Contemporary band compositions, classical music arrangements, marches, jazz, symphonies, overtures. A collection from bands that I have played in throughout hi
Hello and welcome! "Symphonic Band Performances" is a compilation of recordings from several high school and college bands that I played in including the TMEA (Texas) All State Band, the TMEA Region X All Region Band, the Interlochen Arts Academy National Music Camp, the Cal Poly Tech Band, San Luis Obispo, the USAF Golden West Band, and recordings from my h.s. band, Beaumont H.S. and a few band recordings that were passed down to me. Also included are various All State groups and college and university bands. I participated and played in the large majority of these recordings.
There are no professional recordings here and every recording is Public Domain. Most are available for free download. Each song has been converted from the original analog or digital source and edited with Audacity or Dak software.
In the majority of these recordings, I play the tenor sax or alto sax, b flat or e flat clarinet, or directing. I was drum major for 2 years in high school, I have a BA from Cal Poly, San Luis Obispo, where I studied music ed, composition and theory. I had about 500 more recordings I was planning to digitize and upload, but this past Nov. 20th, my home was completely destroyed by fire, and all the contents, including all my music and instruments. So, this is it. Please feel free to post a comment here or on my member page. If you like, please become a fan by clicking "I'm a fan" below.
Story behind the song
This is performed by the 1990 TMEA (Texas) All State Symphonic Band, conducted by Larry Rachleff.
The Overture to Leonard Bernstein's operetta Candide. Although the operetta never achieved the mainstream popularity of West Side Story, the overture has earned a part in the orchestral repertoire. Since its first concert performance on January 26, 1957, by the New York Philharmonic under the composer's baton, the Overture to Candide has become one of the most frequently performed orchestral compositions by a 20th century American composer.
While many orchestrations of the overture exist, in its current incarnation for full symphony orchestra, which incorporates changes made by Bernstein during performances in December 1989, the piece requires a standard-sized contemporary orchestra of piccolo, two flutes, two oboes, an E-flat and two B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, a large but standard percussion contingent, harp, and a standard string section. It is approximately four and a half minutes long. The theatre-sized orchestration, as in the published full score of the operetta, includes one flute doubling on piccolo, one oboe, two clarinets rotating between an E-flat, B-flat, and bass, one bassoon, two horns, two trumpets, two trombones, one tuba, standard orchestral percussion, harp, and strings. Main differences between the two are doublings and increased use of percussion effects (especially the addition of a drum roll during the opening fanfares) in the symphony orchestral arrangement. Differences between the first publication and later printings (of both orchestrations) include a slowed opening tempo (half note equal 132 instead of 152). An arrangement for standard wind ensemble also exists.
The overture incorporates tunes from the songs "The Best of All Possible Worlds", "Battle Music", "Oh, Happy We", and "Glitter and Be Gay" and melodies composed specifically for the overture. Much of the music is in odd time signatures including 6/4 and 3/2, which are furthermore combined with 4/4 and 2/2 to make effective 5/2s and 7/2s in places by rapid, regular switching between them and 3/2.
Candide is a comic operetta based on the work by Voltaire. The work was extremely unsuccessful during its Broadway premiere in 1956, and it is primarily only as an overture that the music is remembered at all today. The overture was premiered by the New York Philharmonic Orchestra in 1957 with Bernstein conducting and became almost an instantaneous orchestra and concert band staple. The work is extremely quick-paced, with a feverish excitement that begins from the first breath of sound. Each player of the ensemble, whether an orchestra or concert band, is required to perform with the utmost of virtuosity, and the work requires an immensely together ensemble. Many of the meters are in seven beats or of other non-traditional types, and they quickly change. Short, full ensemble statements open the work, and this beginning idea intermittently appears several times throughout the work, almost as a reminder of what has been and that it is still the same work. While there are some melodic ideas, as well as some wonderful harmonic textures, it is clear that the main stylistic character of the music must be its rhythmic use. Strong percussion accents, writing in orchestrational groupings and families such as brasses, and harsh attacks from the ensemble as an entity are apparent throughout. The form of the piece is as scattered as the music itself. Most of the ideas are short and sporadic. When an idea is presented, there is usually little time for it to be developed, but instead the music quickly changes direction to some other idea. Oddly, this lack of development of ideas has not deterred from the music's popularity; with the Overture to Candide still a popular favorite among concert programmers, it is doubtful that this music will die away anytime soon.
Very classy and great performance.