Overtures to an Overture (in Bb)!
Caesar Giovannini (1925-2017) became a piano soloist with the Navy band, and later completed a master’s degree from the Chicago Conservatory of Music. He would go on to join NBC as a staff pianist in 1949. He would go on to be the music director for several television shows, and in 1958 joined the ABC Staff Orchestra (Giovannini, 2017). His virtuosity was on display throughout his career as he played piano on such projects as the 1973 film Soylent Green and recording six albums as soloist. After moving to Los Angeles in 1959, he created several pieces for band, but is perhaps best remembered for Overture in Bb, which was expertly arranged by Wayne Robinson.
Overture in Bb was published in 1966 among other notable works for band from the same era such as Rocky Point Holiday by Ron Nelson, Variations on a Korean Folk Song by John Barnes Chance, and The Incidental Suite by Claude T. Smith. While not as well-known as those other essential repertoire pieces, Overture in Bb offers a suitable challenge for high school and collegiate ensembles. The work builds in depth of character through the introduction of various motifs, melodic and harmonic materials interplay and develop, and shifts in timbre highlight the unique colors of the wind band.
It is unfair to the melodic, rhythmic, and harmonic elements of this work to simply analyze this work as being in ABA form (that judgement being made considering only meter and key change). There are six distinct melodic statements within the work found across multiple sections and at points complimented by countermelodies and ostinatos. Although these distinctly different sections are contiguous, including a metrical shift to 2/2, the pace of the quarter note remains at 144 beats per minute (with tempo marking of Allegro con Spirito and Nobilmente).
The opening brass fanfares and woodwind flourishes grounded in F mixolydian begin the overture. The section at measure 13 contains mode mixture with two trumpet and trombone melodic statements (one in DbM, one in DM). A transitional fanfare begins at measure 29 that ushers in the 3rd theme of the piece best characterized as “soaring”. First stated by the brass, a second iteration appears in the upper woodwinds at measure 50. In contrast to the brass ostinato that accompanies the woodwinds, a scalar countermelody is found in tenor saxophone and euphonium which is then joined by the Horns in F at measures 53 and 57.
One of the more unique sections of the work occurs at measure 64 as low reeds – bassoon, bass clarinets, and baritone saxophone – usher in a four-measure motif grounded in Bb Mixolydian. Other instruments join every four measures until all woodwinds, trumpet 1, euphonium, and string bass play the motif together at measure 76. The transition to the Nobilmente brings to light Giovannini’s recurring use of quartal harmony in both fanfares and transitional motor rhythms. Measure 82 contains a Concert C,F, & G played by Horn in F and answered by upper woodwinds. In measure 71, the brass and upper woodwinds play a pattern that uses Concert C, D, & G. Other instances are found in ostinato patterns (e.g., Upper woodwinds at measure 36), and beat 2 of measure 1 in the brass contains the first example. This practice used by Giovannini provides immediate harmonic tension that releases or dissipates into the melodic material that follows.
Horn in F, Alto Saxophone and Clarinet 3 first state the “Noble” melody at measure 86. Ensemble balance is essential at measure 95 as the second statement of the “Noble” melody is joined by a countermelody found only in oboe. The harmonic accompaniment at measure 102 moves by intervals of a perfect fifth until measure 108 & 109. Measure 110 includes a return of the “Noble” melody that is followed by fanfare transition leading back to Bb Major (F Mixolydian) and the opening material of the piece.
There are similarities between measure 139 and measure 13. However, the material develops tonally and rhythmically to usher in a transitional fanfare at measure 147. This section is connected to the material first heard at measure 29 (also seven measures in length). Giovannini develops this fanfare to usher in a final celebratory section full of energy and spirit that begins at measure 154. Giovannini’s use of quartal harmony is heard once again at measure 162 through 165. The harmonic and rhythmic tension of measures 166 through 169 is further enhanced by the contrary motion at the outer reaches of the ensemble. There are few moments like this in a work at this grade level. The beauty and tension of these four measures herald the arrival of the Coda at measure 170 and the piece concludes in C Major.
It is doubtful that many directors hold Overture in Bb on a list of essential pieces, much less on a list identifying the core repertoire. Still, compared to other overtures at grade level, Giovannini’s piece more than holds its own. Giovannini develops the work melodically, harmonically, and rhythmically while showcasing the different colors within the concert band. When a singular piece of music connects and explores the four basic elements of music in an exciting and unique fashion, directors and ensembles must continually return to celebrate that work. Overture in Bb holds true to that description, offering a wonderful experience for high school and collegiate ensembles to explore a classic form in an exciting fashion.
References
Caesar Giovannini. (2017, September, 25). Daily Herald. https://www.legacy.com/dailyherald/name/caesar-giovannini-obituary?n=caesar-giovannini&pid=186752894&fhid=6139
