Download of the Week: 1982 27th Lancers

The sixth-place 27th Lancers production in 1982 wasted no time in getting things rolling with the brash and wildly articulate fanfare to “The Sea Hawk,” Erich Korngold’s dynamic contribution to the 1940 swashbuckling epic starring Errol Flynn. Korngold is widely considered one of the founders of film music. His rich melding of symphonic techniques with melodies that evoked the scenes on the silver screen inspired the likes of Bernard Herrmann and John Williams. As was to be expected from 27th Lancers corps of that era, the color guard demonstrated the benefits of aerobic condition long before most people had any idea what that meant. It simply was not possible for members of the guard to get through a 27th program if they weren’t in the absolute best physical condition possible. The guard was often used in this show to push and pull the brass section visual movements around the field, either opening the way for an expanding form or helping close the door on a contracting one. A notable color guard highlight occurred just prior to the final section of the opener. When the rifles disappeared behind the brass players, the flag bearers slid their flags between the horns and the flags were then tossed over the horns back to the flag bearers. Throughout the opener, the four timpanists grounded on the front sideline (by rule through much of the 1970s, all percussion instruments had to be carried and played by corps members on the field) must have had sore arms from the fast and frequent pitch changes accomplished by turning the cranks on the top of the drums, (a vestige of the era before all corps had pedal timpani that were played by one timpanist). Don Ellis’ “Niner-Two” returned from the corps’ 1981 production. Among the small handful of percussionists on the front sideline was the unique appearance of a set of red North bongos, with their distinctive fiberglass shell swooping out to face the audience like an upside-down version of those huge vents on deck that helped provide ventilation to lower levels of ocean-going ships. Three of the four timpanists moved to accessory percussion instruments to help set the repetitive groove. The title of the piece came from Ellis’ choice to write it in 9/2, an unusual time signature. The work was recorded in July of 1977 on his “Live at Montreux” album, the final recording he made with his own band prior to his untimely death at the age of 44. Moving into a standstill form, different brass sections marched in contrasting interpretations of the 9/2 meter. You’ll notice near the beginning of the video clip a baritone player switching his instrument for a longer trombonium bugle for the following solo. At the time, a number of corps experimented with unusual and unique bugles that—for the most part—didn’t catch on in the activity for a variety of reasons, including tuning problems.