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Emotional Response To Music.

AwayWeGo

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[triennial - points]
Concert Afterglow.

As for playing the music, if I mess up my part it won't be because I'm not prepared.
If any TUG folks attend the performance, I hope you won't have to rush home afterward before coming up & saying Hi.
Well, it looks like my performance preparation was OK because I did not mess anything up. It was a wonderful horn-playing experience, & 24 hours after the final chord I am still in serious post-concert afterglow.

That's not to claim my playing was flawless, perfect, etc. It was error-free, as far as that goes -- I didn't get lost, didn't miscount, didn't play any wrong notes, didn't miss any key changes, meter changes, etc., played reasonably in tune, observed the dynamics in a musical way, & all that. Even when a brass-instrument player does all that stuff right, it's still possible -- likely, even -- to chip an attack (attack = musician-speak for starting the production of sound on a wind instrument -- maybe string instruments too, I don't know), also possible to crack or split a note, & to make all sorts of other unnamed miscellaneous unintended unmusical noises. The likelihood on horn (i.e., "French" horn) is higher than on trumpet, trombone, etc. In fact, playing horn is like choosing from a box of chocolates -- you never know what note you'll get. So it goes.

However that may be, none of my several miscellaneous minor mini-flubs marred the overall performance -- might not have been noticed much at all -- & all of the places in the music where my individual playing was highly exposed came out as well as I could have hoped (i.e., great).

The 1 thing that could have gone better would have been more people in the audience. It's difficult to draw a crowd around here, mainly because Washington DC & its Virginia & Maryland suburbs enjoy such an embarrassment of riches regarding quality concert experiences available virtually any night of the week. The City Of Fairfax Band, for example, has a tough time half-filling an 1,100-seat auditorium except at Christmastime, when it's apt to be SRO. By contrast, the Lakeland Concert Band down in Florida is SRO for just about every performance it puts on at the 2,300-seat Youkey Theater in the downtown Lakeland Center.

In any case, at the Cathedral Brass concert last night I didn't see anybody from TUG (other than The Chief Of Staff). Maybe some other time.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

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[triennial - points]
Rooty-Toot-Toot.

OK, fresh after the Cathedral Brass's musical triumph, I am privileged also to be part of an upcoming (October 20, 2007) concert by the City Of Fairfax Band (Robert Pouliot, music director).

The theme is Celebrate Virginia ! -- featuring music of Virginia's history (including the 400th anniversary of Virginia's Jamestown settlement), plus music by Virginia composers.

The playlist of music...

The Piper Patriot of ‘76 (Dick Hyman)
Powhatan's Daughter March (John Philip Sousa)
The Trumpeter of Jamestowne (Randy Cabell)
Overture For Symphonic Band (David Uber) -- original title = A Fairfax Overture
Fantasia On "Black Is The Color Of My True Love’s Hair" (Mark Camphouse)
Shenandoah (setting by Frank Ticheli)
A Virginia Trilogy (John O’Reilly)
Highlights From Disney's "Pocahontas" (music by Alan Menken)
The Virginians Symphonic March (James L. Hosay)

The performance venue...

Fairfax High School Auditorium
3501 Rebel Run
(formerly 3500 Old Lee Highway -- new street address at same physical location)
Fairfax, Virginia 22030
( click here for Google map )​

Full Disclosure : In addition to playing horn in Fairfax Band, I also write the program notes about the evening's musical selections that are printed in the concert programs handed out at the door to audience members entering the auditorium. So if you can't get enough of my prose right here at TUG-BBS, you can buy tickets to the Fairfax Band concert & read the stuff I wrote about all the tunes. (One time a young flute player from the band said, "Mr. Cole, where do you get all that interesting information about the music we play at concerts?" That was in the days before I had Internet access at home. I explained, "Well, some of the information comes from the reading material that's furnished with records & CDs. Some comes from certain musical reference books I like." Then, leaning close & taking on a confidential-sounding semi-whisper, I added, "Some of it I just make up." )

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 
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T_R_Oglodyte

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If you like sacred choral music, here is a Sanctus that I really enjoyed (performed by our chancel choir in Sunday service on Oct 21). 8 meg .mp3 file.
 
