Hi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble From 1952 to 1962

Frederick Fennell, founder of the internationally acclaimed Eastman Wind Ensemble (EWE), is considered by many to be the catalyst for the modern wind-band movement, often credited with revolutionizing thought and practice within the discipline. While this perception remains valid, evidence suggests that Fennell was much less serious (or “high-brow”) than many believe. Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. Fennell’s archival material suggests that his philosophy was directly influenced by Mercury’s bottom line with the objective of selling records to the masses. Surprisingly, this synthesized a dynamic approach to programming for Fennell and the EWE—one that remains a tradition to this day. The influence of recorded media’s populist objective fused an approach for Fennell that is much more “middle-brow” than many may have believed.

Renesaissance wind instruments with a double reed, part 1

The present article is aimed at collecting and arranging information about the Renaissance wind instruments with a double reed, which never before or after that period in the history of music presented as many tone colours. The author pays attention to the great importance of the sound of a wind ensemble as without these instruments – as Lorenz Walker claimed – neither a prince nor any wealthy city would have been able to fully show their significance. The first part of the article in this issue of the magazine presents the shawm, rackett, dulcian and bassanello – the instruments in which the reed was fully outside or partially enclosed by a pirouette – a small wooden part on which a musician could rest their lips and prevent fatigue. The author discusses the history and construction of these instruments, their use, scales, varieties and ways of playing. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. New concepts and ideas of instrument makers from the turn of the 16th century, such as the extended range of the bassanello, the piruet, or the “twist” of the bore of the over 2-metre-long bass shawm and thus creating a shorter instrument yet still remaining in the same register – the dulcian, are still admired by modern restorers of historical instruments. The article is meant both for people playing early music and modern performers interested in the topics connected with historical performance using old wind instruments.

Effects of wind ensemble seating configurations on college instrumentalists’ perceptions of ensemble sound

The purpose of this study was to examine the effects of wind ensemble seating configurations on college instrumentalists’ ratings of ensemble sound. Members of a university wind ensemble ( N = 40) were recorded while performing a 1-minute excerpt of Only Light by Aaron Perrine in one of four ensemble configurations. At the conclusion of the recording session, the performers wrote free-response comments to “In which of the four configurations did you feel the ensemble sounded their best?” and “Why?” Another set of participants, college ensemble members ( N = 121), listened to the four audio recordings and rated the ensemble tone quality, ensemble balance, and ensemble blend of each performance. Performers mentioned that ensemble balance and ensemble blend were important factors that influenced their decision as to why the ensemble sounded their best in a particular configuration. An analysis of the composite ratings revealed a significant main effect for ensemble configuration. However, there was a significant ensemble configuration × order interaction signifying that participants’ ratings were influenced by the order in which they heard the excerpts. Our results may suggest that ensemble configurations produce different listening environments for performers and audience members.

Introduction

This introductory chapter provides an overview of Aaron Jay Kernis's achievements. His current Schirmer catalog lists more than one hundred compositions: a dozen orchestral works; another dozen concerti with large orchestra or wind ensemble; a group of works for soloist with chamber orchestra; nearly two dozen compositions for two to six players and the same number of pieces for chorus; fourteen pieces for solo voice accompanied by piano or chamber groups; and a dozen compositions for keyboard. Quantity, however, is but one measure of achievement. In Kernis's case, quality has been repeatedly affirmed by a steady stream of awards and commissions, by the enthusiastic reception from renowned performers, and by the strong response his music elicits from audiences. Indeed, he has already won three major prizes coveted by contemporary composers: the Pulitzer Prize (1998), the Grawemeyer Award (2002), and the Nemmers Prize (2012).