THE BARNHOUSE Classics For Concert Band Series

This new series of transcriptions of standard musical classics represents an attempt to make available to wind groups, at all levels of performance, some of the most enduring music of all time in versions that are specifically conceived as being not just good music, but also good wind music as well. Especially with arrangements, but also even with note-for-note transcriptions from one medium to another, the responsibility of the re-composer (for that is what the arranger or transcriber really is) to the original composer and his work is the foundation on which a successful such derivative work must rest. The feeling on the part of the listener that what is being heard is actually the original version (or could be the original version) of the work, is the measure of the arranger/transcriber's success, both from the technical and artistic points of view. It is the goal which we seek to attain for each work selected for inclusion in this series. ALFRED REED

INSTRUMENTATION 1st & 2nd C Flutes 1st Bb Clarinet. 2nd Bb Clarinet 3rd Bb Clarinet Bb Bass Clarinet Oboes Bassoons 1st Eb Alto Saxophone 2nd Eb Alto Saxophone Bb Tenor Saxophone Eb Baritone Saxophone 1st Bb Cornets 2nd Bb Cornets 3rd Bb Cornets 1st & 2nd Bb Trumpets 1st & 2nd F Horns 1st Trombone 2nd Trombone 3rd Trombone Baritone BC Baritone TC Tubas String Bass Timpani 8 4 4 4 2 2 2 2 2 2 1 3 3 3 3 4 2 2 2 2 2 4 1 1

The "Hallelujah Chorus" is the best known chorus of the most widely performed oratorio of all time - George Frederick Handel's "Messiah". Expressing man's joy in his Savior, the "Messiah" was composed in the unbelievably short span of twenty-four days in August and September of 1741. The premiere performance was enthusiastically received at the Music Hall in Dublin on April 13, 1742. Tradition holds that during .one of the "Messiah's" earliest performances King George II, who was in attendance, and the entire audience rose to their feet during the "Hallelujah Chorus". Audiences today continue to honor this tradition by standing during the performance of this powerful, inspiring, and beloved music.

Program Notes

Handel's original score to the "Hallelujah Chrous", like most Baroque scores, is rather lacking in articulation marks. The model for the correct style of articulation is the detach' e bowing favored by string players in performances of fast tempo Baroque pieces. In this style the notes are given weight and length, but with a slight separation. Numerous recordings of this work are available to assist in developing an authentic and characteristic style of articulation. The conductor should also strive to maintain a steady, particularly in the absence of all percussion except timpani. unhurried tempo,

Rehearsal Suggestions

Robert Longfield was born and raised in Grand Rapids, Michigan. He graduated with honors from the University of Michigan where he studied with Jerry Bilik and Dr. Paul Boylan and where he was a member of the band under Dr. William D. Revelli and George Cavender. He studied with Dr. Alfred Reed at the University of Miami, Miami, Florida. From 1969 until 1986 Mr. Longfield was the band and orchestra director at Davison High School, Davison, MichifiJan. In 1985 he was voted ''Teacher of the Year" by the Michigan School Band and Orchestra Association. A member of ASCAP, Mr. Longfield's arrangements have been played by high school and university bands throughout the United States, including performances at several major bowl games and the 1984 Olympics in Los Angeles. Mr. Longfield is currently band director at Miami Palmetto Senior High School, Miami, Florida.

The Arranger

HALLELUJAH CHORUS
from "The Messiah"
Allegro
P""II

Full Conductor Score

012-2627-00 1st and 2nd C Flutes a2

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© 1994 Birch Island Music Press, (ASCAP), P,O. Box 680, Oskaloosa, lA, 52577 International Copyright Secured. All Rights Reserved. Printed in U.S.A. WARNING! This composition is protected by copyright law. To copy or reproduce it by any method is an infringement of the copyright law.

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