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T_R_Oglodyte

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More sacred choral - the bumps really start rising on the back of my neck at about the 4:00 mark. Come Dwell in Solomon's Walls, composed by Z. Randall Stroope
 

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[triennial - points]
The Glorious Sounds Of Christmas

I was privileged to be part of an outstanding performance of Christmas musical selections Sunday evening featuring brass, strings, percussion, organ, piano, and voices.

A Christmas Festival (Gordon Schuster) - Cathedral Brass
Christmas In Brass (David Uber) - Cathedral Brass
I'll Go Tell Elizabeth (Ken Modena) - soprano & piano
Once In Royal David's City (Cecil Frances Alexander / H.J. Gauntlett) - choir & congregation
Veni Emmanuel (arr. by Craig Courtney) - men's voices & solo violin
O Little Town Of Bethlehem (arr. John Rutter) - orchestra & choir & congregation
Gloria In Excelsis Deo (J.S. Bach, from Cantata 191 ) - choir & orchestra
Hark! The Herald Angels Sing (arr. Mack Wilberg) - orchestra & choir & congregation
How Far Is It To Bethlehem? (arr. Mack Wilberg) - choir, with harp & viola
Infant Holy, Infant Lowly (Polish carol, arr. Mack Wilberg) - choir & strings
Angels We Have Heard On High (arr. Mack Wilberg) - orchestra & choir
Divertimento In D-major, KV 136 (W.A. Mozart) - strings
Keep Your Lamps! (arr. Andre Thomas) - youth choir
Who's That Baby? (Jay Althouse) - youth choir
Betelehemu (Nigerian Christmas Song) - youth choir & percussion
What Shall We Give? (Catalonian carol, arr. Mack Wilberg) - choir & orchestra
Joy To The World (arr. John Rutter) - choir & orchestra & congregation​

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​



 

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Moments by Emerson Drive

This song really touches me...I live in Fl, there seem to be panhandlers and homeless everywhere. As they say, so many people are just a couple of paychecks away from being homeless.

Here's the lyrics:

I was coming to the end of a long long walk
When a man crawled out of a cardboard box
Under the E. Street Bridge
Followed me on to it
I went out halfway across
With that homeless shadow tagging along
So I dug for some change
Wouldn't need it anyway
He took it lookin' just a bit ashamed
He said, You know, I haven't always been this way

I've had my moments, days in the sun
Moments I was second to none
Moments when I knew I did what I thought I couldn't do
Like that plane ride coming home from the war
That summer my son was born
And memories like a coat so warm
A cold wind can't get through
Lookin' at me now you might not know it
But I've had my moments

I stood there tryin' to find my nerve
Wondering if a single soul on Earth
Would care at all
Miss me when I'm gone
That old man just kept hanging around
Lookin' at me, lookin' down
I think he recognized
That look in my eyes
Standing with him there I felt ashamed
I said, You know, I haven't always felt this way

I've had my moments, days in the sun
Moments I was second to none
Moments when I knew I did what I thought I couldn't do
Like the day I walked away from the wine
For a woman who became my wife
And a love that, when it was right,
Could always see me through
Lookin' at me now you might not know it
But I've had my moments

I know somewhere 'round a trashcan fire tonight
That old man tells his story one more time
He says

I've had my moments, days in the sun
Moments I was second to none
Moments when I knew I did what I thought I couldn't do
Like that cool night on the E. Street Bridge
When a young man almost ended it
I was right there, wasn't scared a bit
And I helped to pull him through
Lookin' at me now you might not know it
Oh, lookin' at me now you might not know it
But I've had my moments

I've had my moments
I've had my moments
 

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Wonka, thanks for sharing that. I had to read to the end before I "got it."

