{"id":15647,"date":"2022-11-14T12:49:07","date_gmt":"2022-11-14T17:49:07","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?p=15647"},"modified":"2025-11-20T12:58:54","modified_gmt":"2025-11-20T17:58:54","slug":"nov14-20","status":"publish","type":"post","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/2022\/11\/nov14-20\/","title":{"rendered":"Nov 14th – 20th: Carnegie Hall debuts by two Eastman School ensembles"},"content":{"rendered":"

[vc_row css=”.vc_custom_1763390564610{padding-top: 40px !important;}”][vc_column][vc_column_text css=”.vc_custom_1727968815232{background-color: #ffffff !important;}”]Published on Nov 14th, 2022<\/em><\/p>\n

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

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1727968872899{padding-bottom: 20px !important;}”][vc_column css=”.vc_custom_1727968828498{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1668787342408{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Carnegie Hall.\u00a0 The name uttered with utmost respect and with fond aspiration.\u00a0 The dream destination of every serious performing artist, restricted to all but the very best, and representing the standard of excellence in any genre.\u00a0 Tchaikovsky, Mahler, Dvo\u0159\u00e1k, Bart\u00f3k, Gershwin, Van Cliburn, Vladimir Ashkenazy, Itzhak Perlman, Renee Fleming, Billie Holiday, Benny Goodman, Judy Garland, The Beatles, Elton John, Bruce Springsteen . . . since 1891, these and many more of their caliber have crossed the stage of Carnegie Hall, and to stand in their company is to have reached a sure summit of success.\u00a0 This week we mark two anniversaries of the first-ever Carnegie Hall appearances by two Eastman School ensembles, for sixty-one years ago, on the evening of Friday, November 17th, 1961, the Eastman Wind Ensemble performed before a capacity audience of 2,200; one year later (almost to the day), on the evening of Friday, November 16th, 1962, the Eastman Philharmonia made its own first appearance at Carnegie Hall. \u00a0Neither photographs nor recordings of either concert are extant, but sufficient documentation survives to share something of the experience and the enthusiastic audience reception of each night.\u00a0 For the EWE, the Carnegie Hall engagement provided a punctuation to the EWE\u2019s first decade, a span of years that had brought a national reputation, commercial success, and critical acclaim.\u00a0 For the Eastman Philharmonia, the Carnegie Hall engagement was a fitting legacy of the orchestra\u2019s landmark tour of Europe, the Middle East, and the Soviet Union the previous winter.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1668791614173{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1727968857419{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1961: The Eastman Wind Ensemble” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1668787685594{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner equal_height=”yes”][vc_column_inner width=”2\/3″ css=”.vc_custom_1669831170763{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column_text css=”.vc_custom_1669831208118{margin-top: -10px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

