Three Fantasy Dances
Subtitle: A Concerto for Wind Ensemble
2. Ritual Dance
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
(percussion detail desired)
None discovered thus far.
Three Fantasy Dances reflects my fascination with the diminishing gaps between various styles of music -- both within the “modern classical music” community and in the wider world generally. I revel in a world where the new can embrace any aspect of a readily available past. The notion, suggested throughout the final decades of the twentieth century, that we American composers might find a “third stream” of music, halfway between jazz and classical music, has been broadened to what some might see as a beautiful and expansive lake (others might see a vast swamp), where everything and anything is available to the composer searching for an effective means of expression. Personally, while I embrace a wide range of musical interests, I do so while favoring internally and contextually consistent, continuously developing music, with an inclusive harmony that spans both tonal and modernist languages.
Many kinds of music (including jazz and pop) lend their spirits to the melodies, harmonies, voicings, orchestration, phrasings, and rhythms of Three Fantasy Dances. The first movement’s title, Stomp, refers both to the medieval estampie, a stamping, round dance with refrains, and to the stomp, a jazz dance with strong rhythmic drive and repetition. In Stomp, which has a sharply marked rhythmic surface that gives the work its considerable momentum, the music begins with a first statement of a refrain and then features, along the way, prominent repetition (sometimes considerably varied) of motives, phrases, and sections. Thus, while I doubt that this work could be understood in strict terms as either an estampie or a stomp, formally and spiritually (as a “fantasy dance”) it is both.
In the second movement, the slow and somber Ritual Dance, I had in mind the ways that we sometimes face feelings of deep sadness and tragic loss through the comfort of age-old rituals, and I tried to evoke both the tragedy and the comfort in the music. The last movement’s title, Jump, does not refer to any specific dance, though we do use the term to refer to lively and joyous dancing (as in the phrase, “the joint was jumping”). It begins with a very short quick-footed motive, lifted almost verbatim from bebop jazz, that spins itself out into a four-phrase refrain. The refrain appears at three spots across the movement, and in between we hear much lively and “jumping” music.
Three Fantasy Dances began life as a chamber work, commissioned by the audience members of the 21st Century Consort in honor of that group’s twenty-fifth anniversary season. It was recast and reworked as this concerto for wind ensemble, written for and dedicated with admiration to Col. Jason Fettig and the men and women of “The President’s Own” United States Marine Band.
- Program Note by composer
(Needed - please join the WRP if you can help.)
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- United States Marine Band (Washington, D.C.) (Jason K. Fettig, conductor) - 6 February 2022 *Premiere Performance*
Works for Winds by This Composer
- David Froom website Accessed 2 February 2022
- Heritage Encyclopedia of Band Music. "David Froom." Accessed 2 February 2022