{"id":16025,"date":"2023-02-06T12:35:34","date_gmt":"2023-02-06T17:35:34","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?p=16025"},"modified":"2026-02-09T10:26:55","modified_gmt":"2026-02-09T15:26:55","slug":"feb6-feb13","status":"publish","type":"post","link":"https:\/\/www.esm.rochester.edu\/sibley\/2023\/02\/feb6-feb13\/","title":{"rendered":"February 6th-13th: Eastman Wind Ensemble debut concert"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1728410346034{background-color: #ffffff !important;}”]Published on Feb 7th, 2023<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

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Seventy years ago this week, on the afternoon of Sunday, February 8th, 1953, the Eastman Wind Ensemble made its public debut with a concert in Kilbourn Hall, opening with these bars of music from the Serenade no. 10 in B-flat<\/em> by Wolfgang Amadeus Mozart.<\/p>\n

[\/vc_column_text][vc_row_inner equal_height=”yes”][vc_column_inner css=”.vc_custom_1675791254836{margin-right: 40px !important;background-color: #ffffff !important;}”][vc_column_text css=”.vc_custom_1675796649752{margin-top: 20px !important;margin-right: 60px !important;margin-bottom: 20px !important;margin-left: 40px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-bottom: 20px !important;}”]<\/p>\nhttps:\/\/www.esm.rochester.edu\/sibley\/files\/BN-0014-01.mp3<\/a><\/audio>\n

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It is surely no exaggeration to say that the concert marked not only a milestone for the Eastman School of Music, but also the start of a new era in winds and brass performance.\u00a0 Besides giving exposure to a newly founded ensemble, the concert explicitly promoted the wind ensemble concept which would be enthusiastically embraced in the ensuing years, both at home and abroad.\u00a0 The date of February 8th, 1953 might therefore to be taken to draw a clear line of demarcation in the chronological sweep of Eastman School history.<\/p>\n

Accounts of the Eastman Wind Ensemble\u2019s founding have been published, in greater and in lesser detail; [1]<\/a><\/sup> in addition, Frederick Fennell set out his vision for the wind ensemble concept in his book Time and the Winds <\/em>(Leblanc, 1954).\u00a0 For the purposes of this entry, I will share that\u00a0 Frederick Fennell\u2019s interest in bands had been a lifelong concern, dating back to his boyhood summers at the National Music Camp (Interlochen, Michigan) and his activities as drum major in the marching band at John Adams High School in his native Cleveland.\u00a0 From the Eastman School he wrote to one of his mentors, renowned band director Albert Austin Harding (1880-1958), \u201cI am all for bands and you know that is where I intend to do my work.\u201d[2]<\/a>\u00a0<\/sup>\u00a0 An industrious undergraduate, the young Fennell founded the University of Rochester\u2019s first-ever marching band\u2014while still a freshman\u2014and then, when the football season had ended, brought the band indoors to become the University of Rochester Symphony Band.[3]<\/a>\u00a0<\/sup> After receiving his masters degree in 1939, Fennell was appointed to the Eastman School faculty, where throughout the 1940s (apart from three years\u2019 national service during World War II) and into the \u201850s, he would be concerned with both teaching and conducting.\u00a0 In 1950 Fennell won administrative support to organize what he called the Kilbourn Hall Wind\/Brass Program, whereby he regularly rehearsed the school\u2019s reed, brass, and percussion performers in repertory tracing the development of wind literature. \u00a0This activity, together with his work with the Symphony Band, proved to be pivotal in his motivation to eventually found a new ensemble for winds.\u00a0 As he would later write,<\/p>\n

A few decades of industry on the part of some composers and a few bandmasters had stimulated genuine interest in the creation of contemporary music for the wind band, but the mere existence of this music did not guarantee its performance, proper or otherwise.\u00a0 It was my concern that, for want of proper performance, this hard-won interest by composers of our time would be lost, thus robbing the wind-band medium of its greatest chance for artistic acceptance and survival.\u00a0 These observations seemed to call for a new kind of ensemble.\u00a0 There was the unique American gift for artistry of the highest caliber on the wind and percussion instruments and our incredibly well-organized systems for attracting the youth of the land to the teaching of these instruments.\u00a0 The unprecedented participation of millions of school children in band activity was both system and result.\u00a0 This vast and churning activity, consuming the daily musical thoughts of millions of people, seemed in need of a fresh, imaginative, and responsible approach.\u00a0 It was our further conviction that matters of instrumentation have always been the province of composers rather than committees; the music to be played would be the only factor to govern the choice of instruments that would be assembled.[4]<\/a><\/sup><\/p>\n

