An Analysis of and Conductors Guide To Gordon Jacobs Old Wine

University of Iowa
Iowa Research Online

Theses and Dissertations
2013
An analysis of and conductor's guide to Gordon

Jacob's "Old wine in new bottles" and "More old
wine in new bottles"
Marc David Decker
University of Iowa
Copyright 2013 Marc Decker
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/4960
Recommended Citation
Decker, Marc David. "An analysis of and conductor's guide to Gordon Jacob's "Old wine in new bottles" and "More old wine in new
bottles"." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2013.
http://ir.uiowa.edu/etd/4960.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons

AN ANALYSIS OF AND CONDUCTOR’S GUIDE TO GORDON JACOB’S
“OLD WINE IN NEW BOTTLES” AND “MORE OLD WINE IN NEW
BOTTLES”
by
Marc David Decker
A thesis submitted in partial fulfillment

of the requirements for the
Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa
December 2013
Thesis Supervisor: Associate Professor Richard Mark Heidel

Copyright by
MARC DAVID DECKER
2013
All Rights Reserved

Graduate College
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
D.M.A. THESIS
_______________
This is to certify that the D.M.A. thesis of
Marc David Decker
has been approved by the Examining Committee

for the thesis requirement for the Doctor of Musical
Arts degree at the December 2013 graduation.
Thesis Committee: ___________________________________

Richard Mark Heidel, Thesis Supervisor
___________________________________
Mathew Arndt
___________________________________
Mary Cohen
___________________________________
William LaRue Jones
___________________________________
L. Kevin Kastens
To Dima
ii
Sometimes I am asked whether I write music to please myself, or to please
other people; but, I think every composer writes to please himself and if he’s
fortunate enough to please other people, that’s all to the good. Because I do
think that music should say something and communicate – not necessarily a
preferred message – but should appeal even on its first hearing.
Dr. Gordon Jacob
iii
ACKNOWLEDGEMENTS
This paper would not have been possible without the guidance, friendship and
love of many individuals. Thanks go out to my supervisor Dr. Richard Mark Heidel for
his encouragement, guidance, patience and knowledge. Special thanks go to Professor L.
Kevin Kastens for the many opportunities he offered me as a graduate assistant at The
University of Iowa. Thanks, also, to Dr. Mathew Arndt, Dr. Mary Cohen, and Dr.
William LaRue Jones for the many emails, phone conferences and continued advice that
went into completing this study.
I extend my sincere thanks to my fellow graduate students from Iowa: Carter,
Curran, Ernie, Matthew, Michael, Oliver, Rick, Steven, and Tamara. You have all been
good friends over the previous four years offering constructive feedback and being
overall supportive. I remember our time at Iowa fondly.
I also wish to recognize and thank my family for their love and encouragement:
David, Veronica, Brian, Paul, and Anne. Most importantly, thank you Dima, my beloved
wife and constant source of inspiration. I am looking forward to our adventure as parents
of newborn Kayla.
iv
ABSTRACT
Gordon Jacob’s (1895-1984) Old Wine in New Bottles (1959) and More Old Wine
in New Bottles (1977) are regularly performed works within the canon of chamber wind
repertoire. Composed for thirteen instruments, the original work and its sequel are a
reflection of Jacob’s refined compositional style, which emphasizes unique textures, clear
formal structures, and recognizable folk melodies.
Gordon Jacob was a British composer from Upper Norwood, London. During his
youth he studied piano and took up percussion in order to join his school band and
orchestra. After serving in the First World War, Jacob enrolled at the Royal College of
Music (RCM) where he studied composition with Ralph Vaughan Williams and Sir
Charles Villiers Stanford. Shortly after graduation, he was offered an instructor position
at the RCM. He remained on faculty for forty-two years, instructing many musicians who
would later become internationally recognized composers, including Imogen Holst, Sir
Malcolm Arnold, and Philip Cannon. As a composer, he has approximately four-hundred
works to his name and is best known in the area of wind band for William Byrd Suite
(1922), An Original Suite (1928), Music for a Festival (1951), Flag of Stars (1954), and
Giles Farnaby Suite (1967).
This study is an analysis of and conductor’s guide for two of Jacob’s chamber
works that have not been the subject of any previous scholarly publications. The opening
chapters include a brief biography of the composer emphasizing the musical
developments of his youth, his achievements as an educator, and a discussion of his
compositional style. The following two chapters delve into Old Wine in New Bottles and
More Old Wine in New Bottles, respectively. Each includes an original historical account
v
of the piece, discussion of the preexisting folk music, theoretical analysis, and
suggestions for the conductor. This study is intended to assist conductors in the score-
study and preparation process, leading to more effective rehearsals and informed
performances.
vi
TABLE OF CONTENTS
LIST OF EXAMPLES ....................................................................................................... ix
LIST OF ANALYTICAL FLOWCHARTS ..................................................................... xii
INTRODUCTION AND PURPOSE ...................................................................................1
Review of Selected Literature ..........................................................................2

Significance and Rationale ...............................................................................7
Organization of the Study .................................................................................9
CHAPTER ONE – BIOGRAPHICAL SKETCH ..............................................................11
Early Life and Student Years ..........................................................................11

Professional Years ..........................................................................................14
Compositional Style........................................................................................17
Introduction to Folk Music .............................................................................19
CHAPTER TWO – OLD WINE IN NEW BOTTLES ......................................................22
History of the Composition ............................................................................22

Instrumentation ...............................................................................................28
Errata...............................................................................................................31
Movement One – The Wraggle Taggle Gypsies ............................................32
Analytical Flowchart ...............................................................................32
Interpretive Analysis ...............................................................................32
Conducting Suggestions ..........................................................................39
Movement Two – The Three Ravens .............................................................42
Movement Three – Begone, Dull Care ...........................................................50
Movement Four – Early One Morning ...........................................................58
Summary .........................................................................................................70
CHAPTER THREE – MORE OLD WINE IN NEW BOTTLES .....................................72
History of the Composition ............................................................................72

Instrumentation ...............................................................................................74
Errata...............................................................................................................77
Movement One – Down Among the Dead Men .............................................79
Movement Two – The Oak the Ash ...............................................................93
vii
Movement Three – The Lincolnshire Poacher .............................................100
Analytical Flowchart .............................................................................100
Interpretive Analysis .............................................................................101
Conducting Suggestions ........................................................................105
Movement Four – Joan, to the Maypole .......................................................106
Analytical Flowchart .............................................................................106
Interpretive Analysis .............................................................................106
Conducting Suggestions ........................................................................115
Summary .......................................................................................................116
CHAPTER FOUR – CONCLUSION ..............................................................................118
Suggestions for Further Study ......................................................................120
APPENDIX A – GORDON JACOB’S WORKS LIST...................................................121
Works for Full Band .....................................................................................121

Modern Arrangements for Full Band ...........................................................122
Works for Chamber Winds ...........................................................................123
Works for Brass Band ...................................................................................125
APPENDIX B – INTERVIEW QUESTIONS AND RESPONSES ................................127
Correspondences with Margaret Jacob Hyatt ...............................................127

Correspondences with Eric Wetherell ..........................................................135
Correspondences with The Music Sales Group ............................................137
Correspondences with St. Bees School ........................................................138
Correspondences with Timothy Reynish ......................................................142
Correspondences with Oxford University Press ...........................................146
APPENDIX C – ARCHIVAL MATERIALS..................................................................147
St. Bees Festival of Music Souvinir Programme ..........................................147

Letters from Gordon Jacob to June Emerson ...............................................163
APPENDIX D – OLD WINE IN NEW BOTTLES SCORE ..........................................171

APPENDIX E – MORE OLD WINE IN NEW BOTTLES MANUSCRIPT SCORE....235
APPENDIX F – DISCOGRAPHY ..................................................................................294
APPENDIX G – LETTERS OF PERMISSION ..............................................................295
BIBLIOGRAPHY ............................................................................................................300
viii
LIST OF EXAMPLES
Example 1. Old Wine in New Bottles, mvt. 2, mm. 17-22, Trumpets. ...............................29
Example 2. Old Wine in New Bottles, mvt. 4, mm. 96-102, Trumpets. .............................29
Example 3. Old Wine in New Bottles, mvt. 3, mm. 115-123, Bassoons. ...........................31
Example 4. Old Wine in New Bottles, mvt. 1, mm. 1-24, Bassoon One. ...........................33
Example 5. Old Wine in New Bottles, mvt. 1, mm. 23-29, Flutes and Oboes ...................35
Example 6. Old Wine in New Bottles, mvt. 1, mm. 23-29, Bassoons. ...............................36
Example 7. Old Wine in New Bottles, mvt. 1, mm. 30-36, Flutes, Oboes and
Clarinets..........................................................................................................37
Example 8. Old Wine in New Bottles, mvt. 1, mm. 58-64, Horns. ....................................38
Example 9. Old Wine in New Bottles, mvt. 1, mm. 40-48, Oboe One. ..............................38
Clarinets ........................................................................................................40
Example 11. Old Wine in New Bottles, mvt. 1, mm. 87-93, Oboes, Clarinets and
Bassoons .......................................................................................................41
Example 12. Old Wine in New Bottles, mvt. 2, mm. 24-30, Flutes, Horns and
Trumpets .......................................................................................................45
Example 13. Old Wine in New Bottles, mvt. 2, mm. 31-36, Flutes, Clarinets and
Bassoons .......................................................................................................46
Example 14. Old Wine in New Bottles, mvt. 2, mm. 43-49, Flutes and Oboes .................47
Example 15. Old Wine in New Bottles, mvt. 2, mm. 63-68, Flutes, Oboes, Bassoons
and Trumpets ................................................................................................49
Example 16. Old Wine in New Bottles, mvt. 3, mm. 1-8, Flutes. ......................................53
Example 17. Old Wine in New Bottles, mvt. 3, mm. 45-52, Flutes, Oboes, Clarinets
and Bassoons.................................................................................................54
Example 18. Old Wine in New Bottles, mvt. 3, mm. 75-81, Oboe One, Clarinet
One, Bassoon One and Horns .......................................................................56
Example 19. Old Wine in New Bottles, mvt. 3, mm. 106-114, Clarinets and
Bassoons .......................................................................................................57
Example 20. Old Wine in New Bottles, mvt. 4, mm. 1-12, Flute One. ..............................60
Example 21. Old Wine in New Bottles, mvt. 4, mm. 51-59, Flute One. ............................61
ix
Example 22. Old Wine in New Bottles, mvt. 4, mm. 25-33, Flutes, Oboes, Clarinets
and Bassoons.................................................................................................62
Example 23. Old Wine in New Bottles, mvt. 4, mm. 68-73, Flutes. ..................................63
Example 24. Old Wine in New Bottles, mvt. 4, mm. 86-90, Bassoons, Horns and
Trumpets .......................................................................................................64
Example 25. Old Wine in New Bottles, mvt. 4, mm. 100-118, Clarinet One. ...................65
Example 26. Old Wine in New Bottles, mvt. 4, mm. 116-134, Oboe One. ........................66
Clarinets ........................................................................................................67
Example 28. Old Wine in New Bottles, mvt. 4, mm. 60-67, Flutes and Oboes .................68
Example 29. Old Wine in New Bottles, mvt. 4, mm. 123-128, Flutes and Oboes .............69
Example 30. More Old Wine in New Bottles, mvt, 4, mm. 21-26, Bassoons ....................75
Example 31. More Old Wine in New Bottles, mvt. 1, mm. 17-21, Clarinets and
Bassoons .......................................................................................................76
Example 32. More Old Wine in New Bottles, mvt. 1, mm. 11-16, Flutes and Oboes........82
Example 33. More Old Wine in New Bottles, mvt. 1, mm. 31-34, Flute Two. ..................83
Example 34. More Old Wine in New Bottles, mvt. 1, mm. 53-59, Oboe One. ..................83
Example 35. More Old Wine in New Bottles, mvt. 1, mm. 89-94, Oboe One. ..................84
Example 36. More Old Wine in New Bottles, mvt. 1, mm. 102-108, Bassoon One. .........85
Example 37. More Old Wine in New Bottles, mvt. 1, mm. 119-123, Bassoons,
Horns and Trumpets ......................................................................................86
Example 38. More Old Wine in New Bottles, mvt. 1, mm. 55-61, Flutes, Oboes,
Clarinets and Bassoon One ...........................................................................87
Example 39. More Old Wine in New Bottles, mvt. 1, mm. 76-83, Clarinets,
Bassoons, Horns and Trumpets.....................................................................88
Example 42. More Old Wine in New Bottles, mvt. 2, mm. 1-5, Flutes, Oboe, Cor
Anglais and Clarinets ....................................................................................95
Example 43. More Old Wine in New Bottles, mvt. 2, Melodic Reduction ........................96
x
Example 44. More Old Wine in New Bottles, mvt. 2, mm. 31-35, Oboe, Cor Anglais
and Trumpets ................................................................................................97
Example 45. More Old Wine in New Bottles, mvt. 2, mm. 36-40, Oboe, Cor
Anglais, Clarinets and Bassoons ...................................................................98
Example 46. More Old Wine in New Bottles, mvt. 2, mm. 47-52, Bassoons and
Horns. .............................................................................................................99
Example 47. More Old Wine in New Bottles, mvt. 3, mm. 1-22, Flute Two. ..................102
Example 48. More Old Wine in New Bottles, mvt. 3, mm. 24-29, Horns and
Trumpets .....................................................................................................103
Example 49. More Old Wine in New Bottles, mvt. 3, mm. 36-41, Clarinets. ..................104
Example 50. More Old Wine in New Bottles, mvt. 3, mm. 48-53, Bassoons and
Horns ...........................................................................................................104
Example 51. More Old Wine in New Bottles, mvt. 3, mm. 76-82, Oboe One .................105
Example 52. More Old Wine in New Bottles, mvt. 4, mm. 1-7, Horns and Trumpets ....109
Example 53. More Old Wine in New Bottles, mvt. 4, mm. 1-24, Flute One. ..................110
Example 54. More Old Wine in New Bottles, mvt. 4, mm. 27-32, Oboes, Clarinets
and Bassoon One.........................................................................................111
Example 55. More Old Wine in New Bottles, mvt. 4, mm. 58-62, Oboes, Clarinets
and Bassoons...............................................................................................112
Clarinets and Bassoon One .........................................................................113
Example 57. More Old Wine in New Bottles, mvt. 4, mm. 87-92, Horns and
Trumpets .....................................................................................................115
xi
LIST OF ANALYTICAL FLOWCHARTS
Flowchart 1. Old Wine in New Bottles, Movement One, The Wraggle Taggle
Gypsies ..........................................................................................................32
Flowchart 2. Old Wine in New Bottles, Movement Two, The Three Ravens ....................42
Flowchart 3. Old Wine in New Bottles, Movement Three, Begone, Dull Care. ................50
Flowchart 4. Old Wine in New Bottles, Movement Four, Early One Morning. ................58
Flowchart 5. More Old Wine in New Bottles, Movement One, Down Among the
Dead Men. .....................................................................................................79
Flowchart 6. More Old Wine in New Bottles, Movement Two, The Oak and the Ash ......93
Flowchart 7. More Old Wine in New Bottles, Movement Three, The Lincolnshire
Poacher. ......................................................................................................100
Flowchart 8. More Old Wine in New Bottles, Movement Four, Joan, to the
Maypole.......................................................................................................106
xii
1
INTRODUCTION AND PURPOSE
This study is an analysis of and conductor’s guide to Gordon Jacob’s Old Wine in
New Bottles (1959) and More Old Wine in New Bottles (1977). These two compositions
are regularly performed within the canon of chamber wind repertoire and respected
throughout the field. Composed for thirteen instruments, the original work and its sequel
are a reflection of Jacob’s refined style, which emphasizes unique textures, clear formal
structures, and recognizable folk melodies.
Gordon Jacob (1895-1984) was a British composer from Upper Norwood,
England, born July 5, 1895. As a youth, he attended the Royal College of Music (RCM)
where he studied composition with Sir Charles Villiers Stanford (1852-1924) and Ralph
Vaughan Williams (1872-1958); music theory with Herbert Howells (1892-1983); and
conducting with Sir Adrian Boult (1889-1983). He was recognized for his talents shortly
after graduating and appointed to the music faculty at his alma mater, where he remained
for forty-two years teaching theory, composition, and orchestration. During his life, he
wrote college textbooks on orchestration, instructed many individuals who would later
become internationally recognized musicians, and composed about four-hundred works
for instruments and voice.
Jacob is generally regarded as a conservative composer who favors clear large-
scale formal structures, such as theme and variations, melodies often borrowed from
preexisting tunes, and traditional extended tertian harmonies, such as seventh chords.
Some of his common compositional techniques include loosely structured imitation,
counterpoint, augmentation and fragmentation of thematic material, original
countermelodies, and juxtaposition of theme groups. Although Jacob was familiar with
2
contemporary middle 20th century compositional devices – such as polychords, quartal
and quintal harmonies, and pitch-class sets – they are sparingly present in his
compositions. He is best known for his treatment of timbre, unique textures, and
approach to orchestration.
Gordon Jacob composed approximately 110 works for various combinations of
wind instruments. Two of the most highly regarded, which encapsulate his compositional
style and techniques, are Old Wine in New Bottles and More Old Wine in New Bottles.
The purpose of this thesis is to serve as a detailed guide for conductors interested
in studying these two pieces. It is designed to supplement the score-study process with a
detailed biography of the composer, historical information on the origins of the pieces,
thorough formal analyses, and conducting suggestions. This study does not subscribe to a
specific approach of score-preparation, but instead provides the outlying tools necessary
for conductors to learn about these two works and develop their own personal
interpretation of the music.
Review of Selected Literature
Currently, no scholarly publications, theses, thematic catalogs, conductor’s
guides, or other resources discuss the history of and compositional devices employed
within either Old Wine in New Bottles or More Old Wine in New Bottles; however, there
is research on the life of the composer and many of his other compositions for winds.
These scholarly documents assist in collecting relevant biographical information, aid in
understanding Gordon Jacob’s compositional style, and indirectly provide insight into the
two musical works explored in this study.

3
Eric Wetherell completed a thorough biography of the composer in 1995 entitled
Gordon Jacob-A Centenary Biography.1 It stands as the definitive resource on Gordon
Jacob and contains details about his personal affairs, professional activities, and
relationships, collected from interviews with the composer’s friends, family, and
students. However, Wetherell’s book does not contain information about the composer’s
works and professional publications. Few compositions are mentioned other than a highly
selective repertoire list that contains a small percentage of Jacob’s total compositional
output.2 Currently, the book is out of print and only a limited number of libraries in the
United States hold copies.3
Another biographical resource is Gordon Jacob, a fifteen-minute black-and-white
film by the British Broadcasting Corporation (BBC) that originally aired in 1959.4
Gordon Jacob is one of the earliest films from the BBC’s Monitor5 series and helped to
launch the career of acclaimed British producer, Ken Russell (1927-2011).6 This
1 Eric Wetherell, Gordon Jacob-A Centenary Biography (London: Thames Publishing,

1995).
2 Eric Wetherell, e-mail message to author, July 12, 2012. Mr. Wetherell did not attempt
to discuss the works of the composer because the manuscripts are difficult to locate and many of
the published works are out of print.
3 The Music Sales Group, e-mail message to author, July 19, 2012. Thames Publishing,
the original publisher of Wetherell’s biography, has been purchased by The Music Sale Group.
They list the book as permanently out of print.
4 Gordon Jacob, directed by Ken Russell (British Broadcasting Corporation, 1959).
5 The Monitor series was filmed from 1958-1965 and includes biographies of prominent
artists including Sir Edward Elgar, Vincent van Gogh, and Henry Moore. The BBC website has
detailed information and selected clips from the series (www.bbc.co.uk/programmes/ b00dtyvd).
4
documentary explores Jacob’s early musical training, catalogs the daily activities of the
sixty-four year old composer, and plays short excerpts of his works; however, the most
relevant aspects of the film are direct quotes from Gordon Jacob that offer a rare glimpse
into his philosophies on music. Its limitations are its brevity and lack of discussion of Old
Wine in New Bottles, which was completed a few months prior to the filming of Gordon
Jacob.
Dissertations and theses related to this study have recently been completed on
many of Jacob’s works for full band. William Byrd Suite (1922), perhaps one of the most
frequently performed compositions for winds by the composer, was analyzed and edited
by Clarence Leo Weeks at the University of Houston in 1997,7 and again by Andrew
Trachsel at the University of North Texas in 2007.8 Both studies include an abridged
biography of the composer, a brief discussion of his compositional style, research on the
history of William Byrd Suite (1922), and conclude with corrected editions of the work.
In 1987, J. Alan Whiston wrote a doctoral dissertation on four of Gordon Jacob’s
compositions for wind band. His study includes a brief biography of the composer and
analyses of William Byrd Suite (1922), Flag of Stars (1954), Concerto for Band (1970),
6 Oxford Music Online, s.v. “Russell, Ken,” accessed July 5, 2013,

http://www.oxfordmusiconline.com.
7 Clarence Leo Weeks, “Gordon Jacob’s ‘William Byrd Suite’: A Corrected Edition”
(DMA diss., University of Houston, 1997), accessed July 23, 2013, ProQuest Dissertations &
Theses.
8 Andrew Jason Trachsel, “Toward a Critical Edition of Gordon Jacob’s William Byrd
Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book” (DMA diss.,
University of North Texas, 2007), accessed July 23, 2013, ProQuest Dissertations & Theses.
5
and Celebration Overture (1982).9 One of the most significant contributions of
Whiston’s work is a 1979 interview with Gordon Jacob about his life and compositional
style that offers a unique perspective of the active eighty-four year old composer.
Abridged analyses of many of Jacob’s works for wind band appear in the
Teaching Music through Performance in Band series published by GIA Publications. The
series contains conductors’ guides, analyses, and flowcharts of William Byrd Suite
(1922),10 An Original Suite (1928),11 Flag of Stars (1954),12 Giles Farnaby Suite
(1967),13 and Music for a Festival (1951).14 The Teaching Music through Performance
in Band guides are helpful in gaining an overview of the composer’s life, history of the
works, and compositional style; however, at only a few pages each, they are limited in
length, scope, and detail.
9 J. Alan Whiston, “Gordon Jacob: A Biographical Sketch and Analysis of Four Selected
Works for Wind Band” (PhD diss., The University of Oklahoma, 1987), accessed July 23, 2013,
ProQuest Dissertations & Theses.
10 Larry Blocher, et al., Teaching Music through Performance in Band, ed. Richard
Miles, 2nd ed., vol. 1 (Chicago: GIA Publications, 2010), 783-799.
Miles, vol. 2 (Chicago: GIA Publications, 2001), 399-407.
14Ibid., 664-669.
6
Two significant articles in The Instrumentalist discuss the music of Gordon Jacob
by Frederick Fennell on William Byrd Suite (1922)15 and Barry Kopetz on An Original
Suite (1928).16 Both provide an abridged biography, historical information on the pieces,
a formal analysis, conducting suggestions, and rehearsal suggestions.
One recent study focuses on Jacob’s compositions for chamber winds. In 2010,
Matthew Fay from Florida State University17 analyzed several wind octets including
Divertimento in E! (1968), Three Elizabethan Fancies (1979), and Serenade for
Woodwinds (1950). Fay’s study includes a lengthy review of the composer’s published
writings and Wetherell’s biography of the composer. The analytical sections are brief
narrative analyses of each piece exploring form, melody, harmony, and style.
Regrettably, Fay does not include a history of the works, rehearsal considerations, or
suggestions for the conductor.
The present study compiles biographical information about Gordon Jacob from
Eric Wetherell’s book and Ken Russell’s documentary. The description of his
compositional style is determined from the composer’s scholarly writings, an
examination of his works for winds, and quotes from several of the biographical
resources. The history of Old Wine in New Bottles and More Old Wine in New Bottles is
ascertained through Jacob’s correspondences; contact with publishing companies,
15 Frederick Fennell, “William Byrd Suite,” The Instrumentalist 30, no. 2 (September
1975): 35-41.
16 Barry Kopetz, “Gordon Jacob’s An Original Suite,” The Instrumentalist 44 (June

