INSTRUMENTATION Ast & 2nd C Flute... G Piccolo b Clarinet. 1st Bb Clarinet. 2nd Bb Clarinet... 3rd Bb Clarinet Eb Alto Clarinet ‘Bb Bass Clarinet... hoobila 2 Bb Contrabass Clarinet. 4 st & 2nd Oboes. 2 English Horn... A 4st & 2nd Bassoons ie 4st Eb Alto Saxophont 2nd Eb Alto Saxophone.. Bb Tenor Saxophone .. Eb Baritone Saxophone ‘1st Bb Trumpet.. 2nd Bb Trumpet 31d Bb Trumpet ist & 2nd Bb Comet Ast & 2nd F Horns Srd & 4th F Homs ist Trombone .. 2nd Trombone. 3rd Trombone Baritone BC. Baritone TC Tubas String Bass.. Mallet Percussion:Bells/Xylophone/Chimes.... Timpani, 4 Percussion 1: Snare DrumvBass Drum Percussion 2: Tambourine/Cymbais THE BABNHO SE, Classics For Concert Band Series This series of transcriptions ot standard musical classics represents an attempt to make available to wind groups, at all fevels of performance. some of the most enduring music of all time in versions that are specifically conceived as. being not just (good music, but also good wind music as well ia eighs hoLw Hak RHNhOe Especially with arrangements, but aiso even with note-for-note transorptlons from one medium to anther, the responsiblity ot the re-composer (tor that is what the arranger or transcriber really ') to the eriginal composer and his work isthe foundation on which a successtul such derivative work must rest, The feeling on the part of the listener that what is being heard is actually the ‘original version (or could be the original version) of the work, is ‘the measure of the arrangevtranscriber’s success, both from ihe ‘echnical and artistic points of view. It is the goal which we Seek {o attain for each work selected fr inclusion in this series. ALFRED REED Program Notes |With the exception of a single opera produced in his 30th year, Luigi Denza’s ontire career as a composer was devoted to songs, ‘ot Which he wrate over 500, Of this vast oulpul, however, he is destined to be always remembered for “Funiculi Funicula,” a Neapolitan ditty written to commemorate the opening of 8 new funicular raiwway in 1880, The success of this catchy metody was simply prodigious: well over a hail a milion coples were sold(an unheafd of amount for those days, and a very respectable umber even today), and the lyrics were translated into every civilized language, Six years later, Richard Strauss, after a tour ‘through that country and having heard people everywhere singin this song, assumed it was a folk song in the public domain, a Used it @3 the basis for the final movement of his first major symphonic work, "Aus alien” (‘From ttaly’)...an_ action which V6 rise to. claim of copyright infringement against both him and his publisher! ‘The present version of this classic tune has been conceived as a tarantella, set for the full resources of the modern integrated wind band, with every section featured at one tima or another as a soloyyroup, Rehearsal Suggestions it should be stressed that the effects of speed and vivacity on which the sucess of music such as this depends is not so much a matter of the numerical matronomic setting chosen for the tempo, but rather on the clay snd ightness with which avery fine ofthe texture is performed by each player. Therefore the giver metronomic setting should bs taken as a general guida only; the ‘exact tempo depending, as always, on the size and ability of he paterming group 38 a whale and the different players individually, a well as the acoustical conditions under which the performance is to take place. Especially important in such sections as those beginning at measures 96 and 107, 1s the abliy to play continvaly tongued eight note groups in'a slightly seperated manner, so as to preserve the tempo without the effect of dragging, and also achieving that degree of lightness thal constitutes the clarity which such passages must have in order to produce the dance- like effect of a true tarantella, which seems never to leave off.even when the music finally does come to an end! In order to permit every section of the band 16 be featured as a solo of soll group, the score and parts