![]() ![]() The music of Holst is written in the British band tradition, which makes use of cornets and trumpets with particular timbral functions assigned to each. In this excerpt, however, it is the solo and second B-flat clarinets that perform a countermelody of running eighth-notes. The solo cornetist must again pay attention to the subdivision played by the clarinets. In Excerpt 2, the tempo can be the same as at the beginning but is sometimes slowed down by four to six beats per minute. This ostinato accompaniment in the clarinets keeps the subdivision slightly in the background, but constant. ![]() While the rhythmical values are straightforward in Excerpt 1, the performer must keep the line moving forward and listen carefully to match with the steady stream of staccato eighth-notes played by the E-flat clarinets. The tempo marked on the score for the Intermezzo is “Vivace.” The most common range of tempos displayed on various recordings is quarter-note = 138 to 142. This discussion focuses on the original edition of 1921. The melodic material and all the expression markings on the solo cornet part are the same in all editions. The orchestration in this edition is lighter, thus abiding more by the wind ensemble concept, with less emphasis on doublings. Colin Matthews edited a new version, which was also published by Boosey and Hawkes in 1984. These full concert band versions contain many doublings among woodwinds and brass. The first was issued in 1921 the second, in 1948, was essentially a reprint of the 1921 edition but with increased instrumentation in order to conform to the size of American school bands. ![]() The influence of folksong can be felt throughout the three-movement work and especially in Excerpt 1, which comes from the second movement, “Intermezzo.” Three editions published by Boosey and Hawkes are currently in popular use. Like Grainger, Vaughan Williams, Bartok, and Kodaly, Holst was an enthusiastic collector of folksongs. Excluding Sousa marches, it is probably the most frequently played composition in the wind band repertoire. Is regarded as the cornerstone of the wind band repertoire and is a first-rate piece in both content and craftsmanship. Conductor Frank Battisti maintains that The First Suite: The appearance of this composition marks the beginning of an era of original works for wind band. The First Suite in E-flat was composed in 1909 and premiered by the Royal Military School of Music Band in 1920. He is especially well-known as the composer of the “astrological” orchestral suite The Planets (1916 ). 52) he also composed operas, ballets, symphonies, songs, and chamber music. ![]() In addition to his famous pieces for band (the two suites and Hammersmith: Prelude and Scherzo, Op. Organist, trombonist, and composer Gustav Holst was one of Britain’s most celebrated musicians. ![]()
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