At 10:52 PM -0500 7/14/08, [EMAIL PROTECTED] wrote:
I am currently preparing some program notes for a transcription that is about to be published of a Concertino by Unico Willem Graf van Wasenaer. Who's that, you say? Well for over 200 years his work was variously ascribed to Pergolesi, Handel, and the original publisher, Carlo Ricciotti. My question to the group is, how do you got about convincing band directors to try this composer that they've likely never heard of? (Don't know how the "illustrious hand" ascription that worked in 1740 would go over in 2008.) Does anyone have any examples of houw to do this?
Hi, Aaron. No examples, because I haven't tried to do this, but a couple of thoughts.
First, I'm surprised that the edition (transcription, whatever) is aimed at bands, since I assume that the original was for orchestra, BUT that could actually be an advantage. Bands and band directors are MUCH MORE OPEN to music that is either new or different than are orchestras and Music Directors. Fact of life.
So what's your hook? Why should band directors consider this transcription? Given that it's 200 years old, what makes it distinctive today? (Ya gotta have a gimmick!) If it's "just like" Pergolesi, Handel, etc., why get excited by an imitator? (Of course *I* might be interested in it, but in the original as early music and not in a band transcription.)
Just some random thoughts in response to your post, and probably not very helpful.
John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html "We never play anything the same way once." Shelly Manne's definition of jazz musicians. _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
