An Annotated Bibliography of Symphonies for Wind Band by Andrew Donald Pease A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2015 by the Graduate Supervisory Committee: Gary W. Hill, Chair Wayne Bailey William Reber Rodney Rogers Catherine Saucier ARIZONA STATE UNIVERSITY May 2015 ABSTRACT This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word “symphony” or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author’s current sources. The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website “The Wind Repertory Project.” Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band. i Dedicated to my wife, Lisa, and the tiny person currently living in her belly. ii ACKNOWLEDGEMENTS This project could not have happened without a very broad network of interest and support. First, I must thank the army of composers, composer family members, publishers, archivists, and librarians who provided me with otherwise elusive information. Special thanks goes to Johan de Meij, whose 25th anniversary Lord of the Rings edition helped inspire this project, and whose knowledge of other European composers and researchers gave direction to its early stages. Composer-scholars David Whitwell and Edward Green also provided crucial early guidance that helped this project take shape. Two librarians were especially accommodating in granting me access to undiscovered corners of the repertoire: Vincent Novara at the University of Maryland Special Collections in Performing Arts and Dominic Talanca at the University of North Texas band library. My sincerest thanks go to both of them. This thesis also benefited from a strong home team at Arizona State. My committee members have been extremely patient with this process and giving of their time and talents. I must especially thank Gary W. Hill for believing in this project’s viability and sharing my vision for its potential from the very beginning. Thanks also to the wonderful ASU music library team who flawlessly shepherded hundreds of Interlibrary Loan requests into my hands and oversaw many new acquisitions for this project. Finally, my wife, Lisa Samols, has my eternal gratitude. Her constant support, heartfelt encouragement, infinite patience, and keen editorial eye allowed this project to truly flourish. iii TABLE OF CONTENTS CHAPTER Page 1 INTRODUCTION………………………………………………………………...1 A History of Symphonies for Wind Band………………………………..……1 Purpose of the Study…………………………………………………………..6 Review of Past Literature………………………………………………...…...6 2 METHODS AND PROCEDURES……………………………………….………9 Parameters of the Study……………………………………………...………..9 Sources and Methods of Collecting Information………………………….…12 3 CONCLUSIONS…………………………………………………………..…….16 Significance of the Study………………………………………………….…16 Recommendations for Future Study……………............................................18 4 UNDERSTANDING THE ANNOTATED BIBLIOGRAPHY…………………20 Format………………………………………………………………..………20 Ensembles and Instrumentation……………………………………….……..19 CLASSIFIED BIBLIOGRAPHY…………………………………………………..……27 APPENDIX A ANNOTATED BIBLIOGRAPHY………………………………………………58 B WORKS REQUIRING FURTHER STUDY…………………………………..298 C NO LONGER AVAILABLE WIND BAND SYMPHONIES…………….…..335 iv CHAPTER 1 INTRODUCTION (OR SINFONIA) A History of Symphonies for Wind Band It was once the case that the term “symphony” was easy to define. Around 1775 in Vienna, everyone understood that a symphony was generally a four-movement work for an orchestra of bowed strings with some number of winds added.1 Generally, the first movement was an allegro in sonata form, followed by a slow second movement, a third movement in a dance tempo (generally a minuet or, later, a scherzo), and a closing allegro in rondo or sonata form. Similarly proportioned works for winds alone existed, but they were called partitas.2 Thus, the genre of the symphony reached its early maturity as a squarely orchestral phenomenon. In France, the French Revolution changed the course of the symphony’s future. In throwing off their monarchical yoke, the French people began to eschew all trappings of the elite, including the orchestras and oboe bands kept and cultivated by the kings. These were replaced with large military bands of woodwinds (dominated by clarinets), brass, and percussion.3 Composers such as Charles Catel (1773-1830), François-Joseph Gossec (1734-1829), and Louis Jadin (1768-1853) wrote works that they called “symphony” for these groups. These works resembled the earlier sinfonia genre, one of the orchestral symphony’s ancestors: they were typically one- or three-movement 1 Preston Stedman, The Symphony, 2nd ed. (Upper Saddle River, NJ: Prentice Hall, 1992), 41-2. 2 David Whitwell, A Concise History of the Wind Band (St. Louis: Shattinger Music, 1985). 157. 3 David Whitwell, The History and Literature of the Wind Band and Wind Ensemble. Vol. 4: The Wind Band and Wind Ensemble of the Classic Period (1750-1800) (Northridge, CA: WINDS, 1984), 151-2. 1 instrumental works that introduced a larger work like an opera or oratorio.4 These French Revolutionary symphonies stood as distinct, independent compositions, but used the older, shorter forms of the sinfonia. The wind band symphony in France continued its association with the French revolutionary spirit through the first half of the nineteenth century. Both Anton Reicha (1770-1836) and Hector Berlioz (1803-1869) wrote larger scale symphonies for winds to commemorate revolutionary events in 1815 and 1840, respectively. Elsewhere during the nineteenth century, other wind band symphonies appeared that were not linked to political movements. By 1800, a type of wind band called harmonie was popular throughout the German-speaking world. This ensemble, generally including pairs of oboes, clarinets, bassoons, and horns, was the ubiquitous jukebox of its day.5 Composers who succeeded in writing a popular orchestral work or opera often had to rush to get the compact harmonie version out onto the streets before someone else could beat them to it (and the resultant profits).6 They often paid others to do this, as Mozart did Josef Triebensee for several of his opera overtures. On rare occasions, the composer prepared the arrangement himself, as Beethoven did with his Symphony no. 7, creating his own harmonie version of his orchestral epic in 1816. It is important to note that he retained the “symphony” in the title, rather than renaming it a partita. Meanwhile, Gaetano Donizetti (1797-1848) in Italy composed an original, single movement Sinfonia for Winds in 1817 for harmonie plus one flute. Independently of each other, these two 4 Stedman, 7. 5 Whitwell Concise History, 156. 6 Wolfgang Amadeus Mozart to Leopold Mozart, July 20, 1782, in Whitwell Classic Period, 51-52. 2 composers inaugurated what would become a long line of original, small chamber symphonies for instrumental combinations based on harmonie reaching through Charles Gounod (1818-1893), Darius Milhaud (1892-1974), Willem van Otterloo (1907-1978), Richard Strauss (1864-1949), and others. Donizetti, Beethoven, and Berlioz may have lent their famous names to the wind band symphony, but they each contributed only a bare minimum of works that did not inspire similar works from those in their circles. By contrast, as is demonstrated by the number of works of this sort that appear in this study, a version of the wind band symphony exploded in popularity in Italy. Following the Risorgimento (Italian unification) in the 1860s, new civic bands appeared throughout the country.7 Largely forgotten bandleaders and composers wrote hundreds of original pieces for these bands, including dozens of sinfonias that hewed closely to the form of their eighteenth century orchestral ancestor, as can be seen by examining the Italian works from this period that are included in this study. Many of these exist only in manuscript form, having never been published for use outside of their “home” band. The nineteenth century ended with only a handful of wind band symphonies known to exist outside of Italy. The most influential work of the early twentieth century that is included in this study is Igor Stravinsky’s (1882-1971) Symphonies d’instruments à vent, written in 1920 and revised in 1947. It is in no way a traditional symphony, using only one movement