LAUDE Download

Notes:
Comments by Staff Bandmaster William Himes, Territorial Music SecretaryThis is a substantial piece of music that will demand considerable preparation on the part of the conductor and band. But if both parties persist, they, along with their audience, will be amply rewarded for their efforts.

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Introduction (meas. 1-31): The opening cornet statement must be bold and rhythmically precise; spirited but not rushed. This should set the tone (and example) for all succeeding entries of this section.

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Meas. 8-11: Will challenge one's sense of rhythmic independence, with the cornet/soprano statement in cross-rhythm to the underlying pattern in 1st/2nd cornets and solo/1st horns. It would be wise to rehearse these elements separately to build section confidence before putting it all together. A similar challenge is found in meas. 21-22 between horns and euph/basses.

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Meas. 29-31: Provide the first conducting challenge: the transition from 2 to 6 in 3 bars! The simplest solution is to slow meas. 29 slightly (still in 2), then conduct each of the euph/bass notes in meas. 30-31 (in 3), with these beats slowing to become the pulse of the meno mosso section (in 6) of meas. 32 -38.

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This leads quite naturally into Variation I (meas. 39 - 108) which is virtually the same tempo as the preceding section. The essence of this variation is of beautiful yet deceptive simplicity. It is the absence of motion which is the challenge: getting the long notes to move together, with every nuance and dynamic shift being executed with control and sensitivity.

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Variation II (meas. 109-169): is a complete contrast to the previous music: lightning quick and full of sparkle! Once the band is confident with this area, the conductor may gain more momentum and sense of phrasing by conducting most of this section in 2, with the exception of meas. 141-151, in which the ongoing ""pyramids"" of the trombones are more likely to succeed if conducted in 4.

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The scene shifts abruptly into Variation III (meas. 170-227). Similar to [sic] in mood to Variation I, this setting features several solo instruments (horn, cornet, Eb bass, flugel and euphonium) in a texture that is exposed and transparent.

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Care must be taken to achieve a convincing climax in this variation in meas. 212-213; with full volume and intensity, not giving way too soon to the subsequent diminuendo.

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Meas. 222-226: provide the biggest conducting challenge of the entire work: getting the horns and snare drum to start Variation IV together at the end of the euphonium's motto accelerando solo in meas. 225-226. This will take practice and repetition!

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While the articulation of the horn ostinato is completely accented, the overall pulse and sense of ensemble will be helped by giving special emphasis to the first beat of every two bars.

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By contrast, the rhythmic pattern played by the baritones and euphoniums in meas. 249-264 should have a strong pulse on the first beat of every bar.

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Again, the transition of tempo in meas. 277-280 poses yet another conducting test: easing from 1-to-the-bar to 3-to-the-bar, against the cross-rhythms of soprano and solo/1st cornets.

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Use the 2nd cornet, flugel, solo horn and bass trombone and basses as the foundation of the tempo change. Have a precise plan as to how you will conduct each of these four measures:

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277 - in 1 278 - in 1, but slowing 279 - in 3, slowing within the measure 280 - exaggerating beats 1 and 2, subdivide beat 3

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Finally, the composer brings us to the Theme ("Lobe den Herren") in all its majesty and splendor. The stamina needed to play this finale with sonority and intensity is what will separate the ""men from the boys"" (and in these enlightened times, the ""women from the girls""!) Pacing is everything: the ability to hold back some reserve strength for this brilliant conclusion.

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The Finale (meas. 305-end): should bring this work to a fitting - and fleeting - conclusion, with the final three bars featuring three distinct and isolated choirs of sound: horns, cornets and low brass.

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Program Note:Laude" literally means hymn of praise. These four variations evoke the many moods of praise: from brilliant exultation to quiet reflection, concluding majestically with the main theme, "Praise to the Lord, the Almighty, the King of creation."

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This work was written in 1987 to honor the 100th anniversary of the New York Staff Band and Male Chorus.

This colorful selection uses three songs of contrasting idiom to portray a progression of the human condition from despair to triumph:

Although this is a more extended work (approximate duration: 9:00), the inclusion of optional introductions and endings provides added usefulness of presenting singular performances of these three songs as follows:
Sometimes I feel like a motherless child: Beginning to optional ending at bars 39-40.
Reach out and touch: Bar 42 to optional ending at bars 110-113.
Storm the forts of darkness: Begin with snare drum roll (can be a pause) one beat before 117. Play to end as written.

Program Note:
This beautiful setting for solo trombones and band of the folk song O Waly, O Waly is often associated with the words of Isaac Watts:Note to the Conductor:
We are pleased to present this sensitive setting as it was initially conceived for solo trombone. Written for the Amsterdam Staff Band's 2005 tour of the United Kingdom, it was later adapted as a feature for trombone ensemble, at the request of Salvationist Publishing & Supplies, where it appears in 2009 as General Series 2059.

We are grateful to SP&S for kindly giving permission to publish this solo version in the American Festival Series. Of this work, the arranger, Olaf Ritman writes: "I consider this song my personal testimony."

Beginning to bar 12: The accompaniment, particularly at the opening and closing of the piece, is atmospheric, with suspended muted chords supporting the rubato trombone solo. The judicious use of percussion (chimes, bass drum and suspended cymbal) will add to the color and mood. Be sure to cue the chimes at bars 3 and 6.

at bar 4, a clear downbeat cure for the bass drum will help clarify tempo following the soloist's pause. Also give attention to the muted sforzando in cornets and trombones in bar 8.

Bars 13-52: Following the ritardando at bar 12, it is essential for the conductor to establish the correct tempo at bar 13, allowing the soloist lyrical freedom and the ability to sustain long phrases as the tune begins at bar 16. The descending scale gesture at bar 39 should be measured, yet not overstated.

Bars 53-74: There is a slight slowing of tempo as soprano, flugel and horns take the theme while cornets, trombones and euphonium adding countermelody.

Bars 75 to end: Returning to the opening tempo, it will again be helpful to give clear cues for the chimes, bass drum and triangle from bars 75 to the end.

[Note: This solo can be heard on the Chicago Staff Band recording,Kurios, performed by Brett Tolcher]

Program Note:
The tune Randolph, by preeminent English composer Ralph Vaughan Williams was first published in 1906 as a setting of Jeremiah Rankin's hymn, of which the first verse reads:
Note to the Conductor:
William Gordon's stunning four verse setting of Randolph progresses from the quiet simplicity of unison cornets and with each succeeding verse builds to a magnificent organ-like finale.

Gratitude is expressed to the publisher and copyright holder, Oxford University Press, for granting permission to publish this brass setting in the American Festival Series.

Beginning to bar 9: A ceremonial snare drum roll is the sole accompaniment to the cornets opening unison rendering of the tune.

Bar 10-17: The mellow instruments (flugel, horns, baritones and euphoniums) provide a beautiful change of color here with 2nd horn, baritones and euphonium seamlessly adding harmony.

Bars 18-26: A two beat snare and bass drum roll signals the entrance of the cornets and trombones in a more brilliant third verse setting. Here the bass trombone is essential (cued in Eb bass). Bring out the rising soprano cornet line from bar 22.

Bar 27 to end: A dramatic percussion roll precedes the "open pipes" organ like sounds of the final verse at bar 27. Be sure to observe the swell in bar 30, followed by a dramatic decrescendo before building to the final climatic chords. Avoid any tendency to overblow while striving for the full sonorities of this majestic finale.

[Note: this setting is especially effective when performed as a benediction "in the round" with players grouped by sections surrounding the audience.]