By Gustav Holst / Wind Orchestration by John Boyd

Ludwig Music, SBS-387 (1999)

Japanese Suite was composed for the Japanese dancer Michio Ito based on themes of which he provided for Gustav Holst (with the exception of the second movement – "Dance of the Marionette"). The work follows a line of interest in astrology, mysticism, and the orient which was immediately followed by his masterful composition "The Planets".

Prelude – Song of the Fisherman (41mea); opens with an extended bassoon solo (doubled in tenor saxophone) flowing into a 6/8 pattern set by the harp (printed with a piano substitute) creating the feel of rushing water throughout the movement. There is limited multi-meter and the entire movement is pitched in F major.

I. Ceremonial Dance (68mea); marches forward within a 2/4 Allegretto in Aflat major with a short horn solo near the beginning.

II. Dance of the Marionette (84mea); is set in 6/8 in the key of Eflat major with technically challenging woodwind parts. The meter is often contrasted between duple and triple pulse at the same time creating a very interesting texture. This is perhaps the most challenging movement in the suite.

Interlude – Song of the Fisherman (8mea); this short reprise is an alteration on the opening prelude now written in 4/4

III. Dance Under the Cherry Tree (40mea); a slow common time Lento in F major will work best with strong piano and vibraphone players to create the moving ostanato beneath a succession of flute, bassoon, and oboe soloists. Flutes are required to use harmonic fingerings.

IV. Finale – Dance of the Wolves (109mea); highlights a wonderful Allegro melody in Bflat major that increases tempo to Vivace and finally Presto (one to a bar). There is an amazing chromatic passage written in the woodwinds near the end that will be a challenge to every player.

The sequence of movements should be performed without interruption with the total duration being approximately 11:30. Performance challenges exist in technical woodwind parts, harmonically rich structures, and ensemble. Pitch centers revolve around common key signatures and multiple voice doubling is common. English horn and string bass parts are doubled in nearby voices and the harp (very colorful for the texture of the Prelude) is also re-written as a piano part. Percussion writing will require bell, xylophone, vibraphone, and a variety of auxiliary percussion. By no means is this work outside of the realm of a good high school band searching for worthwhile literature.

With the support of the Holst estate, John Boyd has allowed all of us to take a deeper look into the compositional contribution and stylistic impulse of this master composer for wind band. A well appreciated new view that may also shed light on understanding the breadth of his other works.