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Second Suite in F

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Gustav Holst

Gustav Holst (ed. Matthews)


This work bears the designation Op. 28, No. 2, H. 106.


General Info

Year: 1911 / edited 1984
Duration: c. 12:10
Difficulty: IV-1/2 (see Ratings for explanation)
Publisher: Boosey & Hawkes, Inc.
Cost: Score and Parts - $95.00   |   Score Only - $15.50

Movements

1. March – 4:45
2. Song without Words – 2:25
3. Song of a Blacksmith – 1:10
4. Fantasia on the 'Dargason' – 3:10


Instrumentation

Full Score
C Piccolo
Flute
Oboe I-II
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet (Solo)
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet (ad lib)
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone (ad lib)
B-flat Bass Saxophone (ad lib)
B-flat Cornet I-II
F Horn I-II-III-IV
Trombone I-II-III (second part optional)
Euphonium
Tuba
Percussion I-II-III, including:

  • Anvil
  • Bass Drum
  • Crash Cymbals
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Triangle


Errata

Edition revised and edited by Colin Matthews (1984)

In Parts:

  • Tenor Saxophone, mvt. I, reh. I (eye), beat 6: F should read G
  • Horns in F III-IV, mvt. III, 3 meas. before reh. A, and of beat 2: B should read A
  • Trombone I and II. Fix fast page turn between page 1 and 2
  • Basses. mvt. 3, 5 meas. after reh. C: add 4/4 meter signature
  • Snare Drum. mvt. I., 8 meas. after reh. K: Add tremolo on dotted quarter note


Program Notes

The Second Suite consists of four movements, all based on specific English folk songs.

Movement I: March: Morris dance, Swansea Town, Claudy Banks. "The "March" of the Second Suite begins with a simple-five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the Morris-dance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite, Swansea Town. The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional sub-dominant minor of B-flat minor and changes the time signature to 6/8, thereby changing the meter. (Usually one would modulate to sub-dominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in El Capitan), it was not commonplace.) The third theme, called Claudy Banks, is heard in a low woodwind soli, as is standard march orchestration. Then the first strain is repeated da capo.

Movement II: Song Without Words, 'I'll Love My Love'. Holst places the fourth folk song, I'll Love My Love, in stark contrast to the first movement. The movement begins with a chord from French horns and moves into a solo of clarinet with oboe over a flowing accompaniment in F Dorian. The solo is then repeated by the trumpet, forming an arc of intensity. The climax of the piece is a fermata in measure 32, followed by a trumpet pickup into the final measures of the piece.

Movement III: Song of the Blacksmith. Again, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song A Blacksmith Courted Me. The brass section plays in a pointillistic style depicting a later Holst style. There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the brass section has all of their accompaniment on the up-beats of each measure. The upper-woodwinds and horns join on the melody around the body of the piece, and are accompanied with the sound of a blacksmith tempering metal with an anvil called for in the score. The final D major chord has a glorious, heavenly sound, which opens the way to the final movement. This chord works so effectively perhaps because it is unexpected: the entire movement is in F major when the music suddenly moves to the major of the relative minor.

Movement IV: Fantasia on the Dargason. This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with an alto saxophone solo based on the folk tune Dargason, a 16th century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, reensleeves, is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections. As the movement dies down, a tuba and piccolo duet forms a call back to the beginning of the suite with the competition of low and high registers.

The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time). The dargason tormented the Irish country side. During the Irish uprising of the late 18th Century, the dargason is supposed to have attacked a British camp, killing many soldiers. This tale aside, 'dargason' is more likely derived from an Anglo-Saxon word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.

Holst later rewrote and re-scored this movement for string orchestra, as the final movement of his St Paul's Suite (1912), which he wrote for his music students at St Paul's Girls' School.

- Program Notes by Imogen Holst


Holst composed the Second Suite in 1911, but he was so preoccupied (and later fatigued) by the details of supervising a performance by Morley College students of Purcell’s Fairy Queen (the first since the 17th century) that he forgot about the work until asked to compose another suite for military band in 1921. He changed his original tune Young Reilly in the opening of the march to the Morris dance Glorishears and made some slight changes in the instrumentation to comply with the instrumentation adopted by the Kneller Hall Conference of December 1921. The suite was premiered on June 30, 1922, at Royal Albert Hall, London, by the Military School of Music Band conducted by Lt. Hector E. Adkins.

The march movement uses three tunes, set in the pattern A-B-C-A-B. After the opening Morris dance, a broad and lyrical folk song, Swansea Town, features the euphonium and is followed by Claudy Banks, which has a lilting, swinging feeling derived from its compound duple meter. In describing the entire suite, Richard Franko Goldman comments that “no more delightful contribution has ever been made by a prominent composer to the band repertory.”

