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Fanfare after Seventeenth Century Dances

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Donal Michalsky

Subtitle: For Twelve Winds

General Info

Year: 1965 / 1973
Duration: c. 7:15
Difficulty: (see Ratings for explanation)
Publisher: Shawnee Press
Cost: Score and Parts (print) - $50.00


1. Paul Peurl: “Newe Padouan, Intrada, Däntz, und Galliarda” (1611) - 2:15
2. Johann Hermann Schein: “Banchetto Musicale” (1617) - 2:55
3. Isaak Posch: “Musicalische Ehrnfreudt” (1618) - 2:00


Full Score
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II
B-flat Trumpet
Horn in F I-II


None discovered thus far.

Program Notes

The Fanfare After Seventeenth Century Dances was commissioned by the 1965 Ojai Music Festival, Ingolf Dahl, director. It was the opening piece of the first concert, an evening outdoor program for winds. A comparison with the original dances will reveal the extent of recomposition: alternating dance sections, transpositions, shortened and extended meters, displaced octaves, overlapping harmonies, added counterpoints -- all to create a self-contained, closed form. In other words, I continued the long tradition of parody composition.

- Program Note from score

The composition celebrates the nascency of the variation suite of the early Baroque period. The three movements of the Fanfare are based on the dances of three innovative composers. Paul Peuerl (1570–1625), Johann Hermann Schein (1586–1630), and Isaac Posch (ca. 1591–ca. 1623) were each important figures in the development of the Baroque instrumental variation suite. Building upon compositional traditions of the Renaissance period, composer and organist Paul Peuerl is credited with the creation of the variation suite. His suites include four dances: a newe padouan (a relative of the pavane), an intrada, a däntz (the central movement on which all others are based), and a galliarda. Johann Hermann Schein composed twenty numbered sets of dances, and Isaac Posch’s Musicalishe Ehrnfreudt, included, in addition to dance suites, four Balletas meant exclusively to accompany aristocratic meals.

Written in four- and five-part harmony, these suites were meant to be performed by any available consort of instrumentalists. Fanfare After Seventeenth Century Dances includes three consorts within the ensemble, which continually pass around musical material. Michalsky uses octave displacement, overlapping harmonies, added counterpoint, alternating dance sections, shortened and extended meters, dynamic and tempo alterations, and hocket to create a compositional parody of the original dance forms.

- Program Note by Nicholas Balla


(Needed - please join the WRP if you can help.)

State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • Calvin University (Grand Rapids, Mich.) Wind Ensemble (Tiffany Engle, conductor) - 1 May 2021
  • Indiana University (Bloomington) Chamber Winds (Daniel Johnson, conductor) 18 March 2021
  • University of Michigan (Ann Arbor) Symphony Band (Nick Balla, conductor) - 12 March 2021
  • Ball State University (Muncie, Ind.) Wind Ensemble (Adam Friedrich, conductor) - 4 March 2021
  • Boston University (Mass.) Wind Ensemble (David Martins, conductor) – 8 October 2019
  • Unnamed ensemble (Robert Spittal, conductor) - 2011

Works for Winds by This Composer