Travis J. Weller

Quick: Name three composers of wind band literature whose music was written before 1950 that will still be revered in the year 2020?

That should be a fairly easy question for any conductor who has studied scores and understands the pieces that have been at the foundation of the American Wind Ensemble and Concert Band.

Name three composers who wrote music for wind ensembles or concert bands between the years of 1950 and 1980 and will still be played in the year 2020.

Hmm….

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As another year is about to start, I am taking a big leap with my ensembles at Mercer into a much smaller room. Our first public performance this year will involve all instrumental students in grades 7-12 performing in a chamber recital in late September.  In past years, I have only involved the Wind Ensemble students at Mercer in the preparation of this music for the chamber recital.  The more I have involved  these students in the study and performance of chamber music, the more improvement that takes place in their executive skills, and in their ability to analyze their work, critique their own and their peer’s performance, and begin to develop some comprehensive musicianship.  Educators are starting to look at their large ensembles differently, with an eye and ear (appropriately) towards how they can continue to make their elective ensemble a viable and interesting offering among the school curriculum.  I do think we should be examining the structure of the big three so that we can make it more relevant in the lives of our students who enroll (VanZandt, 2001).  Let’s be honest – how many instrumentalists have graduated from our programs and decided on a long weekend they were going to invite 37 good friends over just so they could play First Suite by Holst? How many of those same students could meet with 4 to 5 other students and play some chamber works for public performance or just the joy of playing much easier? If we are committed to helping students build a life-long relationship with music, then chamber music may offer a viable avenue to go down to keep students connected to the instrument they spend 8 years learning in our programs.

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This week I began researching interpretation and feeling as part of my work at Kent State.  At first glance, they seemed unrelated. However, the more I began reading perspectives of different composers and conductors, my conclusion is that great interpretation does not just recreate the composer’s intent but rather conveys feelings that the composer intended. The sources abounded including Mark Camphouse’s series Composers on Composing for Band, and a great text edited by John Williamson Rehearsing the Band – both of which I recommend for great insight into score study, interpretation, and enhancing your podium perspective. Read more…