Edited to add link. I needed to hear this song for myself. Did a search and came up with this:

http://www.youtube.com/watch?v=JzriEXPJ1-k
 
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to tears...

Gotta say.....aside from the several hymns, etc., that always move me, there are two or three contemporary songs that move me to deep tears every single time I hear them ...( and I'm a man!!! ) Sheesh....

The songs are: "Lady in Red" by Chris de Burgh, because I love my wife so, and it reminds me of her....it may be one of the most beautiful songs ever written...(whenever I think about the song, or hear it, I call my wife and we make dinner reservations out!) And, yes, she's beautiful....... See http://www.youtube.com/watch?v=OcWspfgk9c8.

and, Van Morrison's "Have I Told You Lately". See: http://www.youtube.com/watch?v=tygpTfkK94Y. Again, because of my wife, whom I cannot tell enough that I love her. (And yes, she's also a "Brown-Eyed Girl". Thank you, Van Morrison.)

and, "Hey There, Delilah" (by Plain White T's), because it reminds me of a special girlfriend way back when......and I cannot even get 5 words into singing the song without breaking down (& to this day, I have not sung it straight thru----not even close)...and yeah, I loved her.....it's a moving song, especially when he sings "Oh, what you do to me--- oh, what you do to me......" ... See:http://www.youtube.com/watch?v=EbJtYqBYCV8.

The last one's a very recent song, mostly known by MY KIDS & their peers, and it's popular on YouTube..... When I first heard it...like the first few words and the melody, I thought, Oh what a catchy little song....BUT, after the song went on, I literally broke down.....check it out, if you're not afraid........enjoy...

so there, the secret's out.....well, several secrets are out......but then, I'm just a very sentimental guy, and a hopeless romantic.......jme
 
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[triennial - points]
Wedding Tunes.

I am 1 of the brass ensemble players who will be performing music for a December 22 wedding ceremony not far from here. Father of the groom (a retired U.S. Army bird-colonel) is a talented musician who did the arrangements on several of the selections. Plus, he will be playing solos (on flugelhorn) in 1 or 2 of the numbers.

Flugelhorn, BTW, is not as oddball as the sound of the name suggests. It's in the trumpet family, but with a noticeably wider taper downstream of the valve cluster culminating in a larger, wider bell flare than its cornet & trumpet cousins. Chuck Mangione did more than anybody else to popularize sound of the flugelhorn, considered sweeter & darker & mellower than the sound of the trumpet.

183_01.jpg
However that may be, here's the line-up of wedding tunes . . .
Gloria (by Danial Pinkham) - brass & organ
Maria (from West Side Story) - brass
All I Ask Of You (from Phantom Of The Opera) - brass
Love Song (from Pippin) - brass & piano
More (from Mondo Cane) - brass, with solo flugelhorn
Trumpet Voluntary (The Prince Of Denmark's March) - brass & organ
Bridal Chorus (with "Star Wars" intro) - brass & organ
You Light Up My Life - brass, with solo flugelhorn & vocal solo
Rondeau ("Masterpiece Theater") - brass & organ
Joy To The World - brass & organ​

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

MULTIZ321

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Alan,

What's the "V-looking" metal part near the valve (closest to the bell) used for?

Thanks

Richard
 

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[triennial - points]
Press The 3rd Valve Down, The Music Goes Round & Round, Whoa-Oh-Oh-Oh-Oh-Oh . . .

What's the "V-looking" metal part near the valve (closest to the bell) used for?
It's a spring-loaded lever for extending the length of the tubing attached to the 3rd valve when the 3rd valve used (as it so frequently is) in combination with 1 or both of the other valves. The spring-loaded feature lets the valve-slide go right back to its regular position when the lever is released.