1990): 22-30, 53-56.
17 Matthew Fay, “Gordon Jacob: A Background and Study of His Works for Wind
Octet” (DMA diss., Florida State University, 2010).
7
including Oxford University Press and Emerson Music Ltd.; an interview with his
widow, Ms. Margaret Jacob Hyatt; and communications with individuals who
participated in the premieres. While all of the above resources contribute to
understanding Jacob’s life and works, the following interpretive analysis and conducting
suggestions are entirely original and not based on any previous sources.
Significance and Rationale
Thousands of works for chamber winds have been composed in the previous
three-hundred years and both Old Wine in New Bottles and More Old Wine in New
Bottles are significant additions to this body of repertoire. Multiple research studies and
repertoire surveys identify them as regularly performed, recognize them as significant
compositions, and rank them amongst the best works for chamber winds.
Old Wine in New Bottles is listed in a study by Jay Gilbert as a work of “serious
artistic merit.”18 Robert Olson submits the composition as one of only fifty “core works”
within wind chamber repertoire.19 Chad Nicholson includes it in his recent book, “Top
100 Works for Winds.”20 Timothy Paul, in a survey of programming trends in the Pac-
Ten Conference, proclaims Jacob as one of the twenty-five most performed composers
18 Jay Gilbert, “An Evaluation of Compositions for Wind Band According to Specific
Criteria of Serious Artistic Merit: A Replication and Update” (DMA diss., Northwestern
University, 1993), 156.
19 Robert Olson, “A Core Repertoire for the Wind Ensemble,” Journal of Band Research
18 (1982): 14.
20 Chad Nicholson, Great Music for Wind Band: A Guide to the Top 100 Works in
Grades IV, V, and VI (Galesville, MD: Meredith Music Publishers, 2009), 14.
8
for winds and Old Wine in New Bottles as a “regularly performed work.”21 Sean Powell,
in a survey of programming trends in the Big-Ten Conference, also identifies the
composition as regularly performed.22 Finally, Eric Wiltshire, in a survey of
programming trends in the Atlantic Coast Conference, advances the work as “possible
core repertoire.”23
More Old Wine in New Bottles is also considered a significant composition for
chamber winds. A study by Richard Fiese lauds Gordon Jacob as one of the twenty-five
most performed composers for wind band and lists More Old Wine in New Bottles as a
regularly programmed work.24 In 2004, Rodney Winther published his textbook, An
Annotated Guide to Wind Chamber Music, which catalogs about five-hundred works for
chamber winds including instrumentation, performance notes, and difficulty.25 Both Old
Wine in New Bottles and More Old Wine in New Bottles are identified in Winther’s “Top
101 Compositions” for chamber winds.
Although the original Old Wine in New Bottles is programed with greater
frequency than More Old Wine in New Bottles, both compositions have a place firmly
21 Timothy Paul, “Pac-Ten Wind Ensemble Programming Trends,” Journal of Band

Research 47, no. 1 (Fall 2011): 49-63.
22 Sean Powell, “Recent Programming Trends of Big Ten University Wind Ensembles,”
Journal of Band Research 44 (2009): 6.
23 Eric Wiltshire, et al., “Programming Practices of Atlantic Coast Conference Wind

Ensembles,” Contributions to Music Education 37, no. 2 (July 2010): 49.
24 Richard Fiese, “College and University Wind Band Repertoire 1980-1985,” Journal of
Band Research, 23 (1987): 37.
25 Rodney Winther, An Annotated Guide to Wind Chamber Music, (Miami, FL: Alfred
Music, 2004), 2.
9
entrenched in the modern performance practices of chamber wind ensembles throughout
the United States. The two chamber works are presented together in this study not only
because they are regularly programmed, but due to a common history. Beyond the
obvious near identical titles, they share compositional devices, including similar
instrumentation, large-scale forms, and are based upon British folk music. They are
natural companions, and the exploration of one leads to the discovery of the other.
Organization of the Study
Chapter One is a biographical sketch of Gordon Jacob opening with a synopsis of
his early life, focusing on the events that affected the development of his compositional
style. It includes an exploration of the composer’s professional life, educational
appointments, and significant scholarly research. The chapter ends with a discussion of
Jacob’s compositional style and use of folk music in Old Wine in New Bottles and More
Old Wine in New Bottles. For many conductors, a biographical sketch of the composer
serves as a starting point in the score-study process.
Chapters Two and Three take a close historical and analytical look at Old Wine in
New Bottles and More Old Wine in New Bottles, respectively. Each chapter begins with
original research on the origin of the piece and a discussion on instrumentation. This
leads into an exploration of errata and a detailed account of the individual movements.
The discussion of each individual movement includes an analytical flowchart,
interpretive analysis, and conducting suggestions. The analytical flowcharts are designed
to provide an overview of each movement that conveys basic information condensed into
a single page identifying form, tonal centers, meter, and major compositional devices.
10
This is followed by an interpretive analysis that opens with an exploration of the folk
music and leads to an extensive account of the work’s formal compositional elements.
Finally, each section ends with specific suggestions for the conductor.
Chapter Four draws conclusions from the study, reflecting upon the content and
presenting ideas for further research. Appendix A contains an updated and
comprehensive list of the composer’s works for winds. Appendix B includes
transcriptions of the interview questions and responses by the author that are utilized
throughout this study. Appendix C contains copies of archival materials that are
referenced in the study but not readily available to the public. Appendix D is a copy of
the score to Old Wine in New Bottles, duplicated with permission from Oxford University
Press. Appendix E is a copy of the manuscript score to More Old Wine in New Bottles,
duplicated with permission by June Emerson Ltd. Both scores are intended as a reference
for the reader as they learn about these two pieces. Appendix F is a discography that lists
the few professional recordings currently available of these two compositions. Appendix
G includes letters of permission that pertain to copyright material duplicated in this study.
11
CHAPTER ONE – BIOGRAPHICAL SKETCH
Early Life and Student Years
Gordon Percival Septimus Jacob was born on July 5, 1895 in Upper Norwood,
London. He was the tenth child and seventh boy in the family, as his second middle name
suggests. His father was an official in the Indian Civil Service and was an amateur
musician who composed hymn tunes. When Jacob was the age of three his father died
while overseas and the family moved to Raymond Road, Wimbledon. They survived on
the Indian Office pensions, and his mother encouraged all her children to take music
lessons.26 Gordon Jacob recalled that six of his siblings either played instruments or
sang.27 By the age of seven, Jacob enrolled in the Dulwich College Preparatory School,
which he described as “an extremely musical school,” where his chief interests were
rugby and music.28 He played piano, accompanied soloists, and participated in various
school chamber ensembles. By the age of eight, he began private piano lessons with
Eleanor Sheffield, who ran a kindergarten near his home.
In 1907, at the age of thirteen, Gordon Jacob entered Dulwich College Upper
School and showed potential in music. For years before this, he was writing out simple
melodies and harmonies, but by 1908 composed his first work for orchestra entitled
Coronation March (1908). He would go on to write several other pieces in his youth
including Red Riding Hood Overture (1913) and Introduction and Valse Gracieuse
26 Wetherell, Gordon Jacob-A Centenary Biography, 13.
27 This is a point of contention as Eric Wetherell writes that six of Gordon Jacob’s
siblings played instruments or sang; however, Ken Russell’s documentary puts the number at
nine.

12
(1914), none of which were ever published. Having a desire to participate in both the
school military band and orchestra, Jacob took percussion lessons from the school’s brass
instructor, Mr. Cummings.29 The music director at Dulwich College, Herbert Doulton,
provided Jacob many opportunities to be musically active. Young Jacob could borrow
and review the scores in the music library at will, compose and conduct works with the
orchestra, and participate in the ensembles, either on piano or as a timpanist. In his last
year of school, Jacob was a featured pianist for the first movement of Piano Concerto in
D minor by Wolfgang Amadeus Mozart.30
In 1914, at the onset of World War I, Jacob enlisted in the Queen’s Royal Surrey
Regiment in the Field Artillery. He was sworn in at Wimbledon, and in his first year,
served away from the front lines. During this time he played the harmonium at Sunday
church services and even published one piece entitled By the Hearthstone (1915), which
is now lost. By the end of 1915, Jacob was deployed to the front lines in France. After a
year in the trenches, he was sent to Oxford for officer training. By 1917, now as a 2nd
Lieutenant, Jacob once more returned to the front lines and was taken prisoner after a
horrific battle. He wrote in his journal:
We expected to be killed by the Germans, but the camaraderie which existed

between the front-line troops held, and they were more interested in any
cigarettes, chocolate and other little goods such as torches, compasses and such-
like. I believe that there were only about sixty survivors, many of them wounded,
out of about 800 in our battalion.31
30 Ibid.
31 Ibid., 22.
13
Jacob was a prisoner of war at Strohen in the Luneberg Heath area for two years.
During this time, he was given permission to assemble a small ensemble with other
prisoners. He had access to a piano and did most of the arranging to entertain the soldiers
and prisoners of the camp. By 1918, Jacob was able to get a piano in his room and put
together a small chamber orchestra of four strings and three brass, with himself as the
conductor.32
In 1919, after the conclusion of the war, Jacob was returned to England. He
enrolled in journalism classes and participated in a few small musical groups in his free
time. Jacob discovered that he had little passion for journalism but nonetheless completed
a full year of courses. During the spring semester 1920, he applied to the Royal College
of Music (RCM), and after a successful audition, received a two year full scholarship to
study composition and theory.33 He began his training in the fall semester 1920 and
studied music theory with Herbert Howells, who was only a few years older than
Jacob;34 conducting with Sir Adrian Boult, who later became the conductor of the BBC
Symphony Orchestra;35 and composition with Sir Charles Villiers Stanford, who was a
founding member of the RCM.36 Jacob always enjoyed his composition lessons with
33 Ibid., 25.
34 Oxford Music Online, s.v. “Howells, Herbert (1892-1983),” accessed April 10, 2012,
35 Oxford Music Online, s.v. “Boult, Sir Adrian (1889-1983),” accessed April 10, 2012,
36 Oxford Music Online, s.v. “Stanford, Sir Charles Villars (1852-1924),” accessed April
10, 2012, http://www.oxfordmusiconline.com.
14
Howells and Stanford; however, seeking a more modern instructor, switched in his third
year to study with Ralph Vaughan Williams.37 The experience did not work out as Jacob
had hoped, since he always felt that Vaughan Williams was overly critical of his
compositions and offered him little encouragement.38
In 1923, while still a student, Jacob composed regularly and earned wages as a
copyist. One of his first commissions occurred this year, when he was approached to
write music for a festival in Oxford commemorating the tercentenary death of William
Byrd.39 He composed William Byrd Suite (1923) for orchestra based upon music from
the Fitzwilliam Virginal Book. It was so successful that in 1924, at the request of Sir
Adrian Boult, a version was written for massed military bands.
Professional Years
In 1924, a year after his graduation, Jacob accepted a position as a deputy
teacher40 of theory and composition at the RCM. Stanford helped him achieve the
appointment, which he held in various capacities until his retirement in 1966. Aside from
37 Oxford Music Online, s.v. “Vaughan Williams, Ralph (1872-1958),” accessed April
10, 2012, http://www.oxfordmusiconline.com.
39 Ibid., 27.
40 RCM Human Resources, e-mail message to author, June 8, 2012. The rank of “deputy
teacher” is still used today at the RCM. It denotes an instructor who is substituting for a full-time
instructor on leave.
15
his position at the RCM, Jacob supplemented his income composing and working part-
time at both Morley and Birkbeck Colleges.41
As an educator, Jacob mentored a number of students who would eventually
become internationally recognized composers. A few of his noteworthy students
included:
 Imogen Holst (1907-1984)

 Frank Bury (1910-1944)
 Robert Turner (1920-2012)
 Ruth Gipps (1921-1999)
 Sir Malcolm Arnold (1921-2006)
 Philip Cannon (b. 1929)
As a composer, Jacob was prolific, with approximately four-hundred works for
winds, voices, strings, and solo instruments; however, only a small number of these
works are published and available today. He has thirty-two published pieces for wind
band and near sixty for chamber winds.42 Some of his most significant compositions for
wind band include: William Byrd Suite (1923), An Original Suite (1928), Music for a
Festival (1951), Flag of Stars (1954), and Giles Farnaby Suite (1967).43
42 Gordon Jacob’s works for winds are provided in Appendix A.
43 “Select Repertoire List,” The National Band Association, accessed April 10, 2012,
http://www.nationalbandassociation.org/pdfs/musiclists/2006SelectiveMusicList_Grade.pdf.
16
Jacob’s first successful work for chamber winds was his Serenade for Woodwind
Octet (1950).44 This eight movement composition is similar in style to both Old Wine in
New Bottles and More Old Wine in New Bottles with melodic material based upon pre-
existing folk tunes, predominantly thin textures, and clear large-scale forms. Some of his
other chamber compositions that are regularly performed in the United States today
include the Sextet for Piano and Wind Quintet Op.6 (1962) and Divertimento in E! for
Wind Octet (1968).45
Jacob also published a number of articles and educational textbooks throughout
his career. Two of his early books include The Composer and his Art (1955)46 and The
Elements of Orchestration (1962);47 however, most of the information from these two
resources was integrated into Jacob’s most recent publication, Orchestral Techniques
(1982).48 This book is currently in its third edition and is written as a college-level
textbook focusing on the art of orchestration. Some other writings include articles on
Schoenberg49 and Brahms50 as well as a book designed for amateur music enthusiasts
with a passion for reading musical scores.51
44 Gordon Jacob, Serenade for Woodwind Octet (New York: Boosey & Hawkes, Inc.,
1950).
45 Winther, An Annotated Guide to Wind Chamber Music, 14.
46 Gordon Jacob, The Composer and His Art (London: Oxford University Press, 1955).
47 Gordon Jacob, The Elements of Orchestration (New York: October House, 1962).
48 Gordon Jacob, Orchestral Technique, 3rd ed. (London: Oxford University Press,
1982).
49 Gordon Jacob, “Arnold Schoenberg 1874-1951,” Music and Letters 32 (1951): 312-
314.
17
Compositional Style
Gordon Jacob lived a disciplined life. Every morning before breakfast he took a
walk in the country and when he returned ate a boiled egg – not because of its nutritional
value, but because of its ease in preparation.52 After breakfast, he began composing. His
widow, Margaret Jacob, reports:
He worked regular hours from 10 am (after breakfast) until lunch time. In the
afternoon we went out into the country or gardening. He did a couple of hours
before our evening meal and came down for a gin and orange/tonic just before.
He pointed out that work of such mental intensity could not be sustained for much
longer. His colleagues in the same craft were amazed at his disciplined attitude. If
he 'dried up ' as he expressed it, he still came up the two flights of stairs to his
studio and did something in connection with music, like reading Grove's
Dictionary or giving himself some exercises in 8 point harmony.53
Gordon Jacob composed at the piano with a manuscript, metronome, and pen. He
said that he wrote in pen because it made him “think carefully before committing an idea
to paper.”54
Jacob’s meticulous nature complimented his compositional output, as he has
approximately four-hundred works to his name. Some are for large ensembles, but most
are for chamber ensembles with unique combinations of instruments and voices. The
composer’s works, specifically for chamber winds (Appendix A), demonstrate little
50 Gordon Jacob, “Schoenberg and Brahms Op. 25,” Music and Letters 32 (1951): 252-
255.
51 Gordon Jacob, How to Read a Score (New York: Boosey & Hawkes, 1944).
53 Margaret Jacob Hyatt, e-mail message to author, June 25, 2012. Correspondences with
the author are provided in Appendix B.

18
repetition in his instrument selection. Gordon Jacob speaks about his interest in writing
for instruments:
I’ve always been extremely interested in combinations of instruments and I

remember as a child being fascinated by just chords played by instruments
together and noticing the different quality of sound that was produced, and that
interest has stayed with me all my life. So, I’ve written for, and still write for,
instruments that are unfamiliar to me.55
Jacob’s fascination with the different colors obtained through musical instruments
is a theme that permeates his youth. As a child, he arranged music for his siblings who
sang or played a variety of instruments. As a prisoner of war, he arranged music for
unusual combinations of instruments based upon personnel and instrument availability. In
his professional years, he became renowned through his publications and compositions
for his mastery of orchestration. In an interview with J. Alan Whiston, Jacob further
discusses his area of expertise:
I played percussion in the college orchestra. Although, I’ve sort of become known
as an expert on wind instruments. I use to examine them in college, but I’ve never
played a wind instrument in my life...but I’ve always been interested in them, and
I’ve got a flare for them I think.56
Gordon Jacob was fundamentally concerned with creating music that was
accessible to the general public. This belief is at the foundation of his compositional
conservatism – specifically, in the use of clear large-scale forms, recognizable melodies,
and standard tertian harmonies. It also provides insight into why he resisted many of the
56 Whiston, “Gordon Jacob: A Biographical Sketch and Analysis of Four Selected

Works for Wind Band,” 1987, 222. Although published in 1987, the interview was conducted in
1979, five years before the composer’s death.
19
contemporary innovations of his day, including polytonality and serialism. These
compositional devices are sparingly present in his works, and certain examples of them
are highlighted in the proceeding chapters.
Jacob reflects upon progressive art from the middle 20th century:
I’m rather inclined to think that music is moving forward a bit too fast, so that
composers are jumping too far ahead of the public and not consolidating their
position sufficiently. I think the question of communication is important, because
one never wants to write down to any audience. And at this time, I personally feel
repelled by the intellectual snobbery of some progressive artists – not only in
music but in the other arts too. I personally feel that the day that melody is
discarded altogether, you may as well pack up music altogether. It is the basis of
the whole thing.57
Introduction to Folk Music
The titles Old Wine in New Bottles and More Old Wine in New Bottles allude to a
common metaphor in which something well-known is presented in a new way. For these
pieces, Jacob is referring to eight British folk songs over eight movements – one for each
movement – that comprise all the melodic material throughout the works. These folk
songs include:
 The Wraggle Taggle Gypsies

 The Three Ravens
 Begone, Dull Care
 Early One Morning
 Down Among the Dead Men
 The Oak and the Ash
 Lincolnshire Poacher
 Joan, to the Maypole

20
Gordon Jacob came to know these songs, as well as many other folk tunes,
because he was exposed to them in his childhood. According to his widow:
Not so much with the modern generation, but we were brought up on them and
they were constantly popping up here and there; they are part of our heritage.58
Jacob did not utilize a specific textbook, musical arrangement, or resource as a reference
for the folk music contained within Old Wine in New Bottles and More Old Wine in New
Bottles; due to the nature of his upbringing, he simply knew the words and melodic
lines.59
Folk music is largely an oral tradition with text and melodies passed down from
one generation to the next. Naturally, slight variations in the text and melody often
evolved with both regional and generational distinctions. Since Gordon Jacob is now
deceased, it is impossible to know the exact lyrics he had in mind when he set Old Wine
in New Bottles and More Old Wine in New Bottles for chamber winds. The folk music
presented in this study is borrowed from sources closest to Jacob’s generation. Some are
from collections of folk music published during the composer’s lifetime, and others from
the composer’s own hand in arrangements for mixed voices. Four of these arrangements
by Gordon Jacob include:
 The Three Ravens (1935) – Gordon Jacob, SATB60

 Begone, dull Care (1937) – Gordon Jacob, SATB61
58 Margaret Jacob Hyatt, e-mail message to author, December 6, 2012.
59 Ibid.
60 Gordon Jacob, The Three Ravens (London: Oxford University Press, 1935).
21
 The Oak and the Ash (1931) – Gordon Jacob, SSA62

 Joan, to the Maypole (1930) – Gordon Jacob, SATB63
Jacob composed these vocal renditions twenty to fifty years prior to beginning
work on the instrumental settings. The similarities between these early vocal settings and
Jacob’s later instrumental versions are stunning – many of the textures, harmonies, and
key signatures are identical. This is likely because Jacob had an established concept of
sound for these folk tunes dating to his youth and it remained unchanged throughout his
life. Although similar to the vocal settings, both Old Wine in New Bottles and More Old
Wine in New Bottles are unique presentations of these folk songs that showcase Jacob’s
distinguished ability to compose for wind instruments.
61 Gordon Jacob, Begone Dull Care (London: Stainer & Bell Ltd., 1937).
62 Gordon Jacob, The Oak and the Ash (London: Oxford University Press, 1931).
63 Gordon Jacob, Joan to the Maypole (New York: Boosey & Hawkes Ltd., 1930).
22
CHAPTER TWO – OLD WINE IN NEW BOTTLES
History of the Composition
Gordon Jacob composed Old Wine in New Bottles when he was sixty-four years
old for the St. Bees Festival of Music. The festival was hosted by the St. Bees School, a
coeducational grammar school, located in St. Bees Village on the coast of Cumbria near
the English and Scottish border.64 The school was founded in 1583 by Edmund Grindal,
Archbishop of Canterbury, and has a long and rich history within the town.65 In 1958,
the music program was under the direction of Music Master Donald Leggat who founded
the St. Bees Festival of Music, which was held annually until 1965. The festival was a
major multiple day event that featured chamber, choral, and orchestral music performed
mostly by students at the school. Leggat supplemented the school’s ensembles with
former pupils, community members and friends – some of whom were professional
musicians. The first festival was held on March 28-29, 1958, and premiered a work by
David Barlow (1927-1975)66 entitled Pastoral, Variations and Epilogue for Small
Orchestra (1958).67
64 St. Bees Village Website, accessed November 20, 2012, http://www.stbees.org.uk.
65 St. Bees School Website, accessed November 20, 2012, http://www.st-bees-

school.org.
66 David Barlow was Professor of Music at Newcastle University, and a friend of Donald
Leggat. He not only composed for several of the St. Bees Festivals, but played piano in many of
the chamber ensembles.
67 Dr. Anthony Reeve, e-mail message to author, July 5, 2012. Dr. Anthony Reeve is
currently the Honorary Archivist at St. Bees School. He is formally the head of Classics at St.
Bees School.
23
For the second festival in 1959, Leggat instituted several changes to improve its
location, timing, and overall size. He moved the festival date to April in order to coincide
with the school’s Easter holiday, and expanded the duration to three days, encompassing
an entire weekend. Finally, he switched venues from School Hall at St. Bees School to
the much larger Rawnsley Hall and Crosthwaite Church located in Keswick, a village
about 30 miles from St. Bees. The festival was held on April 3-5, 1959, and was
organized with the assistance of established wind band scholar, Dr. Timothy Reynish
(b.1938),68 who handled the roster and membership. Reynish was a former pupil of
Leggat and lifelong friend who played French horn in both the orchestra and chamber
ensembles.69
It was also in 1959 that Donald Leggat approached his friend Gordon Jacob to
compose a piece for the festival.70 According to Mrs. Margaret Jacob Hyatt:
When composing, what really “pressed the button” with him was to be asked to
write for a special occasion, like the Queen’s Coronation, or The Festival of
Britain 1951. The music just flowed and he always delivered the piece on or
before time.71
The 1959 festival was particularly busy with eight events over three days performed by
the concert choir, symphony orchestra, and various chamber ensembles:
68 Tim Reynish Homepage, accessed September 13, 2012, http://www.timreynish.com.

