Second Suite in F for Military Band
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The "Second Suite in F for Military Band" (Op. 28, No. 2) is Gustav Holst's second and last suite for band. Although performed somewhat less frequently than the First Suite in Eb, it is still a staple of the band literature. The Second Suite is also longer and more difficult, in terms of playing, than its sister suite.
During Holst's earlier years as a composer, he took interest, as did many other English composers at the time, in writing pieces based on folk music. His contemporary Ralph Vaughan Williams had written his English Folk Song Suite, all based on English folk tunes. Holst followed suit and composed the Second Suite as a result. Six tunes are compressed into the four movements of the suite, each with their own character.
Contents |
[edit] Instrumentation
1946 Score
Flute and Piccolo in C
Flute and Piccolo in D-flat
Oboes
Clarinet in E-flat
Clarinet 1 in B-flat
Clarinet 2 in B-flat
Clarinet 3 in B-flat
Bass Clarinet in B-flat
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Cornet 1
Cornet 2
Trumpets 1, 2
Horns in E-flat 1, 2
Horns in E-flat 3, 4
Tenor Trombone 1
Tenor Trombone 2
Bass Trombone
Euphonium
Tuba
Percussion
[edit] Structure
The Second Suite consists of four movements, all based on specific English folk songs.
[edit] Movement I: "March: Morris dance, Swansea Town, Claudy Banks"
The “March” of the Second Suite begins with a simple five note motif in the low brass and high woodwinds. Then the first folk tune is heard in the form of a traditional British Brass Band march. After a brief climax with the entire band playing at the same time, the second strain begins with a glorious euphonium solo. With a steady pulse set by the tuba and trombones, the euphonium plays the second folk tune in the suite. The band again regroups and plays the final repeat of the theme before the trio. After a final “F” chord, Holst modulates to the sub-dominant minor, or B-flat minor (usually one would modulate to B-flat major). The third theme, called “Claudy Banks”, is heard in a mid-low woodwind soli. Then the entire band is, for a third time, let loose for a huge climax at the end of the trio. Then the entire piece to the Fine is repeated da capo.
Holst also set Swansea Town for TTBB and SATB chorus. The tune and lyrics can be found at http://www.folkinfo.org/songs/displaysong.php?songid=728
There are many word and tune variants for Claudy Banks. The tune is that of the hymn "Kingsfold", and in Ireland it is called "The Star of the County Down". A version of the tune (slow compared to Holst's setting) can be found at http://www.contemplator.com/ireland/star.html. A version of the lyrics to Claudy Banks (with a different tune) can be found at http://sniff.numachi.com/pages/tiCLAUDYBK;ttCLAUDYBK.html
Holst defied the regular format of a suite by placing the March first – it is usually reserved as a finale, as in his First Suite.
[edit] Movement II: "Song Without Words, 'I'll Love My Love'"
The second movement is a huge contrast in transition from the quick March. It begins very quietly, and mournfully. A clarinet solo swims around the rest of the band’s accompaniment, and is joined by the flute, and trumpet.
The folk-song it is based on depicts the story of a woman waiting for her lover to return. It is a very moody, depressing piece, but that all changes when the third movement bursts in.
Like Swansea Town and Song of the Blacksmith, Holst made an SATB choral arrangement (I Love My Love) of the tune. One version of the words (with a different tune) can be found at http://www.contemplator.com/england/bedlam.html
[edit] Movement III: "Song of the Blacksmith"
After the quiet, depressing “Song Without Words”, a jovial, happy melody starts with the brass section – there are many changes in meter (4/4, 3/4) which add to the subtle complexity of the piece. It is a short, very short movement, and is perhaps forgotten amongst the March, and the Fantasia. The upper-woodwinds join on the melody around the body of the piece, and is accompanied with the sound of a blacksmith tempering metal. The final chord is a glorious, heavenly sound, which opens way to the final movement.
Holst made a choral arrangement (TTBB and SATB) of this setting, using the words "Kang" and "Ki-Ki" to imitate the blacksmith's hammer strokes. A version of the text, with a different tune, can be found at http://www.contemplator.com/england/blacksmith.html
[edit] Movement IV: "Fantasia on the Dargason"
The finale of the Second Suite in F opens with an alto saxophone solo of the Irish jig, "Irish Washerwoman". This same phrase is repeated throughout the entire song, with varying instrumentation. At several points during the movement, the melodies of Greensleeves is heard broadening into the room with the glorious euphonium solo, where both tunes are heard simultaneously with various instrumentations, including the climax of the movement, which has the euphonium and trumpets blaring out the somewhat unrecognizable theme of Greensleeves. The instrumentation dies down once the counter-melody ceases, and is soon nothing but a quiet, quirky tuba and piccolo duet, with one final F Major chord.