Attached to each valve is a length of tubing that effectively lengthens the instrument by routing the air through an extra loop when the valve is down. Each used alone is pretty much in tune. Using more than 1 can easily make the pitch too sharp -- the length of each loop is calculated to be OK by itself, but their combined length is always too short. The phenomenon is called valve swindle. Flugelhorn 3rd-valve slide triggers are just 1 of the ways various folks have come up with to deal with it.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

MULTIZ321

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Alan,

Thanks for the great explanation and the link for Valve Swindle.

I'm curious if you ever played a Euphonium?


Richard
 

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[triennial - points]
Horns Of Every Shape & Size.

I'm curious if you ever played a Euphonium?
Nope -- never played euphonium. Not even baritone -- not that there's anything wrong with either of those.

I got started -- at age 10, approximately -- on an oddball little instrument that's halfway in between flugelhorn & baritone, namely an E-flat upright alto horn (called tenor horn over in the UK, I believe) that's no longer used much in US concert bands but that's a staple of British brass bands & their cousins in the USA, the Salvation Army Bands. It's not too much larger than a B-flat flugelhorn, but it's played upright in tuba-euphonium style & actually resembles nothing so much as a little bitty tuba.

aah%20611.jpg

The air doesn't care about the shape of the tubing or how it's bent. All that matters is the length & the bore size & the taper of the instrument. So an instrument that sounds pretty much like an E-flat alto horn is the Fake French Horn version, known as mellophone. I have never played 1 of those & have no interest in doing so. ( I have all I can handle playing real French horn. )

amp_202g.jpg

When I graduated to the next level of public schooling at age 12 or 13 or so & showed up for band class with my funky little alto horn, the band leader said, "Son, you can't play that thing in this band. Here, take this French horn & try that." So I did, & the rest is history. I took lessons, practiced (sometimes), made All-State Band, & lived the life of a regular high school band fag. (They didn't call'm that 1955-60, but that's what they called'm when my kids -- both of'm -- played in the high school band. So it goes.)

My parents bought me a brand-new Alexander 103 in 1958 -- for $350. I had it restored & customized in 1984 -- for about $3,500. I still have it & still play it occasionally when I'm not playing my other top-quality horns (e.g, Yamaha YHR-666N & Lawson 804).

ec3756cefd.jpg

I played the Alexander through 4 years of college in the University Of Virginia concert band, laid it aside for about a year after graduation, then got it out & practiced like crazy to get ready for an audition with the 75th Army Band, Ft. Belvoir VA. I passed, enlisted December 1, 1965, completed army basic training at Ft. Jackson SC & joined the 75th Army Band in February 1966. A year later I got transferred to the 214th Army Band, Ft. Richardson AK & played horn up there till I completed active duty in November 1968.

Back home in Virginia, I tried out for the Washington Redskins Marching Band, made it, & played with them as a regular for their 1969 season. (A year of that was enough.) After that I joined the City Of Falls Church Band near here, then changed to the City Of Fairfax Band after a year or so, & the rest of that is also history.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

MULTIZ321

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Alan,

In addition to sharing your timesharing expertise with us, thanks for sharing your musical expertise too! Your great horn pictures are icing on the cake.


Richard
 

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[triennial - points]
You're Welcome -- Plus, Flugelhorn Solo Clarification.

Alan,

In addition to sharing your timesharing expertise with us, thanks for sharing your musical expertise too! Your great horn pictures are icing on the cake.


Richard
Shux, I have a certain familiarity with this stuff but it's way short of anything I would claim as actual expertise -- as in, being a real for sure expert, with a signed & sealed certificate suitable for framing & all that. Basically, I know just enough to be semi-dangerous. But if you enjoy what I offer up occasionally, then I'm glad.

Meanwhile, I want to clarify what I said about the father of the groom as flugelhorn soloist on some of the wedding selections. Yes, he played a couple of the tunes on flugelhorn -- sounded great, too. But that was for rehearsal purposes only. For the actual performance at the wedding the soloist was a fabulous professional vocalist -- Holly Bingham, whose day job is singing with the chorale ensemble of the United States Army Band ("Pershing's Own"). She was outstanding.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​

 

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[triennial - points]
Horns A-Plenty

Your great horn pictures are icing on the cake.
You ain't seen nothing yet. Check out . . .