Dr. Reynish is an internationally recognized wind band conductor and currently on faculty at the
Royal Northern College of Music.
69 Souvenir Programme, St. Bees Festival of Music, 1959. A copy of the Souvenir
Programme is provided in Appendix C.
70 Dr. Timothy Reynish, phone interview by author, September 6, 2012.
71 Margaret Jacob Hyatt, e-mail message to author, June 25, 2012.

24
St. Bees Festival of Music, 1959

Friday, April 3
2:30 p.m. – Concert by the Choir of St. Bees School with Gordon Clinton
(baritone), Jessie Cash (soprano), and David Barlow (piano)
5:30 p.m. – Choral Evensong in Crosthwaite Church
8:00 p.m. – Symphony Concert
Saturday, April 4
2:30 p.m. – Chamber Music
5:30 p.m. – Choral Evensong in Crosthwaite Church
8:00 p.m. – Symphony Concert
Sunday, April 5
11:00 a.m. – Matins in Crosthwaite Church
2:30 p.m. – Symphony Concert72
Old Wine in New Bottles premiered at the Symphony Concert at 8:00 p.m. on Saturday,
April 4. The program consisted of several works, with a brief intermission after the first:
Symphony Concert Program, April 4, 1959

Scenes from “King Arthur” – Henry Purcell
Interval of ten minutes
Suite for Wind Instruments: “Old Wine in New Bottles” – Gordon Jacob
Petite Suite – Claude Debussy73
72 Souvenir Programme, St. Bees Festival of Music, 1959, 1.
73 Ibid., 5.
25
A second performance of Old Wine in New Bottles occurred on Sunday, April 5 at
2:30 p.m., as part of a slightly different program; however, Jacob’s new work was still
performed directly after the intermission.
Symphony Concert Program, April 5, 1959

Introduction and Allegro for String Quartet – Edward Elgar
Scenes from “King Arthur” – Henry Purcell
Interval of ten minutes
Suite for Wind Instruments: “Old Wine in New Bottles” – Gordon Jacob
Symphony No. 102 in B! – Joseph Haydn74
Fortunately, the souvenir program for the festival includes detailed program notes for all
the works performed. The author of the notes is, regrettably, not listed.
“Old Wine in New Bottles” is a suite for woodwind, trumpets and horns, written
specially for this festival. Each movement is based on an Old English folk song
and the free modern treatment of the familiar tunes gives rise to its title. Dr.
Gordon Jacob had the St. Bees Festival Orchestra’s wind players in mind when he
wrote the suite, and in giving every one of them something immensely enjoyable
to play, he has written a work of beauty and wit that will enliven these
programmes, and unless we are greatly mistaken, many more in the future.75
The souvenir program indicates that the premiere performance of Old Wine in
New Bottles was conducted by Donald Leggat. The instrumentalists for the chamber
groups are not individually listed; however, both Timothy Reynish (b.1938) and
74 Souvenir Programme, St. Bees Festival of Music, 1959, 6.
75 Ibid., 5.
26
Guy Woolfenden (b.1937),76 two internationally famous musicians, played French
horn.77 Even though the remaining participants are unclear, the St. Bees School
Symphony Orchestra had more than enough performers on the roster to cover the parts
indicated in the score, including the ad lib double bassoon and trumpet lines.
Neither the composer’s widow nor Dr. Reynish remembered if Gordon Jacob
attended the premiere; however, Ms. Margaret Jacob Hyatt was able to provide a
description of her husband’s typical reaction to hearing his music performed.
His reaction to hearing his music performed live was euphoric, because he said it
always sounded much better than what he had heard in his head. I have sat next to
him in his performances and he literally shook all the time, I think he couldn’t
believe his ears.78
The reception of the piece immediately after the premiere is difficult to gauge,
since the St. Bees Music Festival is a small school performance in rural England;
however, Jacob’s widow provided a local newspaper clipping that praised the
composition and compared its fourth movement to that of a Haydn finale:
It is not often to-day that a new work is the most popular in any concert
programme. But Gordon Jacob’s “Old Wine in New Bottles” written specially for
the festival amply deserved its success. This is a suite of four folk-song settings
for woodwind and brass in which the composer displays all the dexterity of
instrumental writing and harmonic ingenuity for which his music is well known.
“The Raggle Taggle Gypsies,” “The Three Ravens,” and “Begone Dull Care”
formed the basis of three well-contrasted movements. The final “Early One
76 Oxford Music Online, s.v. “Woolfenden, Guy,” accessed April 10, 2012,
http://www.oxfordmusiconline.com. Guy Woolfenden is an internationally recognized British
composer who served as Head of Music for the Royal Shakespeare Company from 1963-1998.
He is also the founder of his own publishing company, Ariel Music.
77 Dr. Timothy Reynish, e-mail message to author, September 4, 2012.
78 Margaret Jacob Hyatt, e-mail message to author, July 19, 2012.

27
Morning” blended discreet sentiment, wit, and high spirit with a felicitous
craftsmanship in a manner which recalled that of a Haydn finale.79
One year after the premiere, Jacob published the work through Oxford University
Press, who holds copyright permissions to this day. Dr. Timothy Reynish80 and Ms.
Margaret Jacob Hyatt81 believe that the original manuscript score and parts to Jacob’s
Old Wine in New Bottles are likely held in the archives at Oxford University Press;
unfortunately, the publisher has indicated that they do not have the resources to search for
archival materials at this time.82
The St. Bees Music Festival operated annually until 1965. In the spring of that
year, Leggat accepted a position as Director of Music at Campbell College in Belfast.
Without his leadership and vision, as well as his remarkable ability to raise funds,83 the
school reevaluated the practicality of the festival and ultimately ceased its annual
operation. The 1965 St. Bees School Magazine elaborates:
80 Dr. Timothy Reynish, e-mail message to author, September 6, 2012.
82 Oxford University Press, e-mail message to author, July 10, 2012.
83 In the 1959 souvenir program, seven out of sixteen pages are filled with
advertisements. Another page is dedicated to patrons, volunteers, and committee members who
assisted in organizing the festival.
28
Expenditure has far exceeded revenue and it will not be possible to continue the
festival in future years, principally because the choir will not have enough time in
which to attain the very high standard necessary for such a large-scale
undertaking.84
OLD WINE IN NEW BOTTLES (1959)
Movement One – The Wraggle Taggle Gypsies

Movement Two – The Three Ravens
Movement Three – Begone, Dull Care
Movement Four – Early One Morning
Instrumentation
2 Flutes (Second doubling Piccolo)

2 Oboes
2 Clarinets in B!
2 Bassoons
Double Bassoon (ad lib.)
2 Horns in F
2 Trumpets in B! (ad lib.)
Historically, it is unclear why Jacob wrote the trumpet parts as ad lib. But
regardless of this ambiguity, any performance of Old Wine in New Bottles would be
incomplete without them. This is primarily because of independent accompaniment lines
that are not cued or doubled elsewhere. For example, in the second movement, at
measure 21, the trumpets play the root of a dominant chord moving to tonic, which
84 Dr. Anthony Reeve, e-mail message to author, July 5, 2012. This quote is from the St.
Bees School Magazine, 1965.
29
prrovides the foundation

f for
f a perfect authentic caadence. No oother instrum
ment in the
en
nsemble dou
ubles this lin
ne (Example 1).
Exxample 1. Olld Wine in New

N Bottles, m mvt. 2, mm.. 17-22, Trummpets.
© Oxforrd University
y Press 1960
0. Reproduceed by Permisssion of CoppyCat Musicc
Liccensing, LLCC, obo Oxforrd Universitty Press. All Rights Reseerved.*
*All musiical exampless are for referrence only, noot for use duriing performannce. For moree
inform
mation on how to purchasee copies, pleaase contact Oxxford Universsity Press
(music.peermissions.ukk@oup.com)..
Anoth
her example demonstratiing the indeppendence andd prominencce of the trum
mpet
liine is in mov
vement four, measures 96-99, where the trumpetts have an inndependent
rh
hythm – a qu
uarter note and
a three eigh
hths – whichh is not cuedd in any otheer voice.
Although
A seemingly unim
mportant, this part reinfoorces the harm
mony and drrives the
rh
hythmic activity of the section (Exam
mple 2).
Exaample 2. Oldd Wine in Neew Bottles, m

mvt. 4, mm. 96-102, Truumpets.
y Press 1960
Licensing, LLC, obo Oxfo ord Universitty Press. Alll Rights Reserved.
Outsid
de of the ben
nefits of inclluding trumppets becausee of independdent
acccompanimeent lines, theere are texturral consideraations as welll. One exam

mple of an
30
exposed trumpet color is a significant solo during the second movement within the third
variation, starting at measure 58. The trumpet solo is accompanied by horns and bassoons
within a thin texture. Jacob includes cues for the solo in the first oboe, but the line is not
doubled by any voice.
In the sequel, More Old Wine in New Bottles, Jacob writes that he preferred the
trumpets not be marked ad lib. He intentionally resists a suggestion from June Emerson
to cue the trumpets and decides to maintain them because he desired that specific color
within the ensemble and did not think it practical to make them optional.85 Although it is
impossible to know what Jacob preferred for the original composition, the sequel was
composed in its image. So long as any ensemble has the membership to cover the two
trumpet parts, they should be included.
The ad lib double bassoon line, at a cursory glance, seems unimportant because in
all but a handful of passages it sounds in unison or at the octave to the other bassoons.
Throughout the work it never provides a unique color or independent line; however, it is
expertly utilized to assist in ensemble balance and, occasionally, to fill out the proper
chord inversion. In regard to balance, the double bassoon is reserved for moments of
ensemble tutti. The first time the double bassoon is heard is in the first movement during
an ensemble tutti at measures 24-31. After this interjection, the texture thins and the
double bassoon withdraws since reinforcement of the harmonic foundation is no longer
necessary.
85 Gordon Jacob, letter to June Emerson, London, March 8, 1977.

31
Aside from reinfo

orcing the baass line, theree are a few bbrief momennts within thee
work
w where th
he double baassoon has an
a independeent line that completes thhe harmony. One
ex
xample of th
his occurs in the last two
o measures oof the third m
movement whhere the threee
bassoons have an F majorr triad (Exam

mple 3).

mvt. 3, mm. 1115-123, Baassoons.
y Press 1960
Aside from the mu

usical reason
ns listed aboove, the ad liib double baassoon and
trrumpets shou
uld be includ
ded if for no other reasonn than to givve the studennts “an
op
pportunity to a ensemblee of this typee.”86
o play with an
Errata
Movement One – The Wragglle Taggle Gyypsies
ure 76: 1st Bassoon, scorre only – Miissing quarteer note rest oon beat 1
Measu
86 Win
nther, An Ann
notated Guidee to Wind Chaamber Music, 269.
32
Movement One – The Wraggle Taggle Gypsies
Analytical Flowchart
OLD WINE IN NEW BOTTLES - Mvt. One - The Wraggle Taggle Gypsies
Measure Time Tempo/Style

Form Tonal Centers Compositional Devices
Numbers Signature Suggestions
Intro m. 1-4 D maj/min 2/4 time Allegro (♩ = 110) Open 5ths D-A
D minor - open Staccato melody.

Theme m. 5-12 2/4 time 1st melodic statement
5ths common Eight bar phrases
Emphasizes Melodic fragment from the

Transition m. 13-15 2/4 time Lightly
subdominant last four words of text
New accompaniment lines

m. 16-23:
Var. I D minor 2/4 time Staccato melody based on rhythms from the
rehearsal A
melody
m. 24-31:
Var. II D minor 2/4 time Forte, but not heavy Imitation offset by one beat
rehearsal B
m. 32-39:
Transition Unstable 2/4 time Very light Fragmentation
rehearsal C
Var. III m. 40-47 C# minor 2/4 time Tenuto Imitation
Ab maj/min, Melodic material

m. 48-60: Both fragmentation and
Transition various tonal 2/4 time from Var. III & first
rehearsal D imitation
centers transition
D major, Thematic augmentation with

m. 61-73:
Var. IV harmonically 4/4 time ♩=♩. Tenuto some fragmentation and
rehearsal E
unstable imitation
Polychordal;
Transition m. 74-77 4/4 time Pianissimo Fragmentation
E and D minor
Tenuto. Slight rit. m.

m. 78-87:
Var. V D minor 4/4 time 87 and a fermata on Thematic augmentation
rehearsal G
beat three
Db, F#, and D Opens fragmented; reintegrates

Coda m. 88-end 2/4 time Vivace (♩=124)
minor for final statement
Flowchart 1. Old Wine in New Bottles, Movement One, The Wraggle Taggle Gypsies.*
*Frank Battisti and Robert Garofalo, Guide to Score Study for the Wind Band Conductor
(Galesville, MD: Meredith Music, 2000), 33. Flowcharts within this study are modeled after
suggestions found in the Battisti and Garofalo book.
33
Inteerpretive A
Analysis
The fiirst movement is in them

me and variattions form: IIntroduction, Theme,
Variation
V I, Variation
V II, Variation
V IIII, Variation IV, Variatioon V, Coda. IIt is
monothemati
m c and based upon the follk song, Thee Wraggle Taaggle Gypsiees. The prim
mary
th
heme is lightt in characterr, spirited, an
nd marked sstaccato (Exaample 4).

mvt. 1, mm. 11-24, Bassooon One.
y Press 1960
The fo
olk song, The Wraggle Taggle
T Gyps ies, which iss often spelleed Raggle
Taggle
T Gypsiies, is populaar with many
y sets of varyying text; hoowever, throough these
versions the story

s remains unchanged
d. A lady givves up her m
married life of luxury to trravel
with
w a band of
o gypsies. Itt has a carefrree and upbeeat feeling too it:
There came three gypsies to my

m door,
And downstairs
d ‘rround my lad
dy, o,
One sang high, the other sang
g low,
And th
he third sangg bonny, bon
nny, biscay, o!
She pu
ulled down her
h silken go own,
And put
p on one off leather, o,
And th
he bell rang,, rang about the door,
She haas gone with
h the raggle, taggle gyps ies, o!
34
It was late last night when my lord came home,

Inquiring for his lady, o,
The servants stood at ev’ry end;
“She has gone with the raggle taggle gypsies’ band.”
He rode, rode high, and he rode, rode low

And he rode through the woods and copses low,
Until he came to the wide open field
And there he discovered his lady, o!
“What made you leave your horses and land,

What made you leave your stable, o,
What made you leave your goose feathered bed
And the sheets turned down so bravely, oh?”
“O, what care I for your horses and land,

What care I for your stable, o?
I’d rather stay in the wide open field
Alone with the raggle, taggle gypsies, o!”87
The text can be easily sung in eight-bar phrases, or one breath to a stanza, with a
quarter note set to 110 beats per minute. This tempo works well in the instrumental
version where Jacob marks the movement at Allegro, but does not include a specific
metronomic marking or breath marks. Slightly faster or slower tempi will work, as long
as the character of the original folk tune is preserved.
The movement opens in the key of D, although it is difficult to confirm as either
major or minor due to a series of open fifths throughout the introduction. By the fifth
measure of the introduction, D minor is confirmed with a lowered third in the bassoon
solo outlining a minor triad. The tonal center remains unchanged until the transition at
measure 32 where a variety of keys are explored. It settles in C minor during the second
87 Reed Smith, et al, “American Anthology of Old World Ballads” (New York: J.
Fischer & Bro.), 1937, 44.
35
variation, D major
m during
g the third, an
nd eventuallly modulatess back to D m
minor at the fifth
variation.
The harmonic acccompanimen

nt within the movement, and extendinng throughoout
th
he work, ofteen contains thirds
t and fo
ourths abovee the melody, carefully uutilizing
acccidentals to
o avoid triton
nes. This leaads to standaard triads in vvarious inversions whichh are
so
ometimes ex
xtended to seevenths or niinths. In the first movem
ment, measurres 24-27, thhere is
an
n imitative figure
f that prrovides a cleear example of this technnique (Exam
mple 5). Heree, the
th
heme presents in the firstt flute and oboe at measuure 24, rehearsal letter B
B. The first tthree
bars of this figure are stan

ndard D min
nor triads witth some D m
minor seventhh chords. Byy
measure
m 27, Jacob
J maintaains the harm
mony by fouurths in the uupper woodw
winds and
ou
utlines a C major
m ninth chord
c follow
wed by an A minor ninthh chord (Exam
mples 5 andd 6).
Example 5. Old Winee in New Bo ttles, mvt. 1, mm. 23-299,

Flutes and
d Oboes (Toop to bottomm).
y Press 19600. Reproduceed by Permisssion of CoppyCat Musicc
This style
s of writiing harmonicc accompaniiment is maiintained throoughout mosst of
th
he work. Onee exception in this moveement is duriing the transsition betweeen Variationns IV
36
an
nd V where there are sev
veral polych
hordal measuures. This secction is baseed upon a
frragment of th
he theme in the second flute
f and obooes, emphasiizing the keyy of E majorr.
This
T is juxtap
posed with an
nother thematic fragmennt in D minoor in the secoond bassoon,,
seecond clarinet, and first flute. The reesulting effecct is reminisscent of an eccho, transpoosed
down a majorr second. Th

hese brief few
w measures ffunction to ttemporarily skew the tonnal
ceenter as it traansitions fro

om D major to
t D minor.
In reg
gards to melo
ody, transforrmation and developmennt are importtant aspects oof
Jaacob’s comp
positional sty
yle. There arre several reooccurring coompositionall techniques that
acchieve this effect:

e imitattion, fragmen
ntation, and augmentatioon. Imitationn is initially
em
mployed in the
t second variation
v at measure
m 24, rrehearsal lettter B, when the bassoonns
reepeat the meelody first heeard in the flutes and obooes, offset byy one beat annd two octavves
lo
ower (Examp wed strictly uuntil measurre 31.88
ples 5 and 6)). The imitattion is follow

N Bottles, mvt. 1, mm.. 23-29, Bassoons.
y Press 1960
88 Exaamples 5 and 6 are the sam

me measures sshowing the innitial statemeent of the mellody
an
nd its imitatio
on, respectiveely.
37
The seecond compositional dev

vice commonnly found thhroughout thhe work is
frragmentation
n. The earlieest example is
i at measurees 32-39, rehhearsal letterr C (Examplle 7).
These
T eight bars
b act as a transition
t beetween the fiirst and secoond variationns. The meloodic
material
m in th
his section is borrowed frrom the firstt two measurres of the theeme. Each
measure
m is iso
olated and reepeated but often
o modifiied in both ppitch and conntour. These
ch
hromatic eig
ght bars push
h the harmon
ny from the eestablished D minor throoughout a vaariety
of tonal centeers, ultimatelly ending in C minor. T

The melodic fragment is on the text,
“tthere came three

t Gypsiees.”
Example 7. Old Winee in New Bo ttles, mvt. 1, mm. 30-366,

Fluutes, Oboes and
a Clarinetts (Top to boottom).
y Press 1960
The fiinal transform

mation of th
he melody inn this movem
ment is achievved through
au
ugmentation
n. This techn
nique is noticceable duringg the third annd fourth vaariations,
38
measures
m 61-87, during a shift from 2/4
2 to 4/4 tim
me (Examplee 8). The auggmented them
me is
heralded by th
he first horn
n, but is quick
kly passed too the oboe aand other voiices throughout
he variation.
th
Example
E 8. Old
O Wine in New Bottless, mvt. 1, mm m. 58-64, Hoorns.
y Press 1960
Jacob often utilizees these com

mpositional teechniques inn addition to other alterattions
in
n pitch or du
uration for th
he purpose off transforminng the themee into a new entity that
co
ontrasts with
h the previou
us variation in
i style, keyy, and contouur. The thirdd variation
ex
xemplifies th
his with a co
ombination of
o imitation aand fragmenntation (Exam
mple 9). Herre the
melody,
m first heard in the oboe, is bassed upon a sm
mall fragmeent on the woords “and
downstairs ‘ro
ound my lad
dy.” It is imm
mediately im
mitated and bbriefly develooped in a tennuto
arrticulation.

