Standard works for band: Gustav Holst's First Suite in Eb Major for military band
Identifieur interne : 000507 ( Main/Corpus ); précédent : 000506; suivant : 000508Standard works for band: Gustav Holst's First Suite in Eb Major for military band
Auteurs : Budd UdellSource :
- Music Educators Journal [ 0027-4321 ] ; 1982-12.
English descriptors
- Entity :
- org : Oxford University, University of Florida.
- pers : Adam Eve, Dom Anselm, Eric Blom, Gordon Jacob, Gustav Hoist, Henry Purcell, Hoist, Percy Grainger, William Byrd.
- place : York.
- Teeft :
- Alto clarinet, Band members, Baritone saxophone, Bass clarinet, Bass line, Bass saxophone, Boosey hawkes, Brass band, Budd udell, Chaconne, Chaconne melody, Chaconne theme, Clarinet, Cornet, English band music, English folk song idiom, Entire work, Eric blom, Final note, First movement, First suite, First theme, High school sophomore, Individual parts, Intermezzo, Inverted chaconne theme, Macmillan publishers, Military band, Oboe, Opening statement, Original melody, Oxford university press, Rehearsal letter, Same time, Secondary theme, Statement number, Tempo, Upper voices, Young children.
Url:
DOI: 10.2307/3396135
Links to Exploration step
ISTEX:89F9B073642F3DA1C9E88762E1F89B3DDDB0C893Le document en format XML
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Udell</surname><given-names>Budd</given-names></name><aff>Chairman of the Department of Music at the University of Florida in Gainesville.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>12</month><year>1982</year></pub-date><volume>69</volume><issue>4</issue><fpage>27</fpage><lpage>60</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Standard works for band: Gustav Hoist's First Suite in E t Major for military band by Budd Udell Written in 1909, the First Suite in E\ Major appeared in print in the United States in 1921. I first played the work as a high school sophomore in 1950. Following that initial acquaintance, the First Suite has held a special place within the repertoire I have come to know since. No doubt the same is true for thousands of others-performers, conductors, teachers, and listeners. The work has endured beautifully and, in fact, has grown stronger with age. Nearly eight generations of American band directors have given it eminence. Few composers, on the basis of so few works, have endeared themselves so completely to those in the band field as has Gustav Hoist with his First Suite in E\ Major, Second Suite in F Major, and Hammei'smith. There is no significant output of works for band by English composers at the present time. What a remarkable turnabout in history! The band repertoire was so enriched by the works of Percy Grainger, Hoist, Gordon Jacob, and Ralph Vaughan Williams during the first half of the twentieth century, that it is paradoxical that the latter part of the century finds the once fertile soil so barren. The great tradition of English band music that seemed to be securely launched by 1910 has never come to full fruition. But the fifty years during Budd Udell is chairman of the Department of Music at the University of Florida in Gainesville. which Grainger, Hoist, Jacob, and Vaughan Williams produced their finest works for band represent the golden age of English band music. As a learning tool: Elements of music The composer and his work To know the man is to know his music. This is more true of Hoist than of many other composers because so much of his musical style reflects his character, intellect, and personality. Gustav Hoist (1874-1934) was an unassuming person whose relationship with others throughout his life was characterized by directness of approach. He enjoyed appreciation of his music from those who were actively involved in it, but found no relish in the superficial niceties often foisted upon him by those less knowledgeable and less caring. The Gold Medal from the Royal Philharmonic Society, and his election as a fellow at the Royal Conservatory of Music were the only honors he ever accepted, although countless others were proffered. He was consistent in all things. On any given occasion he would be concerned for the heart of the matter and not for the formal trappings that might simply serve to draw public attention. Yet, his open mind and gracious manner allowed him to remain true to himself without offending anyone. His character, his intellect, his personality, and his lifelong love for the English folk song idiom are what make Hoist's music uniquely his. In addition, his level of musical invention is routinely high. He was a superb craftsman and an innovative orchestrator. Ultimately, it was his love for the English folk song that provided Hoist with a real sense of direction and helped him to develop his individual style. The folk song influence was a major factor in his maturity as a composer, which he achieved about 