8Ddraw1956.jpg


UHNATKINSON.JPG


8DL46810.jpg


HoffmasterRedBell.jpg


LHR351.jpg

-- Alan Cole, McLean (Fairfax County), Virginia, USA.
 

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[triennial - points]
Christmas Tunes From 7 Trombones, 1 Euphonium, & 1 Tuba.

We heard the jolly sound of live Christmas holiday music coming from low brass instruments, so we went outdoors to see what was the matter.

It turned out to be an impromptu ensemble of trombones augmented by a tuba & a euphonium playing Christmas tunes right out in front of our house -- high school seniors, mostly, neighbor kids, with a few of their college-age school band friends back home for the holidays.

Fortunately it's not bitter cold tonight -- upper fifties while the kids were playing out front. In the mid- to upper thirties, the chops quickly turn numb (except when playing on plastic winter-weather mouthpieces. Below freezing, the valves quickly ice up & stick (unless the players have the foresight to lubricate'm with nontoxic RV antifreeze -- regular automotive antifreeze is toxic).

I don't know what happens to trombone slides in freezing temperatures -- but it can't be good.

That's the merriest night before Christmas eve we've ever had around here.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

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[triennial - points]
Subbing (Again) With The Cathedral Brass.

Both regular horn players of the Cathedral Brass are on medical leave -- 1 home now after 24 days hospitalized, the other still in the hospital after emergency admission last Wednesday. So the 2 of us who participated as extra players with the Cathedral Brass in October & December filled in on horn for the regulars at church this morning -- 8AM rehearsal, then 9:30 & 11:00 church services (prelude, anthem, postlude). (At the 2nd service, all the brass players sneaked out during the doxology & re-entered during the last hymn. That way we were all in place & good to go for the postlude without having to hear the sermon a 2nd time.)

Prelude: To God Be The Glory
Anthem: Not By Might, Nor By Power (brass & choir)
Postlude: Fantasia On Lobt Den Herrn

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 
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[triennial - points]
Musical Tour Of Europe On February 9, 2008.

The next Fairfax Band concert -- February 9, 2008 -- is another of our famous theme concerts, European Journeys, featuring concert music from Britain, Scandinavia, Spain, Italy, France, etc.

Toccata Marziale (Ralph Vaughan Williams, 1872-1958). Toccata Marziale is 1 of the British band classics -- along with Vaughn Williams's Folk Song Suite & Gustav Holst's 2 Suites For Military Band -- that effectively defined the 20th century concert band & established it as a legitimate concert ensemble. According to Frederick Fennell (1914-2004), who guest-conducted the City Of Fairfax Band in 1999, Toccata Marziale is 1 of the most significant pieces of music which have been contributed to band literature, an original work the musical materials of which are entirely the composer's own. Continuing, Dr. Fennell wrote, "The Toccata Marziale is a 1st-rate work by any standard of measurement. It, like Holst's Suite in E-flat, was conceived for the medium, its contrapuntal textures having been calculated by the juxtaposition of massed effects in larger sections of reeds and brasses. It is difficult to imagine this work being performed by any ensemble but a large wind band. Harmonically, it is typical of Vaughan Williams's style in the year of its composition (1924). A great rhythmic vigor, synonymous with its title, permeates the whole score, propelling strong contrapuntal lines throughout its complicated but vividly clear harmonic textures. The fundamental properties of the band’s sonority, its instrumental virtuosity & color, with strong emphasis upon the find gradations between long and short, forte & piano, are all most brilliantly revealed in its superb scoring."