\u2014Thus, already in Fennell\u2019s work at Eastman there were signs pointing to the future.\u00a0 Both the Symphony Band and the Kilbourn Hall Winds\/Brass program were vehicles by which Fennell introduced to the Eastman School audience works that would eventually be performed and recorded by the Eastman Wind Ensemble in its first decade.[5]<\/a>\u00a0<\/sup> In particular, a concert of music for wind instruments on February 5th, 1951 featured performances of works that would later be prominent vehicles in the Eastman Wind Ensemble\u2019s repertory.[6]<\/a> <\/sup>\u00a0The success of that concert was one more inflection point in the long progression of Fennell\u2019s deliberations towards founding a new ensemble for winds.[7]<\/a><\/sup><\/p>\n

Fennell would articulate his vision for the one-to-a-part wind ensemble just a few years later in his book Time and the Winds, <\/em>in which he commented at length on the wind band\u2019s instrumentation, its role in music education, and its position in professional and community life. \u00a0Far from replacing the college or university concert band, Fennell insisted that the wind ensemble could actually supplement<\/em> it through offering students additional training and experience, as well as the important sense of \u201cindividual responsibility which is, perhaps, the greatest advantage of a small and intimate ensemble.\u201d The time had come, Fennell reasoned, \u201c. . . for the wind instruments to own a home of their own, unmortgaged by the limitations and traditions of other properties in which they have resided for so long.\u201d[8]<\/a>\u00a0<\/sup> Fennell\u2019s intention in founding the EWE was to meet what he perceived as the need for an ensemble of virtuoso caliber possessing the forces necessary to perform every type of music written for winds. His intention was to keep the instrumental forces as simple as possible; to that end, the ensemble would utilize no more than 45 players at its maximum. The resulting wind-brass-percussion corps would permit an almost limitless number of combinations of the three constituent groups in both large and small instrumentations. As Fennell pointed out in Time and the Winds<\/em>, the Eastman Wind Ensemble\u2019s instrumentation would constitute the same orchestra for which Wagner scored Der Ring des Nibelungen<\/em>, and which Wagner assembled at Bayreuth in 1876, together with a saxophone section and one alto clarinet, and minus one bass trumpet \u2014 the same wind section which Stravinsky used in 1911 for Le Sacre du Printemps<\/em>. Such an instrumentation would enable the performance of all music written for wind instruments from the 16th century through the 20th century.<\/p>\n

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All in all, Frederick Fennell was busy at Eastman in the early 1950s.\u00a0 He was teaching orchestral conducting; he was responsible for leading the Eastman School Symphony Band, the Eastman School Junior Symphony Orchestra, and the Eastman School Little Symphony[9]<\/a><\/sup>.\u00a0 In addition, he was directing the Kilbourn Hall Winds\/Brass program already mentioned, and in the summer of 1952, he directed the Eastman School Summer Orchestra.[10]<\/a><\/sup>Amidst all of this professional activity came the new ensemble, the development of which had been building for some time in Fennell\u2019s reflections. An event in Fennell\u2019s personal life, namely a bout with hepatitis, proved to be another pivotal inflection point, for during his extended convalescence in hospital and then at home, Fennell wrote down his thoughts regarding a new ensemble for winds at Eastman, and then sharing those thoughts with Dr. Howard Hanson, who came to visit Fennell one day.\u00a0 In Fennell\u2019s recollection, Hanson consented to the idea that same day.[11]<\/a> <\/sup>\u00a0Returning to active duty at Eastman in April, 1952, Fennell set about executing his plans for a new ensemble, which included writing to composers around the world to solicit their interest in composing for the wind ensemble.\u00a0 He also had a formative meeting with David Hall, director of classical music at Mercury Records, resulting in a plan to eventually record the as-yet unfounded Eastman Wind Ensemble.[12]<\/a><\/sup><\/a><\/p>\n

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In September, 1952 Fennell called the first Eastman School Ensemble rehearsal, and from the outset, the new ensemble rehearsed four days a week.\u00a0 As Fennell would later recount:<\/p>\n