1906, when he was in his thirty-second year. Hoist's primary focus was always on the music he created rather than on public recognition of it, and it is not altogether surprising that he is often regarded as a “late bloomer.” The Planets, considered by many to be his first real success, was completed when Hoist was forty-two. Yet it is preceded by many fine works, including the First and Second Suites for military band. As Hoist grew older, the urgency with which his musical creativity sought expression increased steadily, even at the risk of his personal health. Directness of expression, an idea that Hoist always kept before him, is no more clearly evidenced than in the First Suite in E\. In this work there are no special effects used merely to create veiled illusions or develop atmosphere. Everything is clear and direct and can be reckoned with by the high school sophomore and the experienced conductor alike. It is a work full of wheat from which we can make fresh-baked and delicious musical bread. MJ/December 82 27 The work as a whole The entire work is derived from a single musical idea, which is shown in its entirety, and without rhythm, in Figure 1. In this simple melodic structure, primary emphasis is on the whole step, either rising or falling, followed by a leap of a fifth or its inversion, a fourth. With a single exception, the leap is always upwrard. The melody ends on the fifth scale degree, which harmonically implies a half cadence, and lends itself easily to repetitious treatment. The simplicity of the melody suggests a folklike character; however, there appears to be no prior source for the melody- it is of Hoist's own invention. The influence of Hoist's fascination with the English folk song idiom after 1906 is apparent. This is not the only element, however, that makes the First Suite so thoroughly English. In the opening movement, labeled Chaconne,1 Hoist sets his tune in the rhythm as shown in Figure 2. He presents the two phrases repeatedly By definition, the first movement is a Passacaglia. not a Chaconne. The importance of the difference, however, is one of technical, rather than practical. concern. in the bass line, six times without interruption, and it begins to appear that he is going to carry on in the style of his Baroque predecessors, Henry Purcell and William Byrd, by writing a typical English ground. In the seventh statement he breaks the strict adherence and puts the melody in the uppermost voice where it is harmonized. Yet in his use of the Chaconne melody, and in light of that which follows, Hoist establishes his connection with English musical tradition. The rhythmic scheme of the Chaconne melody is patterned after that which was common in the Medieval English two-part song, or English carol, which was the most popular musical form in fifteenth-century England. The contrasting patterns of half-note/ quarter-note and quarter-note/half-note are characteristic of both early and late carols. The best known of the fifteenth-century English carols is the one written in celebration of the victory in 1415 by Henry V of England over the French at the village of Agincourt. It is known even today as the “Agincourt Song.” The tune has been used for hymn settings and can be found in present-day Protes- fe 1331 ZSS1 -O- ZZXI Figure 1. ” o • xsr ZS5Z tant hymnals. Comparing Hoist's Chaconne melody with the first two phrases of the “Agincourt Song” (Figure 3), we see almost identical rhythmic patterns. Finally, the First Suite, in its original scoring, is written for British military band instrumentation, giving further evidence that the work is thoroughly English. The First Suite has three movements: Chaconne, Intermezzo, and March. From the original melodic structure, Hoist designs seven themes that make up the essential material for the entire work. Figure 4 identifies, by movement, these seven themes. Furthermore, Hoist writes five beautiful melodic counterpoints that are played against the Chaconne theme in the first movement (Figure 5). In addition, there are three fanfare or melismatic type counterpoints, two in the Chaconne and one in the Intermezzo. Even the secondary7 themes, sometimes no more that two measures in length, contain ingredients of the original melodic structure, even though at first glance they seem to have no relationship. The organization of the work provides a great study, particularly for the young composer, in the seemingly endless ways that a simple idea can become the genesis of an astonishing amount of good musical material. It all adds up to the genius of Hoist, and affirms that economy of means is still one of the real marks of an accomplished composer. i m wm ?= Figure 2. i P * ‘ LF 0 lid 1 Figure 3. 