice in A Minor for solo violin, which is the same theme used by Brahms and Rachmaninoff for their famous compositions. The composer's overall concept was to use the variation technique to showcase every solo instrument and/or every instrumental section of the modern wind band. In doing so, creating a piece that could be played almost anywhere for almost any kind of audience: a piece full of energy, drama, and even a little humor.

Impressions of Japan (Grade 5)S661CB HL3777971

A tone poem in three sections expressing the composer's personal portrayal of his experiences in visiting Japan: I. Joetsu Asahi (Dawn in Joetsu), II. Todaiji (The Great Buddha at Nara), III. Askusa Matsuri (Festival in Asakusa)

Invocation and Toccata (Grade 5)S527CB HL3777458

Invocation and Toccata was commissioned by the New Mexico State University Wind Ensemble, Lawrence Henry, conductor.

Pagan Dances (Grade 5)S628 HL3777847

The "Pagan Dances" completes the cycle of four "primitive" works for symphonic band that also includes "Visions Macabre", "Invocation and Toccata" and "Torch Dance". All of these works employ highly dissonant harmonies, repetitive melodic material and driving rhythm. The work was premiered by the University of Central Arkansas. Movement titles: I. Ritual, II. Mystics, III. The Master of the Sword

Symphonic Overture (Grade 5)S647CB HL3777921

A Romantic-Style work of large proportions and challenging instrumental parts, Symphonic Overture was commissioned for the 50th Anniversary of the USAF Band in 1991 and has been performed since then at the band's anniversary concert.

BOYER, THORNTON BARNESBarnes, James

Joyce's 71st NY Regiment March (Grade 5)S678 HL3778036

The original version by Boyer, written sometime prior to 1881, has long been a favored warhorse of military and traditional concert bands. Its dramatic opening and florid second strain give the march great dignity and pomp. Arranger James Barnes was astonished upon seeing an original copy to find dramatic differences (largely in instrumentation) between the original and later 1937 Lake edition. In this adaptation for modern symphonic band, James Barnes has taken the utmost care to preserve the character of the original version of this march. No harmony was changed, no lines were added, and no voicings were altered. Articulations were clarified and made consistent throughout, a few notes added to the percussion parts (all in parenthesis), a full score created, a suitable cymbal part was written for modern performers (instead of the expectation that the bass drummer would improvise with the cymbals), and a glockenspiel part was added.

CAMPHOUSE, MARK

Whatsoever Things (Grade 5)S719 HL3778203

The title of this composition is taken from the motto of Northwestern University (from Philippians 4:8). The common thematic thread in all three sections is the varied employment of that school's alma mater hymn, the famous "St. Anthony Chorale". "Whatsoever Things…" was commissioned by the Revelli Foundation for the 1997 Honor Band of America as the inaugural commission of the Paynter Project. It is dedicated to the memory of John P. Paynter (1928-1996).

FREUND, DON

Jug Blues and Fat Pickin' (Grade 5)S937CB HL121335

Originally commissioned for the celebration of Tennessee's "Homecoming '86," Jug Blues & Fat Pickin’ is without peer in the wind band repertoire. Inspired by recording of the Memphis Jug Band, the most recorded and perhaps most popular of the jug bands to spring up on Memphis' Beale Street in the late 1920's, and bluegrass banjo pickin', Freund's composition is a unique musical offering that melds "blues elements" with minimalist technique.

GRAINGER, PERCY ALDRIDGECramer, Ray E.

Near Woodstock TownS855 HL3778754

GRAINGER, PERCY ALDRIDGERogers, Mark

Children's March: Over the Hills and Far Away

(Grade 5)

S673 HL3778018

This critical performance edition of one of Grainger's greatest masterpieces for band captures the composer's vivid orchestration and delightful melodies. The unique feature of this publication is that in its preparation, three original sources were utilized including Grainger's own manuscripts of the compressed score and parts, restoring the music as closely as possible to the composer's original intentions within the context of the modern wind ensemble.

Molly on the Shore (Grade 5)S703CB HL3778136

The composer's love for music of the simple rural folk of the British Isles led to a series of forty-three pieces that Grainger grouped into a series called "British Folk-Music Settings", including this title as No. 23. This arrangement of the Irish Reel, through superb historical research of the composer's intent and the adaptations that have followed throughout the years, succeeds in offering an accurate version of the original while offering instrumentation options meant to enhance the experience for the musicians and audience alike.

HOLSINGER, DAVID

Liturgical Dances (Grade 5)S546CB HL3777531

A remembrance of an earlier time when the composer was a student at commissioning body Central Methodist College's Phi Mu Alpha Sinfonia music fraternity. The composition displays two images: the first a prelude of reflection on the emotional and spiritual bonds that unite men of like hearts; the second, exuberant praise and celebration for the service of men to their vocation and a glorious Lord, who created music that man would have a wonderful vehicle with which to exhibit his exhilaration with life!

MCBETH, W FRANCIS

Of Sailors and Whales (Grade 5)S629 HL3777850

"Of Sailors and Whales" is a five-movement work based on five scenes from Herman Mehlville's "Moby Dick". It was commissioned by and is dedicated to the California Band Directors' Assocation, Inc., and is sub-dedicated to Robert Lanon White, Commander USN (Ret.), who went to sea as a simple sailor. It is designed so that any portion of the five movements may be used. Movement titles include: I. Ishmael, II. Queequeg, III. Father Mapple, IV. Ahab, V. The White Whale

SMETANA, BEDRICHRogers, Mark

The Moldau (Grade 5)S741CB HL3778296

VERDI, GIUSEPPERogers, Mark

La Forza Del Destino (Grade 5)S516 HL3777415

This prelude to Verdi's first opera was composed in 1868 as part of an overall revision of the opera, and it is in the revised version that work is known today. This overture, while not in way following the tragic events of the opera, functions as a symphonic treatment of music heard within the opera. Originally transcribed by Mark Rogers in 1980, this newer edition has been revised to account for the changes in the concept of the wind band to better suit contemporary usage.

YOUNG, CHARLES

Tempered Steel (Grade 5)S726CB HL3778230

As we grow stronger and more resilient through hardship, we become "tempered." Tempered Steel is a celebration of our triumph over these unavoidable hardships and obstacles that we regularly face. As the title implies, the metallic sonorities of the wind band are continually explored and developed throughout the work, while the "tempest" is a symmetric hexachord that is exposed and developed through a variety of juxtaposed gestures and themes. Tempered Steel was "forged" in 1997 as the first work to be commissioned by the Big 12 Band Directors Association. This 2nd edition resulted from Dr. Young's request to make a few very minor changes in the work, based on his experience hearing dozens of performances, and hearing from conductors who have wrestled with the difficulties inherent in the score.

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