Abstract
The history of wind instrument performances is deeply rooted in Western European traditions of performing consorts (small ensembles compiled of similar instruments) and broken consorts (small ensembles compiled of different instruments), dating back centuries. Wind chamber ensembles in many ways have served as the foundation of the modern wind band. Indeed, in describing the contemporary wind ensemble in his book Time and the Winds, Fredrick Fennell explains, “within this assembly… exists a reed ensemble, a brass ensemble, a reed-brass ensemble, and almost limitless combination of all three groups in both large and small instrumentations.”[1] Despite an extensive and diverse repertory for wind bands of assorted sizes and instrumental combinations, there is a lack of works by certain composers and works for solo baritone voice. It is necessary to transcribe music from outside the wind band medium to address this issue. Since the 18th century, transcriptions have been vital to the wind band and have provided access to popular music outside the catalog. If this tradition is to continue, one must seek out works that enrich the repertoire and are idiomatic for wind bands.
English composer, Gerald Finzi (1901-1956), completed Let Us Garlands Bring in 1942 originally for solo baritone voice with piano accompaniment. While Finzi is more prevalent in vocal programming, he remains somewhat of an outsider to the canons of most music mediums, and is nearly non-existent in the band repertoire. Let Us Garlands Bring is a song cycle using text from the plays of William Shakespeare (1564-1616). Finzi uses a variety of compositional techniques throughout the five movements to exhibit a different musical atmosphere and reflect the character of the text.