Koops+Lecture+History+of+Wind+Band+Music

Here are my notes for my lecture on wind band conducting

**__Wind music history: overview with brief notes, some scores and recordings__** **__By Alexander Koops__**

>>> Gabrieli Sonata XIII (Dudamel) INTERVIEW WITH DR. H. OWEN REED July 2001 By James Syler, composer/publisher []
 * 1) I. Medieval/renaissance
 * 2) a. Gabrielli, Giovanni (1557-1612): winds doubled choirs, on the basis of what instruments were available; first famous example of written in dynamics. Wind bands were very popular including the sliding trumpet. Sixteenth-century Italy witnessed one of the great outbursts of instrumental music in Western culture. By 1550, Italy had become the leading center in the production of instrumental music, including that lute, keyboard, and instrumental ensemble. One of the most accessible and utilitarian comooseres of the ensemble music of any musical era is Giovanni Gabrieli (1557-1612). His instrumental and vocal works have always revealed the true meaning of simplistic beauty and style. The nephew and a student of Andrea Gabrieli (**//Aria Della Battaglia//** ), Giovanni worked briefly at the Munich court (1575-8) but spent most of his life in Venice, becoming the organist at St. Mark’s in 1585. Much of his sacred ceremonial music takes advantage of the architecture of the famed cathedral using contrasting groups of singers and instrumentalists to produce cori spezzati effects. Gabrieli’s wind ensemble music is spirited and colorful, well developed in style and creative in its concertato writing. A major obstacle in Gabrieli’s music, as well as other Renaissance composers, is that of instrumentation. From many performance description and writings about these types of works, instrumentation decisions were probably determined by the various instruments that would constitute a consort for a particular event. It seems likely, four-hundred years ago, that whomever was available on a particular day would perform Gabrieli’s music (most probably a mixed assortment of instrumentalists and singers), thus prompting Gabrieli to use a very flexible scoring technique with a wide range of individual line tessituras.
 * 3) i. Example: **// Aria Della Battaglia //** (1590)(Andrea Gabrielli)
 * 4) ii. **//Sonate Piane e Forte// (1597)** Giovanni Gabrielli.Sonata Pian e forte score from IMSLP for Sonata Pian e forte
 * 5) Giovanni Gabrieli - Sonata XIII --Stuttgart Radio Brass, Gustavo Dudamel
 * 1) b. Byrd, William (1540-1623**//) Non nobis Domine//** (?1600)
 * 2) c. Petzel, Johann Christoph (1639-1664): **//Intrada//** (1660) OR Sonata Hora Decimi. Sonata Hora Decimi
 * 3) or "Die Birckholtz-Trompete von 1650", J.C. Pezel Nr. 69 + Nr.70, Birckholtz Natural Trumpets: for natural trumpets
 * 4) **//d.//** Purcell, Henry (1659-1695) **//Funeral Music for Queen Mary// (1695) for brass**
 * 5) **//e.//** //Albinoni (1671-1751) **Sonata "St. Marc", op. 6, no. 11, Allegro (1700?)**// (adapted for modern wind instruments)
 * 6) II. Baroque
 * 7) a. Handel, George Fredrick (1685-1759)
 * 8) i. **//The music for the Royal Fireworks//** (1748) is all that survives from what must have been a carefully planned London festive occasion in 1748 to celebrate the Peace of Aix-la-Chapelle. The fireworks ignited the platform erected for the occasion and all was consumed in flames. Green Park, where this took place, is still there, but the Peace has passed through a few transformations, and it would be difficult to identify any of the 101 pieces of ordnance or any of the instruments played on that important day in the history of music for wind instruments. The musical ideas contained in Handel’s score were so attractive, and the organized wind bands of Handel’s day were probably so inferior to the orchestras, that //The Music// in the form of this //Suite// was adapted for orchestra. It has been most frequently played in this setting ever since. Handel’s original idea, however, remains superior—one of the best pieces ever written for winds. Anthony Baines and Charles Mackerras edited the arrangement used for this recording.
 * 9) ii. The complement of players used on this recording was: 3 flutes/piccolo, 8 oboes, 7 bassoons, contra bassoon, string contrabass, 5 horns, 6 trumpets (2 piccolo A’s and 4 D’s), 3 trombones, kettledrums, 3 field drums, cymbals and bass drum. It can be played, of course, very effectively with less of everything; at is disastrous premiere, the forces listed were: 40 trumpets, 20 horns, 16 oboes, 16 bassoons, 8 pair of kettledrums, 12 side drums, fifes, flutes, and serpents assisted by 101 brass cannon and 18 pieces of small ordnance.