It (i.e. the EWE\u2019s rehearsal schedule) was always the same.\u00a0 It was never five days a week, always four days a week\u2014Monday, Tuesday, Thursday, and Friday.\u00a0 Wednesday was the Symphony Band one hour rehearsal.\u00a0 Rehearsals were always 50 minutes long \u2014 10 past one until 2 o\u2019clock.\u00a0 We couldn\u2019t have rehearsed any time longer than that.\u00a0 It was so intense.\u00a0 For those 50 minutes, those players in those groups gave, and thought and listened and concentrated.\u00a0 That was the hottest 50 minutes that you can imagine.\u00a0 We were into style, all the time style \u2014 and not only style.\u00a0 I tried, even then, to say to the players, look \u2014 I don\u2019t think we should think about rehearsing for performances.\u00a0 I think we should rehearse to learn to play together.\u00a0 That\u2019s a difficult thing for a lot of people to understand.\u00a0 Normally you are rehearsing for the concert.\u00a0 But the concert is only the result of how the group plays together.\u00a0 How they think about each other.\u00a0 \u2026We don\u2019t really rehearse a concert.\u00a0 we rehearse sound and playing together.\u00a0 We rehearse to become, every time, an ensemble.\u00a0 And the Eastman kids, they jumped into that concept right away.[13]<\/sup><\/a><\/p>\n

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The programming of the 1953 debut concert reflected what would remain Fennell\u2019s routine practice in EWE programming: one-third of the program scored for winds (in this instance, the Mozart), one-third for brass (the Riegger), and one-third for the combination of winds, brass, and percussion (the Hindemith).\u00a0 Two of those works would prove to be particularly significant for the EWE in the years ahead; the Mozart and the Hindemith would quickly become staples in the EWE\u2019s active repertory, and were later recorded by the EWE for release on the Mercury Records label.[14]<\/a>\u00a0<\/sup> In addition, Fennell later made his own performing edition of the Mozart Serenade no. 10 (published by Ludwig Music Publishing, 1993). The debut concert\u2019s programming was further representative of EWE programming to come in that old and new shared billing on one and the same concert program, that is, acknowledging tradition and legacy alongside promoting new repertory.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/2″ css=”.vc_custom_1669831170763{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column_text css=”.vc_custom_1710944894595{margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]<\/a><\/p>\n

No photographs from the February 8th, 1953 debut concert are known to be extant; the archival coverage preserved at the Eastman School consists of little more than the printed program (displayed here), the master audio tapes, and copies of two local press reviews.\u00a0 The concert was recorded on binaural tape, and the masters have been been digitally re-formatted more than once, thereby ensuring the content\u2019s continuing viability as audio technology passes from one generation to the next.[15]<\/sup><\/a>\u00a0<\/sup> The news coverage of the debut concert was purely local, for no reviewers from out of town were present.\u00a0 Unlike the Eastman School\u2019s annual Festivals of American Music, when such well-known critics as Olin Downes, chief music of The New York Times, <\/em>and other writers visited Rochester to review performances, the Eastman School\u2019s regular concert programming was covered only by the local music writers from both of Rochester\u2019s daily newspapers.[16]<\/a><\/sup> Nevertheless, the fact that this concert marked a debut was underscored by the announcement of same on the front of the printed program, and by Fennell\u2019s welcome message printed inside the program.\u00a0 His closing paragraph, expressing his hope that the new Eastman Wind Ensemble would provide \u201cpleasure and stimulation for the people of Rochester for many years to come,\u201d might now be perceived as modest, given the success that the EWE would quickly come to enjoy.<\/p>\n

In advance of the debut concert, the EWE had already been heard on the airwaves, for that fall semester the EWE had begun to record a series of seven educational programs for the New York State School Music Association (NYSSMA) which were broadcast over the Rural Radio Network (list of those broadcasts displayed here).\u00a0 Besides the radio broadcasts for NYSSMA, the EWE was also heard in two coast-to-coast NBC radio broadcasts, aired on February 23rd and on March 23rd.\u00a0 Altogether, the debut concert was one of three concert hall performances that the EWE would give that spring semester, the other two being a concert at the Eastman School\u2019s 1953 Festival of American Music, and a lecture concert that Fennell conducted at the 7th annual Symposium of the International Federation of Music Schools, hosted by the Eastman School on March 17th-21st, 1953.\u00a0 At the end of that spring semester, on May 14th, 1953, the EWE assembled in the Eastman Theater for its first recording session for Mercury Records.\u00a0 The resulting album, American Concert Band Masterpieces, <\/em>would be released in the U.S. the following October, representing the first of what would ultimately be 23 commercial releases between May, 1953 and May, 1962.[17]<\/sup><\/a>\u00a0 The Eastman Wind Ensemble\u2019s fruitful relationship with Mercury Records was instrumental in launching the EWE on its trajectory to national renown by placing its sound in the nation\u2019s living rooms.\u00a0 Further, those recordings were made by means of the most up-to-date recording technology commercially available at that time.<\/p>\n