-- oOo --​

Symphonic Dances, Op. 64 (Edvard Grieg, 1843-1907). As a child, Grieg learned piano from his mother. Her brother-in-law, recognizing the boy's outstanding talent, persuaded the family to let the young Edvard attend conservatory in Leipzig. Edvard liked the concerts he got to hear but hated conservatory discipline & gained little inspiration from it, though he completed the 4-year course. He held his first concert back home in Bergen, Norway, in 1861. Grieg completed a symphony in 1866 that was performed several times. Later Grieg later disavowed his symphony & refused to acknowledge it, prominently inking "Never To Be Performed" right on the score. Grieg's Piano Concerto In A Minor (1868) is his 1st great masterpiece. His other best-known pieces are the Holberg Suite for strings, 10 volumes of Lyric Pieces for piano, & a suite of incidental music to Ibsen's play Peer Gynt. Grieg's Four Symphonic Dances, Op.64 (1898), are orchestrations of pieces Grieg wrote for piano 4 hands (that is, 2 players side by side at 1 piano). The orchestral versions are considered among Grieg's strongest & most mature pieces for orchestra. The concert band arrangements of the 4 dances are by Randy Dahlberg, a member of the City Of Fairfax Band.

-- oOo --​

Amparito Roca (Jaime Teixidor, 1884-1957). Teixidor, a Spanish musician, army bandsman, & composer, wrote this paso doble in 1925 & named it after one of his piano students, Senorita Amparo Roca (age 12). The piece premiered September 1925 in the El Siglo theater in the Spanish town of Carlet, where the composer lived & led the town band at the time. Amparito Roca is Teixidor's best known composition as well as one of the world’s best known and most frequently performed examples of Spanish band music.

-- oOo --​

Overture To Italian In Algiers (Gioachino Rossini, 1792-1868). Rossini wrote operas fast. Between 1810 & 1829 he completed 38 of them. It took him 27 days to write The Italian Girl in Algiers. Its Venice premiere in 1813 (when the composer was 21) boosted Rossini's reputation as a gifted artist with uncommon talent for creative melody, original harmonies, & dazzling orchestrations. The opera is a showcase for singers who can meet the heavy demands of ornamented coloratura & challenging bel canto style. Over the years, fewer singers had what it takes for Rossini operas & therefore fewer Rossini operas were staged. Marilyn Horn, who definitely had what it takes, was credited with reviving interest in Rossini, & her performance as the Italian Girl is regarded as the benchmark performance of recent generations. In the opera's "story," Mustafa, the Bey of Algiers, is getting ready to dump his wife Elvira onto Lindoro, an Italian slave. Mustafa dreams of having an Italian wife & it just so happens that Isabella, a girl from Italy, is captured after the wreck of her ship. In a classic opera buffa preposterous coincidence, Isabella is searching for her own lost lover, who just happens to be -- you guessed it -- that same Lindoro. But now, because of Mustafa’s shenanigans, Lindoro is engaged to Elvira. Isabella plot a wily escape with Lindoro. Mustafa repents & takes Elvira back. Everybody lives happily ever after. The concert band transcription of the opera overture is by Lucien Cailliet.

-- oOo --​

Suite Francaise (Darius Milhaud, 1892-1974). As a Paris Conservatory student, Milhaud won awards in violin, counterpoint. & fugue. Back in Paris after World War I, he became part of a group of composers known as Les Six who believed that only artistic simplicity could liberate French music from the cultural effects of impressionism. Les Six became an influential force in French music, & Milhaud eventually became recognized as France’s leading composer. In 1945 Milhaud accepted a commission from Leeds Music Company to write an extended work for band. The result was Suite Francaise, which Milhaud based on folk tunes from the 5 French provinces where Allied Forces & the French Underground fought together (Normandie, Bretagne, Ile de France, Alsace-Lorraine, Provence).