The adjective \u201ccrisp\u201d is perhaps the primary take-away from Eric Salzman\u2019s review that appeared in The New York Times <\/em>on Sunday, November 19th, 1961.\u00a0 This was no ordinary winds group, this Eastman Wind Ensemble!\u00a0 With its reputation for finesse and precision\u2014yes, crisp <\/em>playing!\u2014the EWE had established itself as a winds performance model to be emulated.\u00a0 This was definitely one for the history books, in two respects.\u00a0 For the Eastman School of Music, the concert marked the first-ever engagement by an Eastman ensemble in that venue.\u00a0 For the Eastman Wind Ensemble, the concert represented the culmination of a decade of development and achievement, a fitting milestone. Under Fennell\u2019s direction, the EWE had quickly gathered momentum following the first rehearsal on September 20th, 1952.[1]<\/a>\u00a0\u00a0<\/sup> In the first two seasons (1952-53 and 1953-54), the regularly scheduled home concerts had been accompanied by twelve concerts for the New York State School Music Association that were broadcast via the Rural Radio Network, as well as two coast-to-coast NBC radio broadcasts.\u00a0 In addition, there were out-of-town engagements in Chicago for CBDNA (1954), Atlantic City for MENC (1960), and at Vassar College for the College\u2019s centennial (1961).\u00a0 Besides all of this activity, the EWE had won a smashing contract with Mercury Records that ultimately provided for the release of nearly two dozen recordings between 1953 and 1962, thereby exporting the EWE\u2019s new and innovative sound into the nation\u2019s living rooms in high-fidelity stereophonic sound.\u00a0 By 1961 the EWE was ready for its New York City debut with a specially chosen program that would showcase several aspects of the ensemble\u2019s mission: paying homage to the English winds and band tradition; celebrating some new and innovative writing for winds based on folk music, and also the heady growing repertory of 20th<\/sup>-century winds music; and finally, acknowledging that most ubiquitous genre without which the winds repertory would not be complete: the march.\u00a0 Commenting on the program, Frederick Fennell was quoted as saying that it was \u201c. . .designed to encompass the high points in the emergence of the wind band during the second quarter of the 20th century, as a challenging medium of musical expression.\u201d[2]<\/a><\/sup><\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1727969035890{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_single_image image=”15740″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=””][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”10″ equal_height=”yes” css=”.vc_custom_1727969182083{margin-top: -10px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-color: #f4f4f4 !important;}”][vc_column width=”1\/3″ css=”.vc_custom_1669054474769{background-color: #ffffff !important;}”][vc_single_image image=”15661″ img_size=”350×480″ add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969056153{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 10px !important;}”][\/vc_column][vc_column width=”1\/3″ css=”.vc_custom_1668793580705{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;background-color: #ffffff !important;}”][vc_single_image image=”15662″ img_size=”350×480″ add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969063712{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 10px !important;}”][\/vc_column][vc_column width=”1\/3″ css=”.vc_custom_1669054446764{background-color: #ffffff !important;}”][vc_images_carousel images=”15650,15651,15652,15653,15654,15655,15656,15657,15658,15659,15660″ img_size=”350×480″ css=”.vc_custom_1727969077013{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 10px !important;}”][vc_column_text css=”.vc_custom_1727969087733{margin-top: 0px !important;margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: -10px !important;}”]\u25ba Program from the EWE concert at Carnegie Hall, November 17th, 1961. Then as now, a concert program in a professional venue was likely to be chock-full of advertising. Frederick Fennell Collection. \u00a0<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1668790925544{background-color: #f4f4f4 !important;}”][vc_column][vc_column_text css=”.vc_custom_1727969166678{margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]With just one exception, each of the works programmed for Carnegie Hall had previously been recorded by the EWE for Mercury Records.\u00a0 Further, Fennell himself had written the jacket notes for many of the Mercury albums, thereby providing learned commentary from the conductor\u2019s standpoint.\u00a0 The concert\u2019s opening work, Ralph Vaughan Williams\u2019 Toccata Marziale <\/em>(1924), was considered by Fennell to be one of the most significant pieces ever contributed to the winds or band literature, as well as one of the most difficult.