Old American Dances
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ROBERT RUSSELL BENNETT Old American Dances ROYAL NORTHERN COLLEGE CLARK RUNDELL OF MUSIC WIND OrcHESTRA MARK HERON Robert Russell Bennett, 1941 Courtesy of George Ferencz Robert Russell Bennett (1894 – 1981) Suite of Old American Dances (1949)* 16:42 1 1 Cake Walk. Allegretto in two 3:44 2 2 Schottische. Moderato (in two or fast four) 2:30 3 3 Western One-Step. Allegro ma non troppo 3:08 4 4 Wallflower Waltz. Tempo di ‘Missouri Waltz’ (in three) 3:39 5 5 Rag. Gaily, in easy two 3:30 Down to the Sea in Ships (1968 – 69)† 14:02 from the NBC TV Film Project 20 6 I The Way of the Ship. Andante ‘Am Meer’ by Schubert – Intense (Moderato) – Vivo – ‘Blow the Man Down’ 3:30 7 II Mists and Mystery. Slow barcarolle 2:39 8 III Songs in the Salty Air. Moderato, in two – ‘Reuben Ranzo’ – Più animato – Allegretto ‘Haul on the Bowline’ – Moderato con sentimento ‘Shenandoah’ – Vivo – ‘What Shall We Do with a Drunken Sailor?’ – Tempo ad libitum – Presto 2:39 9 IV Waltz of the Clipper Ships. Con grazia, in one – ‘Sally Brown’ 2:12 10 V Finale, Introducing the S.S. Eagle. Bright – Subito agitato 2:49 3 Four Preludes for Band (1974)* 11:17 11 I George. Vigoroso – Espressivo – Moderato espressivo ‘To you, George’ 2:28 12 II Vincent. Allegretto – Not loud – ‘To you, Vincent’ 2:47 13 III Cole. Moderato, thoughtfully – ‘To you, Cole’ 2:58 14 IV Jerome. Vivo alla tarantella – Poco meno (Con grazia) – ‘To you, Jerome’ – Vivo come prima – Andante – Vivo, furioso 2:54 Symphonic Songs for Band (1957)† 14:09 15 I Serenade. Gaily, in one 4:31 16 II Spiritual. Moderato – Morendo 5:04 17 III Celebration. Festive – Grazioso – Galop – Pochissimo maestoso 4:27 4 Autobiography (1976 – 77)* 13:41 for Band Part One (1894 – 1900) 18 I 1894: Cherry Street. Allegretto – 2:09 (Born on a hill by a railroad track. Our home was a mansion – or was it a shack?) 19 II 1899: South Omaha. Con anima – Steady tempo 1:55 (The head said più vivo – the feet said ritard. Talking was easy but walking was hard, limping around in a lumber yard.) 20 III 1900: Corn, Cows and Music. Jig 1:40 (Haying the horses and slopping the pigs – and playing sonatas and rags and jigs.) 5 Part Two (1916 – 1935) 21 IV 1916: MO to NY. Tempo di ‘Missouri Waltz’ – Tempo di ‘Too Much Mustard’ – March – Tempo I 2:22 (To Broadway! What was I waiting for? My country came up with the answer. War.) 22 V 1919: The Merrill Miracle. Bright March 1:50 (She and I danced to far different themes, but counterpoint seems to take care of our dreams. The ghost of old Johann Sebastian beams!) 23 VI 1926: A Parisian in Paris. Poco allegretto – Valse in one (lively) – Poco agitato – Galop 1:48 (Sometimes the French was a little bit broken, but English chez nous she was not often spoken.) 24 VII 1935: What Was the Question? Moderato maestoso – Poco animato – Adagio (rubato) 1:54 (Man’s ages are seven, but I must admit that I tried them all on and none of them fit. So Mister Shakespeare, this is it!) TT 70:28 Royal Northern College of Music Wind Orchestra Clark Rundell* Mark Heron† 6 Royal Northern College of Music Wind Orchestra Clark Rundell director Ian Duckworth manager piccolo bassoon trombone Timothy Bingham Bethany Davis Rachel Allen Alice Braithwaite Mark Lean flute Daniel Thomas Pola Kompf alto saxophone Jeremy Salter Emma McPhilemy euphonium Hannah Fry Christopher Robertson oboe Alice Waterhouse Joshua Hall tenor saxophone Thomas Plater tuba oboe / cor anglais Toby Butt Vanessa Hanson-Morris baritone saxophone Joshua Flynn Catherine Hanson E flat clarinet string bass Stephanie Yim horn Shaoqing Xie Matthew Head B flat clarinet Annita Skoutella timpani Emily Wilson David Maxted Andre Nadais Rory Purvis Shona Atkinson-Dalziel Ruaridh Bakke Lauren Collings percussion William Curran Abigail Flood cornet / trumpet Alex Smith alto clarinet Ben Conway Theodore Fowler Natasha Lomas Adam Bidgood Atanas Dochev Sofia Mahan bass clarinet Joseph Martin Julia Wells Charlotte Groves Richard Kingon 7 Mark Heron Matthew Seed Photography Bennett: Works for Wind Orchestra Introduction fabulous vitality’, he wrote more than thirty Robert Russell Bennett (1894 – 1981) is best scores for wind band: a pair of evergreens remembered for his orchestrations for which benefitted from 1950s LP recordings 300-plus musicals, between 1920 and 1975. by the Eastman Wind Ensemble (Suite of Old He worked alongside the great songwriters American Dances and Symphonic Songs for of ‘golden age’ Broadway – Gershwin, Porter, Band), along with numerous others awaiting Kern, Rodgers, Loewe, Berlin, and more – his rediscovery. contribution being far more than dutifully His peers and collaborators testified to his putting a songwriter’s piano music into the boundless musical imagination and technical orchestra, measure by measure. Bennett’s skills: Bennett regularly composed and