-- oOo --​

Polka & Fugue from “Schwanda” (Jaromir Weinberger, 1896-1967)
. Weinberger, born in Prague, grew up hearing Czech folk songs at his grandparents' farm & started playing the piano at age 5. By age 10 he was composing & conducting. At age 14 he entered the Prague Conservatory as a 2nd-year student. In 1939, after extensive travels in the USA, Bratislava, & Vienna, Weinberger fled Czechoslovakia to escape the Nazis. He taught in New York & Ohio, & became a U.S. citizen in 1948. Of the 100 or so pieces Weinberger composed -- including operas, operettas, choral pieces, & orchestral music -- just about the only 1 still remembered is his opera Schwanda The Bagpiper, which became popular world-wide after its 1927 premiere. The opera is still performed occasionally, & the Polka and Fugue From Schwanda has become a favorite band & orchestra program piece. The Polka is a jolly tune in a bumptious folk style that suggests peasants dancing. The contrasting Fugue adds musical sophistication with deliberate, charming simplicity. The symphonic band arrangement is by Glenn Cliffe Bainum.

-- xXx --​

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

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[triennial - points]
Concert Afterglow.

It went even better than expected, & I enjoyed playing even more than I thought I would.

Who'd a-thunk I'd still be playing as well as ever (more or less) at age 65+ ?

Next Fairfax Band concert = 8PM on March 29, 2008.

Theme = Hooray For Hollywood !

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

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[triennial - points]
Subba-Subba-Subba.

The horn player I was filling in for with The Cathedral Brass -- because he underwent major serious surgery back in December & is still on the mend -- does not yet feel up to playing 1 rehearsal + 2 church service performances, so once again I will be substituting for him in church, this coming Sunday morning in fact.

Meanwhile, the other regular horn player in The Cathedral Brass is fully recovered & once again good to go. Unfortunately, however, she forgot all about next Sunday's scheduled rehearsal & performance, & will be out of town. So the other substitute horn player who subbed side by side with me last time is also signed up to sub with me again this next time.

When the 1st string players are ailing or away, it's an advantage to have decent 2nd stringers warming the bench.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 

naudette

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I was a choir director in junior high / high school and church for many years. There are too many pieces for me to mention that are emotional for me. But it's interesting that when I would direct or perform, not a tear would come. But let me watch it later on tape and boy would the flood gates open.
 

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When I think of music that brings about emotion, on the extreme, there is Hitler and the Wagner's selections that were approved by the third Reicht. The music he used was like a force.

On the other spectrum would be "Unchained Melody" by the Righteous Brothers which is the song that played during the potter wheel scene between Demi Morre and Patrick Swayze in the movie "Ghost".

Music is purposely used in our society to manipulate in several forms. Most of the time I don't think we have time to pay attention.

My DH has a MA in conducting and chose 4th of July to do a performing thesis. Many people love to be stirred up with patriot compositions. It was a great success. it was done in richmond. He also played trumpet in the richmond symph.

The current piece I like (which is odd because I've grown out of "liking" groups or musicians) is http://tinyurl.com/2w799x Its has an emotional or moving composition and although its a newer song, the original piece made Verdi famous in the 1800s.
 

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[triennial - points]
Subba-Subba Follow-Up.

At 8AM we rehearsed 3 tunes for 2 church services later in the morning. We also ran through another tune planned for Palm Sunday.

Same as last time, the brass musicians got to leave before the sermon rolled round a 2nd time, then discretely came back for the postlude.

Prelude: The Church's 1 Foundation
Offertory: Fairest Lord Jesus
Postlude: Thine Is The Glory

Afterward I got a nice thank-you to the group via E-Mail from the church music director, forwarded to each regular & substitute player by the brass ensemble leader. Also, the guy I was subbing for sent me his own E-Mail thank-you, which included a compliment on our actual playing. He said was there for the 2nd service, seated inconspicuously up in the balcony where he could hear just fine. Nice playing, he said.

The same guy I subbed for in church was at band rehearsal last night. But he got tuckered out from playing his part & went home at halftime. Here's hoping he's all the way back into playing condition for Palm Sunday & Easter.

-- Alan Cole, McLean (Fairfax County), Virginia, USA.​
 
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