First Suite in E-Flat for Military Band (1909) by Gustav Holst (1874-1934)
Gustav Holst, one of England’s most prolific composers, was also a professional trombonist and a professor of composition and organ.
Holst himself was an ardent follower of astrology, and had a particular interest in Sanskrit and Eastern Philosophy. This study in both astrology and Eastern Philosophy began to influence his music and way of thinking; his goal in both was to achieve a certain directness of expression. Holst detested conventionality and instead strove for clear thinking and feeling. This unyielding search for directness lead him to believe that folk music carried the simplicity and economy of means that was essential to his art.
Gustav Holst’s two suites for military band, First Suite in Eb (1909) and Second Suite In F (1911), are milestones in the history of music for the wind band. Coupled with Holst’s other masterpiece Hammersmith: Prelude and Scherzo (Op. 52) and the wind band literature of Ralph Vaughn Williams, are widely considered among the great classics of English military band literature. Holst and Vaughn Williams stand together in the history of British music representing England’s best compositional talent during the first half of the twentieth century. Note by Gregory X. Whitmore
Fugue in F Major (from Organ Fugue in F, BWV Anh. 42) by J. S. Bach (1685-1750) arr. Grant Linsell
Johann Sebastian Bach, a German composer and organist of the Baroque Era, is best known for his complex counterpoint. While famous as a composer and credited with codifying large parts of our harmonic system today, he was better known as an organist and performer during his lifetime.
This fugue, originally written for organ, was likely not written by J.S. Bach at all. Scholars disagree but many assert that it was written by Anna Magelena Bach, J.S. Bach’s second wife. Publishing women’s works under a male pseudonym or with an attribution to a male relative was common well into the nineteenth century as women were thought to be largely incapable of producing high-quality works.
Sonata in F (ca. 1670) by Johann Christoph Pezel (1639-1694) arr. Grant Linsell
Chorale for Band (1963)by Frank Erickson (1923-1996)
Fantasy in D (2016) - Premiere by Max Mitchell
Passing through a forest grove, a woman arrives at a lake before dawn. Intending to drown herself, she hesitates at the shoreline. Right as she finally pushes to go through with it, the sun rises and shines brilliantly across the crystalline water. Struck with the beauty of the scene before her, she realizes that she can still perceive beauty in the world, and thus can live in hope of finding it in her own life. Note by the composer
Galop (2014) by Gary P. Gilroy (b. 1958)
“Galop” was composed as an encore number for a combined concert of the Fesno State Wind Orchestra and the Clovis North High School Wind Symphony. The work was premiered in 2014. It is a fast and furious work that is meant to conclude concerts in a fun and light-hearted manner. As with most Gilroy compositions, the percussion section plays an important role. A Galloping rhythm is first introduced as a solo woodblock and is passed around the ensemble throughout the composition.
Gary P. Gilroy is a Professor of Music and Director of Bands a California State University in Fresno. Publisher’s Note
The Mt. Hood Wind Ensemble is:
- Annika Martinez and Tabitha Gilliam: flute
- Hayden Casper, Allison Klym, Lisette Rodriguez, and Logan Corey: clarinet
- Zach Kaiser: bass clarinet
- Caitlin McMillan and Michael Tran: saxophone
- Quinn Romey: horn
- Marcus Jones and Will Hawkes: trumpet
- Haley Ellis and Sarah Ernst: trombone
- Max Mitchell and Bahr Trayhorn: euphonium
- Max Mitchell, Bahr Trayhorn, and Will Hawkes: tuba
- Spencer Jones, Noah Adams, Martin Lemon, Miley McLaughlin, Noah Rehmke: percussion
- Grant E. Linsell: director
The Mt. Hood Chamber Strings are:
- Annika Martinez: flute
- Siella Marchuk and Yakov Prus: violin
- Fredrick Scheer and Emilie Williams: cello
- Max Mitchell: bass
- Grant E. Linsell: director