28 Studying and performing die score First movement: Chaconne Conductors and performers should be aware that the first movement, Chaconne, is built upon sixteen iterations of the same theme (Figure 2). All but three are the same. The tenth and eleventh statements begin on the same note, El, but are diatonic settings of the theme inverted. The concluding statement begins on Bt, a fifth higher, and has one chromatic alteration (D) plus an extended ending, which is the ending for the movement itself. The opening statement is a good test for many high school bands because of its exposed nature. Good intonation should always be a matter for concern, and in this passage it is of prime importance. Consequently, these opening measures provide a i Be Intermezzo great opportunity for some essential chaconne musical training. The players must listen, not only to themselves, but to each other for accuracy of pitch, phrasing, and expression. All members of the band can profit from the time spent working on this passage, since most of the other instruments will have the same line to play later in the movement. Knowing that the Chaconne theme is the basis for the entire first move- Chaconne ment, the band members should be aware that the principle of variation is what gives the movement its life and dimension. It would be worth the time to isolate and play the other melodies Hoist wrote as counterpoints to the Chaconne theme (Figure 5). These occur with the following statements of the theme: number 2, measure 8 (a); number 3, measure Intermezzo 16 (b); number 8, measure 56 (c); number 9, measure 64 (d); and number 10 (theme inverted), measure 72 (e). After playing these melodies alone, they may be combined with the Chaconne theme, but without the harmonic fill-in parts, so that the actual counterpoint can be heard. Doing too much at one time of what has just been suggested can inhibit good rehearsal momentum. Each director must be the judge of what would be an appropriate amount; however, the band members will understand the work better and perform it better by having had the benefit of seeing and hearing how it is put together. Also, they should begin to identify the various musical elements for themselves in other places in the movement, rather than just play the notes. As a follow-up, rehearsal letter A in the score, where the texture is clear and relatively simple, is an excellent spot to “test” the band members on how well they can identify what they are playing and hearing. In performance, the section from rehearsal letter A to B should be done smartly in good martial style. Beginning with the pickup to letter B, Hoist writes a challenging passage, particularly for the woodwinds. There are no places to breathe, and for those woodwind instruments that are called upon to play all or most of this passage without interruption, a solution must be found. Staggered breathing is the answer. Simply handled, desk partners agree where each is going to breathe so that they do not do it at the same time. Dropping the fourth sixteenth in a group figure 4. m 4 Pi J i'Vj j - r j jiji n)\ c -S3 *m, MJ'r p m nr m iim WirtrrHr E3 March of four is enough time to catch a breath. It also works the best in maintaining accurate rhythm and will be least noticeable to the listener. If rhythmic accuracy becomes a problem in the concluding measures of this passage, which is not unlikely, continuing the articulation pattern prescribed for the first three measures of the passage will help; that is, having the woodwinds articulate those notes that coincide with the eighth-note rendering of the Cha-conne theme in the brasses. In the same passage, the eighth-note statement of the Chaconne theme presents a challenge all its own. Hoist marks the passage bril-lante, which means that the running sixteenth-notes in the woodwinds should sparkle. He helps the cause greatly by shortening the duration of the notes in the theme. There is no indication that the eighth-notes should be played staccato-and indeed they should not be. Full eighth-note values are the order, with a clean articulation to start each note and the use of the breath to stop it, giving each note a nicely rounded-off finish. The concluding sustained note should have a slight lift to it (poco crescendo) and a clean release. The woodwinds should maintain their brilliance to their final note. For the next eight measures (statement number 7), beginning with measure 49, Hoist uses the marking pesante. This applies to the bass line. The Chaconne theme, harmonized in the upper voices, should be handled straightforwardly, with each note articulated normally and given full value-no breaks between notes. Normal phrasing prevails as in the movement's opening statement. With the bass line, however, there are a number of ways it might be rendered in hopes of achieving a convincing pesante. Hard accents on each note would be the least successful. Actually, the players should use a legato tongue (da rather than