 * 10) iii. These notes are from “Frederick Fennell--The Cleveland Symphonic Winds” CD produced by Telarc, recorded in Severance hall, Cleveland, April 4 and 5, 1978
 * 11) sheet music from IMSLP for Handel's Royal Fireworks Music
 * 12) III. Classical
 * 13) **//a.//**Mozart: “Mozart wrote numberous serenades and in doing so virtually laid the groung rules for the genre. The sequence and number of the movements became variable in his hands, and it was Mozart who began the tradition of starting and/or ending the serenade with a marchlike movement… The main part of the serenade, which could include up to ten movements, consisted of a movement of the sonat-allegro type and a maximum of two slow movements alternating with two or three minuets. (Notes from CD liner notes by Ulrike Brenning, English Translation by Stewart Spencer. Sony classical “Essential Classics: Chamber Music; Mozart Serenade K. 388, Beethoven: Octet, Op. 103; Dvorak: Serenade, Op. 44)
 * 14) **//i.//** **//Serenade in E Flat Major #11 K375//** (1780?) This was one of the first works Mozart wrote during his Vienna period (1781-1791) and it reflects his happy hopeful spirit. He first wrote it as a sextet and later added a pair of oboes and revised it to its present form, expecting it to be played by the new wind octet of Prince Alois Lichtenstein (Lichtenstein was a large scale arts patron). Mozart wrote a letter to his father on November 3, 1781, discussing this serenade: “I wrote it for St. Theresa’s Day, for Frau von Hickel’s sister. Mozart Serenade in Eb
 * 15) **//ii.//** **//Serenade in B flat Major #10 K361 “Gran Partita”//** (1785?) Mozart Serenade in Bb
 * 16) **//iii.//** **//Serenade in C minor #12 K384//** (1786) Mozart Serenade in C minor
 * 17) **//iv.//** **// Overture Le Nozze di Figaro //** (1790?)
 * 18) v. Various other divertimenti and opera arrangements for octet “Harmonie”
 * 19) **//b.//** Beethoven (1770-1827) **//Octet for Winds in E-flat major, Op. 103//** (1792) The Octet was written, in all likelihood, in Bonn, shortly before Beethoven moved to Vienna. Among Bonn’s other residents at this time was the Austrian Archduke Maximilian Franz, who was also Elector of Cologne and who, in keeping with the custom of the age, employed eight excellent wind players to entertain him at table. One of these musicians, the horn player Nikolaus Simrock, was on friendly terms with Beethoven and later became one of his principal publishers. (Notes from CD liner notes by Ulrike Brenning, English Translation by Stewart Spencer. Sony classical “Essential Classics: Chamber Music; Mozart Serenade K. 388, Beethoven: Octet, Op. 103; Dvorak: Serenade, Op. 44)
 * 20) IV. Romantic
 * 21) **// a. //** Mendlessohn, Felix (1809-1847) **// Overture //** (Nocturno), op. 24 (1824) Overture for Winds (Mendlesshon)
 * 22) **//b.//** Berlioz, Hector (1803-1869) **//Symphonie Funebre et Triomphal// (1840)**
 * 23) **//c.//** Wagner, Richard (1813-1883) **//Trauermusic//**; (1844) written for the funeral of Carl Maria von Weber based on 2 excerpts from Weber’s opera //Euryanthe//
 * 24) **//d.//** Brahms **//Serenade No. 2//** (1859) (includes fl, cl, ob, bssn, hn, viola, celli, bass, so not quite a “wind serenade”, but definitely inspired by the wind serenade tradition)
 * 25) **//e.//** Bruckner (1824-1896) //Mass 2 in e minor// (1866) for chamber wind orchestra and full chorus: 2 ob. 2 Cl. 2 Bssn. 4 Horns, 2 trumpets, 3 trombones, and chorus = Soprano 1&2, Alto 1&2, Tenor 1&2, Bass 1&2.
