The Wind Ensemble: a legitimate entity in its own right

The huge force that is amateur music-making in this country is taken up in large part by Concert Bands. These can be known variously as Wind Bands, Wind Ensembles, Symphonic Wind Ensembles, Wind Sinfonias and Military Bands, but they all more or less add up to the same thing; the bringing together of all of the woodwind, brass and percussion instruments to create and perform music.

The variation (and, it has to be said, standard) of music is wide and there is enough repertoire to explore over a lifetime, including pieces written specifically for the medium, orchestral transcriptions, show pieces and large chamber ensembles. But do wind ensembles command the same respect as other musical formations? Are they on the same footing as symphony orchestras, brass bands or big bands yet?

There is no doubt that many ‘serious’ composers have written for symphonic bands and some of those mentioned below have absorbed and created a musical language for this distinctive sound world. The sonorities differ from a symphony orchestra in that the literal requirements of the families of instruments are different; there are more notes to play, the language can be more percussive and rhythmical and the physical and stamina demands can often be greater. Many instruments, such as alto saxophone or bass clarinet, can be featured more prominently not only to colour the sound, but also to perform solos and counter melodies, and there are additional opportunities for groups of instruments; clarinets, percussion, lower brass - to combine in new ways.

These ensembles have evolved throughout history through the need for music to be played outdoors. An example of this is the German ‘harmoniemusik’, a group of wind players (employed by an aristocratic patron) used for outdoor, pageantry or recreational music in the eighteenth century. It was also essential that wind and brass instrumentalists could be itinerant – hence the evolution of marching bands – and, crucially, the need to be audible. String ensembles could never compete in terms of volume - and ‘blowing’ instruments and drums developed over time into more sophisticated combinations and timbres. It is particularly in the twentieth century, however, that the larger wind ensemble or concert band progressed from a military setting and became established as part of the concert hall repertoire, becoming a more embedded, legitimate entity in its own right.

In those early years of the last century, composers such as Vaughan Williams and Holst began to recognise the potential for wind, brass and percussion. Their most famous earlier works are still frequently played as part of the standard repertoire today - most notably Holst’s Suites in Eb and F and Vaughan Williams’ English Folk Song Suite. Gordon Jacob arranged some of these works as well as creating his own exceptional compositions and, during the course of his lifetime, oversaw the gradual development of more experimental writing.

Increasingly, composers have gleefully accepted the challenge of writing for this musical dimension and a huge breadth of repertoire has emerged. Pieces by Darius Milhaud, Bernstein and Stravinsky throw down the gauntlet of technical and stylistic challenges and have really harnessed the striking rhythmical possibilities of these ensembles. Suites, symphonies, concertos, overtures and celebratory pieces have therefore flowed. Where repertoire really works for wind ensembles is where composers have embraced the medium and written inventively and originally - and where it falls short is when they have tried to make it sound like a (not very convincing) symphony orchestra. In other words, balance and ingenuity have worked when writing for the instruments rather than despite them.

Meanwhile, the British Isles have given voice to some really exciting creators, among them Joseph Horowitz, Derek Borgeois, Sir Richard Rodney Bennett and Guy Woolfenden. Recent, classy composers include Adam Gorb, Kenneth Hesketh, Martin Ellerby and Philip Sparke who have all embraced the possibilities of this thrilling sound world. The establishment of BASBWE (British Association of Symphonic Bands and Wind Ensembles) in 1981 raised the profile of what had already become a popular medium in youth, amateur, student and professional circles. It was at this point that the musical language was able to expand whilst simultaneously establishing the generally accepted instrumentation (such as one player per part for the saxophones).

Broadly speaking there are two types of wind ensemble: smaller chamber groups (such as the collection of instruments for Mozart’s Gran Partita) and concert or symphonic wind bands. With both these groups there are variations (chamber music can, of course, be any combination that the composer or patron desires - but in the case of Gran Partita the instrumentation is two oboes, two bassoons, four French horns, two clarinets, two basset horns and a double bass) but the concert band is usually the following: flutes, clarinets, bass clarinet, two oboes, two bassoons, two alto saxophones, one tenor, one baritone, four French horns, approximately six trumpets, three trombones, euphonium and tuba. Extra colours can also be added with the addition of the double bass or the occasional harp. There can also be a tendency to use the format to ‘mop up’ spare instrumentalists, which - whilst it doesn’t always produce the best quality of sound - is an understandable way of bringing more players into music-making - particularly at youth level. Finally, and essentially, there are often parts for up to six percussionists - with all the range of modern and ancient instruments at their disposal.

So, what of the actual musical language of wind ensembles? What do they do really well? They are uniquely good at comedy or musical ‘jokes’ - probably because of the squeaks, rattles, bells and whistles available to them. Time signatures are routinely more complex and varied and conductors tend to have a more rigorous, technically challenging work-out. However, to sum up the sound world of wind ensembles for only its percussive qualities would be to underestimate its ability to draw out long, beautiful phrases, demonstrate a lightness of touch, explore bewitching and fantastical landscapes, portray silky textures, induce laughter, tears, love and passion. The possibilities are endless, and the really eminent composers have understood and embraced this.

The future of this art form seems strong; there is often a band in every town, they are established at youth and professional level and the ability to play outside means that this music can be played in open spaces up and down the land. That said, most of the music played at a functional level – on bandstands, at parties and celebrations - is unlikely to be the sort of ‘high end’ art discussed above. Outdoor park gigs are going to provide you with show tunes, film music, ‘oompah’ pieces and marches and - provided the quality of arrangements is good - there is nothing wrong with that. But the raised profile and respect that this medium deserves is only going to be truly established when performances are at the bigger, more serious music festivals. Changes and improvements are still there to be made; I haven’t mentioned a single female composer in this article and the directing of these ensembles has at times been woeful. The wind ensemble hasn’t been taken as seriously as it deserves by well-established conductors and it would be truly joyous to see this music exposed at some of the great classical events.