March 2011 - World Association for Symphonic Bands and Ensembles

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phone – Bb cornet – 1 st & 2 nd Bb trumpets – 3 rd & 4 th Bb trumpets – 1 st & 2 nd F French horns – 3 rd & 4 th F French horns – 1 st & 2 nd C trombones – 3 rd & 4 th C trombones – Bb Flugelhorn – Eb alto horn – Bb baritone horn – Bb euphonium – Eb bass – Bb bass – string bass – Timpani – 2 percussion (snare drum, bass drum, cymbals, castanets, tambourine, gong). CROQUIS SPORTIFS OPUS 85 Although Absil had the Symphonic Band of the Belgian Guides in mind for the majority of his compositions for Symphonic Band, he did compose his second original Wind Band piece for an amateur Wind Band. Indeed, Absil had also connections with amateur Wind Bands. On November 21, 1949, he attended a performance of his Flemish Rhapsody (cf. infra) by the Municipal Band of Roeselare (West- Flanders); the composer had lent the material to conductor Verdonck. In 1954, Georges Verdonck (1904 – 1970), conductor of the Municipal Band of Roeselare (West- Flanders) inquired whether Absil would accept to write a piece for the band he was conducting. Absil generously complied with this request and thus the suite for Symphonic Band Croquis Sportifs opus 85 (Sports sketches) saw the light of day. The manuscript, with the separate parts in Verdonck’s handwriting, dates from 1955. score of “Croquis Sportifs” Georges Verdonck, conductor of the Roeselare Municipal Band, who commissioned “Croquis Sportifs” This suite was performed at a concert for Saint Cecilia’s holiday by the Roeselare Municipal Band on November 20, 1955. It consists of four parts. I. “Entrée des Athlètes” (The athletes’ entry) – a festive march; II. “Jeu des Athlètes” (The athletes’ games) - a scherzo; III. “Les Baigneuses” (The swimming beauties) – a barcarole and IV. “Cross Country” – a presto movement. Instrumentation: piccolo – flute – oboe – Eb clarinet – Bb solo clarinet – 1st, 2 nd & 3 rd Bb clarinets – Eb alto saxophone – Bb tenor saxophone – Eb baritone saxophone – 1 st & 2 nd Bb cornet – 1 st , 2 nd & 3 rd Bb trumpets – 1 st , 2 nd & 3 rd F French horns – 1 st , 2 nd & 3rd C trombones – Bb flugelhorn – Eb alto horn – Bb baritone horn – Bb euphonium – Eb bass – Bb bass – String bass – timpani – 3 percussion. LEGENDES D’APRÈS DVORAK OPUS 91 In 1956, Absil turned again to the Symphonic Band. The renowned musicologist Ernest Closson 14 , considered as the godfather of the Belgian musicology, was teaching music history at the Etterbeek Academy of Music at that time and, someday, he drew Absil’s attention to a an album for piano fourhanded entitled Légendes by Antonin Dvorak. Absil happened to come across this album again in 1956 and, notwithstanding the popular character of this music, he decided to make a Symphonic Band orchestration. At least that was his initial intention, but he soon abandoned this project as he found the piano part rich enough for this purpose. Actually, he only retained Dvorak’s tunes and composed a completely original Wind Band piece which he simply called Légendes pour harmonie d’après Dvorak opus 91 (Legends for Symphonic Band after/according to Dvorak). The three part composition was premiered by the Symphonic Band of the Belgian Guides, conducted by Karel Torfs 15 at the I.N.R. radio concert hall in Brussels on October 7, 1957. FANFARE The short Fanfare pour les Jeunesses Musicales for brass ensemble was written for the opening ceremony of the 13 th World Congress of the International Youth Musicians Federation at the Large Auditorium built for the 1958 World Fair in Brussels, on July 14, 1958. It was performed by members of the National Orchestra of Belgium, conducted by André Vandernoot, next to similar short fanfares composed by Pieter Leemans 16 , Raymond Chevreuille 17 , Léon Jongen 18 and Vic Legley (cf. footnote 12). TROIS FANFARES (Three Fanfares) OPUS 118 Here we have a piece for brass ensemble which was also dedicated to the Guides Band. In 1962, Yvon Ducène 19 , a former pupil of Absil, was appointed conductor of the prestigious Royal Symphonic Band of the Belgian Guides. Absil knew perfectly well that this was the right choice. In 1963, the pupil asked the Master to write a piece for the band and Absil wrote Trois Fanfares opus 118 for brass ensemble in three parts: 1) Guerrière, 2) Funèbre and 3) Joyeuse (War Fanfare – Funeral Fanfare – Joyous Fanfare). These fanfares, written for 4 trumpets, 4 cornets, 4 French horns, 2 euphoniums, timpani and percussion, were premiered at a concert on the bandstand of the Royal Park in Brussels in 1963. Sometime later, Absil attended a concert of the Guides Band conducted by Ducène and wrote in the band’s guest book: “Je me joins de tout cœur au concert international de louanges qui s’adresse à la Musique des Guides. Cette admirable phalange se classe sans aucun doute en 22 WASBE World