N Bottles, m mvt. 1, mm. 40-48, Oboe One.
y Press 1960
39
The line is slurred in four bar phrases and consists of mostly conjunct motion. The
contour and style are at odds with the earlier fragment on the words, “there came three
Gypsies” (Example 7). Measure 48 highlights the difference between the new slurred
melodic line and the earlier fragment by alternating every two measures.
Conducting Suggestions
The primary conducting challenge, which permeates all four movements, is to
show the character of the work through the many style, texture, and color changes. In
regards to style, the conductor needs to show great difference between staccato, accent,
and tenuto. The tenuto should have a smooth and flowing connection from ictus-to-ictus
contrasting with light flicks from the wrist in the staccato style. The accents should have
a firmly placed ictus, but considering the size of the small chamber ensemble and
carefree character of the music, should never be heavy.
Successfully showing texture and color can be achieved through interpretive
decisions on balance and the prominence of each line. As a general rule, conducting the
melodic line will visually suggest to the ensemble its prominence and they will balance
accordingly; however, there are moments in Jacob’s writing where, due to the repetitious
nature of the strophic folk melody, it is helpful to attend to the accompaniment and bring
that sound to the fore.
The first variation, starting at measure 16, provides an illustration where the
melodic line can be enhanced by conducting the accompaniment (Example 10). Here,
clarinets have a slurred sixteenth note run below the melody in the first flute. The
clarinets excitingly build towards beat two of measure 19, before yielding to the oboes.
40
At
A measures 20-22,
2 the ob
boe line con
ntrasts with thhe slurs throough its use oof simple
sttaccato eightth notes.
Example 10. Old Win ne in New Boottles, mvt. 11, mm. 16-222,
Fluutes, Oboes and
y Press 1960
A con
nducting challenge specific to the firsst movemennt is the temppo change prrior
to
o the Coda, at
a measure 87
8 (Example 11). In this section of thhe music, thee tempo movves
frrom an estab
blished Alleg
gro to a brigh
ht Vivace, seeparated by a fermata in the clarinetss,
bassoons, and
d first horn. Approaching
A g the fermataa with a sligght ritardanddo, starting aat
measure
m 86, can
c help prep
pare the susttained D minnor chord in the accomppaniment,
em
mphasize thee moving lin
ne in the firstt bassoon, annd prevent a sudden stopp to the sounnd.
41
Oboes, Clarinetss and Bassooons (Top to bbottom).
y Press 1960
o the busy nature of sixteenth notes throughout tthe final Vivvace section, the
Due to
teempo can be interpreted conservativeely. A quarteer note at thee metronomic marking oof
124 beats perr minute is more

m than fasst enough to achieve the feeling of V
Vivace without
so
ounding rush
hed.
42
Movement Two – The Three Ravens
OLD WINE IN NEW BOTTLES - Mvt. Two - The Three Ravens
Measure Tonal Tempo/Style Compositional

Form Time Signature
Numbers Centers Suggestions Devices
Andante (♩ = 60):
Intro m. 1-7 G minor 2/4 time Soloistic opening
sustenuto
Melody is set within

Theme m. 8-21 G minor 2/4 time Dolce new textures every
two bars
Imitation starting at
Var. I m. 22-35 G minor 2/4 time Espressivo
m. 24
Some imitation
Various; tenuto and
Var. II m. 36-49 G minor 2/4 time starting at m. 44.
staccato
Contrasting styles
2/4 time.
Var. III m. 50-64 G minor Mostly slurred Trumpet solo m. 58
Some 3/4 time
Last chord picardy

Coda m. 65-end G minor 2/4 time Slight rit.
third
Flowchart 2. Old Wine in New Bottles, Movement Two, The Three Ravens.
Interpretive Analysis
The second movement is in theme and variations form: Introduction, Theme,
Variation I, Variation II, Variation III, Coda. The primary theme is borrowed from the
folk song, The Three Ravens, and stays firmly in G minor throughout its three variations.
The Three Ravens was first published in 1611 but is likely much older.89 The
story concerns three black ravens looking down upon a battle field searching for
breakfast. They spot a dead soldier lying on the field with his loyal hounds and hawks
89 William Chappell, Popular Music of the Olden Time (New York: Dover Publications
Inc., 1965), 75.
43
standing guard over his body. His lover – metaphorically referred to as a “fallow doe” –
finds his body, kisses his wounds, and buries him in the field.
Jacob set the folk song for a cappella four part choir in 1935. The vocal setting is
currently only available by special order from Oxford University Press.
The lyrics to The Three Ravens (1935) from Jacob’s choral setting:
There were three ravens sat on a tree,

Down a down, hey down, hey down;
They were as black as they might be,
With a down,
And one of them said to his mate,
‘Where shall we our breakfast take?’
With a down, derry, derry, derry, down, down.
Behold! Alas in yon green field,

There lies a knight slain under his shield,
With a down,
His hounds lie down beside his feet,
So well do they their master keep,
With a down, derry, derry, derry, down, down.
His faithful hawks so near him fly,

No bird of prey dare venture nigh,
With a down,
But see, there comes a fallow doe,
And to the knight she straight doth go,
With a down, derry, derry, derry down, down.
She lifted up his ghastly head,

And kiss’d his wounds that were so red,
With a down,
She buried him before the prime,
And died herself, ere e’en song time,
With a down, derry, derry, down, down.90
90 Gordon Jacob, The Three Ravens (Oxford University Press, 1935).

44
The story of The Three Ravens is one of grief, melancholy, and love lost. The
poem has seven lines per stanza and specific punctuation, signified by Jacob above,
dividing each line. The vocal and instrumental versions indicate andante, but not a
specific metronomic marking. A quarter note of 60 beats per minute enables a singer to
connect the phrases and is equally sufficient for chamber winds.
Since there are no breath marks in the score or parts for the musicians, it is helpful
to specify places to breathe utilizing the lyrics as a guide. Natural breathing places occur
after the fourth and seventh lines of the text. In the music, there is typically a half
cadence after the fourth line and an authentic cadence after the seventh. These places
equate to the score and parts as measures 15, 21, 29, 35, 43, and 57. Concerning this
pattern, the breaths that should be at measures 49 and 64 are elided with sixteenth note
accompaniment runs.
Throughout the movement, the fourteen measure long theme is typically divided
into two bar units that utilize a call-and-response structure. Each two bar unit is voiced
uniquely, creating new color combinations throughout the ensemble. The first thematic
statement, starting at measure 8, provides an example of this technique. In this section,
the first two bars of the phrase are in the clarinet. The responding two bars, starting at
measure 10, are in the second flute. The instrumental timbres continue to alternate in this
call-and-response fashion until the cadence at measure 15.
Like the previous movement, key compositional devices are primarily imitation
and fragmentation. During the first variation, starting at measure 22, the first two bar
phrase of the melody is stated in the first oboe. At measure 24 (Example 12), the first
flute and first trumpet respond. This fragment of melodic material is isolated and imitated
45
on
ne beat laterr in the secon
nd flute, and
d another beaat later in thee first horn. A
All three
sttatements off this short piiece of melo

odic materiall start on thee same pitch and are in G
minor.
m Imitation in unison
n or at the occtave is rem
miniscent of a round, which is typicallly
uttilized in thee performancce of folk mu

usic.
Fluutes, Horns and
a Trumpetts (Top to boottom).
The seecond movem

ment also illlustrates Jac ob’s thoughttful treatmennt of
acccompanimeent lines. Th
he original material
m that aaccompaniess the familiaar folk meloddies
iss designed to
o complemen
nt the style of
o the meloddy, which freequently channges and evoolves
th
hroughout th
he work – oft
ften with as much
m regularrity as the innstrumental vvoices. Duriing
th
he end of thee first variatiion, at measu
ures 30-34, tthe first clariinet has the m
melody in a
teenuto style. The

T accompaniment linees are sixteennth note, sluurred runs, crreating a
46
rh
hythmically active yet ly
yrical effect (Example
( 133). The accoompaniment matches thee
melodic
m line in
i its use of tenuto until the cadentiaal figure beggins at measuure 34.
Flutees, Clarinetss and Bassooons (Top to bbottom).
other examplle, during th

In ano he second varriation at meeasures 43-449, the
acccompanimeent reinforcees a transform

med melodyy in staccato style. The acccompanimeent is
derived from a driving rh

hythmic figurre that pushees toward caadence points. It matchess the
drry and separrated transformation of th

he melody (E
Example 144).
47
Flutes and
neral, the acccompanimen

In gen nt lines tend to move in tthe opposite trajectory oof the
melody
m and share its geneeral shape. For
F example,, the bassoonns at measurres 31-33 asccend
in
n opposition to the fallin
ng melodic liine in the firsst clarinet (E
Example 13)). The same
bassoon accompaniment line is similaar in shape tto the third aand fourth m
measures of thhe
melody
m in thee flute (Exam
mple 12). In the melody, the flute asccends diatonnically from G to
th
he upper neig
ghbor E!, an
nd then desceends to D. Inn the accomppaniment, thhe bassoon att
measure
m 31 also ascends diatonically from G to E
E!, and then ddescends to B!. The
acccompanimeent is primarrily differenttiated from thhe melody w

with faster siixteenth notee
rh
hythmic mottion.
48
The musicians will be challenged in this movement because of the orchestration,
dynamics, and scoring. First, the instrumental parts are exposed and independent. For
example, the first horn will frequently have an entirely independent rhythm from the
second horn. This may create hesitation from the instrumentalists since in the previous
movement the first and second horn played a mostly homorhythmic line. Second, the
musicians will need to express great control over dynamics. Excluding measures 40-41,
which are marked forte, the movement has a modest dynamic range of only piano to
mezzo-piano. There is also a higher concentration of crescendo and decrescendo
markings than in the other three movements (Example 12).
Another concern is connecting the two bar components of the fourteen measure
long melody. The ideal effect is a homogenous line with no noticeable breaks or
separation to the sound. This can be achieved by reminding the instrumentalists to hold
the last note of the phrase for its full value. If necessary, they can also mark the last note
of every two bars tenuto, to ensure a continuance to the sound.
In regards to conducting, this is one of the most challenging movements in the
piece due to its lyrical nature, slow tempo, and continually alternating timbres. It will
help the instrumentalists to see fluidity in the pattern with an even and connected tact.
The conductor should also be mindful of ensemble entrances and how they influence the
resulting texture. One example of this is measures 24-26, when five independent lines
join and depart from the sound creating unique instrumental colors on every beat
(Example 12). By visibly reinforcing entrances, the instrumentalists gain confidence
affecting the ensemble sound.

49
One specific consideration is the

t tempo att the Coda, sstarting at m
measure 65. T
This
seection openss with a ninee chord in thee trumpets, bbassoons, fluutes, and obooes [C,E,B!,D
D]
th
hat has a predominant fu
unction. The dissonance it creates is partially resolved by thee
prroceeding do ord with an E suspensionn at measure 66; howeveer, it is not

ominant cho
co
ompletely reesolved untill the final ch
hord of the piiece, consistting of a Picaardy third onn
beat two of measure

m 67 (E
Example 15)).
Flutes, Oboes,
O Basso
oons and Truumpets (Topp to bottom)..
y Press 1960
50
In this example, a slight ritardando starting at measure 65 can emphasize the
predominant, dominant, and tonic relationship of the sustained chords. It also serves to
prepare the Picardy third to conclude the movement.
Movement Three – Begone, Dull Care
OLD WINE IN NEW BOTTLES - Mvt. Three - Begone, Dull Care

Allegro vivo Some quintal and quartal

Intro m. 1-19 F major 6/8 time
(♩ = 120) harmonies
Melody in the horns,

m. 20-37:
Theme F major 6/8 time Forte flutes, bassoons, and
rehearsal A
oboes
m. 38-49: Six note polychord

Transition D minor/ unstable 6/8 time Bustling 8th notes
rehearsal C starting at m. 46
m. 50-73:
Var. I C major to F major 6/8 time Very light Melodic Fragmentation
rehearsal D
Imitation - first clarinet,

Var. II m. 74.-96 D minor 6/8 time Tenuto
oboe, and bassoon
Double augmentation
D minor motion to Piano m.97,
Coda m. 97-end 6/8 time m.112.
F major Forte m.105
Polychords m.119-121
Flowchart 3. Old Wine in New Bottles, Movement Three, Begone, Dull Care.
The third movement of Old Wine in New Bottles is based upon the folk song
Begone, Dull Care and is in theme and variations form: Introduction, Theme, Transition,
Variation I, Variation II, and Coda.

51
Jacob set the folk song in 1937 for a cappella four part choir, twenty-two years
before composing the instrumental version. It is currently in print, and available for
purchase from Stainer & Bell Ltd.91
The folk song dates from the late 17th century, but shares similar text to a different
tune entitled Begone, Old Care, from nearly a century earlier.92 The music is about living
without worry and is lighthearted in character.
The lyrics to Begone, Dull Care (1937) from Jacob’s choral setting:
Begone dull Care

I prithee begone from me.
Begone dull Care,
you and I will never agree.
Long time hast thou been tarrying here,

And faith thou wouldst me kill.
But i’ faith, dull Care,
Thou never shalt have thy will.
Too much care

will make a young man turn grey
Begone, for too much care will
turn an old man to clay,
My wife shall dance and I will sing,

So merrily pass the day,
For I hold it one of the wisest things to
drive dull care away.93
Once more, the punctuation provided by Jacob is insightful since periods break
the phrases into two lines each. Breathing where the periods are placed enables the
91 Gordon Jacob, Begone Dull Care (London: Stainer & Bell Ltd. 1937).
92 Chappell, Popular Music of the Olden Time, 1965, 689-690.
93 Jacob, Begone Dull Care, 1937.

52
musicians to take a breath every four bars in the music. The indicated tempo for the
movement is Allegro vivo, with the dotted quarter note set to 120 beats per minute. This
tempo works well and allows the musicians to comfortably achieve four bar phrases.
Furthermore, Jacob must have felt strongly about this tempo since it is the only specified
metronomic marking in the entire work. Interestingly, he is equally specific with his
arrangement for voices, marking it Allegro giocoso, with the dotted quarter note set to
116 beats per minute.
The introduction and first statement of the theme are firmly in F major. The
proceeding transition is unstable with a series of chords placed over a D pedal point in the
first horn. Variation I opens with the brass in C major but quickly changes back to F
major after a few measures. Variation II sets the melody in D minor. The Coda remains in
D minor until the last six bars, when the tonal center returns to the original F major.
The introduction showcases a wide variety of harmonic techniques including open
fifths without thirds, standard functioning tertian harmonies, quartal, and quintal chords.
Measure 1 begins with an open fifth in the bassoons outlying the dominant chord, C. The
instruments in the chamber ensemble slowly join to create a quintal harmony on beat 2 of
measure 1, [C,G,D], that continues to add voices until measure 3. Fourths are playfully
used from measures 5-7 in the flutes, oboes, and clarinets where leaps by fourths are
harmonized by fourths (Example 16). This small motive playfully references the first two
notes of the folk tune on the word, “begone.”

53
Example 166. Old Wine in

i New Bottlles, mvt. 3, mmm. 1-8, Fluutes.
y Press 1960
This type
t of harm
monic writing
g builds throuughout the inntroductory section wheen the
ntervals are sustained

in s and stacked th
hroughout thee ensemble. The final suustained chorrd in
th
he introductiion starts at measure
m 12 with
w the horn
rns on C andd G. By meassure 13, the
cllarinets join sustaining an

a F and B!. The final vooices of the cchord join inn thirds with the
ob
boes on D an
nd F, follow
wed by the flu
utes on G annd B!. The reesult is a pollychord
co
onsisting of a B! major chord
c with an
a added C aand G. This ccontemporarry device, likke
th
he polychord
dal example from the firsst movement
nt, serves as a transition bbetween secttions
of the form.
nant chords are often used to emphaasize specificc words or pphrases in thee
Disson
teext. For exam

mple, measures 46-49 feature quartaal harmonies during a briief transitionn
between the initial

i themaatic statemen
nt and first vaariation. Starrting on beatt 2 of measuure
46, the bassoo

ons, clarinetts, and trump
pets have a fi
five-note quaartal chord [C
C,F,B!,E!,A!]. It
reesolves to G seventh cho

ord over a C bass on beaat 1 of measuure 47. The ssame chords
reepeat during measures 47

7-48 and aree voiced an ooctave higheer each subseequent statem
ment.
The
T section ends with a unison
u G thatt acts as a doominant leadding to C on the proceedding
downbeat of measure
m 50. This entire section empphasizes repeetition on thee words “dulll
54
caare” – which
h is an ironicc painting off the text, sinnce these collorful harmoonies are anyything
bu
ut dull (Exam
mple 17).
Flutes, Oboes,
O Clariinets and Basssoons (Topp to bottom).
y Press 1960
Anoth
her example of dissonantt harmonies emphasizingg the text is found at thee end
of the movem
ment at measu
ures 118-121, this time oon the wordss “begone, ddull.” Jacob
begins this seection at meaasure 118 wiith a unison C, the root oof the dominnant in the hoome
55
key of F. The opening unison C is important in preparing the subsequent chords to
function as an extension of the dominant pulling towards a tonic resolution. The first of
these chords, on beat 2 of measure 118, is a G minor seven with a C bass [C,G,B!,D,F].
This leads to a polychord at measure 120 that has aspects of the both tonic [F,A,C] and
dominant [C,E,G]; however, the C remains assertive since it is voiced in all three
bassoons and is the only note in common with both polychords. Measure 121 is a
repetition of the earlier G minor seventh chord with a C bass. This leads to the final triad
of the piece, an F major at measures 122-123, that triumphantly ends the movement on
the word, “care.”
The reoccurring compositional devices in the movement include fragmentation,
imitation, and augmentation. Fragmentation is prominent throughout but particularly on
the word “begone” as seen in the introduction (Example 16) and during the transition
from measures 42-46.
Imitation is the primary compositional device in the second variation, starting at
measure 74 (Example 18). In this section the melody is introduced in the first oboe in a
tenuto style, with some eighth note embellishments. At measure 75, the first clarinet
imitates the figure an octave lower and breaks from strict imitation after four measures.
At measure 76, the first bassoon imitates the figure two octaves lower and also breaks
from strict imitation after four measures. Jacob once more begins each imitative figure on
the same pitch, which is similar in construction to a round and reflects the nature of the
folk music he is working with.