ta), lots of air (the dynamic is ff), and leave the slightest space between the notes. The gradual ascension of the bass line generates all of the excitement the passage needs. The diminuendo in measures 55 and 56 is very important! Statement number 9, beginning beat 3 in measure 64, deserves special rehearsal attention. This should Continued on page 58 NOVELLO CANTATAS From the classic tale of Chan-ticlear and Pertelote to the smash Broadway hit Joseph and the Amazing Technicolor Dreamcoat, Novello pop cantatas are educationally solid, with today's sounds that will stimulate and delight your chorus and their audiences. JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (abridged) (2668-21) Rice & Webber 4.50 Lasting 20 minutes, this school version of the smash Broadway hit captures all the color and zest of the longer version. The N. Y. Times says “JOSEPH has become a perennial at schools-for a good reason! It is decidedly a musical for young people. Grades 3-12. SWEENEY TODD THE BARBER (2656-21) Blyton 2.75 Written for narrator, unison voices and piano, with chord symbols for extra optional instruments, this Victorian melodrama is an exciting work with amusing lyrics set to catchy tunes. (17 minutes.) Grades 5-12. HOLY MOSES! (2657-21) Hazell 4.75 The story of Moses from bulrush days to the time when he leads his people into the land of milk and honey. For unison voices and piano with optional bass and drum parts. (22 minutes.) Grades 4-9. ROOSTER RAG (2664-21) Hurd 2.75 A delightful secular pop cantata for unison voices (with optional divisions) and piano. Based on the famous tale of Chanticlear and Pertelote, this thirteen-minute work will both tickle and teach your kids. Guitar symbols included in the vocal score. (13 minutes.) Grades 3-8. ADAM-IN-EDEN (2771-21) Hurd 2.75 The story of Adam and Eve and that snake in the grass. For unison voices (with divisions) and piano, with guitar chord symbols. (21 minutes.) Grades 3-8. CAPTAIN NOAH AND HIS FLOATING ZOO Horovitz unison (2661-21) 4.75 SATB (2660-21)6.75 77ms Old Testament tale is brought to life in a pop style for voices and piano (guitar chords included). It can also be staged and performed. (26 minutes.) Grades 3-12. SWINGIN SAMPSON (2665-21) Hurd 2.75 The story of Sampson, written for unison choir (with divisions) piano and narrator. Children will enjoy learning the vocal line which breaks into two parts at key points. (10 minutes.) Grades 3-8. A STABLE HOME (2646-21) Oliver 4.25 This dramatic cantata covers the story of Christmas as seen through the eyes of the animals. A poignant and lovely setting for two groups of unison treble or girls' voices. (15 minutes.) Grades 3-6. For a FREE sample copy of any of these works, write DEPT. 6MJN. Offer expires January 15, 1983, and is good only while supplies last. FIRST SUITE from page 30 be treated as chamber music, for indeed it is. The effectiveness of this passage depends solely on how well each individual player executes his or her part. Technically it is not difficult, but control, balance, and unity of expression are key factors. Rehearsal letter D is again marked pesante, and the passage is similar in design to that beginning in measure 49. It can be treated in the same way, except that the dynamic level this time is not fortissimo, but piano. From this point on, the movement builds to its climax at rehearsal letter F, marked maestoso. A slight slackening of the tempo at F is altogether appropriate. I prefer a tempo of - 92-96 for this movement, backing off to J = 88 at the maestoso. It should be observed that at letter F, the high point in the movement, Hoist recaps the counterpoint melody that he first used (beginning beat 3, measure 8). The concluding ten measures of this movement, the sixteenth statement of the Chaconne theme, serve as a coda. Hoist made frequent use the hemi-ola effect, that is, replacing two groups of three beats with three groups of two beats. By so doing, the natural accent shifts from its normal place on beat one of each measure, to beats one and three of the first measure and beat two of the second measure. The effect should not be minimized in performance. A hemio-la is found in the first movement as follows: measures 63-64, 85-86, 111-112, 129-130. The bass line beginning at rehearsal letter D is an extended application of the same principle, and is what creates for this passage its unique effect. Finally, the macroscopic design of the movement is quite simple. It is composed of two long crescendi. The length of the first is from the beginning of the piece to measure 55, followed by the important two-measure diminuendo. Letter C to D is somewhat of an interlude. At letter D, the movement begins its second long crescendo, larger that the first, climaxing at the maestoso at letter F. Second movement: Intermezzo Controversy has arisen about the scoring