Virginia answers questions about the Philadelphia Chamber
Winds...
Why did you decide to form this group? What inspired you to focus specifically on
wind music, as opposed to chamber music in general?
I've been around wind music as a listener, performer,
and conductor all of my life, and I love the sound of wind instruments and the repertoire that's available for them. I
believe that the Philadelphia Chamber Winds will fill a unique niche in the Philadelphia music community by focusing on chamber
music for mid-sized ensembles not regularly represented by other ensembles in our area. We can present a large and wonderful
body of repertoire that's rarely played in professional concert halls because of the unusual instrumentation of this music.
It's also an opportunity to showcase the virtuosity of many of Philadelphia's outstanding professional wind players.
What is it about wind music in particular that appeals to you?
I love
the colors of wind instruments and the sounds created by the combination of those instruments. They're capable of certain
effects and expression which you can't get from other instruments.
Can you tell
me a little bit about your past experience as a conductor of a wind ensemble?
I'm a third generation conductor,
and I've been privileged to conduct wind ensembles on stages around the U.S. and in Europe, South America, and Asia. As
a pioneer for women in military bands, I was the first woman conductor of The U.S. Army Field Band in Washington, D.C., The
U.S. Military Academy Band at West Point, and The U.S. Army Forces Command Band in Atlanta. I also co-founded and conducted
the Juilliard Trombone Choir.
How did you choose the pieces on the program?
As
I began planning this concert, I decided to use a core group of ten instruments for the premiere concert by the Philadelphia
Chamber Winds - two each of flutes, oboes, clarinets, bassoons, and horns. In looking at program, I wanted to present a mix
of repertoire which would feature the talents of the musicians, appeal to the audience, and be enhanced by the acoustics of
the church. The program ranges from the standard to the exotic to the whimsical.
We'll
open with Charles Gounod's "Petite Symphonie," which is considered one of the standards of the chamber wind
repertoire. "Suite Persane" by André Caplet is a very exotic piece which uses oriental modes and stimulating
instrumental colors to create the sound of Persian music.
When I first heard "Andantino
from Concierto No. 3" at a conference in Killarney, Ireland last summer, I immediately thought of how beautiful this
piece would sound in the acoustics of the Church of the Holy Trinity. It was originally written for organ by the late Baroque
Spanish composer, Antonio Soler, and has been arranged for antiphonal double wind quintet by English composer Guy Woolfenden.
"Musique pour faire plaisir," composed by Francis Poulenc and transcribed by Jean
Françaix, is a charming, whimsical piece which, as its title implies, is truly "music for your pleasure."
The orchestration is expanded to include the rich sounds offered by piccolo, English horn, bass clarinet, and contra bassoon.
The program will conclude with "Consort for Ten Winds," Robert Spittal's contemporary
reflection of early wind music from the court of France's great "Sun King," Louis XIV.
Where
do you see the Philadelphia Chamber Winds going in the future?
My vision is for this ensemble to become part
of the main course of the Philadelphia musical menu by performing several public concerts annually. I'd also like for
us to become actively involved in educational outreach and community engagement programs for Philadelphia's youngest and
oldest residents through performances at schools and senior and community centers. It also would be fun to collaborate with
other local organizations by combining wind music with dance, visual art, film, puppetry, and storytelling. As a champion
of new music for winds, I'd like to help expand the repertoire by commissioning works by different composers.