[3]<\/a>\u00a0<\/sup> Next up was Gordon Jacob\u2019s William Byrd <\/em>Suite (1924), consisting of music adapted from the Fitzwilliam Virginal Book, which Fennell considered to be music ideally suited to wind performance, notwithstanding the less favorable opinion that Mr. Salzman would voice in his concert review.\u00a0 Next came Percy Aldridge Grainger\u2019s Lincolnshire Posy <\/em>(1905 and 1939), <\/em>based on folk songs collected by Grainger, and one of Fennell\u2019s own career favorites, which he considered to be Grainger\u2019s best work for winds.\u00a0 The first half was rounded out with the Suite from the ballet Pineapple Poll <\/em>by Sir Arthur Sullivan.\u00a0 Following the intermission, the programming of three contemporary works\u2014Stravinsky\u2019s Symphonies of Wind Instruments <\/em>(1922; revised 1947); Schoenberg\u2019s Theme and Variations, <\/em>opus 43a (1938); and, Vincent Persichetti\u2019s Symphony no. 6 <\/em>(1956)\u2014bore testimony to the Eastman Wind Ensemble\u2019s unswerving commitment to perform new music for winds.\u00a0 (Indeed, since 1952 Fennell had been busy encouraging living composers to write for the modern wind ensemble.)\u00a0 The EWE\u2019s 1957 recording of the Schoenberg had, in fact, been the debut recording of the Theme and Variations <\/em>in its manifestation for winds. (Schoenberg had also written a transcription for orchestra.)\u00a0 The concert concluded with three marches, acknowledging the vast march repertory\u2014field marches and concert marches alike\u2014that has been an integral component of the band and winds literature[\/vc_column_text][vc_row_inner equal_height=”yes” content_placement=”top” gap=”20″][vc_column_inner width=”1\/4″ css=”.vc_custom_1668790990912{background-color: #ffffff !important;}”][vc_single_image image=”15663″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969195835{margin-top: 10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/4″ css=”.vc_custom_1668791044560{background-color: #ffffff !important;}”][vc_single_image image=”15664″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969203743{margin-top: 10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/4″ css=”.vc_custom_1668791007050{background-color: #ffffff !important;}”][vc_single_image image=”15665″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969210892{margin-top: 10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/4″ css=”.vc_custom_1668791023128{background-color: #ffffff !important;}”][vc_single_image image=”15666″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1727969218860{margin-top: 10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” equal_height=”yes” css=”.vc_custom_1669139595697{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1727969326167{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”15667″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1668789051006{margin-top: -10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” equal_height=”yes” css=”.vc_custom_1669139595697{background-color: #f4f4f4 !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1727969393843{padding-top: 20px !important;}”][vc_column_text css=”.vc_custom_1763391238485{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]The concert was a huge draw for young people; approximately half of the capacity audience was comprised of teen-agers who were members of high school bands from the Greater New York City area and still further beyond.\u00a0 In addition, students from the Eastman School of Music travelled by bus to attend the concert and to support their colleagues.\u00a0 Frederick Fennell was the guest of honor at a pre-concert reception at the Barbizon Plaza Hotel that was attended by some 250 U of R alumni who were resident in the Greater NYC area.\u00a0 The EWE members were f\u00eated at a post-reception, and Fennell himself hosted the high school band directors who had accompanied their students to the concert.[4]<\/a> <\/sup>\u00a0The Rochester press reported afterwards that ardent student interest in the EWE\u2019s performance had prompted some teachers to opine that \u201csoon there will be no more school bands, they will be \u2018wind ensembles\u2019.\u201d\u00a0 And strangely, the Salzman review failed to mention that composer Vincent Persichetti had attended the concert, and had received an ovation from the audience. [5]<\/a><\/sup>\u00a0 The most succinct assessment of the concert was very likely Fennell\u2019s own, which he recorded in his 1961 daybook with simply the two words \u201cSmash success\u201d.