Published by Daehn Publications, 1999

Level: Middle School / High School

“The Lover’s Ghost” was just one of a set of five folk songs that Vaughan Williams adapted in 1912 for unaccompanied mixed voices. In reality, his original arrangements are true compositions in their own right and adapted for concert band without losing the warmth and texture you would expect to hear from a great work for vocal ensemble.

Written in common time, this flowing work radiates harmonically from c minor to C major at the very end. Between these tonal centers the work utilizes extended scaler passages set in traditional woodwind and brass choirs with exposed or independent melodic lines in each voice (especially alto saxophone). The majority of the work is scored with doublings in additional instruments, but layers the selected instruments to create 53 measures of worthwhile music making potential.

Ranges are conservative: All of the clarinets play above the break and the highest trumpet note in a concert “G”. The score requires standard concert band instrumentation with 2 trumpet parts, 2 horn parts, and 2 trombone parts in the brass. Percussion is limited to timpani and suspended cymbal that actually rest more than they play. Dynamic and phrase markings are very specific and well marked throughout which will assist in creating your own interpretation of the work. The only challenge from this new release comes from a set of errata, and not the musical content. The errata is as follows: MEA. 8, Beat 1: Bar. Sax=F sharp, Trb 2 and Euph=A natural / MEA. 50, Beat 1: Bass Cl.=B natural / MEA. 52: Alto Cl. last note=G natural / MEA. 53: Trb 1=E natural.

By Luigi Boccherini / trans. Thomas Stone

Published by Daehn Publications, 1998

Level: High School Chamber Winds

Lucca, Italy is not only known for it’s beautiful town square and tasty ice cream, but also as the birthplace of composer Luigi Boccherini (1743-1805). His Symphony #26 in c minor, opus 41 is now transcribed for another developing art form of the period: the Harmoniemusik. Set for 2 flutes, 2 oboes, 2 clarinets, 2 horns, 2 bassoons, and string bass (with an alternate part for bass clarinet) it provides a wonderful venue for a high school chamber wind ensemble to play more than just the notes on the page.

This transcription maintains the original time signature of 6/8 (with isolated 3/8 measures at cadence points) and the sonata form in Eflat major with the development in G major. The tempo is “Lentarello” with the eighth note equal to 96. The smaller the ensemble, the more individual responsibility and this work is no exception. Extensive arpeggiated figures are written in the clarinets while the first flute and oboe must be technically strong and confident as ensemble soloists. Horn and bassoon parts are quite realistic for any high school player. Preliminary program notes describe 18th century performance practice in relation to grace notes and include illustrations. Many thanks to the New Trier High School Wind Ensemble of Winnetka, Illinois for their commission and contribution to high school chamber wind repertoire.