March, Opus 99 (arr Mindeman)
Duration: c. 2:05
Difficulty: (see Ratings for explanation)
Original Medium: Military band
Cost: Score and Parts - Unknown
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None discovered thus far.
Apart from transcriptions of the march from the Love for Three Oranges (1919), this Op. 99 effort is the most popular among the half-dozen or so marches for military band that Prokofiev wrote. It is festive and short, lasting two to three minutes, and its merriment never becomes bombastic, its prismatic colors never blindingly brilliant.
The main theme here is utterly memorable in its bouncing vigor and celebratory cheer. Prokofiev obviously felt it a worthwhile creation since he reused it in his opera The Story of a Real Man, Op. 117 (1947 -- 1948). If the outer sections of this B flat march are fleet and festive, the middle section can be characterized as relatively subdued in contrast, but without breaking the joyous mood. Prokofiev's robust scoring and deft instrumental balancing throughout enhance the march's effectiveness: this is not band music of blaring brass and pounding drums, but a composition both unashamedly merry and masterfully subtle. One of a group of patriotic compositions Prokofiev wrote in support of the Russian war effort, the work was premiered via a Moscow radio broadcast on April 30, 1944.
- Program note from Allmusic.com
March, Op. 99 (1943) was written at a time when many Russian composers were turning to the march genre as a show of support to their country during World War II. According to Harlow Robinson, Prokofiev’s biographer, the piece was a political composition written in honor of May Day, also known as International Workers’ Day. May 1 is perhaps the most important political holiday in the Soviet calendar, second only to the October Revolution. The march was broadcast over government radio as part of the 1944 May Day celebration. Prokofiev also included the march in his opera The Story of a Real Man (1947).
- Program Note from University of North Texas Concert Band concert program, 23 November 2015
Prokofiev wrote his March, Op. 99 in 1943-4 for a Soviet military band, and it received its premiere in the form of a radio broadcast from Moscow on April 30, 1944. Subtitled March to Victory, the work was first performed in America on May 31, 1945, with Serge Koussevitzky conducting the Combat Infantry Band in Madison Square Garden. Full of celebration and merriment, the music also displays a subtlety contrasting that of many other marches and their typical bombast. Prokofiev reused the main theme of the March, Op. 99 in the last opera he completed, The Story of a Real Man, in 1947-8.
- Program Note from Monarch Brass concert program, 15 December 2016
Written towards the close of World War II, this work captures the military spirit common in so many contemporary Russian works from this period. Prokofiev’s tendency to employ humor in his compositions is very evident in this march, which is optimistic in mood and humorous in execution. Sounding like music fit for the most colorful big-top circus show, this work is not the militaristic somber exposition that listeners might expect from an embattled Russian composer -- but it is consistent with Prokofiev’s early works. Considering the music from the societal comedy, For the Love of Three Oranges, and the farcical music for the film score of Lieutenant Kijé, it is little wonder that such mischievous and vibrant music flowed from Prokofiev’s pen. Written in a time when there was little to be optimistic about, this work was the forerunner of a long-delayed and much happier time.
- Program Note from Baylor University Wind Ensemble concert program, 2 March 2020
- Audio CD: Millar Brass Ensemble (Vincent Cichowicz, conductor) - 1995
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Monarch Brass (Mallory Thompson, conductor) - 15 December 2016 (2016 Midwest Clinic)
Works for Winds by This Composer
- Athletic Festival March (arr. Goldman) (1936/1980)
- Concerto No. 3 in C for Piano (tr. Hunsberger) (1921/)
- Dance of the Knights (trans. Jones) (1935/2019)
- The Enemy God and the Dance of the Spirits (arr. Van der Beek) (1916/1996)
- Finale to "Symphony No 1" (tr. Johnson) (1917/2016)
- Gavotte (arr. Gordon)
- Lieutenant Kije Symphonic Suite (arr. Schyns)
- March from "The Love of Three Oranges" (arr. Cray) (1921/1943)
- Marche from the Opera "Love for Three Oranges" (arr. Erickson) (1921/1992)
- Marche from "The Love of Three Oranges," Opus 33 (arr Johnson) (arr. Johnson) (1921/1947)
- March, Opus 69. See also: Athletic Festival March
- March, Opus 69 (arr. Gingery) (1937/1985)
- March, Opus 99 (arr. Meredith) (1943-44/2017)
- March, Opus 99 (arr. Mindeman) (1943-44)
- March, Opus 99 (arr. Yoder; ed. Berz) (1943-44)
- Masquerade Variations On A Theme Of Prokofiev (arr. Gryc)
- Music for Children (arr. Ahronheim)
- Ode to the End of the War (1945/1969/1979)
- Peter and the Wolf (arr. Daniels) (1936)
- Peter and the Wolf (arr. Curnow) (1936/1986)
- Piano Concerto No. 3 (arr. Hunsberger) (1921/)
- Suite from the Ballet "Romeo & Juliet" (arr. de Meij) (1935/1990)
- Suite from "Romeo and Juliet" (arr. Kreines) (1935/199-?)
- Symphony V in B-flat Major (tr. Rogers) (1944/2019)
- Symphony V: Scherzo (arr. Moore) (1947/2014)
- Two Pieces from Lt. Kije (arr. Tull) (1934/1971)
- Visions fugitives (orch. Missal) (1917/2017)
- List of compositions by Sergei Prokofiev, Wikipedia Accessed 23 December 2016