[6]<\/a><\/sup>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1763391314968{margin-top: 20px !important;background-color: #FFFFFF !important;}”][vc_single_image image=”15668″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”img_link_large” css=”.vc_custom_1763391336005{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” equal_height=”yes” css=”.vc_custom_1669139595697{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1727969393843{padding-top: 20px !important;}”][vc_column_text css=”.vc_custom_1727969529754{margin-top: -15px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Success it had been, but for Fennell himself, there would be no resting on laurels following the EWE\u2019s Carnegie Hall engagement.\u00a0 On the following Monday and Tuesday he conducted recording sessions with the Eastman-Rochester \u201cPops\u201d Orchestra for Mercury Records.[7]<\/a>\u00a0<\/sup> On Friday, November 24th, exactly one week after the Carnegie Hall concert, he departed for Europe with the Eastman Philharmonia as the associate conductor for the orchestra\u2019s landmark tour.\u00a0 Unbeknownst to anyone at this time (including Fennell himself), the 1961-62 academic year would mark Frederick Fennell\u2019s valedictory season as director of the Eastman Wind Ensemble.[8]<\/a>\u00a0<\/sup> In nine years he had molded a new ensemble, fashioning it after a concept of a new medium of musical performance, and leading it on an amazing trajectory to critical acclaim and national renown.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” equal_height=”yes” css=”.vc_custom_1669139595697{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1727969393843{padding-top: 20px !important;}”][vc_column_text css=”.vc_custom_1727969545935{margin-top: -15px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]In the decades since then, the EWE has made two more appearances at Carnegie Hall: under Donald Hunsberger\u2019s direction on March 22nd, 1987, marking the penultimate concert of a tour of the East Coast and Canada with featured guest soloist Wynton Marsalis on trumpet, a tour promoting the repertory that would appear on the EWE\u2019s CBS Masterworks release Carnaval; <\/em>and under Mark Davis Scatterday\u2019s direction on February 26th, 2005, as part of \u201cA Celebration of the Contemporary Wind Band\u201d presented by the 2005 CBDNA national conference.\u00a0 That program featured works by Robert Sierra, David Maslanka, Jeff Tyzik, and Karel Husa (significantly, Dr. Husa was in attendance). \u00a0These two later performances reflected newly emerging facets of the EWE\u2019s mission and repertory, signalling the ensemble\u2019s endless capacity for innovation.\u00a0 For us now in 2022-23, when we are about to observe the 70th anniversary of the EWE\u2019s founding, we can look back on this history with pride.\u00a0 In the Eastman Wind Ensemble\u2019s success and achievement, the Eastman School of Music had once again distinguished itself as a standard-bearer for excellence in performance and in musical innovation.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row”][vc_column css=”.vc_custom_1727968895481{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1962: The Eastman Philharmonia” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1668787914453{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner equal_height=”yes”][vc_column_inner width=”2\/3″][vc_column_text css=”.vc_custom_1668802974684{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Almost exactly one year after the Eastman Wind Ensemble\u2019s debut at Carnegie Hall, the Eastman Philharmonia made its own debut there on the evening of Friday, November 16th, 1962.\u00a0 The Eastman Philharmonia was then in its fifth season, having been founded by Howard Hanson at the beginning of the 1958-59 academic year.\u00a0 The orchestra had scored one success after another right from the outset; in the first season Hanson had taken the orchestra on run-outs to Atlantic City and to Buffalo, and then in the spring of 1961, the orchestra had performed in Washington, D.C..\u00a0 In the winter of 1961-62, the orchestra had undertaken its landmark European tour. \u00a0Before Hanson retired, he would take the Eastman Philharmonia out of town once more, this time to perform at the 1964 New York World\u2019s Fair, but arguably, it was the Carnegie Hall debut that trumped all of the other domestic guest appearances. \u00a0The concert at Carnegie Hall was a direct legacy of the Eastman Philharmonia\u2019s 1961-62 tour, one of several initiatives that celebrated and capitalized on the renown enjoyed by the orchestra in the aftermath of its international undertaking.[9]<\/a> <\/sup>\u00a0It should be noted that the orchestra\u2019s personnel composition was no longer identical to that of the Philharmonia on tour in 1961-62, for a new academic year had begun, and numerous members of the orchestra had graduated the previous spring.<\/p>\n

