Composed in a bold rhetorical style, Vincent Persichetti's works for symphonic winds may not be regarded as his most deeply affecting compositions, but they are certainly effective Gebrauchsmusik for public occasions. By combining the neo-Classicism of Stravinsky and Hindemith with the Americana style of Piston and Schumann, Persichetti fashioned band music that is sophisticated in technique and populist in feeling. These qualities blend well in such openhearted works as the Divertimento (1950), the Symphony No. 6 (1956), ...
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Composed in a bold rhetorical style, Vincent Persichetti's works for symphonic winds may not be regarded as his most deeply affecting compositions, but they are certainly effective Gebrauchsmusik for public occasions. By combining the neo-Classicism of Stravinsky and Hindemith with the Americana style of Piston and Schumann, Persichetti fashioned band music that is sophisticated in technique and populist in feeling. These qualities blend well in such openhearted works as the Divertimento (1950), the Symphony No. 6 (1956), and the Serenade No. 11 (1960), which abound with bright woodwind timbres and incisive brass sonorities, elaborately worked in energetic counterpoint and exciting rhythms. A more reverent, hymn-like tone opens the Psalm (1952) and Pageant (1953), yet these works eventually swing into the jaunty, active style noted in the above works. Even the astringent Masquerade (1965) and Parable IX (1972) soon develop along familiar lines and present few difficulties despite all their...
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