Overture to the Marriage of Figaro Download

Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central TerritoryAlthough this arrangement is scored for brass band, conductors should always keep the original orchestral concept in mind, striving for an elegant, light approach to this compact masterwork.

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Be faithful to the terrace dynamic style so typical of Mozart's era. Unless otherwise indicated, dynamic changes should shift suddenly from piano to forte without the hint of a crescendo.

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Speaking of forte, conductors are advised to set this level carefully at the outset, taking care to avoid anything blatant or overstated. This has the added advantage of leaving something in reserve when the occasional fortissimo is called into play.

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When staccato is indicated, strive for well-rounded tones with detached style.

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A few specific points should be made:

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Intro: Pianissimo is the goal! Players must not confuse speed with volume.

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Bars 41-46: Although they may seem unimportant, be certain the half notes (minims) in the flugel/horn parts are full-throated and confident against the dominant melodic pulse of the cornets/trombones.

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Bars 49-54 (and elsewhere): First and second cornets must reinforce the flugel/horn fp attack without being too obvious.

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Bars 57-61: Note the accented attacks on beat two also include tenutos. These chords should be at once resonant and shimmering!

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Bars 67-76 (and elsewhere): Although the quick articulations in the solo cornet part are presented in alternating fashion, the section may choose to play this in its entirety without alternation - as long as breath control and stamina permit!

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Bars 89-104: Much is expected of the first cornet here (and if possible, marimba) in terms of agility and steadiness. Nevertheless this passage (with the addition of flugel a few bars later) must sound light and effortless - a background to the melody found in the horn section. The same is true when the horn section provides the same accompaniment when this theme returns in bars 194-209.

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Bars 210-225: This exciting transition to the final section will require careful rehearsal in order to maid the many eighth-note (quaver) entries into a long, cohesive melodic line.

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Bars 226-end: The conclusion should exemplify energy and resonance. The trills in bar 137 should be vigorous, followed by bold, striking chords that are well-rounded and balanced. Let the first cornets and first/second trombones come to the fore in bars 244-250, with the entire band bringing the final five bars to a brilliant yet sonorous finish.

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Program Note:Completed in early 1786, this delightful work was premiered in Vienna. The vivacious spirit of the music was a fitting prelude to the sparkling comedy which was to follow, although the composer made no attempt to connect the overture thematically with the opera itself.

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.]