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Title | Ariane Overture | |||
---|---|---|---|---|
Composer | Boyer, Louis |
Marshall’s Civic Band Topeka, KS Est’d 1884 |
Number | C-931 |
Type | CB | |||
Date | 1935 | |||
Key | Eb | |||
Arranger | Bachman, Harold & Lillya, Clif |
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Length | 0.00 |
Publisher | M. Witmark & Sons | Vocal | No | |
Association | Grade/Difficulty | ?/? | ||
Last Performed | Unknown | |||
Manuscript | No | |||
Style | Overture, Concert | Location | Marshall's Band Library | |
Cataloger | Rick Baker | |||
Date Cataloged | 12/06/1998 | |||
Notes |
Donated to Marshall's Band by J.D. Parr of the Baker University band. Overture "Ariane" by Louis Boyer. Revised for American Bands by Harold Bachman and Clifford P. Lillya. Concert notes on folder: Ariane, so the story goes, was the sixth wife of Gilles de la Val, better known as "Bluebird" a sinister, French medieval character. It was Ariane who tricked Bluebird into releasing his five former wives and broght destruction upon him. There is no available data concerning Louis Boyer the composer of the "Ariane" Overture. A very old man in 1918, he was Chef de Musique at the city of Angers, France, having jurisdiction over the musical activities of that city including the band. He was succeeded in the same year by the well-known Louis Bailly, who presented Mr. Bachman, one of the editors of this revised edition, with an original edition of the work, which proved to be one of the most popular concert numbers of the American Band stationed at Angers during the war [World War I], of which Mr. Bachman was director. The Overture itself is highly representative of a type of French music that is at once grateful, replete with melodic charm and permeated with a perpetual freshness. The form of the Overture follows the generally accepted pattern. It opens with an Andante wherein the principal theme in the minor is announced. This is followed by the Allegro, re-stating the principal theme and developing it to a climax. A contrasting or subsidiary theme of broad lyric quality in the major is next introduced and followed by still another theme in six-four meter of particular song-like charm, after which the principal theme is re-introduced and leading to a final climax. Despite the sweep and effectiveness of the Overture, the instrumentation is so skillfully handled that its designation as a class C Band number is apparent. The recasting of the instrumentation for American band was accomplished by Harold Bachman and Clifford P. Lillya. |
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