Project Three: New Instrumental Sounds

Research Point: The Wind Orchestra

The Wind Ensemble or Concert Band has been a huge part of music throughout history, but it is widely thought that the development of the modern wind orchestra is credited to Frederick Fennell in 1952.  However, before this time, many composers such as Stravinsky and Holst had created entire compositions based solely on large wind sections.  Battisti (2002:xiii) suggests that at the beginning twentieth century the wind band was used largely for purposes of celebrations and civic function, and that it wasn’t until the latter half of the twentieth century that the wind ensemble has, “an increased presence in the professional artistic music world.”

Whilst listening to a number of pieces performed by woodwind orchestras it is clear to see how the exclusion of many orchestral instruments can be used to create a distinctive colour and sound.  The National Flute Association's record-breaking use of 2000 woodwind players in one piece demonstrates the abilities of an orchestra based around one particular instrument.   My listening log details my thoughts on a number of wind orchestra compositions throughout the twentieth century.

Overall it is clear to see that the wind orchestra is capable of the creating the same emotions, feelings and moods as the more traditional styles contained in other sections.  Although the lack of the string section is clearly noticeable in times of tension, the almost dissonant tone of the higher pitched brass instruments, mixed with the large percussive features achieves a different but similar effect.  However, I believe that it is when the compositions express feelings of joy and excitement that the wind orchestra comes into its own.  The light and fluttery abilities of the wind instruments creates an unparalleled feeling of weightlessness, which no other acoustic instrument seems capable of portraying. 

Research Point: The Percussion Ensemble

Due to the high number of tuned and untuned instruments included within the percussion family, this section holds huge potential when used in isolation.  Although percussion ensembles appear throughout musical history, it was during the twentieth century that composers really began to experiment with the range of this section.  Varese’s Ionisaton is largely credited as a key piece in the development of this ensemble, with later composers such as Reich taking inspiration from Varese techniques.  However, George Antheil’s Ballet Mechanique (1923) was composed pre-Varese and could therefore be seen as the ‘beginning’ of this movement. 

Whist listening to the above pieces, it is clear to see that the Percussion ensemble holds as much potential as the wind, or indeed full orchestra.  Varese’s Ionisation provides a ‘clumsy’ and ‘ad-hoc’ feel with its use of sirens and horns, whilst Antheil’s Ballet Mechanique guides the listener through the melodic properties of this section.  Both these, and other pieces I have listened to, have demonstrated that the percussion section is not only capable to demonstrating the full range of colour and emotion, but is also made richer by the ‘worldly’ wooden tones heard in the some of the instruments.