I. Epitaphs
II. Marches
Symphony for Band was composed for the West Point Sesquicentennial Celebration, marking 150 years of progress at the United States Military Academy. The composer was invited to contribute a composition for this event by the Academy and Major Francis E. Resta, commanding officer of the United States Military Band and director of music at the Academy. Composed during the months of January and February 1952, this symphony was first performed on April 13th of that year at the Academy, with the composer conducting the United States Military Academy Band.
Program note provided by the publisher
"Epitaphs" is both lyrical and dramatic. The quiet and melodic opening statement of the main theme leads directly into a broad and noble exposition of one of the motifs, becoming a passacaglia based on a martial theme first stated by the tuba. After a series of variations which grow in intensity, the opening lyricism, combined with the passacaglia motif and an allusion to “Taps,” makes a quiet but dissonant closing to the first movement.
"Marches" is a brilliant but subtle paraphrase on marches and marching. The various tunes parade past in an array of embellishments and rhythmic variations. At the beginning of the movement, and in later sections as well, the wind instruments play figures which suggest typical snare drum rhythms. At one point a simulation of a fife and drum corps recalls the instrumentation of the original West Point Band. After numerous transformations of the principal marching motif, the work ends in a virtuoso code of martial fanfares and flourishes.
Program note extracted from Program Notes for Band by Norman E. Smith
Morton Gould was a composer and conductor known for employing complex harmonies and American themes in his compositions, particularly in his work for wind band. Born in New York, 1913, the composer wrote and conducted for over 75 years, continuing into his final years throughout the early 1990’s. Having led every major American orchestra, winning the Pulitzer Prize for his “contributions to American culture,” and achieving a lifetime of compositions for military band, wind orchestra, and the stage, Morton Gould has solidified himself as one of the best in America’s modern age.
Program note researched and written by Cameron Wilson