 * 26) **//f.//** Dvorak(1841-1904) **//Serenade in d minor for Winds, op. 44//** (1878) Dvorak, almost certainly inspired particularly by the gran partita of Mozart, added a double bassoon, third horn, cello and double bass to the traditional octet which had included two oboes, two clarinets, two bassoon, and two horns. The result is a compact, bass-dominated sound in which the lower instruments are often used melodically: in other words, they do not merely provide harmonic support. The piece was written in 1878—almost a century after Mozart’s wind serenades—and finds the composer investing many traditional Classical details with a more Romantic colour: listen, for example to the marchlike motifs in the opening and closing movements…. (Notes from CD liner notes by Ulrike Brenning, English Translation by Stewart Spencer. Sony classical “Essential Classics: Chamber Music; Mozart Serenade K. 388, Beethoven: Octet, Op. 103; Dvorak: Serenade, Op. 44) Dvorak Serenade for Winds
 * 27) **//g.//** Strauss, Richard (1864-1949)
 * 28) //i.// //Serenade for Winds, Op. 7// (1881/2) Strauss Serenade op. 7
 * 29) **//ii.//** **//Suite for Winds, Op. 4//** (1884) written for Hans von Bülow, the famous German conductor, who also got Strauss started on a conducting carreer.
 * 30) //iii.// //Sonatine No. 1 in F for Wind Instruments “From an Invalid’s workshop”//
 * 31) //iv.// //Symphony for Wind Instruments ‘The happy Workshop”//
 * 32) h. Gounod, Charles //(1818-1893//) wrote //**Petite Symphony**// in 1885. The instrumentation differs from the standard harmonie ensemble of two clarinets, two oboes, two horns, and two bassoons with the inclusion of flute. This orchestrational oddity is explained by the fact the work was written for and performed by Paul Taffanel, the flute virtuoso, and his chamber ensemble. This work is also different from wind works of the period in that it is a true symphony as opposed to the serenade, which was common at the time.Gounod Petite Symphonie
 * 33) i. Bernard, Emile (1843-1902) **//Divertissement pour Instruments a Vent, op. 36 (//**1894). The French term //divertissement// (//divertimento// in Italian) was a frequently used in the 18th and 19th centuries to identify an instrumental composition written in a light vein and used primarily for entertainment. The title was often given to an enormous variety of music written fro chamber ensembles consisting of three to eight or more players. Closely related types are the serenade, cassation, and nocturne (such as Mendelssohn’s //Nocturne//, also commonly known as //Overture for Winds//). Over the years the divertimento has evolved into many different styles and forms. Emile Bernard’s //Divertissement//, for example is an outstanding three-movement wind symphony in a late Romantic style (the first movement recorded here is in modified sonata allegro form with a slow introduction). Bernard, a French organist and comoser, studied at the Paris Conservatory and later in his career was organist of the church of Notre0Dame des Champs in Paris from 1887 to 1895. Bernard was not a prolific composer. However, his serious and reflective disposition is shown in almost all of his works, including the Divertissement. Composed in 1894 from wind dectet and first performed by the Parisian Société des Instruments à Vent, the Divertissement was played at least three times by the Longy Club of Boston between 1900 and 1905. The critic for the Boston Trascript wrote of the Club’s 1904 performance: “[The work is] so well written that the lack of strings does not make itself so clearly felt as usual.” (Quoted in The Longy Club, by David Whitwell, WINDS, 1988, p. 43). (program note from CD liner notes The Catholic University of America Chamber Winds “Wind Serenade” Robert J. Garofalo, Conductor
 * 34) **//V.//**20th Century
 * 35) **//a.//**Copland, Aaron (1900-1990)
 * 36) //i.// //An Outdoor overture (1938)//
 * 37) //ii.// //Fanfare for the Common Man (1944)//
 * 38) **//iii.//** **//Emblems (1964) Emblems by Copland//**
 * 39) **//b.//**Colgrass, Michael (b. 1932) Pulitzer prize winning composer
 * 40) //i.// Deja vu (l977)
 * 41) **//ii.//** **//Winds of Nagual (1985) Winds of Nagual. 1. Desert//**
 * 42) **//iii.//** //Artic Dreams// (1991)
 * 43) **//iv.//** //Church Windows// (2000) (Grade 2-middle level band)
 * 44) **//v.//** //[]//
 * 45) c. Diamond, David (b. 1915) **//Hearts Music//** 1989
 * 46) **//d.//**Daugherty, Michael
 * 47) **//i.//** **//Niagra Falls//** (1997)
 * 48) //ii.// //Brooklyn Bridge (Clarinet Concerto)// (2005)
 * 49) **//e.//**Gershwin, George
 * 50) **//i.//** **//Rhapsody in Blue// (1924)**
 * 51) //ii.// //Cuban Overture (1932)//
 * 52) //f.//Grainger, Percy(1882-1961) Percy Aldridge Grainger was born in Australia, spent time living in England, where he collected folk songs, and then emigrated to the United States where he lived until his death in 1961 at White Plains, New York. While most famous during his lifetime for his concertizing on piano (including world premiering and championing the Grieg piano concerto) he was also a genius composer and rugged individualist—one of the first 20th century composers to embrace the band as a viable, expressive artistic medium.