- Program Note from Program Notes for Band


Commercial Discography


State Ratings

  • Alabama: Class AA
  • Arkansas:
    • Grade III: Movement 1 or 2
    • Grade IV: Any two movements
    • Grade V: Complete Suite
  • California: V Class A
  • Florida: IV, V --- (The Florida Bandmasters Association denotes this as "significant literature.")
  • Georgia: V, VI
  • Iowa: IV
  • Louisiana: III, IV, V
  • Maryland: V
  • Michigan: Senior High AA
  • Minnesota: I
  • Mississippi: IV-A, V-A, VI-A
  • New York: VI
  • North Carolina: V, VI
  • South Carolina: VI
  • Tennessee: V. Complete
  • Texas:
    • Grade III: Movement 1, 2, or 4
    • Grade IV: Three movements
    • Grade V: Complete Suite
  • Virginia:
    • Grade V: Two movements
    • Grade VI: Complete Suite
  • Wisconsin: Event 3000 Concert Band Class A


Performances

To submit a performance please join The Wind Repertory Project

  • Eastern Shore Wind Ensemble (Chestertown, Md.) (Charles Thai, conductor) – 15 March 2020
  • St. Michael-Albertville High School (St. Michael, Minn.) Wind Ensemble (Adam Sroka, conductor) – 7 March 2020
  • University of Colorado Boulder Concert Band (Branden Steinmetz, conductor) – 2 March 2020
  • Texas A&M University (Lubbock) Symphonic Band (Russell Tipton, conductor) – 1 March 2020
  • Oklahoma City (Okla.) University Wind Philharmonic (Jacob Waymon, conductor) – 27 February 2020
  • Syracuse (N.Y.) University Wind Ensemble (Bradley P. Ethington, conductor) – 27 February 2020
  • National Taipei University of Education (Taipei City, Taiwan) Symphonic Band (Ching-Chun Lin, conductor) - 20 December 2019 (2019 Midwest Clinic)
  • Middle Tennessee State University (Murfreesboro) Symphonic Band (Dennis A. Kawkins, Jr., conductor) – 21 November 2019
  • Keene (N.H.) State College Concert Band (John T. Hart Jr., conductor) - 21 November 2019
  • Phoenix Winds (Elon, N.C.) Wind Ensemble (Jonathan Poquette, conductor)– 14 November 2019
  • Collinsville High School (Ill.) Wind Ensemble (Bobby Wright, conductor) - 5 December 2019
  • Parkland College (Champaign, Ill.) Concert Band (Larry Stoner, conductor) - 20 October 2019
  • Hartwick College (Oneonta, N.Y.) Wind Ensemble (Andrew Pease, conductor) – 3 October 2019
  • Washington State University (Pullman) Symphonic Band (Troy Bennefield, conductor) – 2 October 2019
  • California State University, Los Angeles Wind Ensemble (Emily Moss, conductor) – 23 September 2019
  • California Polytechnic State University, San Luis Obispo, Wind Orchestra (Christopher J. Woodruff, conductor) – 9 June 2019<
  • Western Illinois University (Macomb) Concert Band (Andrey Cruz, conductor) – 4 April 2019
  • University of Prince Edward Island (Charlottetown, PEI) Wind Symphony (Karem J. Simon, Conductor) - 31 March 2019
  • San Luis Obispo (Calif.) High School Wind Ensemble (Sharon Jeskey, conductor) - 16 March 2019 (2019 Sutherland Wind Festival (Fresno, Calif.)
  • DuPage Community Concert Band (Terry Redford, conductor) - 11 March 2019


Works for Winds by this Composer


Resources

  • Gustav Holst website
  • Holst, G.; Matthews, C. (1984). Second suite in F for Military Band (1911) op. 28, no. 2, H. 106 [score]. Boosey * Hawkes: London.
  • Holst, Imogen. (1938). Gustav Holst: A Biography. London: Oxford University Press.
  • Kinder, Keith. (2008). Gustav Holst's Second Suite in F: Meaning and Interpretation from the Original Folk Songs. Journal of the World Association for Symphonic Bands and Ensembles, Vol. 15 (2008).
  • Miles, Richard B., and Larry Blocher. (2010). Teaching Music through Performance in Band. Volume 1. Chicago: GIA Publications. pp. 559-567.
  • Second Suite for Military Band, Op. 28 No. 2 (Holst, Gustav), IMSLP.
  • Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications, pp. 297.