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The Pipe Organ As Inspiration for Wind Band Transcriptions

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The Pipe Organ As Inspiration for Wind Band Transcriptions THE PIPE ORGAN AS INSPIRATION FOR WIND BAND TRANSCRIPTIONS WITH A TRANSCRIPTION OF CHARLES-MARIE WIDOR’S SYMPHONY NO. 5 IN F MINOR AND A CONDUCTOR’S GUIDE TO REHEARSAL AND PERFORMANCE by JOHN LOPEZ (Under the Direction of John P. Lynch) ABSTRACT This document is a study of how the pipe organ relates to the wind band and the possibilities of transcribing organ works for band. The document includes material on how the pipe organ relates mechanically to the wind band instruments and a comparison of various organ stops and wind instruments that have similar timbres. The relationships that are established from this comparison are used to create an original transcription for wind band of Charles-Marie Widor’s Symphony No. 5 in F Minor. A conductor’s guide is included to aid in the rehearsal and performance of the transcription as well as provide insight to the thought process behind the wind band orchestration. Index Words: Charles-Marie Widor, Organ Symphony, Toccata, Wind Band Transcription, Wind Ensemble, Transcription, Symphony No. 5 in F Minor THE PIPE ORGAN AS INSPIRATION FOR WIND BAND TRANSCRIPTIONS WITH A TRANSCRIPTION OF CHARLES-MARIE WIDOR’S SYMPHONY NO. 5 IN F MINOR AND A CONDUCTOR’S GUIDE TO REHEARSAL AND PERFORMANCE by JOHN LOPEZ B.A.Ed., Glenville State College, 2005 M.M., Ohio University, 2011 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Athens, Georgia 2014 © 2014 John Lopez All Rights Reserved THE PIPE ORGAN AS INSPIRATION FOR WIND BAND TRANSCRIPTIONS WITH A TRANSCRIPTION OF CHARLES-MARIE WIDOR’S SYMPHONY NO. 5 IN F MINOR AND A CONDUCTOR’S GUIDE TO REHEARSAL AND PERFORMANCE by JOHN LOPEZ Major Professor: John P. Lynch Committee: Joshua L. Bynum Leonard V. Ball Approved By: Julie Coffield Interim Dean of the Graduate School The University of Georgia August 2014 iv Table of Contents Page List of Figures.....................................................................................................................vi Chapter I...............................................................................................................................1 Purpose of Study......................................................................................................1 Need for Study.........................................................................................................2 Methodology............................................................................................................3 Review of Related Literature...................................................................................3 Chapter II.............................................................................................................................8 How the Pipe Organ Works.....................................................................................8 Stops of the Late 19th Century French Organ........................................................12 How the Stops Relate to Transcribing for Band....................................................16 Hautbois (Oboe).....................................................................................................19 Flute.......................................................................................................................20 Bourdon..................................................................................................................20 Foundation (Diapasons).........................................................................................20 Anches (Reeds)......................................................................................................20 Gambe et Voix Celeste..........................................................................................21 Montres et Gambes................................................................................................21 Gambe et Una Maris..............................................................................................21 Bass........................................................................................................................21 v Chapter III..........................................................................................................................22 Symphony No. 5 in F Minor..................................................................................22 Movement I............................................................................................................22 Movement II...........................................................................................................49 Movement III.........................................................................................................97 Movement IV.......................................................................................................110 Movement V........................................................................................................122 Chapter IV .......................................................................................................................148 A Conductor’s Guide to the Transcription...........................................................148 Historical Perspective..........................................................................................148 Movement I..........................................................................................................149 Movement II........................................................................................................156 Movement III.......................................................................................................160 Movement IV.......................................................................................................165 Movement V........................................................................................................168 Conclusion.......................................................................................................................172 Suggested Listening.........................................................................................................173 Bibliography....................................................................................................................174 vi List of Figures Page Figure 1: The Stops of St. Sulpice.....................................................................................14 Figure 2: The Stops of Widor’s Symphony No. 5 in F Minor............................................15 Figure 3: Overlapping Orchestration.................................................................................18 Figure 4: Stops of Symphony No. 5 in F Minor and Wind Counterparts...........................19 Figure 5: Mordent Execution...........................................................................................152 Figure 6: Stop List of Movement I..................................................................................153 Figure 7: Form of Movement I........................................................................................155 Figure 8: Flute Embellishments in Movement II.............................................................156 Figure 9: Stop List of Movement II.................................................................................157 Figure 10A: Oboe Rhythmic Figure in Movement II......................................................158 Figure 10B: Flute Rhythmic Figure in Movement II.......................................................158 Figure 11: Broken Accompaniment of a Single Line......................................................159 Figure 12: Broken Accompaniment Through Tessitura..................................................159 Figure 13: Form of Movement II.....................................................................................160 Figure 14: Gruppetto in Movement III............................................................................161 Figure 15: Stop List of Movement III..............................................................................162 Figure 16: Quasi-Alberti Bass in Movement III..............................................................163 Figure 17: Form of Movement III....................................................................................165 Figure 18: Stop List of Movement IV..............................................................................166 vii Figure 19: Clarinet Motive in Movement IV...................................................................166 Figure 20: Form of Movement IV...................................................................................168 Figure 21: Form of Movement V.....................................................................................171 1 Chapter I Purpose of Study The development of repertoire for the wind band is unique because a large portion of the early works were transcriptions from many diverse sources including folk songs, opera arias, orchestral works, choral pieces, and Baroque works for pipe organ. There is a rich tradition of transcribing for band throughout its history, with the original intent of filling out the repertoire. The wind band proves to be an appealing medium for transcriptions because it is one of the most heterogeneous ensembles; one that can exploit timbre in highly unique ways. This is due to the many timbres and combination of timbres that the wind band has to offer.
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