Tennessee Technological University Symphonic Wind Ensemble Vinyl LP Record

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Tennessee Technological University Symphonic Wind Ensemble Patrick McGuffey Vinyl LP Record
Vinyl / Jacket Grade per Goldmine Standard: VG / VG+
SIDE ONE 1. CHORALE is based on the medieval Bohemian chant reproduced on the cover. The text is a desperate plea to St. Wenceslaus the first King of Bohemia, not to forsake his people nor let them perish. Born out of fear of the plague, this highly emotional chant has been sung in Bohemia for centuries during times of war and danger. At the beginning of the CHORALE, a threatening atmosphere is evoked from which voices of despair emerge with the ancient chant emotionally pleading for help. However, the character of the composition gradually changes until the work closes with an ecstatic hymn of hope. This composition combines the modern concept of symphonic sound with the voice-leading techniques of the Middle Ages and the early Renaissance in order to communicate the ancient theme to a contemporary audience. 2. The five movements of SUITE CONCERTANTE generate five contrasting moods: bravado, religioso, rustico, romantico and maestoso and each of the movements represents a com- pletely different treatment of the instruments of the wind ensemble. However, closer study proves the Suite is not just a tour de force of orchestration, but that each of the movements is completely different in its basic make-up. All the composer is doing is dressing the sub- stance of each movement in such a manner as to make the instrumental color fit its structure. Every instrument or group of the same instruments is used in a soloistic manner, hence — the title of the work. SUITE CONCERTANTE is one of the less difficult compositions (technically and in range of instruments) Nelhybel has composed. SIDE TWO 1. Nelhybel is not a sport fan. “One must have been born here and have played sports from childhood to become addicted to the American spirit of ball playing”, says Nelhybel. However, the football gridiron has always held a great fascination for him as its extraordinary acoustical characteristics are so suitable for outdoor music-making. CEREMONIAL MUSIC was indeed composed with the idea of an outdoor performance in mind. Although conceived as an outdoor work, this composition which features four antiphonal trumpets is quite effective in the concert hall (as on this recording), or with the woodwinds omitted it is an inspiring composition for marching band. Evident too is the medieval color, as thematically this piece is based on an ancient Bohemian chant from about the same time as the text for the CHORALE. 2. One of the innovations Nelhybel brings to the band repertory is his treatment of percussion. In the APPASSIONATO, percussion is completely omitted and yet it remains an unmis- takingly Nelhybel composition. On the question why he did not use percussion in APPASSIONATO, he gave a disarmingly simple answer: “What for? I didn’t need it”. APPASSIONATO could be described as a strongly emotional soliloquy in which the dynamics extend from the whisper of the solo clarinet in the opening phrase to agitated outcries in the climax. The woodwind section is the unchallenged protagonist; the brass merely strengthening the climactic outbursts. APPASSIONATO is technically an easy composition; however, it is an enormous challenge to the musicianship of the performers and it requires complete involvement of each musician to breathe out the great emotional range of this composition. 3. The fascination of ADAGIO AND ALLEGRO lies in the organic unity and economy of means which the composer uses to create the variety of moods and dramatic situations. The opening statement in the flutes and clarinet contains the germ from which all subsequent thematic developments are generated. In contrast to the utmost economy and tightness of the musical substance, the use of the band medium makes ADAGIO AND ALLEGRO one of the most colorful compositions Nelhybel has written. McGuffey, in three years, has developed the Tech Wind Ensemble into a flexible and musical ensemble. His approach is entirely that of requiring finesse through ensemble playing with the only guidelines being dictated by the music. Vaclav Nelhybel is a synthesist who amalgamates the musical impulses of his time in his own expression. He chooses, discriminately, from among existing systems and integrates them into his own concepts and methods. He is a man fascinated with the joys of explorative involvement and the transmission of aesthetic excite- ment. His personal magnetic dynamism encompasses the entire range of human emotions—the common denominator through which his artistic expression carries its universal appeal. Cover: a reproduction of the oldest known manuscript of the CHORALE (ca. 1473). The manuscript is the property of the National Museum of Prague (Czechoslovakia).





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