On Aug 24, 2007, at 7:26 PM, Raymond Horton wrote:
When playing works of the early and mid-nineteenth century,
historical modern performances can and should try to reproduce the
instrumentation of the time, and some colleges and whatever pro
performances occur, will do that, time to time.
But the tradition of band music, (the changing personnel on these
recordings even gives us a hint), is pretty much 'whoever shows up
gets to play',
There are also national variations, as I found to my surprise when
presented with a piece scored for the standard Maltese band of today,
which is so different from the American one that I felt compelled to
add this note to the instrumentation page:
This piece is scored for a standard Maltese band. With the composer’s
approval, additional parts for the full complement of an American
concert band are included among the performance materials.
Conductors wishing to play this piece with the forces for which it was
conceived should use approximately the following numbers of players:
1+1 flutes, 2 E≤ clarinets, 12+10 B≤ clarinets, 2 alto sax, 2 tenor
sax, 6+5 trumpets, 1+1+1 horns, 1+1+1 trombones, 6 baritones, 6
euphoniums, 6 tubas, 1+1+1 percussion.
In Malta, the baritone horn is known as “alto horn in B≤.” To avoid
confusion, we have adopted the more familiar terminology for this
publication.
The extra parts I added were for piccolo, 2 oboes, 2 bassoons, alto and
bass clarinets, baritone saxophone, and 4 horns in F. The low WW and
4th horn would hopefully make up for the lack of massed baritones and
euphoniums in an American band. The picc. reinforces the EbCl; I forget
what I did w. the oboes. The extra instruments appear as parts only;
they are not cued in the score.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/_______________________________________________
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