Brooklyn Wind Symphony Artistic Director Jeff W. Ball interviews Dr. David Maslanka on the music of the late composer John Barnes Chance, “channeling” the composer, and the growing prevalence of commissioning consortiums among wind ensembles.

JWB:  When did you first hear a composition by John Barnes Chance?

DM: My first contact was “Incantation and Dance.”  It was around 1965.  I was a first-year grad student at Michigan State and the band there was playing the piece.  I wasn’t in the band, but heard rehearsals and performance. The piece was “hot” that year – everybody was playing it.

JWB: Has your impression of this piece changed over time?

DM: It was, and remains, an attractive piece. I liked its fresh percussive rhythmic nature, and clear instrumental colors. Working with it many years later for the Illinois State University recording was still a positive experience.

JWB: How did that project come about?  What was your role?

DM: Dr. Stephen Steele, conductor of the Illinois State University Wind Symphony, was asked by Susan Bush of Albany Records if he would be interested in making a CD of select Chance works. Susan thought this would be a timely CD, one that many people would find interesting. This is a nice recognition of the enduring quality of some of Chance’s music. Steve’s first step was to send me all the scores he had collected of Chance’s wind music – about a dozen. I reviewed them all, and came up with what I termed an “A” list. My recommendations included Incantation and Dance, Variations on a Korean Folk Song, Symphony No.2, and the piano concerto piece. In rehearsals and the recording session I acted as the “presence of the composer.” It was my job to read the score and be the reminder for basic stuff like tempos, dynamics, and qualities of articulation – to insist on these, and to offer thoughts on qualities of style. There is what is printed in scores, and then there is what has accumulated as performance practice over the years. My job was to bring things back to the score. The most interesting piece for me was Symphony No.2, a piece that Chance never heard in his lifetime. I felt like I was “channeling” Chance, allowing him to be present, both to hear his music for the first time, and to offer the suggestions he would have made for performance. This assertion certainly cannot be proven, but it was a very curious experience for me.

JWB: Why do you think that Albany Records recording has been so successful?

DM: Chance’s music is still fresh and likeable, and a large number of people remember it fondly from their younger band days. It has also not left the repertoire. Steele’s recording of this music is simply very good. It is exactingly performed and well recorded.

JWB:   Has the music of Chance (and his contemporaries) influenced your growth as a composer?

DM: I would certainly say that Chance’s music, and that of people like Clifton Williams and Vaclav Nelhybel, and my teacher, H. Owen Reed, influenced my early growth as a composer. This was different music than the so-called mainstream of the time, which was serialism and significant branching off with people like Penderecki and Berio.  Chance and other band composers were more “down home” outgrowths of school music. It has taken all the years since Chance for wind band music to attain something of mainstream status. The influences on current wind band music are as varied as world music itself, but I would say that the music of the “early modern” wind band composers pointed in a fresh direction that many of us found attractive.

JWB:   Chance was a percussionist and this heavily influenced his writing style. What was your primary instrument growing up?

DM: I was a clarinetist, and had both band and orchestra experience as a high school and college student. I had more band than orchestra, and I guess that the band sound was in my ear when I thought about writing for larger ensembles. Playing clarinet has certainly been central to my writing for winds. Being in the center of an ensemble as a performer is a major factor for any composer writing ensemble music. The influence of clarinet on my writing style is certainly there, but the factors influencing writing style are many and varied. Many people are convinced that I am a percussionist, which I am not in the least. Composers have to learn the languages of all the instruments, and then absorb and transform in themselves all the music they come in contact with.

JWB:   What do you think Chance’s music would sound like today if he hadn’t tragically passed away at the age of 39?

DM: There is no knowing how Chance would have evolved!

JWB:  Chance’s Second Symphony serves as the centerpiece for the Brooklyn Wind Symphony’s annual Modern Wind Symphony Concert. Do you believe it is important to continue writing symphonies for wind bands?

DM:   I don’t necessarily think that it is important for composers to continue to write symphonies for wind band.  Composers need to write whatever they need to write.  I happen to write symphonies (now seven of them for wind band) but that is something I have felt the urge to do since Symphony No.2 in 1985. Wind bands do not need symphonies in order to be “important”, to try to lift themselves to “orchestral” status.  They need powerful music, well-crafted for the medium, music which inspires the players and their audiences. This has been happening for quite some time now, and the grass roots wind band movement has become a world phenomenon. Wind bands need to program significant works, regardless of length or form, because players and audiences are intensely hungry for deeply nourishing and affecting musical experience.

JWB: Most wind band commissions occur at the collegiate level. Do you think it is important for community based wind bands and secondary schools to commission new music?

DM:  Most wind band commissions occur at the college level because they have figured out how to do consortiums. This is a relatively recent phenomenon. One person takes the lead and enlists a number of other conductors to share the burden of cost. This has resulted in a huge number of new pieces that immediately have more than a single use.  Not all of the music is good, but the simple fact is the more pieces that are written the high likelihood that a percentage will be outstanding. Regarding consortiums, there is no difference between a college band and a community band, except possibly the sense of being connected with other bands. The College Band Directors National Association offers college directors immediate connection to hundreds of other conductors. The CBDNA national and regional conferences, and other events like the Midwest Band and Orchestra Clinic, allow for very intense networking among conductors. Community bands can simply join in if they wish.  Anyone can join CBDNA. Commissions are now starting from high schools as well. There is the realization that the band world is all one big family, and colleges, community bands, and high schools are willing to help each other out.

JWB: The Brooklyn Wind Symphony is happy to be leading a consortium to commission a new work from you. What do you look for and take into account when requested to write a piece for a specific ensemble?

DM:   The energy and seriousness of the conductor involved is a high consideration. I deeply respect people who are trying hard to build or do something, and I am interested to work with them. For me this has included ensembles all the way from small school groups to major recognized names.

Brooklyn Wind Symphony presents an 80^th birthday concert in honor of John Barnes Chance on Saturday, March 24, 2:00 PM. Grand Street High School, 850 Grand Street, Williamsburg, Brooklyn. $10 suggested donation.