What with concerts, national radio broadcasts, educational radio programming, and commercial recording, the EWE had enjoyed a vibrant and bold first season.\u00a0 All the rest is history. \u00a0In the seven decades since the 1953 debut concert, the Eastman Wind Ensemble has flourished under the direction of its four successive conductors, Frederick Fennell, A. Clyde Roller, Donald Hunsberger, and Mark Scatterday, and in its championing of new music, has represented the vanguard in programming for winds.\u00a0 That has been no small legacy. If you are on-site at the Eastman School, please drop in at the Sibley Music Library and visit the Eastman Wind Ensemble Room (4th<\/sup> floor), where a new display traces highlights of the EWE\u2019s first seven decades.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1675795444061{background-color: #ffffff !important;}”][vc_images_carousel images=”16039,16040,16041,16042″ img_size=”medium” css=”.vc_custom_1675794902664{border-top-width: 0px !important;padding-top: 20px !important;}”][vc_column_text css=”.vc_custom_1675793843451{margin-top: -20px !important;margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: -10px !important;}”]<\/p>\n

\u25ba Printed program, debut concert on February 8th, 1953. Eastman School of Music Archives. \u00a0<\/span><\/p>\n

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_____________________________________________________________________________<\/a><\/span><\/p>\n

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 <\/p>\n

[1]<\/a> These include a description of the EWE published in The Eastman School of Music, 1947-1962, <\/em>edited by Charles Riker (University of Rochester, c1963).\u00a0 That description, published without attribution, was written by Fennell and is among his papers in a binder filled with other documents on EWE personnel and programming, 1952-62.\u00a0 Typescript and three pages in length, an annotation in his hand calls it \u201cmy best statement about the EWE\u201d.\u00a0 A longer, more informal personal narrative by Fennell was published in in Ffortissimo: A Bio-Discography of Frederick Fennell: the first forty years, 1953 to 1993 <\/em>by Roger E. Rickson (Ludwig Music Publishing, 1993).<\/span><\/p>\n

[2]<\/a> The letter, written in the glow of elation after having conducted a University of Rochester Symphony Band concert, is in the Albert Austin Harding Papers at the University of Illinois. The Ruth T. Watanabe Special Collections holds a photocopy of same, provided in 1999 by the late Phyllis Danner, then-Archivist for the Sousa Archives for Band Music.)<\/span><\/p>\n

[3]<\/a>\u00a0 Frederick Fennell\u2019s University of Rochester Symphony Band would become a credit-earning course at the Eastman School of Music in the fall of 1935. The Score 1937, <\/em>pages 62-63, accessible here\u00a0<\/a><\/span><\/p>\n

[4]<\/a> From Fennell\u2019s three-page statement on the EWE [1962], later published without attribution (University of Rochester, 1963).<\/span><\/p>\n

[5]<\/a> To name three examples, Paul Hindemith\u2019s Symphony in B-flat <\/em>\u00a0was performed by the Eastman School Symphony Band in 1952; it was later recorded by the Eastman Wind Ensemble in 1957. Samuel Barber\u2019s Commando March <\/em>was performed by the Eastman School Senior Symphony Band in 1947 and by the Eastman School Symphony Band in 1949; the Eastman Wind Ensemble first performed it in 1953 and included it on the first EWE commercial recording for Mercury Records, since which time it has been a staple in the EWE\u2019s repertory.\u00a0 Stravinsky\u2019s Symphonies for Wind Instruments <\/em>\u00a0had its Rochester premiere in 1951 by the students in Fennell\u2019s Winds and Brass program; it would later be recorded by the EWE in 1957.<\/span><\/p>\n

[6]<\/a>\u00a0 These were Mozart\u2019s Serenade no. 10 in B-flat, K. 361, Strauss\u2019 Serenade in E-flat major, opus 7, and Stravinsky\u2019s Symphonies for Wind Instruments (the Rochester premiere of the latter).<\/span><\/p>\n

