better basis, and the attention of ever-varying fashion brings it before the cultivated world as something new, then perhaps the composer will also arise who with broad brush will lay on the colours of tone-pictures of a new order, which at present are still hidden in the future.
Most of the following pieces were written for special occasions, to which the instrumentation had to be adapted. A high-class literature for military bands does not exist, and a fixed instrumentation applicable to most European countries has only been recently attempted.
Mozart wrote:—Ten pieces for 2 flutes, 3 trumpets in C, 2 trumpets in D, and four kettledrums—C, G, D and A; two Divertimentos for similar instruments; six Divertimentos for 2 oboes, 2 French horns, and 2 bassoons; three Serenades for 2 oboes, 2 clarinets, 2 French horns, and 2 bassoons; two Serenades for 2 clarinets, two alto-clarinets in F (basset-horn), 2 French horns, 2 bassoons, and a contrebass (or contra-bassoon); and two Divertimentos for 2 clarinets, 2 oboes, 2 English horns (alto-oboe), 2 French horns, and 2 bassoons. (See Köchel's Verzeichniss Tonwerke Mozarts; Leipzig, 1862.)
F. J. Gossec deserves especial mention in connection with wind-bands. [See vol. i. p. 611]. During the French Revolution he was appointed bandmaster of the Paris National Guard, in which capacity he had to write all the music for the grand national fêtes. As most of these were held in large open spaces, he organised a full orchestra consisting entirely of wind-instruments, which accompanied his patriotic hymns and funeral cantata. Among these, the hymn to the Goddess of Reason, to the Deity, etc., were of so high an order and produced so deep an impression, that the Directorate of the Republic decreed him to be 'a composer of the first rank.' On the collapse of the Republic, the new reign did not encourage popular fêtes, and Gossec's work came to an end. Although his compositions in this line bore the stamp of genius, they are now almost forgotten.
Beethoven has left:—(1) Marsch für Militair musik (for the Grand Parade, June 4, 1816) in D. (2) March in F for the same. (3) Sextet for 2 clarinets, 2 horns, and 2 bassoons in E♭ (op. 71). (4) Trio for 2 oboes and English horn in C (op. 87). (5) Octet for clarinets, oboes, horns, and bassoons in E♭ (op. 103). (6) Rondino for 2 clarinets, 2 oboes, 2 horns, and 2 bassoons in E♭. (7) Two Æquale for 4 trombones. (8) Three Duos for clarinet and bassoon.
Cherubini's autograph catalogue of his works contains the following pieces for Wind-bands, but of what instrumentation we are not aware:—1800. Two marches, (1) Marche du Préfet d'Eure et Loire; (2) Marche pour le retour du Préfet. 1805. March for wind-instruments composed at Vienna for the Baron de Braun. 1808. March for Wind-instruments. 1810, Sept. 22. Ditto, do. 1814, Feb. 8. March for the Band of the National Guard; Feb. 13. Quick-step for ditto.
Spontini wrote several Marches for the Prussian Guards' band.
Kühner wrote a number of Fantasias and Suites of variations for military band about fifty years ago, mostly published by Schott & Co.
Berlioz.—op. 16, Symphonie funèbre et triomphale, in three parts, for full military band, and separate string orchestra, with chorus ad lib. (Paris, Brandus).
Mendelssohn.—Overture in C for wind-instruments, op. 24. Although professedly for military band, this overture is not effective for outdoor performance. Even in the composer's time Wieprecht rearranged it for military band.
Meyerbeer's four Fackeltänze, of all modern compositions, give the true character of military music full scope. Generally for a trumpet-band and orchestra, placed opposite each other at the two ends of a great hall, the interweaving of true fanfares with the strains of the orchestra produces a most stirring effect.
Wieprecht deserves great praise, especially as for his admirable arrangements of six complete symphonies by Beethoven (2, 3, 5, 7, 9, and 'Battle'), two of Mozart, about thirty overtures, besides numerous operatic fantasies, etc. Most of these remain in manuscript.
Anton Reicha has written a number of works for wind-instruments—twenty-four Quintets for flute, oboe, clarinet, horn and bassoon (op. 88, 91, 99, 100); one Quartet for 4 flutes (op. 12), etc.
Various collections of music arranged for military bands exist, such as:—I. Boosey's Military Band Journal—for full Band (monthly). Do. Supplemental Journal (bi-monthly). Chappell's Military Band Journal (monthly). Lafleur's 'Alliance Musicale' (monthly). II. Boosey's Brass Band Journal (monthly). Chappell's B. B. Journal (monthly). R. Smith's B. B. Journals; and others.
[ J. A. K. ]
WINDSOR or ETON TUNE. This is first found in Damon's music to the Psalms, 1591, harmonised in four parts, and set to Ps. cxvi. It is not in Damon's earlier work of 1579.[1] As no complete set of parts is known to exist, the melody only can be quoted:—
This affords an example of Damon's method of prolonging a tune by repetition, of which Hawkins speaks.
- ↑ For an account of this extremely scarce work see Hawkins. Hist. of Music, chap, cxvii.
