The concert by the Symphonic Band and Wind Ensemble at the Bryan Hall Theatre in Pullman, Washington was certainly an eye opener to me in the wide variety of works which were presented as well as the standard of performance. The first work on the programme was the Carpathian Sketches by Robert Jager who was born in 1939. This came across as intriguing and full of passion with David Turnbull conducting with great alacrity. Next came Llwn Onn by Brian Hogg (born in 1953). This is a curiously lopsided work based on a particular folk tune which also came across very well indeed under Pham’s direction.
The music then went a few centuries into the past with the ‘Battle Pavan’ by Tielman Susato in an arrangement by Bob Margiolis. This pompous work also played on the skills of the wind ensemble’s musicians and was also winningly done. Greenwillow Portrait by Mark Williams who passed away a few years ago in 2008 was a poignant reminder of this composer’s skills in creating a perfect atmosphere for wind instruments. This piece was directed by Joshua Buckrucker who also gave a folksy aspect to the nostalgically titled ‘Kentucky 1800’ replete with folk themes and melodies. One had to admire Clare Grundman’s work which came across very well indeed, full of inflexions and tempo observations.
After a longish interval we were back with a modern work, this time ‘Early Light’ directed by Christopher Nelson as a guest conductor. Carol Bremer’s style is a cross between traditionalist aspects and brash modernism which came across very well indeed in Nelson’s interpretation.
The major work on the programme was Vincent Persichett’s Sixth Symphony for band. This was commissioned and premiered by Clark Mitts and the Washington University Band and the first performance took place at the MENC Convention in St Louis on April 15 1956. The work is styled in four movements each marked with a traditional method and Persichetti initially did not want to introduce the word band in the title for reasons of quality. The four movements mix sonata form with twelve tone excerpts and the result is a highly engaging work. The Washington Symphonic Ensemble played extremely well throughout and Joshua Buckrucker’s direction certainly imbued the piece with several strong elements that were extremely well received by the numerous audience. The final Vivace was also particularly enticing in its joyous sense of commotion.
Next was the Fantasie Brillante on themes of Carmen by Francois Borne which was transcribed for band by Marc Oliver. Buckrucker brought joie de vivre and passion to the work which is typically Spanish and is replete with several intriguing as well as jolly parts. Ann Yasinitsky showed her prowess with flute playing of the highest order throughout especially in the folksy central part.
Finally we had Percy Grainger’s work in the form of the Sussex Mummers Christmas Carol and the delightful ‘Molly on the Shore’. Once again Danh Pham brought excitement to proceedings and imbued the work with great style and panache for a truly rousing conclusion.
The concert was really an eye opener in its wide variety of works ranging from the heady medieval Italian Renaissance to the strikingly modern and twelve note inspired Persichetti. All four conductors brought charm and individuality to the pieces on offer and the playing of the wind and orchestra were of top notch quality throughout.
Works Cited:
Josephson, David (1980). "Grainger (George) Percy (Aldridge)". In Sadie, Stanley (ed.). New Grove Dictionary of Music and Musicians 7. London. ISBN 0-333-23111-2.
Fairfax, Brian (1981). "Orchestral Music". In Foreman, Lewis (ed.). The Percy Grainger Companion. London: Thames Publishing. ISBN 0-905210-12-3.