tête des grands orchestres d’harmonie par son style et sa perfection technique autant que par la haute qualité de son répertoire. A ces titres divers la Musique des Guides est un véritable ambassadeur de la musique. Lors de ses auditions en Belgique comme à l’étranger, elle met en évidence notre remarquable école instrumentale autant que les compositeurs belges qui, suivant l’exemple du grand Paul Gilson et de Florent Schmitt, ont conçu pour orchestre d’harmonie des œuvres vivantes et colorées. Cellesci bénéficient de l’interprétation à la fois précise et souple de son jeune et dynamique chef, le lieutenant Yvon Ducène, à qui les artistes belges expriment leur admiration. Ils lui souhaitent une longue et brillante carrière.” (Jean Absil, Bruxelles, le 11 octobre 1963) 20 . Jean Absil’s wish was realized as Major Yvon Ducène was to conduct over 1000 concerts in Belgium and abroad. During those twenty-three years, he incessantly served the Belgian music and so he was rightly awarded the “1974 Fugue Trophy” by the Belgian Composers’ Union. NYMPHES ET FAUNES OPUS 130 In 1966 Absil composed the ballet suite for Symphonic Band Nymphes et Faunes opus 130 (Nymphs and Fauns). As it had been the case with Rites, this composition was also inspired by ancient mythology. This fine composition evokes a ballet of frolicsome nymphs. The introduction boasts a nice theme played by two solo clarinets which yield to a saxophone quartet. A pastoral intermezzo is suddenly interrupted by a vigorous rhythm suggesting the chase of the nymphs by the fauns. In the end nymphs and fauns indulge in a giant bacchanal. This piece, Absil’s last original Wind Band composition, was premiered by the Guides Band, conducted by Yvon Ducène, in Brussels on May 11, 1967. Transcriptions for Symphonic Band of his own compositions It is remarkable that Jean Absil wrote himself transcriptions or orchestrations for Wind Band of works he had initially conceived for symphony, orchestra, strings, chamber ensemble or piano. The richness of the great Symphonic Band inspired him enormously and he knew for certain that his works would be performed in those versions. Moreover could he dream of a better interpreter than the Symphonic Band of the Belgian Guides? Yet, also the Paris Garde Républicaine Band, the Dutch Royal Military Band and even some top amateur Wind Bands put several of Absil’s compositions on their repertoire. The Dutch amateur Wind Band “Sint Michaël” from Thorn, conducted by Heinz Friesen, wanted to play Rites at the 1974 World Music Contest in Kerkrade. After many hesitations and having asked Major Yvon Ducène’s opinion, Jean Absil finally gave his authorization. It proved to be the right decision because this was an ideal international promotion of the composition, especially as the “Harmonie Sint Michaël” won the contest. Since 2004 the Belgian music publisher Louis Martinus (HAFABRA MUSIC) is sole selling agent of “Rites” and “Roumaniana”, allowing those pieces to be easily accessible and so Rites will be the test piece in the concert division for Symphonic Bands in autumn of 2011! Actually, Jean Absil followed in his teacher Paul Gilson’s track. Each time the latter wrote a piece of music for piano, he saw to it that the piece was suited for an orchestral Yvon Ducène version and very often simply thought, of a Wind Band version. FLEMISH RHAPSODY (Opus 4) The first composition Absil “adapted” for Symphonic Band was his Rhapsodie Flamande – Flemish Rhapsody (1928) based on popular Flemish folksongs. It was the very first “Flemish” rhapsody in the history of Belgian music, moreover composed by a “Walloon” composer! Paul Gilson had brought the importance of folk music to Absil’s notice by referring to Adolphe Samuel’s 21 music reading manual published by Lemoine in Paris. The manual was completely based on Flemish traditional folk music themes. For his rhapsody, Absil choose four tunes: “Het looze visschertje” (The naughty angler), “Pierlala” (name of an imaginary medieval popular hero); “Mie Katoen” (an old Brussels folksong) and an ancient Flemish Christmas carol. The work consists of three parts, played without interruption. After a ‘Brueghel like’ tavern scene, the oboe starts a pastoral Christmas carol which is finally interrupted by a wild Folk dance that combines all themes. The Symphonic Band version of the Rhapsodie Flamande was premiered by the Symphonic Band of the Belgian Guides, conducted by Arthur Prevost 22 , on the bandstand of the Royal Park in Brussels on May 18, 1933. Soon the Paris Garde Républicaine Band put it also on its repertoire. Ducène conducting the Royal Symphonic Band of the Belgian Guides PASTORAL SUITE (Opus 37) In 1939, Absil wrote the rather poetic Suite Pastorale pour piano opus 37. As the title suggests, this is a suite of rural and pastoral tunes, orchestrated in a masterly WASBE World 23
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March 2011 - World Association for Symphonic Bands and Ensembles

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