For the Carnegie Hall concert Hanson had chosen music almost entirely by Eastman School alumni composers. Two of the composers\u2014Robert Ward and John La Montaine\u2014were represented by works which had been recognized with the Pulitzer Prize. The most substantive work on the program, from the standpoint of duration, was Mr. La Montaine\u2019s\u00a0 Concerto for Piano and Orchestra, opus 9. The work had been commissioned by the American Music Center for the National Symphony Orchestra under a grant from the Ford Foundation.\u00a0 This Concerto ultimately proved to be the composer\u2019s first of four concertos for piano and orchestra. Mr. La Montaine was a gifted pianist in his own right, and in 1965 he would return to Eastman as soloist in this Concerto at the Eastman School\u2019s annual Festival of American Music.\u00a0 When Mr. La Montaine had won the Pulitzer Prize for the Concerto in 1959, he had been the Eastman School\u2019s second composer-graduate to have been so honored.\u00a0 For the record, the Eastman School\u2019s Pulitzer Prize-winning composer-graduates have been the following:<\/p>\n

Gail Kubick, 1952\u00a0 (BM \u201934)<\/p>\n

John La Montaine, 1959\u00a0 (BM \u201942)<\/p>\n

Robert Ward, 1962\u00a0 (BM \u201939)<\/p>\n

Dominic Argento, 1975\u00a0 (PhD \u201857)<\/p>\n

George Walker, 1996\u00a0 (DMA \u201956)<\/p>\n

Kevin Puts, 2012\u00a0 (BM \u201994, DMA \u201999)<\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_images_carousel images=”15713,15714,15715,15716″ img_size=”350×500″ css=”.vc_custom_1668795559337{margin-top: 20px !important;}”][vc_column_text css=”.vc_custom_1763390983588{margin-top: 0px !important;}”]\u25ba 1961 November 16 Eastman Philharmonia at Carnegie Hall \u00a0<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”2\/3″ css=”.vc_custom_1669831465685{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column_text css=”.vc_custom_1668801722177{margin-top: -10px !important;margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Among the other works on the program, Howard Hanson\u2019s Mosaics <\/em>was still a new work, having been composed in 1958 on a commission by the Cleveland Orchestra. In the first few years the work had been performed by numerous orchestras around the country.\u00a0 That Hanson had used this opportunity at Carnegie Hall to promote one of his own works was not unusual, for he had routinely conducted his own music both at Eastman and on the road.\u00a0 (Indeed, the repertory for the landmark 1961-62 tour had included his own Symphony no. 2 (\u201cRomantic\u201d) and also his Elegy in Memory of Serge Koussevitzky.<\/em>)\u00a0 Robert Ward\u2019s opera The Crucible, <\/em>represented on this concert program by way of excerpts, had won the composer a Pulitzer Prize in the same year of its premiere, and had established itself at once in the American operatic repertory.\u00a0 For the record, The Crucible <\/em>has been produced at Eastman three times in its entirety (1963, 1973, 1986).\u00a0 It was significant that Hanson included at this concert four encores that he had conducted in the U.S.S.R during the Eastman Philharmonia tour. \u00a0After the tour he had proudly recounted, both on the air and in print, how Russian audiences had enthusiastically received John Philip Sousa\u2019s The Stars and Stripes Forever, <\/em>clapping in unison and loudly shouting \u201cAmerikanskii marsh (American march)!!\u201d by way of requesting one more rendition.\u00a0 Hanson would surely have approved when that same march was named the U.S.A.\u2019s National March in 1987 by an act of Congress and with President Reagan\u2019s signature.[10]<\/a><\/sup><\/p>\n

In the years since 1962, the Eastman Philharmonia has been back to New York City on several occasions, including three more engagements at Carnegie Hall (1972, 1983, 1990), as well as concerts at Alice Tully Hall.\u00a0 The 1962 concert may be regarded as special in more than one respect\u2014not only for having been the orchestra\u2019s first time in that renowned venue, but also for having confirmed the orchestra\u2019s newly-won status as an ensemble of world-class stature.<\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”15717″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1727978768664{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #f4f4f4 !important;}”][vc_column][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″][vc_column_inner width=”1\/3″ css=”.vc_custom_1727978825156{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”15718″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1727978835243{padding-top: 10px !important;padding-bottom: 10px !important;padding-left: 30px !important;background-color: #ffffff !important;}”][vc_single_image image=”15719″ img_size=”medium” add_caption=”yes”][vc_single_image image=”15721″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1727978845656{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”15725″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1668792800309{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