 * 53) **//i.//** **//Hill Song No. 1 (1902)//**
 * 54) //ii.// //Hill Song No. 2 (1907) Hill song 2 on youtube//
 * 55) **//iii.//** **//Colonial Song (1918)//**
 * 56) //iv.// //Lincolnshire Posy (1937) LP on Youtube (North Texas)//
 * 57) **//g.//**Grantham, (Return of interest in accessible music, jazz and popular music, and folk music)
 * 58) //i.// //Bum’s Rush (1992)//
 * 59) **//ii.//** **//Southern Harmony (1999) What Wondrous Love (Southern Harmony)//**
 * 60) **//h.//** Hindemith, Paul (1895-1963)
 * 61) **//i.//** **//Konzertmusik Op. 41 (1926)//**
 * 62) **//ii.//** **//Symphony in B flat (1951) Hindemith Symphony Mvt. 1//**
 * 63) **//i.//**Holst, Gustav(1874-1934)
 * 64) **//i.//** //Gustav Holst// is perhaps most famous for his symphonic work, //The Planets.// Although he is considered primarily an opera and orchestral composer, he has many important wind works in his ouvre such as **//Hammersmith// (1931**), //First Suite in E-flat// (1909), and //Second Suite in F// (1911). The first suite is about as famous a band piece as the Beethoven 5th Symphony is for the orchestra.
 * 65) j. Husa, Karel (b. 1921)
 * 66) **//i.//** **//Music For Prague 1968//**
 * 67) **//ii.//** //Les couleurs Fauve//
 * 68) **//iii.//** //Piano Concerto//
 * 69) **//iv.//** //Smetna Fanfare//
 * 70) //v.// //http://www.schirmer.com/composers/husa_bio.html//
 * 71) //vi. Al Fresco//
 * 72) **//k.//**Ives, Charles (1874-1954)
 * 73) **//i.//** **//Country Band March (1903)//**
 * 74) //ii.// //Calcium Light Night (1907)//
 * 75) //iii.// //Scherzo: “Over the Pavements”(1907)//
 * 76) iv. //Variations on America// (1891) scored 1967…
 * 77) v. The Alcotts from Piano Sonata 2.
 * 78) **//l.//**Jacob, Gordon (1895-1984)
 * 79) **//i.//** **//William Byrd Suite (1923)//**
 * 80) //ii.// //Original Suite// (1928)
 * 81) //iii.// //Old Wine in New Bottles// (1960)
 * 82) //iv.// //[]//
 * 83) //v.// Jacob had a special affinity for wind instruments, for which he composed a large body of concerti and chamber music, including the Trio for clarinet, viola and piano, written in 1969. These works demonstrate deep knowledge of instrumental technique, also evident in his authoritative textbooks on composing and orchestral writing.
 * 84) m. Maslanka, David (b. 1943)
 * 85) **//i.//** **//A Child’s Garden of Dreams (1981)//**
 * 86) ii. //Symphony 2 (19 ) Symphony 4 (1993) ending of symph. 4 (Maslanka) J. Junkin//
 * 87) **//n.//** Mennin, Peter (1923-1983)
 * 88) **//i.//** **//Canzona//** is a short, brisk work. The concept of the “canzona” in this piece is based on the late-renaissance canzoni of Giovanni Gabrielli (1555-1612), which exploited the acoustics of the Cathedral of St. Mark in Venice with contrasting, antiphonal statements by opposing forces of brass. In this setting, Menin alternates blocks of woodwind and brass sonorities while applying 20th-century concepts of harmony, polyphony, and rhythm. Mennin was one of the important New York-school American composers of the mid-20th century that included Copland, Harris, Persichetti, Thomson, and Schuman.
