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Earlier this year
Dr. Stanley Saunders conducted the premiere performance
of Robert Farnon’s penultimate composition, which he dedicated
to Dr. Saunders. Hopefully one day we will all have the
opportunity of hearing this work, described in detail in
Dr. Saunders’ programme notes which he has kindly allowed
us to publish in ‘Journal Into Melody’.
Programme Notes :
"American Wind Symphony:
The Gaels"
by Robert Farnon
Nowadays, the collective
term ‘Gaels’ is often used in reference to a Gaelic speaking
Celt in Ireland, Scotland, Wales, Cornwall, and the Isle
of Man. Historical records show the evolution of the Gaels
from very early times to the present. Records copied by
the monks in monasteries for over 2,000 years and other
accounts show that bagpipes were documented in Egypt back
in 1500BC. Indeed, the cultural evolution shows that the
Gaels enjoyed singing triumphant hymns and songs in their
native language, beating with their feet in rhythmic jigs
and other dances, clapping, and playing ‘caetras’ [bagpipes].
While many of the Gaelic
words have been lost, derivatives of the original can be
seen in such words as the term ‘Gael’ itself, which comes
from ‘gaedel’ that has strong links to the Welsh word, ‘gwydel,’
which means foreigner, or raider. The military history of
the Gaels show that they were among the best soldiers in
the world, and the term ‘Gael’ designates a Highlander or
Warrior. The Warriors often celebrated their military victories
with bagpipe music.
The composition "American
Wind Symphony: The Gaels" is dedicated by the composer
to Dr. Stanley Saunders. The work was commissioned by the
Roxbury High School Honors Wind Symphony, Roxbury High School,
Succasunna, New Jersey, USA, Director, Mr. Todd Nichols.
The arrangements were made by Professor Darryl Bott, Former
Director, who now teaches at Rutgers University, New Jersey.
The work, which receives
its premiere this evening, not only reflects the stirring
and moving history of the Celts but also aurally depicts
in a musical fashion the inhabitants of the British Isles
with such sections as ‘The Warriors,’ ‘Battle Cry,’ ‘The
Lassie,’ ‘The Bluebells of Scotland,’ the Lament ‘Emerald
Isle,’ and ‘Scotland the Brave.’ In certain cases — programme
music — the composer intends to convey specific images through
music but often the composer intends the music to be nothing
but — what is called absolute — music. This composition
is a combination of both concepts.
The structure of The
Gae!s is based on seven, continuous yet contrasting musical
sections. The opening section of the composition, Introduction,
starts with a crescendo roll throughout the percussion section
heralding a spirited and delineated fanfare-like section
in the brass that is based on a phrase from Scotland the
Brave A lyrical, flowing melody is then announced by the
low reed and brass instruments above which a florid woodwind
counterpoint is woven that is complimented by percussion
colourations.
A ‘lento’ section, featuring
the keyboards and mallet instruments along with solo flute
and bassoon, leads to the second section, The Warriors.
A quiet, solo timpani roll introduces this ‘Allegro’ section
with pyramid-like entries in the muted brass in triple metre.
This triple metre passage increases in volume and intensity
as other instruments make their entries. This portion of
the work subsides both in tempo and dynamics with a flute
solo followed by a keyboard link that transforms the mood
from one of tension to a feeling of peace that continues
throughout section three, The Lament: Emerald Isle.
This moving melody is presented in antiphonal four-bar phrases
throughout the wind ensemble. The modulating sequences played
by the clarinets and saxophones continue with a quickening
of pace.
This passage is followed
by a sudden change of mood that illumes Farnon’ s great
skill and ingenuity in orchestration as the high woodwinds
float breezily along while the whole percussion section
provides shimmering and scintillating contrapuntal embellishments.
The whole ensemble then makes a spirited entry with staccato
utterances from the low brass and tam tam [gong] leading
into section four, Battle Cry. This rousing ‘presto’
section, which presents many challenges to all sections
of the ensemble, depicts the Warriors as they prepare for
action.
A soft roll in the percussion
followed by a sustained tone in the French horns and low
reeds introduces section five, The Lassie. In this
part of the composition one can almost see and smell the
heather of the Highlands as the solo piccolo quietly plays
the main theme in brisk fashion accompanied by the rhythmic
Scottish side drum. This part of the work increases in excitement
and intensity as other sections of the wind ensemble join
in.
At this point, section
six, Bluebells, is announced but in an unusual 5/4
metre, while the contrasting The Lassie theme is
continued in the piccolo, flutes, oboe, and keyboards as
dancing filigree counterpoint. The main theme, Bluebells,
continues but has now reverted to its more familiar quadruple
metre. The Introduction music now reappears in full
dress and section seven, Scotland the Brave, is announced
in ‘vivace’ fashion by the trumpet section against an invigorating
triplet figure in the high woodwinds, mallet, and keyboard
instruments. The dance like figure makes its final, furious
appearance at a ‘presto’ tempo and the thrilling build up
concludes in stirring fashion with solo timpani and full
ensemble in a dramatic climax.
Robert Farnon’s composition
is a perfect symphonic wind ensemble setting that reflects
the history of The Gaels both at Roxbury High School and
throughout the ages. While the composition has programmatic
aspects that are reflected in the Celtic melodies upon which
the work is based, it still retains an overriding sense
of formal splendour and majesty.
Programme Notes by
Dr. Stanley Saunders
In JIM165 (September
2005) Dr. Saunders writes about the background to this major
work in his article "Robert Farnon: Genius and Humility".

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