Page:A Dictionary of Music and Musicians vol 4.djvu/489

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better basis, and the attention of ever-varying fashion brings it before the cultivated world as something new, then perhaps the composer will also arise who with broad brush will lay on the colours of tone-pictures of a new order, which at present are still hidden in the future.



��Most of the following pieces were written for special occasions, to which the instrumentation had to be adapted. A high-class literature for military bands does not exist, and a fixed instru- mentation applicable to most European countries has only been recently attempted.

MOZAET wrote : Ten pieces for 2 flutes, 3 trumpets in C, 2 trumpets in D, and four kettledrums C, G, D and A ; two Divertimentos for similar instruments ; six Divertimentos for 2 oboes, 2 French horns, and 2 bassoons ; three Serenades for 2 oboes, 2 clarinets, 2 French horns, and 2 bassoons ; two Serenades for 2 clarinets, two alto-clarinets in F (basset-horn), 2 French horns, 2 bassoons, and a contrebass (or contra-bassoon) ; and two Divertimentos for 2 clarinets, 2 oboes, 2 English horns (alto-oboe V 2 French horns, and 2 bassoons. (See Koch el s Verzeichniss Tonwerke Mozarts; Leipzig, 1862.)

F. J. GOSSEO deserves especial mention in connection with wind-bands. [See vol. i. p. 611]. During the French Revolution he was appointed bandmaster of the Paris National Guard, in which capacity he had to write all the music for the grand national fetes. As most of these were held in large open spaces, he organised a full orchestra consisting entirely of wind-in- struments, which accompanied his patriotic hymns and funeral cantata. Among these, the hymn to the Goddess of Eeason, to the Deity, etc., were of so high an order and produced so deep an impression, that the Directorate of the Republic decreed him to be 'a composer of the first rank.' On the collapse of the Republic, the new reign did not encourage popular fetes, and Gossec's work came to an end. Although his compositions in this line bore the stamp of genius, they are now almost forgotten.

BEETHOVEN has left : (i) Marsch fur Militair musik (for the Grand Parade, June 4, 1816) inD. (2) March in F for the same. (3) Sextet for 2 clarinets, 2 horns, and 2 bassoons in Eb (op. 71). (4) Trio for 2 oboes and English horn in C (op. 87). (5) Octet for clarinets, oboes, horns, and bassoons in Eb (op. 103). (6) Ron- dino for 2 clarinets, 2 oboes, 2 horns, and 2 bas- soons in Eb. (7) Two ^Equale for 4 trombones. (8) Three Duos for clarinet and bassoon.

CHERUBINI'S autograph catalogue of his works contains the following pieces for Wind-bands, but of what instrumentation we are not aware : 1800. Two marches, (i) MarcheduPreTetd'Eure et Loire ; (2) Marche pour le retour du Preset. 1805. March for wind-instruments composed at Vienna for the Baron de Braun. 1808. March for Wind-instruments. 1810, Sept. 22. Ditto, do. 1814, Feb. 8. March for the Band of the National Guard; Feb. 13. Quick-step for ditto.

��SPONTINI wrote several Marches for the Prus- sian Guards' band.

KUHNEB wrote a number of Fantasias and Suites of variations for military band about fifty years ago, mostly published by Schott & Co.

BERLIOZ. op. 16, Symphonic funebre et tri- omphale, in three parts, for full military band, and separate string orchestra, with chorus ad lib. (Paris, Brandus).

MENDELSSOHN. Overture in C for wind-in- struments, op. 24. Although professedly for military band, this overture is not effective for outdoor performance. Even in the composer's time Wieprecht rearranged it for military band.

MEYERBEER'S four Fackeltanze, of all modern compositions, give the true character of military music full scope. Generally for a trumpet-band and orchestra, placed opposite each other at the two ends of a great hall, the interweaving of true fanfares with the strains of the orchestra produces a most stirring effect.

WIEPRECHT deserves great praise, especially as for his admirable arrangements of six com- plete symphonies by Beethoven (2, 3, 5, 7, 9, and ' Battle '), two of Mozart, about thirty over- tures, besides numerous operatic fantasies, etc. Most of these remain in manuscript.

ANTON REICHA has written a number of works for wind-instruments twenty-four Quintets for flute, oboe, clarinet, horn and bassoon (op. 88, 91, 99, 100); one Quartet for 4 flutes (op. 12), etc.

Various collections of music arranged for mili- tary bands exist, such as : I. Boosey's Military Band Journal for full Band (monthly). Do. Supplemental Journal (bi-monthly). Chappell's Military Band Journal (monthly). Lafleur's 'Alliance Musicale' (monthly). II. Boosey's Brass Band Journal (monthly). Chappell's B. B. Journal (monthly). R. Smith's B. B. Journals ; and others. [J. A. K.]

WINDSOR OR ETON TUNE. This is first found in Damon's music to the Psalms, 1591, harmonised in four parts, and set to Ps. cxvi. It is not in Damon's earlier work of 1579.* As no complete set of parts is known to exist, the melody only can be quoted :

����This affords an example of Damon's method of prolonging a tune by repetition, of which Haw- kins speaks.

For an account of this extremely scarce work see Hawkins. Hist, of Music, chap, cxvil.

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