 * 89) o. Messiaen**, **Olivier (1908-1992) For years Messiaen collected examples of birdsong which formed the inspiration for works such as //Reveil des Oiseaux//, //Oiseaux Exotiques// and //Catalogue d'Oiseaux//
 * 90) i. //Oiseau Exotique// (1956) for piano, wind and percussion Oiseaux Exotique
 * 91) ii. //Couleurs de la Cite Celeste (1963)// small scale piano concerto
 * 92) iii. //Et Expecto Resurrectionem Mortuorum (1964)// for wind and percussion
 * 93) **//p.//** Milhaud, Darius (1892-1974)
 * 94) **//i.//** **//Suite Francaise (1944)//**
 * 95) //ii.// //Dixtour (“Little Symphonie No. 5”)//
 * 96) //iii.// //[]//
 * 97) //iv.// //[]//
 * 98) **//q.//** Persichetti, Vincent (1915-1987) There have been few more universally admired twentieth-century American composers than Vincent Persichetti. His contributions have enriched the entire musical literature and his influence as performer and teacher is immeasurable. More than any other major American composer, Persichetti poured his talents into the literature for wind band. From the **// Serenade for Ten Wind Instruments //****, ** Op. 1 to the **// Parable for Band //**** , ** Op. 121, he provided performers and audiences with a body of music of unparalleled excellence. Of his 14 band works, four are of major proportions: **// Masquerade //**** , ****// Parable //**** , ****// A Lincoln Address //** and **// Symphony for Band //** . Of lesser compositional importance, the **// Divertimento //** is nevertheless one of the most widely performed works in the entire repertoireIn additions to his exhaustive compositional efforts, Persichetti found time to write one of the definitive books on modern compositional techniques, **// Twentieth Century Harmony: Creative Aspects and Practice //** (W.W. Norton, 1961) and essays in two books by Robert Hines on twentieth century choral music and twentieth century orchestral music (University of Oklahoma Press, 1963 and 1970). He also co-authored a biography of William Schuman (G. Schirmer, 1954) (http://www.presser.com/Composers/info.cfm?Name=VINCENTPERSICHETTI)
 * 99) //i.// //Divertimento for Band// // Op. 42 // (1950)
 * 100) //ii.// //Pagaent// // Op. 59 // //(1953)//
 * 101) //iii.// // Masquerade for Band, Op. 102 // (1965
 * 102) **//iv.//** **//Symphony For Band//** **// Op. 69 //** (Symphony No. 6) (1956)
 * 103) **//r.//** Poulenc, Francis. //Suite Francaise (1935)//
 * 104) **//s.//**Reed, H. Owen (b. 1910)
 * 105) **//i.//** **//La Fiesta Mexicana// (1949/1954)**


 * 1) ** ii. **Composer H. Owen Reed retired in 1976 as Professor Emeritus in music theory and composition after 37 years of teaching at Michigan State University. Born in Odessa, Missouri in 1910, Dr. Reed was educated at Louisiana State University and the Eastman School of Music. His teachers include Howard Hanson, Aaron Copland, Roy Harris, Bohuslav Martinu and Leonard Bernstein. He currently lives in Arizona. ** H. Owen Reed: ** In 1948 I was awarded a Guggenheim Fellowship. The project? To write what would be the first symphony for band. More recently, the name "band" has often been called Wind Ensemble, Wind Orchestra, Wind Symphony, etc., probably to show its interest in contemporary serious writing rather than in playing marches and transcriptions. But the new name generally implies a smaller group of more competent players.After hearing much infectious music in Mexico City, Cuernavaca and Chapala, and reading Stuart Chase's MEXICO, I decided to write a Mexican folksong symphony, a three-movement work somewhat depicting a typical fiesta. I immediately became a Freshman theory student taking melodic dictation on transcribing to notation the march, "El Toro," played at the bull fights, the mass sung at the cathedral in Chapala, the "Aztec Dance" which I obtained from Sn. Aceves who had done research on the music of the Aztecs, and finally a most popular Mexican tune played by the Mariachi, "El Son de la Negra." And, yes, // La Fiesta Mexicana // has been widely performed and recorded (in spite of its difficulty) throughout the United States, Japan, Canada, Europe and... Mexico. Michigan State's former Director of Bands, the late Leonard Falcone, performed // La Fiesta // with choreography, staged with costumes, lighting, etc., with choreography and directing by Forrest Coggan.