56
Oboe One, Cllarinet One, Bassoon
B Onne and Hornss (Top to botttom).
y Press 1960
Finallly, augmentaation is the primary

p compponent utilizzed during thhe Coda at
measures
m 112
2-114 (Exam
mple 19). Thiis small sectiion of musicc relates to thhe first threee
words
w of the folk
f song “b
begone, dull care” and exxpands uponn the introductory usage of
th
he word “beg
gone.” The bassoons,
b ho
orns, and trum
mpets at measure 106 haave a three nnote
frragment from
m the words “begone, du
ull care” in itts original rhhythm. Throughout measures
112-114, the value of the notes are do

oubled as if tto emphaticaally shout aw
way “dull caare”
before the end

ding.
57
Example 19. Old Winee in New Botttles, mvt. 3, mm. 106-1114,

Clarinets
C and
d Bassoons ((Top to bottoom).
Cond
ducting Sugggestions
The primary challlenge for thee conductor iin this moveement is to m

maintain the
caarefree charaacter of the music

m with slightly
s sepaarated, light aarticulationss. This style
sh
hould contraast with mom
ments that aree robust andd emphatic, bbut never heaavy or
en
ncumbered. This can be achieved by
y conductingg with a smaller, but stilll energetic icctus
on
n the accented notes.
Additional challen
nges will be to individuaally identify and balancee the dissonaant
polychords, execute
e the anacrusis
a to the
t melody bboth accurattely and stronngly, and
nterpret the sudden

in s shiftss in dynamiccs literally annd effectivelly.
58
Movement Four – Early One Morning
OLD WINE IN NEW BOTTLES - Mvt. Four - Early One Morning

Allegretto
Intro m. 1-12 Bb major, Db major 2/4 time Unaccompanied flute solo
(♩ = 80)
Fragmented
m. 13-29: Deceptive cadence first ending.
Theme Bb major 2/4 time melody in Fl.,
rehearsal A PAC second ending
Ob., and Cl.
Bb major, extended
Var. I m. 30-51 2/4 time Slurred Imitation
harmonies m. 43
m. 52-67: Lightly, slightly Emphasize 8th note

Var. II Bb major 2/4 time
rehearsal D faster accompaniment lines
m. 68-87: Bb major motion to Allegro vivace

Var. III 2/4 time Melodic diminution
rehearsal E D minor (♩ = 110)
Melodic augmentation
Var. IV m. 88-105 D minor 2/4 time Fortissimo
juxtaposed over diminution
m. 106-127: Poco andante. Melody in 6/8, back to major,

Var. V D major 6/8 time
rehearsal H (♩. = 70) modified rhythms
Alla marcia,
m. 128-143:
Var. VI Bb major 6/8 time vivace. An upbeat British march
rehearsal K
(♩. = 128)
Various. Db major,
m. 144-end: 6/8 & 2/4 m. 164 lento/ Polychord m.161.
Coda E major, G minor, Bb
rehearsal L time m. 168 presto False ending m.163
major
Flowchart 4. Old Wine in New Bottles, Movement Four, Early One Morning.
The fourth and final movement is in theme and variations form, but, with six
variations it has the greatest diversity of meter, tempo, and style changes in the work:
Theme, Variation I, Variation II, Variation III, Variation IV, Variation V, Variation VI,
Coda. It is also unique in its unaccompanied solo in the first flute during the introduction.
59
The folk music, Early One Morning, originated in the London area and has so
many published variations on the texts that many “disagree past the second line.”94
Fortunately, the subject matter is similar throughout the versions. The story is about a
young lady who was wooed and abandoned by her lover.
Early one morning, just as the sun was rising,

I heard a maid sing in the valley below;
“Oh, don’t deceive me! Oh, never leave me!
How could you use a poor maiden so?”
Oh! gay is the garland, and fresh are the roses,

I’ve culled from the garden to bind on thy brow;
Oh, don’t deceive me! Oh, do not leave me!
How could you use a poor maiden so?
Remember the vows that you made to your Mary,

Remember the bow’r where you vow’d to be true;
Oh, don’t deceive me! Oh, do not leave me!
How could you use a poor maiden so?
Thus sung the poor maiden, her sorrows bewailing,

Thus sung the poor maid in the valley below;
“Oh, don’t deceive me! Oh, do not leave me!
How could you use a poor maiden so?”95
The folk song expresses mixed emotions of love, deception, longing, and sorrow which
lend themselves well to the many tempo, style, and meter changes throughout the
movement.
The tonal center is primarily in B! major, but the variations journey through D
minor, D major, and G minor before eventually returning to B!. The introduction opens in
B! major but temporarily explores D! major during the flute solo from measures 5-12.
94 Chappell, Popular Music of the Olden Time, 1965, 735.
95 Ibid., 736.
60
The
T first threee variations are in B! butt have a variiety of extennded harmonnies and
seecondary dominants. The first prolon

nged tonal shhift is duringg the fourth variation, att
measure
m 88, where
w the miinor key of D enhances a dramatic ssetting of thee melody in tthe
brrass and bassoons. Theree is a mode shift

s to D m ajor at the fiifth variationn, measure 106,
th
hat complem
ments the slow
wer tempo and
a 6/8 time signature. T
The Coda hass a false endding
att measure 16
63, which leaads to a Lentto statementt of the them
me in the relaative minor oof G,
reeminiscent of
o the third variation;
v how
wever, it quiickly transitiions back to B! for a gleeeful,
an
nd Presto pu
ush to the en
nd.
The in
ntroduction from
f measurres 7-12 is thhe only timee in the workk where Jacoob
in
ncludes an un
naccompaniied solo line.. Because off its unique sscoring, the fflutist can taake
so
ome liberty with
w the tem
mpo (Examplle 20).
Exxample 20. Old

O Wine in New
N Bottles,, mvt. 4, mm m. 1-12, Flute One.
y Press 1960
61
After the introducction, at meaasure 13, the first statemeent of the theeme is
disconnected and scored between

b mu
ultiple voicess. Here, the m
melody is brroken into foour
wo-bar sectio
tw ons and will be particulaarly challengging for the eensemble sinnce the
in
nstruments flow
fl subtly, and
a almost unnoticeably
u y, from meloody to counteermelody as
ad
dditional voiices enter. Itt may be help
pful to assistt the musiciaans through a careful
ex
xplanation and
a clear con
nducting during rehearsaal. The themee is not presented in its
en
ntirety until the second variation,
v at measure 52 (Example 221).
Exaample 21. Old

O Wine in NewN Bottles, mvt. 4, mm m. 51-59, Flutte One.
y Press 1960
This simple
s melod
dy undergoees a profoundd transformaation throughhout the
movement.
m During
D the firrst variation,, starting at m
measure 30, Jacob treatss two fragmeents
of the melody
y to imitation
n. The first fragment
f of tthe music is on, “how coould you usee a
poor maiden so?” Ironicaally, the seco

ond fragmentt is on the phhrase, “pleasse do not leaave
me.”
m The first fragment presents
p in th
he first clarinnet from meaasures 30-388. To efficienntly
in
ntroduce it in
n multiple vo
oices, the co
omposer utiliizes a strettoo configuratiion. The imittative
voices are thee first bassoo

on and first oboe,
o respecctively (Exam
mple 22).
62
Flutes, Oboes,
y Press 1960
Shortlly after the first

f fragmen
nt enters the second fragm
ment is introoduced in thee
fiirst flute, at measure

m 32 (Example
( 22
2). It also preesents in streetto during tthe initial
sttatement, im
mitated in thee second clarrinet one-barr later. Tonallly, this variation is unsttable
mphasizing C minor as iit develops, starting at m

sttarting in B! major but em measure 36. IIt
allso utilizes a series of peedal points th

hat ground thhe harmony.. The first is at measure 43
63
where
w a C ped
dal affirms the
t key of C minor until measure 48, when a B! pedal in the
bassoons classhes with A! and F minor arpeggios aabove. Ultim

mately, the vvariation endds
with
w a minor dominant ch
hord leading back to B! m
major at the start of the ssecond variaation
att measure 52
2.
The seecond variattion reconstrructs the mellody as a cleear and coherrent statemennt in
th
he solo flute (Example 21). This is necessary
n sinnce the proceeeding third variation utiilizes
diminution, a new compo

ositional dev
vice in the woork. In addittion to halvinng the note
values, extra sixteenth no

otes are addeed, resulting in a rhythmiically active sound (Exaample
23).
Example
E 23. Old Wine inn New Bottlees, mvt. 4, m
mm. 68-73, Fllutes.
y Press 1960
This section
s is maarked Allegro
o vivace, in contrast to th
the previous variation at
Allegro.
A It is easy to assum
me that Jaco
ob intended a dramatic cchange in tem
mpo at the sttart
of the third vaariation; how

wever, this iss not necessaary due to thhe treatment of the meloddy.
The
T rhythmicc diminution will naturallly sound fasster without tthe need forr a substantiaal
in
ncrease in tem
mpo. In this case, a consservative intterpretation oof Allegro viivace of
ap
pproximately
y 110 beats per minute is
i recommennded.
64
The diminution
d iss maintained in the follow
wing variatioon, starting aat measure 888, in
th
he flutes and
d clarinets; however, it iss now juxtapposed with thhe original m
melody in thee
bassoons and
d brass (Exam
mple 24). Th
his statementt of the them
me modulatess to D minorr and
em
mphasizes a dark low reeed and brasss timbre thatt contrasts w
with bright w
woodwinds inn
th
heir upper reegister allowing the listen
ner to clearlyy hear the tw
wo melodic llines.
Basssoons, Hornss and Trumppets (Top to bbottom).
y Press 1960
The fiifth variation

n suddenly shifts to D m
major and 6/88 time, startinng at measurre
106. The melody is transfformed durin

ng this variaation throughh unsystemattic modificattions
o rhythm witth certain no

to ote lengths in
ncreased to ffit into a 6/8 time signatuure. The notees,
otther than undergoing a mode

m shift frrom minor too major, maiintain similaar intervals too
65
eaarlier melod
dic statementts. The clarin
net line, startting at measuure 108 at P
Poco andantee, is
th
he first statem
ment of the transformed
t melody (Exxample 25).
Exam
mple 25. Old Wine in New w Bottles, mvvt. 4, mm. 1000-118, Clarrinet One.
y Press 1960
The fiinal variation

n, beginning
g at measure 128, is markked Alla marrcia vivace, in
6//8 time. Herre, consider the

t tempo marking
m to reffer to a Britiish style marrch, which iss
on
nly increased in tempo slightly
s by th
he modifier, Vivace. A reecommended 128 beats per
minute
m effectively sets th
he character of
o an upbeatt British marrch.
This final
f variatio
on achieves the
t appearannce of a marcch with idiom
matic rhythm
ms –
sp
pecifically a quarter-notee eighth-notee alteration – that reference a stereottypical marcch-
sttyle accompaaniment in 6/8

6 time (Exaample 26). H
Harmonicallyy, this variattion also servves
th
he necessary
y role of reestablishing th
he tonal centter on B! maj
ajor which haas been displaced
siince the third

d variation.
66
Exam
mple 26. Old d Wine in Neew Bottles, m
mvt. 4, mm. 116-134, Obboe One.
y Press 1960
The Coda,
C from measures
m 144
4-152, openss in C minorr. From meassures 152-1553,
allternating D! and E! chords skew thee tonal centeer allowing ffor a sudden shift to E m
major
att measure 15
54 which is uncomfortab
u bly distant frrom the hom
me key of B!.
As thee Coda drivees to a false ending,

e from
m measures 1161-163, Jaccob utilizes oone
of his most cu
urious techniques. Starting on beat 2 of measuree 161, a polyychord
co
omprising off C! major [C
C!,E!,G!] an
nd A major [A
A,C,E] alteernate with a B! triad. Thhe
in
ntriguing asp
pect of the po
olychord is that
t both its parts are a hhalf-step from
m B!. The
polychord osccillates in eig

ghth notes with
w a B! triaad nine timess from measuures 160-1622,
ob
bscuring ton
nic. The patteern drives to
owards two eemphatic B! triads that serve as a fallse
en
nding at meaasure 163.
The teension built in

i the false ending
e leadss to a mournfful G minor Lento statem
ment
of “how could
d you use a poor
p maiden
n so?” (Exam
mple 27). Thhese four meaasures end oon a
dominant sev
ven chord thaat functions to
t prepare a sudden shifft in style andd tempo thatt
oncludes thee piece with a cheerful Presto

co P until thhe end.
67

Fluutes, Oboes and
y Press 1960
Cond
The greatest challlenges for bo

oth the conduuctor and ennsemble will be to effectively
ex
xecute the many
m tempo, style, and teextural changges throughoout the moveement. Eachh
variation has a unique chaaracter that must

m come tthrough durinng performaance.
Speciffic concerns for the cond

ductor lie in the treatmennt of the trannsitions that lead
to
o these suddeen tempo ch
hanges. First,, is the transiition betweeen the secondd and third
variations, staarting at meaasure 60. In this

t instancee, the clarineets and first fflute have
sllowing eightth note runs, marked rita

ardando, thaat lead to thee new variation. When
co
onducting, subdividing the
t second half
h of measuure 67 will aadd clarity annd improve fflow
68
(E
Example 28)). This is beccause the sub
bdivision reqquires a fasteer gesture sppeed that willl be
a closer match
h with the neew tempo sttarting at meeasure 68.
Flutes and
Secon
nd, is a transiition betweeen the third aand fourth vaariations at m
measure 1277.
This
T examplee is in 6/8 tim
me with a on
ne-bar ritardaando startingg at measuree 127, leadinng to
a breath mark
k that sets a new
n tempo at
a measure 128 (Examplle 29).
69

Flutes and
When
n conducting measure 12
27, showing tthe eighth noote pulse byy subdividingg can
ad
dd clarity an
nd allow for a more dram
matic decreasse in speed bbefore the brreath mark.
During
D the measure
m it is important
i to visually andd aurally foccus on the obboes, which are
th
he lines that drive the pu
ulse. It is also
o helpful forr the musiciaans to see a ssmall releasee on
th
he eighth notte preceding
g the breath mark.
m The brreath shouldd be long enoough for a
moment
m of silence beforee the new maarch tempo bbegins at meeasure 128. T
This added tiime,
allthough brief, emphasizees the contraasting styles between thee variations aand allows ffor a
cllear preparattory gesture in a new sty

yle and temppo (Example 29).
The th
hird section to
t consider is
i the false eending at meeasure 163 (E
Example 27)).
This
T section is
i marked Leento contrastting with thee march temppo before, annd Presto affter.
Since the tem

mpo change at
a measure 164 is suddenn, it can helpp the ensembble and add
cllarity by creating a metric relationsh

hip by targetiing the Lentoo speed as hhalf that of thhe
70
march; this equates to about 128 beats per minute for the march, and 64 beats per minute
for the Lento. It is also helpful to anticipate the tempo change by conducting the new
Lento tempo on beat two of measure 163.
The proceeding transition from the Lento to the Presto, at measure 168, should be
treated differently (Example 27). This transition is approached with two harmonic
suspensions from measures 166-167. The first, at measure 166, is an A! seventh chord
with a 4-3 and 2-1 suspension that resolves on beat two of the measure. The second, at
measure 167, is an F seventh chord with a 4-3 and 2-1 suspension that also resolves down
on beat two of the measure. To emphasize the suspensions, and to better prepare the final
Presto during the last seven measures, an added ritardando from measures 166-167 is
appropriate.
Summary
All four movements of Old Wine in New Bottles are monothematic and based
upon British folk tunes. The form of each movement is theme and variations with two to
six variations on each theme. The second movement stays in G minor throughout;
however, the other three movements modulate, exploring different tonal areas, before
returning to the original key signature. Harmonies are typically tertian and extended with
sevenths and ninths. Some contemporary harmonies include a polychordal passage in the
first movement, quartal and quintal harmonies in the first and second movements, and
various other polychords scattered throughout the work; all of these techniques are
utilized to either emphasize words in the lyrics or propel the music forward during
transitions.
71
Melodic development and transformation are key elements to Jacob’s
compositional style. The melody is continually evolving with augmentation, diminution,
counterpoint, fragmentation, and imitation. Furthermore, rhythmic values of the melody
are typically modified to create new settings of the folk music, such as the 6/8 rendition
in the fourth movement.
Each movement has specific conducting suggestions in regard to tempo changes
and transitions. The overarching challenge for the conductor is to encapsulate the
characteristics of each variation within the movements and exaggerate the differences
between them. This is achieved through careful regard for instrumental color, style, and
texture.
72
CHAPTER THREE – MORE OLD WINE IN NEW BOTTLES
History of the Composition
In 1976, seventeen years after the premiere of the original Old Wine in New
Bottles and now at the age of eighty-one, Gordon Jacob began composing More Old Wine
in New Bottles. June Emerson, the owner of a music publishing company of the same
name and friend of Jacob, requested the composition.96 He had a specific group in mind,
although that group is never mentioned by name in his letters. This is evident in
Emerson’s request to compose the parts “easy” in order to accommodate the ensemble.97
The exact premiere date is unknown but based on Jacob’s writings was between March 8,
1977 and December 30, 1980.
Jacob initially referred to the composition as Son of Old Wine in a letter dated
June 1976.98 By August of that year, Jacob wrote to Emerson that he was “about to get to
work” on “Old Wine – Set 2” and that he “hoped” to include the British folk song, Down
Among the Dead Men.99
In September 1976, June Emerson replied and suggested the piece be renamed
More Old Wine in New Bottles:
96 Gordon Jacob, letter to June Emerson, London, June 30, 1976. Gordon Jacob’s
correspondences with June Emerson are provided in Appendix C.
97 Ibid.
98 Ibid.
99 Gordon Jacob, letter to June Emerson, London, August 13, 1976.

73
Thank you for your thoughtful reaction to “More Old Wine…” I agree with the
title, in fact I nearly called it that myself – don’t know why I didn’t.100
Further evidence of this change is on the cover page of the manuscript score. As is seen
in Appendix E, “2nd Set” is scribbled out, and the word “More” is added to the front of
“Old Wine in New Bottles.”
Another suggestion from June Emerson was to cue the trumpets elsewhere and
mark them ad lib.101 Jacob responded:
By the way I find it’s not possible to make the trumpets “ad lib.” There are
numerous passages which are soli or otherwise essential and impossible to cue in
for other instruments. So I’m afraid the only “ad lib” instrument is the contra.
Sorry!102
The finished work was sent to the copyist on March 8, 1977, and published by
June Emerson in 1981, who holds copyright permissions to this day. Jacob also gifted the
manuscript and parts to June Emerson, and they still have them stored in their archives.
Jacob had an extra copy of the manuscript, but gave it away in June 1981 at the World
Association for Symphonic Band Ensembles international conference,103 where he wrote
that he “met” Dr. Timothy Reynish.104
100 Gordon Jacob, letter to June Emerson, London, September 7, 1976.
101 Ibid.
102 Gordon Jacob, letter to June Emerson, London, March 3, 1977.
103 Timothy Reynish, e-mail message to author, September 4, 2012.
104 Gordon Jacob, letter to June Emerson, London, October 9, 1981.

74
Jacob was not able to attend the premiere, but did hear a recording of the first
concert. He was pleased with the outcome and writes that More Old Wine in New Bottles
is “as good as the original.”105
MORE OLD WINE IN NEW BOTTLES (1977)
Movement One – Down Among the Dead Men

Movement Two – The Oak and the Ash
Movement Three – The Lincolnshire Poacher
Movement Four – Joan to the Maypole
Instrumentation
2 Flutes (Second doubling Piccolo)

2 Oboes (Second doubling Cor Anglais)
2 Clarinets in B!
2 Bassoons
Double Bassoon (ad lib.)
2 Horns in F
2 Trumpets in B!
Like the original, the inclusion of the ad lib double bassoon line requires careful
consideration. Musically, it doubles the first and second bassoons in unison or at the
octave throughout the entire piece, with no independent lines excluding a simplification
of some of the rhythms (Example 30). It is utilized with modest restraint for moments of
105 Gordon Jacob, letter to June Emerson, London, December 29, 1980.
75
nsemble tuttti – although

en h not nearly as
a exclusivelly as the origginal Old W
Wine in New
Bottles.
B
xample of thee bassoon reeinforcing thhe bass line aand supportinng the soundd is
An ex
fo
ound in the fourth
f movem
ment, measu where the firrst and seconnd bassoons play
ures 15-17, w
in
n a thin textu
ure with the horns.
h The double
d bassooon is carefuully reservedd until measuure
21 so as to en
nter with the entire ensem
mble (Exampple 30).
mple 30. Morre Old Wine in New Botttles, mvt, 4, m

Exam mm. 21-26, Bassoons
© 1981 June Emersson Ltd. Rep
produced by Permission.. All Rights Reserved.*
*All musiical exampless are for referrence only, noot for use duriing performannce. For moree
info
ormation on how
h to purchaase copies, pleease contact E Emerson Mussic, Ltd.
(www w.juneemersoon.co.uk).
Anoth
her example of the same scoring is inn the first moovement, whhen the doubble
bassoon enterrs during an ensemble tu

utti from meaasures 30-311. Leading innto this sectiion,
th
he first and second
s basso
oons accomp
pany the clarrinets and obboes withoutt a need for tthe
ad
d lib instrum
ment.
Howeever, there arre instances when

w the doouble bassooon creates inhherent balannce
prroblems with
hin the ensem
mble. For ex
xample, in thhe first moveement, at meeasure 19, thhe
cllarinet playss the initial sttatement of the

t primary theme in itss lowest register. Here, aall
th
hree bassoon
ns are marked mf againstt the solo claarinet at an eequal dynam
mic (Examplee 31).
76
Example
E 31. More Old Wine
W in New w Bottles, mvvt. 1, mm. 177-21,
Clarinetss and Bassooons (Top to bbottom).
© 1981
1 June Emerrson Ltd. Rep produced byy Permissionn. All Rights Reserved.
In thiss section, even if all threee bassoons m

modify theirr dynamics too piano, balaance
will
w still be prroblematic. It
I is advisable to have thhe double baassoon rest, ssince the parrt is
doubled at thee octave in the

t second baassoon. Reggardless of its inclusion, dynamics att
measure
m 19 will
w need to be
b altered to strengthen tthe clarinet ccolor and lesssen the
bassoons.
Includ
ding the ad lib
l double baassoon requiires considerration of ensemble balannce
an
nd adjustments to dynam
mics through
hout the workk; however, its inclusionn is worthwhhile
siince it extends the tessitu

ura of the en
nsemble an aadditional occtave, adds a unique tonee
co
olor, and reinforces the bass
b line. It also
a providees another m
musician the oopportunity to
participate in an ensemblee of this typee and experiience the muusic.

