Paul Hindemith's Konzertmusik, Op. 41, composed in 1926, was, in some ways, written to promote the importance and relevance of wind music in classical performance. Although designed as a piece for amateurs, the piece is certainly challenging enough for professional players - a comparison may be drawn to the Schoenberg Theme and Variations, Op. 43a in this way. The piece is written...
Although we typically only think of Strauss's contributions to the wind band medium in terms of four pieces (Suite Op. 4, Serenade Op. 7, Sonatina No. 1, Symphony or Sonatina No. 2), he also wrote a good deal of brass band music. Among these contributions is his Wiener Philharmoniker Fanfare.
You can find program notes for the piece below, as well as a recording.
Continuing today with the music of Edgard Varèse, this post will focus on Hyperprism a work that Varese wrote in 1923, the same time period of the 1920's that he wrote Integrales and Octandre. Sorry in advance for the broken up nature of this post.
A biography of Varèse can be found in yesterday's post if you are interested in that sort of background information.
Over the next few days, we will be posting some of Dr. Votta's musical "ukiah" on our blog. We can't really call it haiku since the syllables are 7-5-7 instead of 5-7-5, but they're entertaining all the same.
On today's date in 1959, the Duke University Band under its conductor, Paul Bryan, gave the official premiere performance of a new work they had commissioned: the Symphony No. 3 for concert band by the American composer, Vittorio Giannin...