of the Intermezzo theme. The question arises over doubling of the melodic line with oboe and solo muted cornet. Did Hoist intend the doubling, or is the muted cornet included as a substitute in the event that the oboe is unable to render the line? I maintain that the latter possibility is poppycock. Using muted cornet (or trumpet) as a substitute for oboe is an orches-trational procedure that has been taught and practiced in America in connection with school band music for more than half a century7. As a result, we perhaps find it difficult to accept this doubling on any other basis. Hoist, however, writing the First Suite in 1909, gives no indication that the muted cornet is merely a stand-by for the oboe. The combination of colors, oboe and muted cornet, similar as they are, must be regarded as exactly what Hoist intended. Everything about the man and his music affirms the directness of his intentions and the clarity of his writing. Had he intended that the solo muted cornet play only in absence of the oboe, most assuredly he would have so indicated. Also, there is a distinct difference in England between the brass band and the military band. British brass bands have always been amateur groups, given to avocational participation, competitive festivals, and other such things. Hoist himself wrote a fine work as a competition piece for brass band, the Moorside Suite. But the First Suite in E l was written for military band. The difference implies more than just varied instrumentation. The military band is the professional performing organization. Hoist could write for military band with even7 assurance that the individual parts would be covered by fine players. The Intermezzo has two principal themes, both derived from the original melody. The first of these is stated at the beginning (measure 3) and the second at rehearsal letter C. There is also an important secondary theme (letter A). The opening of the movement is a bit treacherous in that the tempo must be firmly fixed with the first note. I do not advocate conductors beating out a full measure before a piece begins, but in this case it is a wise choice. Taking the marking of vivace to mean as much a style indication as one for tempo, I find that J = 126 is a good pace for the Intermezzo. At this tempo, both the effect of the syncopation in the first theme, and the contrast of the legato second principal theme at letter C are maximized. The accents on the first three notes 58 of the first theme are not to be ignored. Well executed, this not only gives the theme its character, but helps the listener to make the connection with the theme of the Cha-conne movement just heard. Once the tempo is established for the movement, the conductor should be as unobtrusive as possible. The movement will carry on nicely with minimal control from the podium. The secondary theme at letter A at first appears to have no relationship to the original melody; however, if the sixteenth-note figurations are taken as melodic elaborations, which is what they really are, and the principal notes alone are considered, we find that the important intervals of the whole-step and the leap of a fifth or a fourth are very much a part of the structure. G to C, an upward leap of a fourth, is followed by a downward step to Bk This pattern is repeated two more times as the line spins out. The organization of this passage, using these primary intervals, is more than mere coincidence. The character of the piece changes at letter C, but the tempo does not. Here the conductor can exert more influence to effect the immediate change from brisk staccato to smooth legato, and also to help shape the melodic phrases. At letter D the continuous eighth-note line in woodwinds should be rendered as smoothly as possible. It should not be allowed to become piercing or harsh when it gets into the very high register, just before the return to the \ meter. From letter F to the end, Hoist does some interesting things. First, he combines the second principal theme (letter C, legato) with bits of the first principal theme (measure 3) and the secondary theme (letter A). He also sets this closing section over a double pedal, C and G. In addition, just as he did at the end of the first movement, Hoist employs chromatic alterations, which produce some of his more colorful harmonic effects. The FH in measures 127 and 128, for example, used against both the C-G pedal and the diatonic legato theme, creates an interesting bitonal effect. Other measures are similar in effect as the movement diminishes to a quiet and delicate close. Third movement: March Continuing the Englishness of the entire suite, the concluding March is designed to be performed at the proper British march tempo, =J = 112. The key to setting the correct style is to get a distinct and even articulation on the eighth notes, matching