77
Errata
It can save a great deal of time for the conductor to mark the errata in the score
and parts prior to the first rehearsal. The following list has been derived from a careful
comparison of the manuscript score, manuscript parts, published score, and published
parts to More Old Wine in New Bottles.106 The manuscript score was the primary
resource deferred to in resolving discrepancies. All the proceeding suggestions are for a
performance of the published score and parts. Note corrections are in concert pitch.
Measure 17: 1st Bassoon, score and part – The score indicates “f mf” and the part
mf.
Measure 27-28: 2nd Clarinet, score only – The A should be tied over the bar line.
Measure 29: 2nd Oboe and 2nd Clarinet, score and parts – The two lines are in
unison and have different articulations on beats 3-4.
Measure 30: Double Bassoon, part only – The first and second quarter notes,
should be slurred. The third and fourth quarter notes should also be
slurred.
Measure 42: Double Bassoon, score only – The first two eighths should be
slurred.
Measure 57: 1st Bassoon, score only – The final note should be A, not G.
Measure 63: 2nd Flute, score and part – Should be marked piano to match the 1st
Flute.
Measure 72: 2nd Bassoon, score only – Should be D, not C.
Measure 73: 2nd Clarinet, score and part – Should be marked fortissimo to match
the ensemble.
106 The manuscript score to More Old Wine in New Bottles is provided in Appendix E.
78
Measure 105: 1st Bassoon, score only – An extra tenuto marking on the first
quarter note is extraneous because of the slur marking.
Movement Two – The Oak and the Ash
Measure 27: Cor Anglais, score only – The eighth notes on beat four should be
slurred.
Measures 37-44: 1st Horn, score and part – The cues in this part have different slur
markings when compared with the Cor Anglais.
Measure 44: 1st Horn, score only – The only F in the measure should be F.
Measures 71-72: 2nd Clarinet, score only – The A should be tied over the bar line.
Measure 56: 2nd Oboe, score only – The dotted quarter note should be F, not G.
Measure 64: Double Bassoon, score and part – The dotted quarter note should be
F, not E!.
Measure 71: 1st Clarinet, score only – The entire measure should slur into the first
quarter note of the following measure.
Measure 71: 1st Bassoon, score and part – The entire measure should slur into the
first quarter note of the following measure.
Measures 73-85: Double Bassoon, score and part – These thirteen measures differ
by octave in the score and part.
Measure 77: 2nd Clarinet, score and part – The dotted quarter note should be E!,
not E.
Measure 85: 1st Flute and 2nd Flute, score and part – The articulation on the dotted
half note should be marcato to match the ensemble.
Measure 85: 2nd Bassoon, score and part – The grace note should be a D!, not E!.
Movement Four – Joan, to the Maypole
Measure 21: 2nd Clarinet, score and part – The third eighth note should be marked
forte to match the ensemble.
79
Measure 46: 2nd Trumpet, score and part – The fourth note should be E!, not E.
Measure 68: 2nd Bassoon, score only – Both quarter notes in the measure should
be marked tenuto.
Measure 94: 2nd Horn, score only – The measure should start mezzo-forte.
MORE OLD WINE IN NEW BOTTLES - Mvt. One - Down Among the Dead Men

Text painting. Contrasting

Intro m. 1-18 C minor 4/4 time Risoluto (♩ = 128)
motion
m. 19-30: Piano
Theme C minor 4/4 time Theme in first clarinet
rehearsal A accompaniment
C minor/ Material based on a

Transition m. 31-34 4/4 time Forte
tonicizes Ab diminution of theme
m. 35-46: Melody in the upper

Var. I C major 4/4 time Mezzo-forte
rehearsal B woodwinds
D minor to
Transition m. 47-52 4/4 time Rit. m.51-52 Imitation
F major
Suspensions, dissonant
m. 53-84:
Var. II F major/various 6/8 time Allegretto (♩. = c.70) pedal points, and quartal
rehearsal C
harmonies skew tonal center
Two solos in the first
Transition m. 85-88 Unstable 6/8 time Rall.
bassoon and flute
m. 89-104: Andante espressivo Lyrical section derived from

Var. III C minor 4/4 time
rehearsal E (♩= c.66) two fragments of the theme
D major to 4/4 & 3/2 Unaccompanied

Transition m. 105-108 Some rubato
G major time bassoon solo
m. 109-120:
Var. IV C minor 4/4 time Tempo I March style
rehearsal F
Fortissimo to Bassoon solo leads to final

Coda m. 121-end C minor 4/4 time
pianissimo low C
Flowchart 5. More Old Wine in New Bottles, Movement One,

Down Among the Dead Men.
80
The form of the first movement is theme and variations: Introduction, Theme,
Variation I, Variation II, Variation III, Variation IV, Coda. The tonal center opens in C
minor but transitions to C major in the first variation, F major in the second, and back to
C minor in the third.
It is monothematic and based upon the British folk tune, Down Among the Dead
Men, which dates to the rule of Queen Anne in the 18th century.107 It is a drinking song,
toasting to the queen and reveling in the tavern. A suggested listening example of the folk
song was composed by Ralph Vaughan Williams for men’s voices in 1912 – about ten
years prior to teaching Gordon Jacob at the Royal College of Music. This version
captures the unbridled spirit of the folk tune.108
The following text, however, is borrowed from the William Chappell, Old English
Popular Music, since it contains all four verses:
Here’s a health to the Queen, and a lasting peace,

To faction an end, to wealth increase.
Come let’s drink it while we have breath,
For there’s no drinking after death.
And he that will this health deny,
Down among the dead men, Down among the dead men
Down, Down, Down, Down,
Down among the dead men let him lie.
108 Ralph Vaughan Williams, Down Among the Dead Men (E.C. Shirmer Co. 1912).
81
Let charming beauty’s health go round,

To whom celestial joys are found,
And may confusion still pursue,
The senseless woman-hating crew;
And they that women’s health deny,
Down among the dead men let them lie!
In smiling Bacchus’ joys I’ll roll,

Deny no pleasure to my soul;
Let Bacchus’ health round briskly move,
For Bacchus is a friend to Love.
And he that will this health deny,
Down among the dead men let them lie!
May love and wine their rites maintain,

And their united pleasures reign,
While Bacchus’ treasure crowns the board,
We’ll sing the joys and both afford;
And they that won’t with us comply,
Down among the dead men let them lie!109
The opening of the movement has several repetitious “falling motives” that are
text paintings on the word “down” from the lyrics. This motive begins as simple
descending half notes in the bassoons and second horn. By measure 5, the basic structure
of the descending motion is embellished with eighth notes in the upper woodwinds. By
measure 11, the motive becomes chromatic (Example 32).
109 Chappell, Popular Music of the Olden Time, 1965, 644-645.

82
Example
E 32. More Old Wine
Flutes and
d Oboes (Toop to bottom
m).
© 1981
1 June Emerrson Ltd. Rep
produced byy Permissionn. All Rights Reserved.
The th ppears, understated, in thhe lowest reggister of the clarinet, at

heme first ap
measure
m 19 (E
Example 31)). Throughou
ut the movem
ment, each pphrase of thee melodic linne is
ty
ypically passsed between several voicces. During tthe first stateement of thee theme, this is
acccomplished
d through fou
ur bar segmeents that are accompanieed by texturaal changes.
Much
h of the transitional materrial in the m
movement is aan embellishhment of
frragments borrrowed from

m the primary
y theme. Thee first transittion, startingg at measure 31,
iss a diminutio
on of the fifth
h and sixth bars
b of the thheme. In thiss example, a sixteenth noote
on
ne-bar embeellishment co
onsolidates two
t bars of tthe theme (E
Example 33).. The “fallinng
motive”
m respo
onds to the diminution
d before
b it repeeats at measuure 34. The eeffect is a
rh
hythmically active transiition from th
he initial stattement of thee theme thatt generates
en
nergy, leadin
ng into the first
fi variation
n.
83
Exampple 33. Moree Old Wine in New Bottlees, mvt. 1, m

mm. 31-34, F
Flute Two.
© 1981
1 June Emerrson Ltd. Repproduced byy Permissionn. All Rights Reserved.
The fiirst variation

n, starting at measure 35,, is surprisinngly in the paarallel majorr of
C.
C The brightt switch to major
m coupled
d with the tim
mbre of the melody in thhe piccolo
crreates a stark
k difference in the sound
d from the prrevious variaation. The piccolo openss in a
ro
obust style, with
w full notte values, butt shifts sudddenly to stacccato at meassure 39. At
measure
m 43, the
t melody passes
p to the first trumpeet which it trreats as a fannfare
acccompanied by the horns and bassoo

ons. It progreesses to the horn at measure 45, andd then
brreaks into fo
our bar fragm
ments. The end of the vaariation isolaates a fragmeent from the
melody
m on the words, “do
own among the
t dead meen,” and repeeats several ttimes in the
bassoons and
d oboe.
The seecond variattion undergo

oes a substanntial transform
rmation of thhe melody baased
up
pon the firstt few words of
o the tune, “here’s
“ a health to the Q
Queen.” In thhis example,
pitch duration
ns are modiffied to fit 6/8
8 time, obscuuring the meelody (Exam
mple 34).
Exampple 34. Moree Old Wine in

i New Bottlles, mvt. 1, m
mm. 53-59, OOboe One.
© 1981
The 6/8 version off the melody

y leads into nnew materiaal in the flutees based upoon a
reepetitious qu
uarter-note eighth-note alteration
a inittially introduuced at meassure 53. At
84
measure
m 61, the
t next partt of theme on
n the words, “down amoong the dead men,” is alsso
trransformed into
i 6/8 timee maintaining
g the same rhhythmic alteeration.
The proceeding th
hird variation
n is also baseed upon the text, “downn among the dead
men.”
m This ph
hrase occurss twice in thee folk song llyrics, once aas a falling ffigure (Exam
mple
35, Measures 89-90) and the second time

t rising (E
Example 35, Measures 993-94). Thesse
tw
wo mournfull statements of the same words are ppaired togethher in the thirrd variation,, with
so
ome new traansitional maaterial betweeen. To compplement the mournful naature of the
ly
yrics, the meelody returnss to C minor, is marked aat a soft dynnamic, set to a slower tem
mpo
of Andante esspressivo, an
nd is mostly slurred.

mm. 89-94, OOboe One.
© 1981
The trransition betw

ween the thiird and fourtth variations features an unaccompannied
bassoon solo.. The solo, frrom measurees 103-107, is mostly in 4/4 time, buut switches to 3/2
tiime at measu
ure 106 (Exaample 36). Throughout
T M
More Old Wi
Wine in New B
Bottles there are
on
nly two exteended unacco
ompanied so
olos and becaause the textture of thesee occurrences is
un
nique, some liberty can be given to the
t soloist inn regards to tempo; how
wever, in this
particular exaample, the baassoonist sho

ould be minddful of the leengthened notes and meter
hange at measure 106, siince it will exaggerate

ch e anny decrease in tempo.
85
Example 36. More Old

O Wine in New
N Bottles, mvt. 1, mm m. 102-108, B Bassoon Onee.
© 1981 produced byy Permissionn. All Rights Reserved.
The fiinal variation

n is a stately
y march in thhe key of C m
minor startinng at measurre
109. The melody is divideed into one bar

b units witth a call-andd-response sttructure. Thee
woodwinds
w fo
orm the firstt group and the
t brass aloong with the bassoons form the seconnd.
The
T resulting effect emph
hasizes two distinctly
d diffferent timbrres within thhe ensemble.
This section
s flowss into a shortt three meassure long Coda from meaasures 121-1123.
At
A measure 121, the ensemble has a C minor chord that leadss to an unexppected
D!
D seventh ch
hord at meassure 122. Thee tension gennerated by thhe harmony is resolved bby a
sh
hort bassoon
n solo, markeed ritardand
do, based upoon a melodicc fragment oon the wordss,
“d
down among
g the” (Exam
mple 37). Th
his serves as a lead-in tow
wards the finnal note of thhe
movement,
m a C in their lo
owest possible octaves inn the bassoonns and clarinnets.
86
Ex
xample 37. More
M Old Wine
W in New B Bottles, mvt.. 1, mm. 1199-123,
Basssoons, Hornss and Trumppets (Top to bbottom).
© 1981
h of the harm
Much monic writing
g throughoutt the movem
ment utilizes ttraditionallyy
unctioning teertian harmo

fu onies. There are, howeveer, two intereesting harmoonic devices that
reeoccur throu
ughout the movement.
m Fiirst, is the usse of a pedal point, oftenn in the loweer
voices, that acccompanies a tertian cho

ord. For exam
mple, duringg the secondd variation att
measure
m 56, Jacob
J writes two subsequ
uent five-noote chords, ann E half-dim
minished seveenth
ch
hord over an ves to a C seeventh chordd, still over F (Example 38).
n F pedal poiint. This mov
In
n this examp
ple, the pedall point is useed to evade a half cadencce which is nnecessary duue to
new rhythmicc material that creates am

mbiguity in tthe length off the phrase.
87
Example
E 38. More Old Wine
Flutes, Oboes,
© 1981
nd, are suspeensions and quartal

Secon q harm
monies that teemporarily sskew the tonaal
ceenter and asssist in transittioning betw

ween variatioons in the forrm. These suuspensions
ty
ypically reso
olve down an
nd in step-wiise motion. O
One examplee, from meaasure 75-76,
illlustrates a seeries of susp

pensions oveer pedal poinnts that tonicize D minorr. This sectioon is
allso a text paiinting since the melodic material is bbased on a rrepetition of the words,
“d
down among
g the,” and each
e suspenssion resolvess down. Meaasure 77 endds the series oon D
minor
m with a suspended G,
G preceding
g a quartal chhord [E,A,D,G] on beat 22. Measures 78-
79 feature fou
ur chords thaat oscillate back
b and fortth towards thhe new D miinor tonalityy;
88
hese four cho

th ords are a D minor 4-3 suspension,
s D minor, D m
minor 2-3 suuspension, annd
an
nother D min
nor chord (E
Example 39).
Example
E 39. More Old Wine
Clarinets, Bassoons, Horns
H and T
Trumpets (Toop to bottomm).
© 1981
Jacob is much mo
ore specific with
w score annd part markkings in Morre Old Wine in
New
N Bottles, when compaared with thee original Olld Wine in N
New Bottles, which is hellpful
in
n making intterpretive decisions throu
ughout the w
work. The inntroduction iss indicated
Risoluto
R with
h quarter notee at 120 beatts per minutee. The originnal folk tunee is a
ong and to reeplicate its sppirit, a slighttly faster opening tempoo of

raambunctiouss drinking so
qu
uarter note at
a 128 beats per minute will
w enliven the characteer of the mussic.
89
Variations II and III are specified Allegretto with dotted quarter note at circa 66
beats per minute, and Andante espressivo with quarter note at circa 58 beats per minute,
respectively. Each of these indicated tempi establish a lackluster mood and will challenge
the instrumentalists in achieving four bar phrases. The Allegretto flows more effectively
at a suggested 70 beats per minute, and the Andante espressivo at 66 beats per minute –
only slightly faster than Jacob’s recommended circa tempo indications.
One of the primary challenges for the instrumentalists, after achieving the desired
style, is to connect the melodic line homogenously as it is passes throughout the
ensemble. One example of this is during the second variation from measures 53-68.
Starting at measure 53, the first oboe has the initial four bars of the melody. At measure
56, the first flute has the responding four bars (Example 38). Since the part writing is thin
and exposed, the instrumentalists will need to hold their last note for its full value in
order to successfully pass the melody and subsequent accompaniment lines to new
voices. When conducting, this can be reinforced through the use of a fluid tact that
connects a rounded ictus.
There are two other specific considerations for the conductor. First, to always
encapsulate the style and spirit of the piece as it playfully shifts into new timbres. For
example, the initial statement of the theme presents in the low register of the clarinets and
bassoons, contrasting with the first variation that is in the higher registers of the flutes
and oboes. Gesture, when conducting these two different instrumental colors, should
likewise visually contrast.

90
Secon
nd is a firm vision
v and caareful considderation of thhe transitionns. The three
trransitions in this movem

ment are somee of the mosst complicateed in the worrk with suddden
sh
hifts in both meter and teempo that caan be challennging for thee conductor and
in
nstrumentalists.
n to examinee is betweenn Variation I and Variatioon II, from

The fiirst transition
measures
m 50-54 (Examplee 40).
Example
E 40. More Old Wine
Flutes, Ob
boes, Clarineets and Bassooon One (Toop to bottom
m).
© 1981
This section
s indiccates an imm
mediate decreease in tempoo at rehearsaal C. If it is
performed thiis way, the anacrusis

a in the
t clarinets and first obboe will sounnd about twicce as
faast the rest of

o the phrase leading into
o measure 533. This interppretation ressults in a mellodic
91
line that has a hurried anacrusis; however, it has a steady rhythmic modulation of
approximately half the original tempo.
It is suggested to consider the anacrusis a part of the Allegretto tempo to maintain
consistency in the rhythmic values of the melodic line at Rehearsal C. This interpretation
complicates the first bassoon accompaniment, since changing tempo on the anacrusis
creates an uncomfortable lurch on the final eighth note of measure 52; however, this can
be resolved by adding a ritardando to measures 51-52. When executing this ritardando it
is also helpful for the conductor to visually and aurally focus on the bassoon player with
its slowing eighth notes that drive the rhythmic pulse. If the conductor and bassoonist
slow together it will help prepare the anacrusis in the new tempo at measure 53.
The second transition to consider is between Variation II and Variation III, at
rehearsal E (Example 41). This example changes from a 6/8 time Allegretto with a dotted
quarter note at 74 beats per minute, to a 4/4 time Andante espressivo with a quarter note
at 66 beats per minute – only a slight decrease in the pulse.
This section is approached by two two-bar unaccompanied solos in the first
bassoon and first flute. In this example, measures 85-88 are marked both pianissimo and
rallentando as they lead into the proceeding variation. Tonally, F major is shifting to C
minor, but is unstable leading into rehearsal E (Example 41).

92
Example
E 41. More Old Wine
Flutes, Ob
m).
© 1981 June Emersson Ltd. Rep produced byy Permissionn. All Rightss Reserved.
The fiirst solo is in

n the bassoon
n from meassures 85-86 w
with descendding dotted
eiighth and qu
uarter notes. This section
n functions too rhythmicallly anticipatee the return of a
du
uple time sig
gnature at Rehearsal E. Harmonicall
H ly, the transiition is moviing towards C
minor.
m Both solos
s skew th
he tonal centter with A!’ss borrowed ffrom the upccoming C minor
to
onality whilee carefully av
void E!’s. A flute solo cconcludes thee transition, starting at
measure
m 88, by om A! to D. The D acts as an anacruusis to the
b outlining a tritone fro
melody
m in thee oboe startin
ng on G.
This section
s is chaallenging beecause of its shifting tonaality, indepeendent parts, and
in
ndicated ralllentando thatt leads to a slightly
s slow
wer tempo. Suuggestions aare to emphaasize
93
the dissonance of the tritones by significantly slowing the tempo, and allowing the first
flute to emphasize the D leading to rehearsal E. This will help prepare the oboe with its
upcoming melody at measure 89.
Movement Two – The Oak the Ash
MORE OLD WINE IN NEW BOTTLES - Mvt. Two - The Oak and the Ash

Melodic material borrowed

Intro m. 1-4 F minor 4/4 time Lento. (♩ = 64)
from fragments of theme
Theme m. 5-16 F minor 4/4 time Espressivo Cor Anglais Solo
m. 17-28: Bassoon melody with

Var. I F minor 4/4 time Mostly slurred
rehearsal A flute accompaniment
m. 29-40: Bb minor/ Highly chromatic, m. 37 Unaccompanied

Var. II 4/4 time
rehearsal B Unstable some polychords Cor Anglais solo, rit.
m. 41-end: A tempo m.41.

Var. III F minor 4/4 time Picardy third (last chord)
rehearsal C Meno mosso m.51
Flowchart 6. More Old Wine in New Bottles, Movement Two,

The Oak and the Ash.
The form of the second movement is once more, theme and variations. It is,
however, much shorter than the first movement with only three variations on the melody:
Introduction, Theme, Variation I, Variation II, Variation III. The tonal center is mostly in
F minor with some exploration of B! minor isolated within the second variation.
94
This movement is monothematic and based upon the British folk song, The Oak
and the Ash. Jacob arranged this folk song for a cappella female voices in 1931. It is
published by Oxford University Press and is currently in print.110
The Oak and the Ash is a poem about a young maiden who travels to London but
yearns to return to her home in the country. She misses the meadows, wildlife, and
peaceful nature of the North. The mood of the tune is somber and melancholy.
The lyrics to The Oak and the Ash (1931) from Jacob’s choral setting:
A north country maid up to London had strayed,

Although with her nature it did not agree,
She wept and she sigh’d and she bitterly cried,
‘I wish once again in the North I could be.’
Oh! the oak, and the ash, and the bonny ivy tree,
They flourish at home in my own country.
While sadly I roam I regret my dear home,

Where lads and young lasses are making the hay,
The merry bells ring, and the bird sweetly sing,
And maidens and meadows are pleasant and gay.
They flourish at home in my own country.
No doubt, did I please, I could marry with easy,

Where maidens are fair many lovers will come;
But he whom I wed must be north country bred,
And carry me back to my own country.
They flourish at home in my own country.111
110 Gordon Jacob, The Oak and the Ash (Oxford University Press, 1931).
111 Ibid.
95
The teempo of Jaco

ob’s instrum
mental versionn is marked Lento, with a quarter noote at
50 beats per minute.