commercial career would grow to encompass orchestrated straight to the full score – in ink, American network radio and television, as no less – having no need to work things out well as a 1930s – 40s stint in Hollywood both at the piano. We may wonder what he would as credited composer and as orchestrator think of today’s trial-and-error composer- for the great names in the business (Alfred arrangers, their digital tools as constant and Newman, Franz Waxman, Max Steiner). essential companions. While many composer-arrangers have kept alive their ‘serious’ ambitions by turning out Suite of Old American Dances an occasional concert score, one wonders The Suite of Old American Dances (1949) is how Bennett found time to satisfy his muse Bennett’s best-known original work for winds, while meeting his endless commercial-music experienced by seemingly every American deadlines. Composing steadily until almost school and university band musician. Though the end of his life, he completed more than it was his first full-length publication for the 200 works, including opera, orchestral and medium, Bennett had written several youthful chamber music, concert songs, and solo scores for his father’s band in Kansas City, keyboard pieces. Attracted by, as he put it, and, later, some ninety minutes of wind music ‘its apparently inexhaustible colors and its for the 1939 – 40 New York World’s Fair. 9 Bennett, in his original programme note, [these] Symphonic Songs are as much observed that he had completed the work with a suite of dances or scenes as songs, no particular purpose in mind... except to deriving their name from the tendency do a modern, and, I hope, entertaining of the principal parts to sing out a fairly version of some of the dance moods of my diatonic tune against whatever rhythm early youth. develops in the middle instruments. The His original name for the Suite was ‘Electric Serenade has a feeling of strumming, Park’, a tribute to his hometown’s stylish, from which the title is obtained, incandescent-lit amusement venue. Early otherwise it bears little resemblance to in the twentieth century, the populace of the Serenades of Mozart. The Spiritual Kansas City could congregate at Electric may possibly strike the listener as being Park’s lavish dance pavilion to enjoy the unsophisticated enough to justify its social dances of the day – which Bennett title, but in performance this movement refashioned in lively 1940s garb for his Suite sounds far simpler than it really is. The of Old American Dances. Celebration recalls an old-time country fair; While Bennett, unlike his fellow American with cheering throngs (in the woodwinds), composers Aaron Copland and Leonard a circus act or two, and the inevitable Bernstein, was loath to ‘repurpose’ his mule race. composing, this piece provides one of the few exceptions that I have discovered: the Down to the Sea in Ships ‘Western One-Step’ is an expanded reworking Bennett made his entrée to network of one of a set of light-hearted orchestral television with NBC TV’s Victory at Sea, variations which he had written, in 1941, for the renowned twenty-six-episode WWII his network radio programme. documentary of 1952 – 53. Though he received credit only as the ‘arranger’ of the Symphonic Songs for Band series, we now know that he composed many The unpretentious Symphonic Songs for more hours of original music than the nominal Band (1957) was commissioned for America’s composer, Richard Rodgers, who contributed National Intercollegiate Band, and Bennett’s a mere dozen short piano themes. early (1958) programme note captures its The success of Victory at Sea prompted essence: NBC to establish a permanent ‘Project 20’ 10 documentary unit, which turned out dozens documentary scores for NBC. His composing of timely studies – all scored by Bennett – never ceased, and American bands and their over the following two decades. Down to the conductors always welcomed something Sea in Ships aired in 1968: a wide-ranging new from his pen. The Four Preludes study of mankind’s past and present (premiered by New York’s Goldman Band in maritime activity – the sailing ships, large 1974) are tributes to the individual talents and small, of centuries past, the enduring and personalities of a quartet of great theatre routines of commercial fishing, the great composers with whom Bennett had worked military and passenger vessels of the intimately: George Gershwin (1898 – 1937), twentieth century. Bennett’s orchestral score Vincent Youmans (1898 – 1946), Cole Porter features Schubert’s Am Meer along with the (1891 – 1964), and Jerome Kern (1885 – 1945). folk melodies ‘Blow the Man Down’, ‘Reuben While the preludes never ‘quote’ melodies Ranzo’, ‘Haul on the Bowline’, ‘Shenandoah’, by these masterful songwriters and are ‘What Shall We Do with a Drunken Sailor?’, and not otherwise programmatic, Bennett does ‘Sally Brown’.