[7]<\/a>\u00a0 A handwritten comment among Fennell\u2019s papers confirms this fact.<\/span><\/p>\n

[8]<\/a>\u00a0 A copy of the book is in the Sibley Music Library stacks; in addition, a manuscript copy in Fennell\u2019s hand resides in the Ruth T. Watanabe Special Collections.<\/span><\/p>\n

[9]<\/a> The Little Symphony Orchestra, initially founded as the Phi Mu Alpha Sinfonia, was formally affiliated with the Alpha Nu chapter (installed at the ESM on January 24, 1924) of the national musical fraternity Phi Mu Alpha, hence its membership was initially restricted to members of the fraternity.\u00a0 The orchestra was founded by faculty member Samuel Belov, who served as its conductor 1926-29; he was succeeded by faculty member Karl Van Hoesen in the years 1930-38; Frederick Fennell succeeded Van Hoesen in 1938.\u00a0 The orchestra had quickly become integrated into the fabric of the Eastman School\u2019s concert life with a tradition of giving three concerts a year, performing for national radio broadcasts in the 1920s and \u201830s, and also undertaking two long-distance tours in its first decade.\u00a0 In addition to performing the standard orchestral repertory, the Little Symphony contributed to the Eastman School\u2019s recognition of American music by performing more than forty premiere performances. In one sense, Fennell\u2019s association with the Little Symphony as its conductor was ready-made, for as an Eastman student (1933-39) he had been a Phi Mu Alpha man and a percussionist in the Little Symphony. \u00a0From 1938 onwards he conducted the Little Symphony continuously with only a three-year leave of absence while fulfilling national service requirements during World War II.<\/span><\/p>\n

[10]<\/a> The Summer Orchestra appears to have been a forerunner of the summertime Eastman Chamber Orchestra that Fennell founded in 1954 and that he would direct until 1962.<\/span><\/p>\n

[11]<\/a>\u00a0 \u00a0Rickson (1993).<\/span><\/p>\n

[12]<\/a> Ibid.\u00a0 The lifelong involvement of David Hall (1916-2012) with the U.S. recording industry is now legendary.\u00a0 As director of classical music at Mercury Records, he had had much to do with developing the Eastman School\u2019s Mercury contract and recording program. \u00a0He later served as editor of Stereo Review <\/em>and was a founding member of the Association for Recorded Sound Collections.<\/span><\/p>\n

[13]<\/a>\u00a0 Ibid.\u00a0 This quotation comes from the section titled \u201cHow it all began: Conversation with Frederick Fennell, Siesta Key, Florida 17 August 1991.\u201d<\/span><\/p>\n

[14]<\/a>\u00a0 The EWE performed both works in a gala 70th anniversary concert on January 27th, 2023, the programming emulating the debut concert\u2019s programming:\u00a0 Mozart to open, Hindemith to close, with Valerie Coleman\u2019s Fanfare for Uncommon Times <\/em>slotted between them.<\/span><\/p>\n

[15]<\/a> The concert is accessible via streaming to the networked UR community; visit\u00a0 https:\/\/archive.esm.rochester.edu\/\u00a0<\/a> and enter \u201c19530208\u201d in the search query field in the upper right corner of the screen.\u00a0 The content consists of eleven tracks.<\/span><\/p>\n

[16]<\/a>\u00a0 In an earlier time, the music writers for both the Rochester Democrat & Chronicle <\/em>\u00a0and\u00a0 Rochester Times-Union <\/em>\u00a0used to review student performances such as concerts by the Eastman School\u2019s orchestras, symphony band, operatic productions, and eventually the Eastman Wind Ensemble.<\/span><\/p>\n

[17]<\/a>\u00a0 Dr. Reed Chamberlin offers an excellent examination of the EWE on the Mercury Records label in his article \u201cHi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble from 1952 to 1962\u201d published in SAGE Open, <\/em>vol. 10, no. 4 (October-December 2020).\u00a0 Accessible online to subscribing parties.<\/span><\/p>\n

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On February 8th, 1953, the Eastman Wind Ensemble made its public debut with a concert in Kilbourn Hall <\/p>\n","protected":false},"author":276,"featured_media":16050,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[24],"coauthors":[3],"class_list":["post-16025","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-february"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16025","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=16025"}],"version-history":[{"count":1,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16025\/revisions"}],"predecessor-version":[{"id":22681,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16025\/revisions\/22681"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/16050"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=16025"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=16025"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=16025"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=16025"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}