m The indicated sp
peed is noticeeably slowerr than Jacob’s choral settting,
marked
m Anda
ante. Singing
g or playing the
t music att 50 beats peer minute losses the charm
m of
th
he original fo
olk song and
d makes it diifficult to achhieve four bar phrases. IIt is suggesteed to
defer to the teempo of Jaco

ob’s vocal seetting of Anddante, and taarget about 664 beats per
minute.
m This will establissh a better seense of line aand directionn throughoutt the movem
ment.
With
W that tem
mpo as a startting place, a fair amountt of ebb and flow is apprropriate leadding
in
n and out of cadences.
Similaar to the prev

vious movem
ment, the inttroduction coonsists of meelodic fragm
ments
borrowed from
m the primaary theme of the folk sonng. In this caase, the fragm
ment is from
m the
fiifth bar of th
he theme, on the text “shee wept and sshe sigh’d.” The first claarinet opens with
th
he fragment and passes it
i to the first oboe and firrst flute, resppectively. Thhis leads to tthe
in
nitial statemeent of the theeme in the Cor
C Anglais, at measure 5 (Example 42).
Example 42 2. More Old

d Wine in Neww Bottles, m
mvt. 2, mm. 11-5,
Flutes, Oboe,
O Cor Annglais and C
Clarinets (Topp to bottom)).
© 1981
96
The th
heme itself is twelve meaasures long and has two resting poinnts with halff
caadences afteer the second

d and fourth lines of the ttext – this eqquates to thee music at
measures
m 4 an
nd 8 (Examp
ple 43). The breath markks in the exam
mple are nott included inn
Jaacob’s settin
ng; however,, they represeent consistennt textural annd voicing cchanges
th
hroughout th
he variations. They are allso logical bbreathing spoots that alignn with cadennces
an
nd the text.
mple 43. Mo
Exam ore Old Winee in New Botttles, mvt. 2,, Melodic Reeduction
© 1981
The fiirst statemen

nt of the them
me demonstrrates texturall changes evvery four barrs of
th
he melodic liine. The Corr Anglais opens with thee melody at m
measure 5, oon the text, ““a
y maid up to London had

north country d strayed, altthough with her nature itt did not agree.”
After
A the halff cadence, th
he melody is passed to m
muted trumpeets on the texxt, “she wept and
sh
he sigh’d, an
nd she bitterlly cried.” Allterations in the texture, like this exaample, reocccur
frrequently thrroughout thee movement..
The seecond variattion is the mo

ost harmoniccally unstable section w
within the
movement.
m The section begins at meaasure 29, whhere the meloody is in the first flute inn
B!
B minor, thin
nly scored attop a half no
ote accompanniment line iin the horns. By measure 33,
97
th he first oboe and suddennly transposeed to G minoor. The

he melody iss passed to th
acccompanimeent in the mu
uted trumpetts sounds eerrie and discoonnected froom the meloddic
liine with enhaarmonically spelled min

nor thirds thaat descend chhromaticallyy (Example 444).
The melody
m in thee first oboe begins
b at on beat two of measure 32,, with a
ubdominant chord. Meassure 33 has a dissonant cchord [G!,F,,A] that resollves on beat two
su
to
o a B! seventth chord misssing its third
d. This patteern repeats oon measure 334 with a
[D
D!,E,C] chorrd leading to
o a F seventh
h chord misssing its third.. Measure 355 has two
en
nharmonicallly spelled diminished trriads – B! dim
minished annd C diminishhed. Measurre 36
clloses the secction with a G minor and

d C minor triiad, emphasiizing the dom
minant and
prredicting thee return of F minor by measure

m 41.
Example
E 44. More Old Wine
Oboee, Cor Anglaiis and Trum
mpets (Top too Bottom)
© 1981
A posssible explan
nation for thee harmonies from measuures 33-36 iss the design oof
th
he harmonic progression
n throughout the movemeent. It has ann overall arcch shape thatt
begins in F minor,
m graduaally becomess more chrom
matic culminnating in thee second
movement,
m an
nd returns to
o F minor at the end. Anoother plausibble explanation involvess the
98
music-text
m rellationship, which
w referen
nces merry bbells ringingg and a bird ssweetly singging –
possibly referrring to the muted

m trump
pets as bells aand oboe meelody as the bird:
The merry
m bells riing, and the bird sweetlyy sing,
And maidens
m and meadows arre pleasant aand gay.
There is a brief traansition betw

ween the seccond and thirrd variationss, beginning at
measure
m 36, which
w featurres the Cor Anglais.
A The Cor Anglaiss is unaccom
mpanied afteer
measure
m 38 an
nd is another opportunitty to allow thhe soloist to express rubato. The soloist
caan slow dow

wn dramaticaally at measu
ure 40 emphaasizing the ffinal four pittches,
particularly th
he C that serrves as an an
nacrusis to V
Variation III iin the key off F minor
Example 45)).
(E
Example
E 45. More Old Wine
Oboe,
O Cor Anglais,
A Clarrinets and Baassoon One ((Top to bottoom).
© 1981
The laast two bars of the musicc recapitulatee four notes on the wordds, “north
co
ountry madee,” in muted horns echoin
ng the meloddy. The hornns and first bbassoon havee a
99
Picardy third – A – addin

ng finality to
o the movem
ment and empphasizing the subject of the
teext (Examplee 46).
Example 46
6. More Old Wine in Neww Bottles, m
mvt. 2, mm. 447-52, Bassooons and Horrns.
© 19811 June Emerrson Ltd. Rep
Cond
This movement
m will
w challengee the conducctor and instrrumentalistss because of its
sllow tempo, exposed

e partt writing, flu
uctuating tim
mbres, and lyyrical style. IIn contrast too the
fiirst movement, the overaall part-writing is thin wiith no momeents of ensem

mble tutti. Inn
faact, no more than half th

he ensemble plays
p togethher at the sam
me time. Thee thinly scoreed
in
ntroduction exemplifies
e the
t exposed part writingg (Example 442). To conffront the
ch
hallenges in the orchestrration, the co
onductor muust have a firrm vision of instrument
en
ntrances and
d the shape of
o the melodiic line.
Due to
o the scoring
g, it will be vital
v for notees to be heldd for their enntire value.
Considering
C the
t twelve-m
measure them
me (Examplee 43), markinng the last nootes of each
100
portion of the melody as tenuto can serve as a reminder for the ensemble to connect the
phrase.
One specific consideration is the Meno mosso during the last two bars of the
piece, measures 51-52. Harmonically, the Picardy third in the muted horns and first
bassoon is established rather quickly over two bars. It is recommended to interpret the
Meno mosso as a noticeable decrease in the tempo to emphasize the major third. A
possibility to further highlight the change in the harmony is to slow at measure 50 leading
into this section.
MORE OLD WINE IN NEW BOTTLES - Mvt. Three - The Lincolnshire Poacher
Measure Tonal Time Tempo/Style

Form Compositional Devices
Numbers Centers Signature Suggestions
Vivace (♩ = 124) Bassoon duet sets a jovial

Intro m. 1-4 Bb major 6/8 time
ma presto non troppo mood
Piccolo melody with sparse

Theme m. 5-24 Bb major 6/8 time Light articulations
accompaniment
m. 25-32: Fanfare-like,
Transition Bb major 6/8 time Imitation and fragmentation
rehearsal A brass timbre
Bb major/ Forte, with sparse

Var. I m. 33-48 6/8 time Melody in flutes m.33
various accompaniment
m. 49-80: Tenuto melody, Augmentation m.49.

Var. II Bb major 6/8 time
rehearsal C slurred accompaniment Double agumentatim.77
Slurred lines G! at m.85 prepares final

Coda m. 81-end Bb major 6/8 time
change to accents B! chord
Flowchart 7. More Old Wine in New Bottles, Movement Three,

The Lincolnshire Poacher.
101
Movement Three is in theme and variations form but is unique in its exclusive use
of the 6/8 time signature: Introduction, Theme, Variation I, Variation II, and Coda. It is
almost entirely in B! major and is based upon the British folk song, The Lincolnshire
Poacher. This tune is often confused with The Manchester Angel that utilizes the same
melody with a completely different text.112 As the title suggests, the subject is the
criminal act of poaching, which to commoners has been glorified in local stories and
legends:
When I was bound apprentice, In famous Lincolnshire,

Full well I serv’d my master for more than seven years,
Till I took up to poaching, As you shall quickly hear,
Oh! ‘tis my delight on a shining night, in the season of the year.
As me and my comarade were setting off a snare,

‘Twas then we spied the gamekeeper, for him we did not care,
For we can wrestle and fight, my boys, and jmp o’er anywhere,
As me and my comarade were setting four or five,

And taking on ‘em up again, we caught a hare alive,
We took the hare alive, my boys, and thro’ the woods did steer,
I threw him on my shoulder, and then we trudged home,

We took him to a neighbour’s house, and sold him for a crown,
We sold him for a crown, my boys, but I did not tell you where,
Success to every gentleman that lives in Lincolnshire,

Success to every Poacher that wants to sell a hare,
Bad luck to every gamekeeper that will not sell his deer,
Oh! ‘tis my delight on a shining night, in the season of the year.113
113 Ibid., 733.

102
The music
m and tex
xt are untrou
ubled, cheerfful, yet mischhievous. Thee articulationns
sh
hould be ligh
ht to match the
t mood, ev
ven on the feew accented notes througghout the
movement.
m The written teempo of Viva
ace ma pres to non tropppo, with the ddotted quartter
note set to 112, is slightly

y too slow to
o capture thee spirit of thee music. Thee suggested
teempo is 124 beats per miinute.
There is a brief fo
our bar introd
duction featuuring a joviaal bassoon duuet with eighhth
note runs harm

monized by thirds. This figure leadss to the them
me in the picccolo from
measures
m 5-16 (Example 47). During the initial sttatement of tthe melody, sparse
acccompanimeent reinforcees the line. At

A measure 1 7, the piccollo drops out and the restt of
th
he ensemble enters on th
he refrain, “O
Oh! ‘tis my ddelight on a sshining nighht, in the season
of the year.” The

T writing in the instru
umental versiion is reminniscent of a liive vocal
performance, where the audience

a wou
uld join the ffolk singer dduring the reefrain.
Exammple 47. More Old Wine in New Bottlles, mvt. 3, m

mm. 1-22, F
Flute Two.
© 1981 produced byy Permissionn. All Rights Reserved.
The trransition afteer the initial statement off the melodyy begins at m
measure 25. IIn
th
his example, the trumpetts announce a fragment ffrom the them
me that is frrom either thhe
seecond or thirrd lines of th

he text – an ambiguity
a caaused by ideentical meloddic lines withh
103
differing texts in the folk song. The fragment

fr is reepeated and imitated by the horns onne
measure
m laterr (Example 48).
4
Example
E 48. More Old Wine
Horns and Trumpets (T
Top to bottomm).
© 1981
Startin
ng at measurre 33, the meelody repeatts in a similaar fashion to the initial
sttatement. It is
i again in th
he piccolo bu
ut doubled aan octave low
wer in the firrst flute. Thee
dy
ynamics are slightly lou
uder, but the articulationss are unchannged.
Since the melody undergoes little developpment, the ennsemble is fr

free to emphaasize
new accompaaniment liness. The first bassoon,

b in itts highest reegister, accom
mpanies the
melody
m at meeasure 33. Th
his gives waay to the firstt clarinet thaat has a line w
with originaally
co
omposed maaterial at meaasure 36 (Ex
xample 49).
104
mple 49. Morre Old Wine in New Bottlles, mvt. 3, m

Exam mm. 36-41, Clarinets.
© 1981
The melody
m in thee second varriation, startiing at measuure 49, underrgoes a familliar
trransformatio
on. In this ex
xample it is augmented
a inn the secondd clarinet, baassoons, and
horns (Examp
ple 50). The new accomp
paniment in the upper w
woodwinds iss derived froom
th
he melody. It contrasts with
w the augm
mentation byy utilizing coontinuous eigghth note
acctivity, ultim
mately thickeening the tex
xture to an ennsemble tuttti.
Example
E 50. More Old Wine
Bassoons and
a Horns (T Top to bottomm).
© 1981
105
Similaar to the firstt variation, there

t is an em
mphasis on tthe refrain duuring Variattion
III. This time, double augm

mentation is used to highhlight the finnal words off the text, “tis the
seeason of the year.” The double

d augm
mentation is iin the first hhorn, first truumpet, and fiirst
ob
boe from meeasures 77-8
80 (Example 51).

mm. 76-82, OOboe One
© 1981
Cond
One specific challlenge in this movement iis to addresss balance. Ass was discusssed
with
w the first variation, th
he accompan
niment lines can be emphhasized whennever the
melody
m is uncchanged; how
wever, Variaations II andd III will neeed to balancee to the
au
ugmented an
nd doubly au
ugmented meelodies, sincce they are placed in the lower registters
of the instrum
ments within a full tutti teexture.
106
Movement Four – Joan, to the Maypole
MORE OLD WINE IN NEW BOTTLES - Mvt. Four - Joan to the Maypole
Measure Tonal Time

Form Tempo/Style Suggestions Compositional Devices
Numbers Centers Signature
F Major
Material borrowed from a
Intro m. 1-5 (dominant 2/4 time Poco lento
fragment of the theme
emphasized)
Allegro moderato ma
Theme m. 6-29 F major 2/4 time Eight bar theme
scherzando (♩ = c.92)
Sudden dynamic shifts

m. 30-53: 16th note accompaniment
Var. I Bb major 2/4 time emphasizing contrasting
rehearsal B lines clarinets and oboes
thematic elements
Expands introductory
Transition m. 54-59: 2/4 & 3/4
Unstable Poco meno mosso motive. Ends on French
A rehearsal C time
Aug 6th
Transition F Major/ m. 75 rit. to caesura. Ends

m. 60-75 2/4 time A tempo
B Unstable on C Aug
m. 76-89: Melodic inversion and

Var. II F major 2/4 time A tempo
rehearsal D imitation
Fragments from the

F Major
m. 90-end: 2/4 & 3/4 Light articulation primary theme with
Coda (some D
rehearsal E time change to accents contrasting dynamics
minor)
and styles
Flowchart 8. More Old Wine in New Bottles, Movement Four, Joan, to the Maypole.
The fourth movement, Joan, to the Maypole, is in theme and variations form. It is
the only movement with two variations divided by a unique two part transition:
Introduction, Variation I, Transition A, Transition B, Variation II, Coda.
Movement four borrows melodic material from the folk song, Joan, to the
Maypole. Jacob arranged this piece for a cappella SATB voices in 1930. It is published
107
by Boosey & Hawks, Ltd. and is currently out of print, available only as an archival
reprint.114
Joan, to the Maypole was first written in a manuscript that dates to the early 17th
century and has been included on multiple publications from the 18th and 19th
centuries.115 It has had several titles through the centuries including May-Day Country
Mirth, and The Young Lads’ and Lasses’ Innocent Recreation.116
Maypole dancing is a tradition with its history dating to ancient mythology. It
contains deep symbolism, with various styles of dance and music depending upon the
region.117 In modern day England, maypole dancing is practiced regularly, although not
exclusively, on May Day – a public holiday observed annually on the first of May. It
typically involves skipping to music while circling a tall pole with ribbons attached to the
top. The dancers create intricate patterns with the ribbons by changing directions, passing
each other, and sometimes moving in concentric circles.118
Joan, to the Maypole is a British folk song that references school children dancing
in this style, around a maypole. It has sudden changes built into the text, melody, and
rhythms that indicate when the dancers should change direction.
114 Gordon Jacob, Joan to the Maypole (New York: Boosey & Hawkes Ltd. 1930).
116 Chappell, Old English Popular Music, 1961, 102.
117 Emma Zevik, “A Maypole Journal” (PhD diss., Union Institute, 1992), 22, accessed
June 19, 2012, ProQuest Dissertations & Theses.
118 Diana Jewitt, Dancing Round the Maypole (London: English Folk Dance and Song
Society, 1999), 6-8, 27-28.
108
The lyrics to Joan, to the Maypole (1930) from Jacob’s choral setting:
Joan, to the Maypole away let us on,

The time is swift and will be gone;
There go the lasses away to the green,
Where their beauties may be seen.
Bess, Moll, Kate, Doll,

All the brave lasses have lads to attend them,
Hodge, Nick, Tom, Dick,
Jolly brave dancers, and who can amend them?

The time is swift, and will be gone;
There go the lasses, away to the green,
Lately I went to a masque at the Court,

Where I saw dances of ev’ry sort;
These they did dance with time and with measure,
Not like country dance for pleasure.
They did dance as in France,

Not like the English lofty measure,
Ev’ry she must furnish’d be
With feather’d knack, when she’s hot for to fan her.

The time is swift and will be gone;
There go the lasses away to the green,
But now me thinks that these courtly toys

Us deprive of better joys
Gowns made of gray and a skin soft as silk,
Breath us sweet as morning milk.
Oh! These more please,

And all this hath my Joan to delight me
False wiles, Court smiles
Ah! None of these hath my Joan to despite me
109
Joan, to the Mayp pole away lett us on,

The tiime is swift and
a will be gone,
g
There go the lassees a way to th
he green,
Wheree their beautties may be seen.
s 119
The in
ntroduction of
o the fourth
h movement,, from measuures 1-4, connsists of a
frragment from
m the folk tu
une on the tex
xt, “Bess, M
Moll, Kate, D
Doll.” This iss the fifth linne of
th
he text and iss the section
n of music th
hat would typpically indiccate a changee in directionn for
th
he maypole dancers.
d It em
mphasizes th
he dominantt and is writtten at Poco llento with slurs
an
nd tenuto maarkings in co
ontrast with the faster tem
mpo and staaccato style oof the primarry
th
heme (Exam
mple 52).
Example 522. More Oldd Wine in New

w Bottles, m
mvt. 4, mm. 11-7,
Top to bottomm).
© 1981
Contrasting with this

t is a lightt and spiritedd theme, firsst stated in thhe flute at
measure
m 5 (Ex
xample 53). The suggestted and indiccated tempoo for the movvement is Allegro
moderato
m ma scherzando, with quarteer note at cirrca 92 beats per minute. This contraasts
with
w the vocaal version wh
here Jacob writes
w Quicklly – a rare innstruction forr him in Engglish
119 Gordon Jacob, Joan to the Maypole

M (Booosey & Hawkkes Ltd. 1930)).
110
– but does no
ot specify a teempo for thee choir. For tthe instrumeental versionn, the suggessted
92 beats per minute

m main
ntains the chaaracter of thee song and is fast enoughh so that a
dancer could easily skip.
Exammple 53. Moree Old Wine in

mm. 1-24, Flute One.
© 1981
The fiirst variation

n, starting at measure 30,, repeats the melody relaatively
nchanged fro
un om its initiall statement in
i the bassooon. Once moore, the textuural changes in
th
he accompan
niment are th
he most impo
ortant compoositional eleement to brinng out duringg a
performance. The counterr-melody in the oboes, ffrom measurres 29-33, boorrows rhythhmic
material
m from
m the melodicc line (Exam
mple 54). It iss juxtaposedd with the original meloddy in
th
he bassoon and
a repeated by the clarin
nets at meassures 33-36.
111
Example
E 54. More Old Wine
Oboess, Clarinets and
a Bassoonn One (Top too bottom).
© 1981
The trransition betw

ween the first and seconnd variationss comprises ttwo short
seections that contrast

c in sttyle, tempo, and key: Trransition A aand Transitioon B. Transittion
A is indicated
d at Poco meeno mosso frrom measurees 54-59. Thhis section off music is ann
ex
xtension upo
on the “Besss, Moll, Katee, Doll” motiive utilized iin the openinng. Here, as the
teempo slows, a measure in 3/4 time extends the seection an exxtra beat befoore measure 60,
when
w A Temp
po returns.
The harmony duriing Transitio

on A, startingg at measuree 54, containns more
dissonance th
han earlier in
n the movem
ment. This secction opens w
with a suddeen tritone in the
seecond clarinet and secon

nd bassoon on
o D! and G while the firrst oboe playys the meloddy on
F. The tritonee resolves do

own to a perffect fourth an
and is follow
wed by a seriees of seventhh
hords. The section

ch s 5 with a proominent Freench augmennted 6th chordd
ends at measure 59
[G
G!,B!,C,E] (Example 55). This chord
d is an intereesting choicee, especiallyy since
112
hroughout th
th he movementt it is one off the longest in duration aand at the ennd of a lengtthy
siix measure Poco

P meno mosso.
m Altho
ough an uncoomfortable rresting place, it functionss
ap
ppropriately
y as the predo
ominant thatt heralds the return of thee dominant oon beat one of
measure
m 60 – C in the flu ns. The sustaained Frenchh augmented 6th chord seerves
utes and horn
ass a dividing point for thee two parts of

o the transitiion.
Example
E 55. More Old Wine
Oboes, Clarinetss and Bassooons (Top to bbottom).
© 1981
Transition B begin
ns at measurre 60. Like T
Transition A
A, it does not have a compplete
sttatement of the
t melody and
a consist of
o mostly fraagments withh some origiinal
acccompanimeent lines. Th
he melodic material
m beginns in the horrns at A temppo and in F m
major
on
n the first paart of the theeme, “Joan to
o the maypoole away let uus on.” The figure is
in
nterrupted with
w imitation
n in the trum
mpets at meassure 62, but the phrase iss never
co
ompleted. In
nstead, origin
nal material in the clarinnets leads to further fragm
ments on thee
113
saame text in the

t upper wo
oodwinds. Th
hese incompplete melodicc statementss lead to another
faalse ending at
a measure 75
7 (Example 56).
Example
E 56. More Old Wine
Flutes, Ob
m).
© 1981
This false
f ending emphasizes C major, thee dominant oof F, and is aapproached at
measure
m 75 with
w unstablee harmonies. The three chhords at meaasure 75 are C minor in first
nversion, E! augmented, and C augm

in mented. Nonee of these chhords functioon as a cadennce
an
nd can propeerly conclud
de the movem
ment in the kkey of F major.
The trransition and

d false endin
ngs allow forr a new transsformation oof the melodyy
du
uring the seccond variatio
on. This secttion of musicc, starting att measure 766, features ann
in
nversion of the
t melody in
n the first ob
boe. In this eexample, thee intervals off the melodyy are
114
inverted while the rhythms and articulations are maintained. The inversion, however, is
brief at only four measures (Example 56, Oboe 1).
The statement of the inverted melody is followed by false imitation. The bassoon
imitates the melody at measure 77; however, it only maintains the rhythms of the inverted
melody changing many of the pitches and contour (Example 56, Bassoon 1). The clarinet,
one measure later, once more falsely imitates the melody changing the pitches but
returning to the original shape of the line.
The inversion of the melody repeats in the second clarinet at measure 83. The
second statement is similar to the initial, but with some changes in the accompaniment.
Here, the first oboe has new accompaniment material that is similar to the first flute from
measure 79. The first bassoon, at measure 86, has an identical line to the first clarinet at
measure 79, but newly orchestrated and transposed down an octave.
The introduction of an inverted melody requires correction before the piece can
properly end. This is accomplished during the Coda, beginning at measure 90, with four
imitative statements of a fragment from the original melody in the brass (Example 57).
The fragment is on the text, “Joan to the Maypole away let us on,” which propels and
prepares the movement for its upcoming conclusion.

