The Winds of March

Winds of March: Program Notes

Overture in C for Harmoniemusik

Felix Mendelssohn (1809–1847)

Mendelssohn’s Overture in C is a cornerstone of early wind repertoire, rooted in the composer’s youth. During summer trips to the seaside resort of Bad Doberan, a teenage Mendelssohn was captivated by the local wind bands performing in the park. Inspired, he composed a one-movement work titled Notturno. Years later, he re-titled the piece

and expanded the orchestration for a standard military band, adding percussion and additional measures. The version CACO performs today is a unique hybrid: it retains the transparency of the original instrumentation but incorporates modern saxophone and percussion, all while utilizing Mendelssohn’s original, more concise ending.

 

Concertino in E-flat Major, Op. 26

Carl Maria von Weber (1786–1826)

Completed in an astonishing three days (March 29 – April 3, 1811), this Concertinowas written for the virtuoso clarinetist Heinrich Bärmann. Bärmann mastered the piece in just 72 hours, performing it for King Maximilian I of Bavaria. The King was so moved that he reportedly purchased 50 tickets for the performance and immediately commissioned Weber to write two full-length concertos. The CACO is proud to feature our own Diana Bushell as soloist for this virtuosic work.

 

Trauersinfonie (Funeral Symphony)

Richard Wagner (1813–1883)

Composed for an 1844 solemn procession, this work honored the repatriation of Carl Maria von Weber’s remains from London to Dresden. As a tribute to his predecessor, and father in law Wagner based the work on themes from Weber’s opera Euryanthe, specifically melodies associated with the spirit of the deceased. Originally scored for a massive outdoor wind band of nearly 80 players, Wagner later added string parts for indoor performances. Today’s performance features a hybrid arrangement specifically tailored to the intimate and varied textures of a chamber orchestra.

 

Wind Quintet No 1, Op 54

Franz Danzi (1763–1826)

A contemporary of Beethoven and a mentor to Weber, Danzi was a

devoted admirer of Mozart’s style. Though he composed operas and symphonies, he is best remembered today for his wind quintets. We present three movements that showcase his evolution from Classicism to Romanticism:

     • I. Allegro: A textbook example of sonata form, echoing the    

        elegance of Anton Reicha.• II. Andante con moto: A movement

        hinting at the emerging Romantic lyricism later perfected by    

        Schubert.

     • III. Menuetto & Trio: A traditional minuet paired with a Trio in the

        style of a Ländler (a rustic folk dance).

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Eine kleine Nachtmusik, K. 525 (I. Allegro)

Wolfgang Amadeus Mozart (1756–1791)

Perhaps the definitive example of the Classical style, this "Little Night Music" embodies the era’s ideals of balance and clarity. While Mozart’s records suggest he originally wrote five movements, only four survive. In the 18th century, individual movements were often performed as "party music" for social gatherings. Today, CACO presents the iconic first movement in an arrangement for salon orchestra by Franz Willms.

 

Dream’s Edge Revisited

Tim Brehaut (b. 1978)

In 2006, CACO’s own Tim Brehaut composed Dream’s Edge for his

wedding to Allison Weir. To celebrate their 20th anniversary, he has reimagined the work for chamber orchestra. This concert cycle marks the world premiere of this new composition, Dream’s Edge Revisited.

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Florentiner March (Grand Marche Italienne)

Julius Fučík (1872–1916)

Known as the "Bohemian Sousa," Fučík was a prolific Czech composer whose Florentiner March is beloved for its operatic flourishes and heroic fanfares. While 19th-century marches were typically the domain of military bands, it was common to add string parts for symphonic settings. Today’s performance follows that historical tradition, integrating strings into the bold, rhythmic structure of this classic march