_____________________________________________________________________________<\/p>\n

[1]<\/a>\u00a0 A photograph of Fennell taken at the first rehearsal was published in Roger E. Rickson\u2019s book Ffortissimo!: a bio-discography of Frederick Fennell\u00a0 <\/em>(Ludwig Music Publishing, 1993).<\/span><\/p>\n

[2]<\/a>\u00a0 <\/em>\u201cCarnegie program readied.\u201d Rochester Democrat & Chronicle, <\/em>October 29th, 1961.\u00a0 Rochester Scrapbook October-November-December 1961, page 5.\u00a0 Sibley Music Library. \u00a0<\/em><\/span><\/p>\n

[3]<\/a>\u00a0 Fennell made the following annotation on his copy of the score: \u201c4:20 of the most difficult wind band music in the repertory! !\u201d.\u00a0 He would later publish an analysis of the work in the Basic Band Repertory series in The Instrumentalist, <\/em>August, 1976.\u00a0 \u00a0<\/em>In that article Fennell recounts having met RVW at Cornell University, seeking the composer out specifically to discuss his Folk Song Suite <\/em>and Toccata Marziale<\/em>, his first and second works for winds.<\/span><\/p>\n

[4]<\/a>\u00a0 \u201cWind group to leave for Albany.\u201d Rochester Times-Union, <\/em>November 16th, 1961.\u00a0 Rochester Scrapbook October-November-December 1961, page 34.\u00a0 Sibley Music Library.<\/span><\/p>\n

[5]<\/a>\u00a0 \u201cNew York praises ensemble\u201d by Harvey Southgate.\u00a0 Rochester Democrat & Chronicle, <\/em>November 18, 1961.\u00a0 Rochester Scrapbook October-November-December 1961, page 35.\u00a0 Sibley Music Library.<\/span><\/p>\n

[6]<\/a>\u00a0 In his adulthood Fennell kept a daybook for each calendar year, meticulously keeping track of appointments and engagements and adding some editorial commentary along the way.\u00a0 He favored the yearly \u201cMusician\u2019s Diary\u201d reference and appointment books, printed in England.<\/span><\/p>\n

[7]<\/a>\u00a0 Recording sessions for the album Frederick Fennell Conducts Cole Porter, <\/em>which would feature twelve hit songs by Cole Porter in arrangements by Eastman alumnus Ray Wright, \u201943, at that time working at Radio City Music Hall.\u00a0 Other \u201cpops\u201d albums that Fennell conducted for Mercury Records featured music by George Gershwin and by Leroy Anderson.<\/span><\/p>\n

[8]<\/a> The personal narrative published in Roger E. Rickson\u2019s Ffortissimo! <\/em>\u00a0tells Fennell\u2019s\u2014and the Eastman Wind Ensemble\u2019s\u2014story of the years 1952-62 in some detail.<\/span><\/p>\n

[9]<\/a>\u00a0 One other project was the orchestra\u2019s Mercury Records recording, The Eastman Philharmonia, Musical Diplomats, U.S.A.\u00a0 <\/em><\/span><\/p>\n

[10]<\/a>\u00a0 Public Law 186, 100th Congress, 1st session (December 11, 1987).<\/span><\/p>\n

[\/vc_column_text]\n\n\n<\/svg>[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1631195300893{margin-top: 40px !important;}”][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”3″ css=”” grid_id=”vc_gid:1763391093921-d48855db-ae5e-8″ taxonomies=”18″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

This week we mark two anniversaries of the first-ever Carnegie Hall appearances by two Eastman School ensembles.<\/p>\n","protected":false},"author":276,"featured_media":15660,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[21],"coauthors":[3],"class_list":["post-15647","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-november"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/15647","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=15647"}],"version-history":[{"count":6,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/15647\/revisions"}],"predecessor-version":[{"id":22463,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/15647\/revisions\/22463"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/15660"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=15647"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=15647"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=15647"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=15647"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}