exactly the articulation of the surrounding quarter notes. If the tempo is too fast, this is not possible. Beneath the G trill, the short introduction uses the first three notes of the inverted Chaconne theme. The listener is tricked just a bit here because it appears as though the introduction is going to set up a key of C minor; however, E l major prevails. Looking at the March theme on the score page (measure 4), one is struck by how the upper melodic line resembles the inverted Chaconne theme and the bass line resembles the Chaconne theme itself. Although each is far from a perfect note-for-note match with its counterpart in the first movement, the connection with both versions of the Chaconne theme is evident. The accent on the beginning half-note, and the subsequent repeats of the same, is important. Until the key change (which should be rehearsal letter A, but is omitted in the Boosey & Hawkes condensed score) a good martial style is in order, and the crescendo in measures 25 and 26 should be sufficient but not overdone. The diminuendo leading into the key change must be well controlled. At the key change, the original melody appears another time in yet another configuration. While this theme is played legato, the bass line should be separated, but not staccato. The change in the upper voices from slurred notes to articulated ones (measure 80) effectively prepares the subito piano a few measures later. In this regard, the articulated notes (measure 80) should receive normal treatment-nothing more. The release of the tied upper notes in measure 88 needs to match that of the bass note. This will make possible a good accent, though piano, on the half note announcing the return statement of the March theme. The buildup from the pianissimo at letter C to the forte in measure 109 takes care of itself. The fanfare in measure 109 should be done with the cornet and trumpet bells above the music racks, getting as much brilliance as possible without overplaying the dynamic marking. The last quarter note in measure 112, and again four measures later, must be new and recent publications for BAND and ORCHESTRA * SILHOUETTES: PICTURES FROM CHILDHOOD Rebikov/Ahronheim 20.00 concert band *e HANDS ACROSS THE SEA Sousa/Fennell 27.50 DANSES ELEGANTES Telemann/Gordon 27.50 LIEBESTRAUM Liszt/Tatgenhorst 27.50 WE THREE KINGS OF ORIENT ARE Hopkins/Gordon 27.50 _ young concert band FUNNY BONES Don Schaeffer 15.00 MEET THE MUSICIANS Don Schaeffer 15.00 For FREE miniscore(s) of any of the above, please indicate selection(s) on institutional letterhead and send to DEPT. 5MJ. Hurry, offer expires January 15, 1983, and quan-tites are limited. ALSO AVAILABLE: Free illustrated 16-page booklet, GREAT COMPOSERS FOR BAND-yours upon request from DEPT. 5MJ while they last! 59 THE UNIVERSITY OF WISCONSIN-MILWAUKEE and SILVER LAKE COLLEGE Manitowoc, Wisconsin announce a new MASTER OF MUSIC DEGREE with an emphasis in KODALY METHODOLOGY 30-Hour Degree Plan (MM from UW Milwaukee) • 12 Hours of Coursework in Ko-daly Methodology at Silver Lake College (coursework leads to a Kodaly certificate) • 18 hours of Coursework in Music and Music Education at UW-Mil-waukee For further information contact: Dr. Gerard McKenna, Chairman Department of Music University of Wisconsin- Milwaukee Box 413 Milwaukee, WI 53201 A totally new, Mel Bay approach for teaching guitar to young children. This method is ideally suited for children with small hands and children who are just beginning to be exposed to the world of music. The approach completely integrates, from the very beginning, chord playing and note reading. Full of creative illustrations and color. Each book $2.95. This text will be the pacesetter for the rapidly expanding educational field of teaching music with fretted instruments to young children. MEL BAY PUBLICATIONS PACIFIC, MO. 63069 played with a good solid stroke on the bass drum-right in the center, getting the lowest pitch possible. It is customary to pull back on the tempo two measures before letter D, resuming speed once the passage at letter D begins. From this point on, Hoist again combines his themes in a glorious contrapuntal setting. In the midst of it all, the brief legato contrast beginning in measure 153 is important and must be done without slackening the pace. At the meno mosso (measure 162) the tempo should come back slightly for an emphatic final statement of the melody. At the same time, the triple forte should be taken with a grain of salt. The desired effect here can be achieved with a good marcato style without forcing the sound. The same caution should be exercised at the piu mosso where quadruple forte is indicated. I interpret the piu mosso in measure 169 as coming back to the original tempo. I find this most satisfying primarily because of the speed at which the run of triplets will lead into the