Hi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble From 1952 to 1962

Reed Chamberlin

doi:10.1177/2158244020954926

Abstract

Frederick Fennell, founder of the internationally acclaimed Eastman Wind Ensemble (EWE), is considered by many to be the catalyst for the modern wind-band movement, often credited with revolutionizing thought and practice within the discipline. While this perception remains valid, evidence suggests that Fennell was much less serious (or “high-brow”) than many believe. Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. Fennell’s archival material suggests that his philosophy was directly influenced by Mercury’s bottom line with the objective of selling records to the masses. Surprisingly, this synthesized a dynamic approach to programming for Fennell and the EWE—one that remains a tradition to this day. The influence of recorded media’s populist objective fused an approach for Fennell that is much more “middle-brow” than many may have believed.

Highlights

On February 5, 1951, an experimental “Concert of Music for Wind Instruments, Performed By Students of the Orchestral Department”1 took place in the Eastman School of Music’s Kilbourn Hall
In the fall of 1952, this experiment would come to be known as the Eastman Wind Ensemble (EWE), led by its founder Frederick Fennell (1914–2004)
Things seem to be more important when you are around, and this time was no exception.”2 Jerry Junkin, conductor of the Dallas Wind Symphony, stated “He was arguably the most famous band conductor since John Philip Sousa” (Wakin, 2004). Of his own work with the EWE, Fennell (1993) expressed, “We were to dedicate our work to the exclusive study and performance of original music for the wind medium . . . our purpose was a clear concern for the artistic elevation of the wind instruments in the ensemble.”

Summary

Introduction

On February 5, 1951, an experimental “Concert of Music for Wind Instruments, Performed By Students of the Orchestral Department”1 took place in the Eastman School of Music’s Kilbourn Hall.

Results

Conclusion