have been extensively ‘ued and cross-cued, and the director is urged to make use of these aids as may be'necessary in each case in order to achieve brilliance, contrast, and balance throughout the performance of this coloriul and vivacious music. Ii large groups it may become advisable to cut down the number ‘of instruments on one line or another, to permit the solo Instruments, ot groups of solo instruments, to project thei lines. clearty without forcing or straining, The Arranger Composer ger, conductor and editor, Alfred Rleed’s life was intertwined with music almost from birth in New York Gity on January 25th, 1921. His parents loved goad music and mace it ‘part of their daily lives; as a result he was. well acquainted with most of the standard symphonic and operatic repertoire while still in elementary school. Beginning formal music training at the age of ten as a. trum player. he was aleady playing professionally while stil in high school, and shortly thereafier began the sarious study of harmony and counterpoint as a prelude 1 composition, which had ‘exercise a'stronger hold on his interest and ambition Man playing. Alter three years at the Radio Workshop in New York, he spent the next three in service during World War I, where, as a member of an Air Forca Band, he became deeply interested in the concert band and its music. Following his release, he enrolled at the Julliard School of Music 10 study under Vitiorio Giannini, and from there, in 1948, became a staff composer and arranger with N&C and subsequently, with ABC. where he wrote and arranged music for radio, television, record albums and films. In 1983, Allred Reed resumed his academic work (which had been interrupted by his leaving Julliard for NBG) and became conductor of the Baylor Symphiony Orchestra while ai Baylor University in Texas, His Masters thesis was the RHAPSODY FOR VIOLA AND ORCHESTRA, which was to win the Luria Prize, Two years later, if 1955, he accepted the post af editor in f music publishing finn, and for the next 11 years became deeply concerned with the problems ol educational music at all levels of performance. In 1966 he left this position to join the faculty of the School of Music at the University of Miami, where he developed the first four-year Music Industry program, and in 1980, following the retirement af his ald fiend and colleague. Dr. Frederick Fennell, was appointed music director and conductor of the University of Miami Symphonic Wind Ensemble, With over 200 published works in all media, many of which have been on required performance lists for over 25 years, Dr. Read is fone of the nation’s most prolific and requently performed composers, In addition to winning the Luria Prize in 1959, he has been awarded over 60 commissions. . . with more on the way! His work as @ guest conductor has taken him to 49 stal Canada, Mexico, Europe, Japan, Australia and South America, He was the first foreign” conductor to be invited to conduct and record with the world famous Tokyo Kosei Wind Orchestra, and is today the mast frequently performed foreign composer in Japan. Dr. Read eft New York for Miami, Florida, in 1960, where he has made his home ever sinca.Seca me 310 FUNICULI FUNICULA , Ligh Danan (1880) ‘vias inca Arranged by Alfred Reed (1893) ar than cut ha Cae 2 comet on ae! i 1 tee See Parana 1 tre Sti a ai i mem a 1 A gms (Tea Sept 1 Sept Tp joet* i a ar women i 1 Am sno a 1 Tae Spe 1 Sap ean alma we Sommei i arn Ame cin oceani owen Nr toe ena | song ae [== ‘StenTenei en Cans > Ale Cri 1 a Ct Tame See Naan Suton ramne eaeee Yee tne rts a au tema pro etc to Somi* i 1 court 1 age sep 1 Tn eine 1 bare Stree fF ina rey fee Stee‘ei en ‘ewrina 24h Cac ii Tate ic otcymbate Sr am ‘ae te Niuemom 2 Bs Teme tmp 1 ene sete ua re‘get 1 ae Saapone 1 Tegan Sp ‘wer stenotome aag te Hewint Ws Frm roan Peat cyaa Hn at 1 A Cit 1 oe Ce ia 0 Ter Set ha irl ya fee swanBs Abin Teta 1 nee So ut a tray Pd ia1 Aue Sneha trae apn1 Aha cin man ih terri este1 Tua tap he 1 rine Sh Btnch ten 1 mua tpi Tampa Here re atcomtan |e — a Sine