Flute I-II-III (III doubles piccolo)
Eb Soprano Clarinet
Bb Soprano Clarinet I-II-III
Eb Alto Clarinet
Bb Bass Clarinet
Bb Contrabass Clarinet
Alto Saxophone I-II
Bb Bass Saxophone
Trumpet (in Bb) I-II-III-IV
Horn in F I-II-III-IV
Percussion I-II-III-IV, including:
- Bass Drum
- Cymbal (crash and suspended)
- Gong (Tam-tam)(large)
- Snare Drum
- Xylophone (2)
See the article: Scatterday, Mark D. (1998, Spring). “Karel Husa’s Smetana Fanfare: An analysis and discussion of performance issues.” CBDNA Journal No. 12, 38-46.
Smetana Fanfare for Wind Ensemble was commissioned by the San Diego State University for the 1984 Festival of Music honoring the Czech composer Bedrich Smetana. It was first performed on April 3, 1984 in San Diego by the SDSU Wind Ensemble, on the occasion of the centennial celebration of Smetana's death. This short work uses two excerpts from Smetana's symphonic poem The Wallenstein's Camp, completed in 1859 in Goteberg, Sweden, during his exile from Prague.
Program note from printed score
Husa’s Smetana Fanfare holds an important place in San Diego State University’s history. Now a significant piece in the wind repertoire, Smetana Fanfare was commissioned by the SDSU Wind Ensemble in 1984 and given its world premiere performance at the International Musicological Conference and Festival of Czechoslovak Music. The 1984 festival was held to honor the centennial of Czech nationalist composer Bedrich Smetana’s death.
For this opportunity Husa undertook the difficult task of combining his modern voice with the nationalist voice of Smetana. Husa accomplished this synthesis in Smetana Fanfare by borrowing heavily from Smetana’s symphonic poem Wallenstein’s Camp, integrating his own distinctive harmonic and developmental language. The work begins with a direct quote from Wallenstein’s Camp: a fanfare intoned by four trumpets accompanied by a timpani roll. As the composition progresses, the fanfare begins to transform into Husa’s style. The composer adds dissonance by stacking statements of the fanfares in different keys. This technique, coupled with the coexistence of major and minor chords (described by Husa as “Renaissance thirds”), and repeated rhythmic motives, make the fanfare characteristically Husa. The piece grows in volume and intensity from beginning to end, finishing with a climatic unison statement by the entire ensemble.
Program note San Diego State University Wind Symphony
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- San Diego State University Wind Symphony (Shannon Kitelinger, conductor) - CBDNA Western/Northwestern Division Convention (Reno, Nev.) 13 March 2014
- California Polytechnic State University, San Luis Obispo, Wind Ensemble (Andrew McMahan, conductor) - 4 June 2011
Additional Works for Winds by this Composer
- Al Fresco (1973)
- Apotheosis of this Earth (1970)
- Cheetah (2005)
- Concertino for Piano and Wind Ensemble (1984)
- Concerto for Alto Saxophone and Concert Band
- Concerto for Trumpet and Wind Orchestra
- Concerto for Wind Ensemble (1982)
- Divertimento for Brass and Percussion
- Divertimento for Symphonic Winds and Percussion (arr. John Boyd)
- Fanfare for Brass Ensemble (1981)
- Les Couleurs Fauves (1996)
- Music for Prague 1968 (1968)
- Smetana Fanfare
- Scatterday, Mark D. (1998, Spring). “Karel Husa’s Smetana Fanfare: An analysis and discussion of performance issues.” CBDNA Journal No. 12, 38-46. [includes some errata]