final note. At the same time I have heard many performances where the piu mosso was taken faster than the tempo of the movement, and with pleasing results. Each conductor must interpret this marking as he or she sees fit. A prominent work Hoist's original scoring of the First Suite is for flute, piccolo, two E clarinets, two oboes, B clarinets (solo/lst, 2nd, 3rd), alto saxophone, tenor saxophone, two bassoons, four (E) horns, Bl cornets (solo/lst, 2nd), two Bl trumpets, three trombones, euphonium, tuba, timpani, and percussion (snare drum, bass drum, cymbal, tambourine, and triangle). The following parts have been added in the published version, but not by Hoist: alto clarinet; bass clarinet; baritone saxophone; bass saxophone (contrabass clarinet); and flugelhorn. The condensed score, published in the United States by Boosey & Hawkes in 1921, is from the only score Hoist ever made for the First Suite. There is also a full score available, which has been constructed from the individual parts, including those parts that were added to the original instrumentation. Unfortunately, the process was not done with the greatest of care, and errors, both of commission and omission, abound. With regard to those instruments that were added (alto clarinet, bass clarinet, baritone saxophone, bass saxophone, flugelhorn) I would urge any conductor preparing the work to use them only in the tutti passages, and to drop them out in passages where they conspicuously intrude upon the colors called for in the original scoring. On a quantitative basis, Hoist's three major works for military band occupy a small place in the overall scope of his creative efforts, which includes numerous works for orchestra, chorus, the stage, and other combinations. But the quality of the writing in the band pieces places them among the more prominent of his works. Certainly they occupy a secure position in the body of stable concert-band repertoire. First and foremost among the three is the First Suite in E\. Because of its directness and clarity, it is at first acquaintance seemingly plain. But the work has amazing depth. It yields something with each examination. After many years of playing it, hearing it, and conducting it, I still find things in it that give it new life and greater dimension. It is a gem of a piece from which to learn. Selected readings Abraham, Gerald, ed. The History of Music in Sound, vol. 3. New York: Oxford University Press and RCA Victor, 1953. Fennell, Frederick. “The Hoist Suite in Ek” The Instrumentalist 29, April 1975: 27-42. Hoist, Gustav. First Suite in E\. Oceanside, New York: Boosey & Hawkes, 1921. Hoist, Imogen. “Gustav Hoist.” In Grove's Dictionary of Music and Musicians, edited by Eric Blom, vol. 8. London: Macmillan Publishers Ltd., 1980. Hoist, Imogen. A Thematic Catalogue of Gustav Hoist's Music. London: Faver Music Ltd., 1974. Hudson, Richard. “Chaconne.” In Grove's Dictionary of Music and Musicians, edited by Eric Blom, vol. 4. London: Macmillan Publishers Ltd., 1980. Hudson, Richard. “Passacaglia.” In Grove's Dictionary of Music and Musicians, edited by Eric Blom, vol. 14. London: Macmillan Publishers Ltd., 1980. Hughes, Dom Anselm, and Abraham, Gerald, eds. Ars Nova and the Renaissance. New York: Oxford University Press, I960. Mitchell, John. “Gustav Hoist: The Other Works for Military Band.” fournal of Band Research 16 (1980): 1-12. Scholes, Percy A. The Oxford Companion to Music. London: Oxford University Press, 1970. Stevens, John, and Libby, Dennis. “Carol.” In Grove's Dictionary of Music and Musicians, edited by Eric Blom, vol. 3. London: Macmillan Publishers Ltd., 1980. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Standard works for band: Gustav Holst's First Suite in Eb Major for military band</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Standard works for band: Gustav Holst's First Suite in Eb Major for military band</title></titleInfo><name type="personal"><namePart type="given">Budd</namePart><namePart type="family">Udell</namePart><affiliation>Chairman of the Department of Music at the University of Florida in Gainesville.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1982-12</dateIssued><copyrightDate encoding="w3cdtf">1982</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1982</date><detail type="volume"><caption>vol.</caption><number>69</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>27</start><end>60</end></extent></part></relatedItem><identifier type="istex">89F9B073642F3DA1C9E88762E1F89B3DDDB0C893</identifier><identifier type="ark">ark:/67375/M70-1KRCBT6V-T</identifier><identifier type="DOI">10.2307/3396135</identifier><identifier type="ArticleID">10.2307_3396135</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-1KRCBT6V-T/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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