 * 2) t. Schwantner, Joseph (b. 1943)
 * 3) **//i.//** **//And the mountains rising nowhere (1975)//**
 * 4) //ii.// //[]//
 * 5) u. Schmitt, Florent (1870-1958)
 * 6) i. **//Dionysiaques//** Op. 62 No. 1 (1913) Along with Debussy and Ravel, one of the primary composers associated with impressionism in France. After studying in Paris with Massenet and Fauré, Schmitt won the Prix de Rome in 1900 for his cantata //Semiramis//. //Dionysiaques// is one of four pieces that he composed for band. Schmitt was fond of writing on a large scale and often for larger resources. He was a remarkable orchestrator who had a taste for the powerfully dramatic. //Dionysiaques// is no exception. It was composed for the Garde Republicaine Band of Paris. Although it was completed in 1913, this essential work in the repertory had to wait until June 9, 1925 for its first performance. The work shares the opus number of 62 with his //March Militaire,// which was written while Schmitt was in service at Metz during World War I Pierre-Octave Ferroud, one of Schmitt’s students, remarked that “one can see in the work [//Dionysiquaes//] the overflowing of sap at springtime, and the unabashed raucousness of the military band reinforces the impression of intense joy. “ The title refers to the Greek god of drama and wind, Dionysius, whose devotees were renowned for their sensual and decadent festivals. //Donysiaques// is a tone-poem full of drama, grandeur and emotive impressionistic chromaticism. (notes from “Songs and Dances” CD. Cincinnati Wind Symphoy, Eugene Migliaro Corporon. Klavier K11066.)
 * 7) ii. []
 * 8) **//v.//**Sousa, John Phillip (1854-1932)
 * 9) **//i.//** **//The Stars and Stripes Forever!// (1897)**
 * 10) **//ii.//** **//The Black Horse Troop// (1924)**
 * 11) **//w.//**Stravinsky, Igor (1882-1971)
 * 12) **//i.//** **//Octet (1923) Stravinsky conducting his octet//**
 * 13) //ii.// //Symphonies of wind instruments (1920) Symphonies of Wind Instr. Netherlands WE//
 * 14) //iii.// //Symphony of Psalms// (for chorus and winds) (1930)
 * 15) //iv.// //Piano concerto (1923/24; revised 1950)//
 * 16) **//x.//**Varese, Edgard
 * 17) **//i.//** Octandre (1923)  Octandre with score on youtube!
 * 18) **//ii.//** Hyperprism (1924)
 * 19) **//iii.//** Intégrales (1925)
 * 20) **//iv.//** Ionization (1931) masterpiece for percussion ensemble
 * 21) **//v.//** “These are all complex, bold and highly original compositions which challenge conductors, perdformers and audiences. Varese used vertical (harmonic) and horizontal (melodic) material (intervals) to create music which exploited rhythm and sonority. He called his music “organized sound” and developed a motivic technique called “transmutation” which he later developed in music he composed for electronic music making equipment alone (Poeme electronique, 1957-1959) and with instruments (Deserts, 1951-1954). (Battisti The 20th Century America Wind Band/Ensemble. P. 6)
 * 22) **//y.//** Vaughn Williams, Ralph (1872-1958)
 * 23) **//i.//** **//Folk Song Suite (1923)//** (or //English Folk Song Suite//**)**
 * 24) //ii.// //Toccata Marzial (1924)//
 * 25) //z.// //Walton, Sir William (1902-1983//
 * 26) **//i.//** **//Crown Imperial (1937)//**
 * 27) **//ii.//** //Façade An Entertainment// consists of a fanfare followed by 21 poems which are narrated over music composed for an ensemble of 4 wind players, cello and percussion…It is a work of great wit and humor. There is no other piece like it in all musical literature. (Battisti The 20th Century America Wind Band/Ensemble. P. 6) facade an entertainment (youtube)
 * 28) **//aa.//**Weill, Kurt (1900-1950)
 * 29) //i.// //Die Drei Groshenoper “The Threepenny Opera”// (1928)
 * 30) **//ii.//** **//Kliene Dreigroshenmusik “Little Threepenny Music” (1929), Overture//**
 * 31) **//VI.//**(21st Century)
 * 32) **//a.//** //Tichelli, Frank.//
 * 33) **//i.//** //Symphony// (2004) Mvt. 3 apollo unleashed
 * 34) **//ii.//** //http://www.manhattanbeachmusiconline.com/frank_ticheli/index.html//
 * 35) **//b.//**Corigliano, John (Pulitzer Prize winner in 2001)
 * 36) //i.// //(Gazebo Dances// 1974//)//
 * 37) //ii.// //Symphony 3 for Large Wind Ensemble- “Circus Maximus//” (2005) Circus Maximus part 1
 * 38) //iii.// //[]//