115
Example
E 57. More Old Wine
Top to bottomm).
© 1981
The Coda,
C beginn
ning at measu
ure 90, consiists of contraasting elemeents that alteernate
leeading to a sense of finallity. These in

nclude drasti
tic dynamic cchanges from
m subito fortte to
su
ubito piano that
t are coup
pled with equ
ually suddenn shifts in tim
mbre and styyle. The
co
ontrasting ellements lead
d to measure 109 where a melodic fraagment on thhe words, “JJoan
to
o the maypolle away let us,”
u appropriiately concluudes the worrk on F majoor. The endinng is
fu
urther emphaasized through additionaal pulses andd a switch to 3/4 time staarting at meaasure
109.
Cond
The primary challlenge for thee ensemble aand conductoor will be to maintain thee
liight and play

yful characteer of the mov
vement. To aachieve the aappropriate sstyle, there
sh
hould be a sllight separattion to the no
otes in the m
melody. The cconductor caan help withh
prrecise and cllean motionss from the tip

p of the batoon.
There are two speecific conduccting challennges to consiider. First, iss the short
in
ntroduction from
f measurres 1-5 (Exam
mple 52). Thhe movemennt starts withh a beat of siilence
116
followed by an anacrusis to the melodic material on beat two of the first measure. It is
recommended to start the movement with a single and clear preparatory gesture from
beat-one, to beat-two. Measure 4 should be melded with a clear release on the downbeat
of measure 5, since it has a sustained dominant chord in the horns and trumpets.
Depending on the acoustics of the performance venue, a complete cut-off with a short
pause before the tonic resolution on beat two of measure 5, is appropriate.
Second, is Transition B at measure 75, as it leads to the inverted melody in the
second variation (Example 56). In this example, the tempo slows with a sudden one-bar
ritardando at measure 75. The pulse can slow dramatically to prepare the false ending
and should begin as early as measure 74. Exaggerating the decrease in tempo will bring
out the dissonant harmonies and prepare the final chord, a C augmented, at measure 75.
This chord has a tendency to be released early and should be held for its full dotted
quarter note value.
Summary
All four movements of More Old Wine in New Bottles are monothematic and
based upon British folk tunes. The forms of each movement are theme and variations
with two to four variations each.
Harmonically, the second and third movements stay mostly in a single tonal
center; however, the first and fourth movements modulate and return to the original key
by the Coda. Most of the harmonic accompaniment is based on tertian harmonies with
sevenths and the occasional ninth; however, quartal harmonies, polychords, suspensions,
117
and extended harmonies are freely used throughout the work to emphasize specific words
within the lyrics and during transitions in the form.
Melodic development and transformation are key elements to Jacob’s
compositional style. There are isolated examples of melodic inversion in the fourth
movement and double augmentation in the third movement; however, the melody is
typically transformed through augmentation, fragmentation, diminution, and imitation.
Each variation has a unique character achieved through these compositional devices
along with modifications to the style, tempo, and instrumentation.
Each movement has several specific conducting suggestions, typically during the
transitions, that need to be carefully considered before the first rehearsal; however,
general suggestions are to emphasize the instrumental colors that fascinated Jacob as a
composer. This involves considering balance and texture as they relate to the playful
nature of the melody and accompaniment. Furthermore, as instrumental timbres shift and
new voices enter, the resulting sound should continually unfold. Gestures should be
subtle, refined, and emphasize the additions of new colors throughout the work.
118
CHAPTER FOUR – CONCLUSION
Sometimes I am asked whether I write music to please myself, or to please other

people; but, I think every composer writes to please himself and if he’s fortunate
enough to please other people, that’s all to the good. Because I do think that
music should say something and communicate – not necessarily a preferred
message – but should appeal even on its first hearing.120
-Gordon Jacob
Gordon Jacob’s compositional output, exceeding four-hundred completed works,
is astounding. He was able to accomplish this by maintaining a disciplined daily schedule
and composing from his youth until his passing in 1984, at the age of eighty-eight. Old
Wine in New Bottles and More Old Wine in New Bottles comprise a small percentage of
his total output; however, they are substantial in that they exemplify his compositional
style and philosophy on music.
Gordon Jacob aspired to compose works that had two primary qualities: to appeal
on its first hearing and communicate a message. Both Old Wine in New Bottles and More
Old Wine in New Bottles appeal to the listener on their first hearing. They are easily
accessible to audiences through their use of repetition within the form, as well as their
recognizable folk music. In modern times, folk music is not performed as regularly as it
was during Jacob’s youth; however, the preexisting material he selected is aesthetically
pleasing even if unfamiliar. These melodies are set within clear formal structures and
traditional tertian harmonies that allow contrasting styles coupled with unique
instrumental combinations to jump to the forefront of the sound.
Old Wine in New Bottles and More Old Wine in New Bottles maintain their appeal
well after the initial hearing. As this study has explored, they feature a diverse number of
119
complex compositional techniques beneath a subtle exterior. At a cursory glance, Jacob’s
music appears to embrace simplicity and restraint through the use of form, harmony, and
melody; however, there is depth and intricacy in his writing that is revealed through
research, thorough analysis, and careful study.
Gordon Jacob’s compositions convey a clear message. He wrote music to
entertain and have an aesthetic value for the performer and listener to appreciate. The
aesthetic beauty of Old Wine in New Bottles and More Old Wine in New Bottles is a
celebration of instrumental colors, enjoyable melodies, and nuance within the form.
There is no excess in either piece; instead, refined artistry and careful thought given to
each of its formal elements.
The conductor will find these two works joyous to perform. Their difficulty is
proper for an advanced high school or collegiate ensemble. The music’s technical
accessibility will free the instrumentalists to develop their ensemble sound and explore
interpretive decisions in balance, style, and phrasing. It will also allow the conductor to
stray from the mundane repetition of a set conducting pattern and be able to express
direction to the line, style, phrasing, and color.
If as a composer Gordon Jacob is remembered for only three attributes, they are
his mastery of orchestration, desire to communicate effectively with the audience, and
passion for instrumental colors. Old Wine in New Bottles and More Old Wine in New
Bottles showcase Gordon Jacob’s strengths and epitomize his philosophy of music. This
is why both chamber works have been performed regularly in the United States since
their composition and will be performed for many years to come.

120
Suggestions for Further Study
Two types of studies can bring further understanding to Old Wine in New Bottles
and More Old Wine in New Bottles. First is research on Gordon Jacob’s other
compositions for winds. Currently, only a handful of his thirty-four pieces for concert
band and even fewer of his sixty for chamber winds have been the subject of serious
study. A smaller percentage still of his approximately three-hundred other works have
been researched. Projects such as these will enhance the body of knowledge on Gordon
Jacob’s compositional style, how it evolved throughout his life, and how it relates to
these two chamber pieces.
Of more pressing concern is a dearth of research on repertoire for chamber winds.
The few books, theses, and articles that have been completed comprise only a small
percentage of the thousands of works for the genre. Each piece that is studied, along with
its respected composer, builds a greater picture of the history and evolution of chamber
winds. This type of research will provide a broader understanding of Gordon Jacob’s
compositional output and how his music fits into the entire body of chamber wind
repertoire.
121
APPENDIX A – GORDON JACOB’S WORKS LIST
Works for Full Band
Title Composed Publisher Notes

Boosey & Hawkes,
William Byrd Suite 1922
Inc.
Boosey & Hawkes, ed. Heidenreich. Unedited
An Original Suite 1928
Inc. Version "Rental Only"
R. Smith & Co./G & Arr. for Wind Band by Ray
Galloping Major 1940
M Brand Steadman-Allen
Nocturne & Scherzo from Boosey & Hawkes, Gustav Holst. Arr. by Jacob.
1941
Moorside Suite Inc. Archive Custom Print
When Johnny Comes Marching R. Smith & Co./G &
1943 Arranged by Jacob
Home M Brand
Warner/Chappell Originally for Orchestra. Out of
Festal March 1948
Music Co. Print
Originally Entitled "Serenade
Boosey & Hawkes,
Music for a Festival 1951 for the 1951 Festival of
Inc.
Britain"
Boosey & Hawkes,
Flag of Stars 1954 Rental Only
Inc.
Barber of Seville Goes to the Oxford University Arranged by Robert O'Brien for
1960
Devil Press Winds. Rental Only
Composed by Holst, Arr. Jacob.
Boosey & Hawkes,
Moorside Suite 1960 "March" and "Scherzo &
Inc.
Nocturne" Sold Separately
Arr. Jacob from William
Boosey & Hawkes,
The Battell 1962 Byrd's Virginal Pieces. Rental
Inc.
Only
Boosey & Hawkes,
Giles Farnaby Suite 1967
Inc.
Fantasia for Euphonium and Boosey & Hawkes,
1969 Rental Only
Band Inc.
Boosey & Hawkes,
Concerto for Band 1970
Inc.
Boosey & Hawkes,
Tribute to Canterbury 1972
Inc.
R. Smith & Co./G &
Alexandra Palace 1975
M Brand
Miscellanies for Alto
1976 Emerson Edition Ltd. Alto Saxophone Feature
Saxophone and Wind Band
R. Smith & Co./G &
Sir Godfrey Kneller's March 1976
M Brand
Concertino for Trombone and
1977 Emerson Edition Ltd.
Wind Orchestra
Cameos for Bass Trombone
1978 Emerson Edition Ltd.
and Wind Orchestra
R. Smith & Co./G & Also Entitled "Symphony for
Symphony AD 78 1978
M Brand Band"
122
Across the Sea, March 1979 Manuscript

Double Concerto for Clarinet, Boosey & Hawkes,
1975/1979 Rental Only
Trumpet & Military Band Inc.
Anglo American
Semper Paratus 1979
Music Publishing
R. Smith & Co./G Originally for Brass Band
Suite in Bb 1955/1979
& M Brand 1955
Ballad for Band 1982 Studio Music Co.
Boosey & Hawkes,

Celebration Overture 1982
Inc.
Originally for Brass Band 1981.
Prelude to Comedy 1982 Studio Music Co. Also Entitled "Overture to
Comedy"
Fantasia on an English Folk R. Smith & Co./G & Fantasia on "Dashing Away with
1983
Song M Brand the Smoothing Iron"
Chest Music/Nevello Rescored for Symphonic Band
Prelude to Revelry 1944/1983
& Co. in 1983
All Afoot 1984 Studio Music Co.
R. Smith & Co./G & Fantasia on a British Capstan

Blow the Man Down 1984
M Brand Shanty
Concerto for Timpani and R. Smith & Co./G &
1984
Band M Brand
R. Smith & Co./G &
Sweet Nightingale 1984 For Solo Flute and Wind Band
M Brand
*Titles in bold can be found on the National Band Association selective repertoire list.121
Modern Arrangements for Full Band
Title Arranger Publisher Notes

Festal March (1928/1997) Curnow Hal Leonard Co.
Themes from an Original Suite Boosey & Hawkes,
Curnow
(1948/2010) Inc.
Fantasia on the Alleluia Hymn Alfred Music
Wagner
(1949/2012) Publishing, Inc.
121 “Selected Repertoire List,” National Band Association, accessed July 15, 2012,
http://www.nba.org.
123
Works for Chamber Winds
Title Composed Publisher Instrumentation/Notes

Bolshevik Dance 1921 Manuscript 1010-0000 pf
A Fancy 1921 Manuscript 1010-0000 pf
Three Pieces for Flute,

1921 Manuscript
Trumpet, Side Drum and Piano
Theodore Presser
Wind Quintet No.1 – Serenade 1931 Co/Emerson Edition 1111-1000
Ltd.
Emerson Edition
Three Inventions 1933 1100-0000
Ltd.
Two Miniatures 1946 Manuscript 1110-0000
Emerson Edition
Introduction and Fugue 1947 3[1.2.ad lib bass fl]000-0000
Ltd.
Serenade for Woodwind Boosey & Hawkes,
1950 2222-0000. Rental Only
Octet Inc.
Interlude for Trumpets and Boosey & Hawkes,
1951
Trombones Inc.
Boosey & Hawkes,
Music for a Festival 1951 Brass Ensemble
Inc.
Alfred Publishing
Scherzo for Brass Quartet 1952 0000-1210
Co.
Two Pieces 1953 Stainer & Bell 03[1.2.eh]00-0000
Wind Sextet in Bb 1956 Musica Rara 1111-1000 pf
1111-1000 2vln vla vc db.
Diversions for Ten Instruments 1957 Edition Peters
Rental Only
Suite for Wind Quintet 1958 Manuscript 1111-1000
Trio for Flute, Oboe and Emerson Edition
1958
Harpsichord Ltd.
Oxford University 2[1.picc]223[1.2.ab lib cbsn]-
Old Wine in new Bottles 1959
Press 22[ad lib]00
Sextet for Piano and Wind
1962 Musica Rara 1111-1000 pf
Quintet, Op. 6
Fanfare for a Royal Occasion 1964 Manuscript Cavalry Trumpets
Three Little Pieces 1965 Musica Rara 0101-0000
Divertimento in Eb for Wind
1968 Musica Rara 0222-2000
Octet
Boosey & Hawkes,
Suite for Four Trombones 1968 Rental Only
Inc.
Concertino for Clarinet and Boosey & Hawkes,
1969 Out of Print
Clarinet Choir Inc.
Song for Soprano and Wind
1970 Manuscript 1111-1000 Soprano
Quintet
Arrival Fanfare 1972 Manuscript Cavalry Trumpets
Boosey & Hawkes,
Introduction and Rondo 1972 Clarinet Choir. Rental Only
Inc.
124
Emerson Edition
Saxophone Quartet No. 1 1973 Saxophone Quartet
Ltd.
Emerson Edition
Swansea Town 1973 1111-1000
Ltd.
Alphonse
Canterbury Flourish 1975 Leduc/Robert King 0000-0800
Inc.
Double Concerto for Clarinet, Boosey & Hawkes,
1975 Rental Only
Trumpet Inc.
Accolade
Duo for Clarinet and Bassoon 1975
Muikverlag
Theodore Presser
Four Old Tunes 1975 Co/Emerson Edition 1111-0000
Ltd.
Emerson Edition
Fanfare and March 1976 Brass Quartet. Out of Print
Ltd.
Robert
Salute to the USA 1976 King/Alphonse 0000-4331
Leduc
Emerson Edition 0040-0000. Also Entitled
Three Short Pieces 1976
Ltd. “Scherzetto, Pavane and Gopak”
8 Cavalry Trumpets &
Fanfare for a Silver Jubilee 1977 Manuscript
16 B! Trumpets
Emerson Edition
A Simple Serenade 1977 1111-0000
Ltd.
More Old Wine in New Emerson Edition 2[1.picc]2[1.eh]23[1.2.ad lib
1977
Bottles Ltd. cbsn]-2200
Forsyth Brothers
Polka 1978 Brass Ensemble. Out of Print
Ltd.
Full Choir[SATB], Brass
Carmina Bellociana 1979 Manuscript
Quintet, and Percussion
Emerson Edition
Prelude, Fugue and Scherzo 1979 0004-0000
Ltd.
Emerson Edition
Saxophone Quartet No. 2 1979 Saxophone Quartet
Ltd.
Emerson Edition
Three Elizabethan Fancies 1979 0222[1.cbsn]-0000
Ltd.
Fentone Music/De
Aubade 1980 2010-0000
Haske
Emerson Edition Saxophone Trio. Also Entitled
Fanfare, Pavane and Fughetta 1980
Ltd. “Three Pieces”
Four Pieces for Tuba Quartet 1980 Cimarron Music 0000-002[1euph.2euph]2
Introduction and Allegro Alla Emerson Edition
1980 1100-0000 pf
Tarantella Ltd.
Emerson Edition 0202[bsn or vc]-0000
Phantasy Quartet 1980
Ltd. +[pf or harpsichord]
Wind Quintet No.2 1980 Musica Rara 1111-1000

Emerson Edition
Duo for Two Saxophones 1981 Ltd./Boosey & Soprano and Alto Saxophone
Hawkes
125
Boosey & Hawkes,

Trombone Octet 1981 Published Post-Mortem
Inc.
Riverside Characters 1982 Theodore Presser Co 1111-0000

Boosey & Hawkes,
Changing Moods 1983 Brass Quintet
Inc.
Chester
Five Bagatelles 1983 Music/Novello & 0000-1210
Co.
Wind in the Reeds 1983 Studio Music Clarinet Choir
Trio for Oboe, Clarinet, and
1993 Musica Rara Published Post-Mortem
Bassoon
Emerson Edition 1010-0000 vla vc.
Music for a Wedding 2004
Ltd. Published Post-Mortem
*Titles in bold are selected compositions included in Rodney Winther’s An Annotated

Guide to Wind Chamber Music.122
**Instrumentation Code:
2[1.picc]3[1.2.eh]32[1.ad lib cbsn]-22[ad lib]11 2vln vla pf
This example is interpreted as 2 flutes [2nd doubling piccolo], 3 oboes [3rd

doubling English horn], 3 clarinets, 2 bassoons [2nd ad lib contrabassoon], 2
horns, 2 ad lib trumpets, trombone, tuba, 2 violins, viola, and piano.
Works for Brass Band
Title Composed Publisher Notes

R. Smith & Co./G &
Galloping Major 1940
M Brand
Composed by Gustav Holst,
Boosey & Hawkes,
Moorside Suite 1941 Arranged by Jacob. Archival
Inc.
Custom Print
Chester
Written to Precede "God Save
Fanfare to the National Anthem 1953 Music/Novello &
the Queen"
Co.
R. Smith & Co./G &
Suite in Bb 1955
M Brand
Suite No.2 for Brass Band 1963 Molenaar Edition
Arr. Jack Ham. Original Version
Essex Overture 1965 Molenaar Edition
Out of Print
122 Winther, An Annotated Guide to Wind Chamber Music, 14.

126
Chester
Victorian Rhapsody 1967 Music/Novello &
Co.
Chester
Composed by Vaughan
Two Choral Preludes 1968 Music/Novello &
Williams, Arr. by Jacob
Co.
Redbridge Variations 1969 Manuscript
Boosey & Hawkes,
A Joyful Noise 1970
Inc.
Chester
March Sospan Fach 1970 Music/Novello &
Co.
Boosey & Hawkes,
Pride of Youth Overture 1970
Inc.
Chester Concerto for Piano and Brass.
Rhapsody for
1970 Music/Novello & Also Entitled "Rhapsody for
Three Hands and Brass
Co. Piano"
Boosey & Hawkes,
York Symphony 1970
Inc.
Chester
A Swedish Rhapsody 1971 Music/Novello &
Co.
Chester
National Anthem
1972 Music/Novello &
(God Save the Queen)
Co.
Chester
Full Choir [SATB] and
Psalm 103 1973 Music/Novello &
Brass Band
Co.
Dixie 1976 Manuscript
Boosey & Hawkes, Rental Only. Also Entitled
Line of Life 1979
Inc. "Symphonic Study"
Also Entitled
Prelude to Comedy 1981 Studio Music Co.
"Overture to Comedy"
Ballad for Band 1982 Studio Music Co.
127
APPENDIX B – INTERVIEW QUESTIONS AND RESPONSES
Correspondences with Margaret Jacob Hyatt
Marc Decker to Margaret Jacob Hyatt

June 7, 2012
Greetings Margaret Jacob Hyatt,
My name is Marc Decker and I'm a doctoral candidate studying conducting at The
University of Iowa. The working title of my DMA Thesis is "A Conductor's Guide and
Analysis of Gordon Jacob's 'Old Wine in New Bottles' and 'More Old Wine in New
Bottles.'"
I would like to ask you a few questions. Please let me know if I may send them.
All the best,
Marc D. Decker
DMA Candidate, Band Conducting
319-321-0044
Margaret Jacob Hyatt to Marc Decker

June 10, 2012
Dear Marc
Thank you for your letter. You may send me your questions, and I'm very pleased to
know the subject of your Thesis, but I am only the widow of Gordon Jacob, not a
professional musician. I will do my best to answer them however.
Yours sincerely
Margaret J
128

June 15, 2012
Dear Mrs. Margaret Jacob Hyatt,
Thank you for the reply. The information you can provide will be an invaluable asset to
the research project.
If you prefer to speak over the phone, please let me know a time and day.
Please share anything you remember about the composition, premiere performance, and
reception of the following two selections. I'm interested not only in the basic information
(who, what, where, when, and why) but the motivation behind the composition (was it
commissioned? is there a dedication?), reaction of the audience (both at the premiere and
over the 50 years since the completion of the work), the composer's feelings towards the
work (if known), and any other stories that might be related.
1. "Old Wine in New Bottles" (Completed 19 August 1958) premiered at the St Bees
Festival 4 April 1959 by the BBC Northern Orchestra conducted by Stanford Robinson.
2. "More Old Wine in New Bottles" (Completed 9 September 1976).
Thank you in advance for your time and assistance,
Marc D. Decker
319-321-0044
129

June 19, 2012
Dear Marc,
I don't want to disappoint you, but I am afraid there is very little I can add to what you
know already. Firstly, I wasn't married to Gordon when he wrote the first 'Old Wine' but
searched through newspaper cuttings to see if there was a mention of it. There is a
reference to the St Bees Festival of 1959 being repeated at Keswick in 1960 because it
was so successful in the previous year. I quote:
FOLK-SONG SUITE
It is not often to-day that a new work is the most popular in any
concert programme. But Gordon Jacob's "Old Wine in New Bottles" written
specially for the festival amply deserved its success.
This is a suite of four folk-song settings for woodwind and brass in which the composer
displays all the dexterity of instrumental writing and harmonic ingenuity for which his
music is well known.
"The Raggle Taggle Gypsies". "The Three Ravens" and "Begone Dull Care" formed the
basis of three well-contrasted movements. The final "Early One Morning" blended
discreet sentiment, wit and high spirits with a felitous craftsmanship in a manner which
recalled that of a Haydn finale.
I think it is true to say that this piece is always popular. For one thing the folk-songs are
well known, secondly Gordon captures the moods of the songs in his masterly
arrangement.

June 19, 2012
Dear Marc, I have had to postpone finishing my letter to you and as I don't know much
about using a computer, I have sent an unfinished letter. There are some letters from that
time which I want to check through to see if any of them throw any more light on your
subject
Apologies for the delay Margaret J

130

June 19, 2012
Dear Mrs. Margaret Jacob Hyatt,
I greatly appreciate the information you've found. It's been challenging to find much of
anything on these two pieces.
I look forward to anything more you might be able to turn up.
My offer to speak on the phone stands if you would like.
All the best,
Marc Decker

June 25, 2012
Dear Marc
I am sorry I cannot turn up anything further. There is no dedication to a particular group

of players. Nor was it commissioned as far as I know. What used to happen regarding
new compositions invariably when Gordon was in London - or elsewhere for that matter -
teaching or examining or even at a concert, he would get into conversation with other
musicians and they would point out that there was a lack of music for a particular
ensemble and suggest that he might write something for it. If it captured his imagination
he would begin to have one or two ideas of a few bars or phrase that he would write
down. Eventually it would grow into a real work. His reaction to hearing his music
performed live was euphoric, because he said it always sounded much better that what he
had heard in his head. I have sat next to him in his performances and he literally shook all
the time., I think he couldn't believe his ears. Once that was over he was back to his desk
and onto the next composition.
He worked regular hours from 10 am (after breakfast) until lunch time, In the afternoon
we went out into the country or gardening. He did a couple of hours before our evening
meal and came down for a gin and orange/tonic just before. He pointed out that work of
such mental intensity could not be sustained for much longer. His colleagues in the same
craft were amazed at his disciplined attitude. If he 'dried up ' as he expressed it, he still
came up the two flights of stairs to his studio and did something in connection with
music, like reading Grove's Dictionary or giving himself some exercises in 8 point
harmony. Well, I could go on, but this may give you some idea of the man himself.
131
I lived with Gordon for 25 years and my experience of him was that as a family man he
was very practical. He didn't live on cloud nine, but had his feet firmly on the ground and
wrote music that would bring in a decent living. He did write music for a few wartime
films, but didn't prefer it because it had to be rushed and the quality of the music suffered.
He did do examining to earn his bread and butter- all the Universities - Cambridge,
London, and three Welsh ones and The Royal College of Music Also, the Associated
Board which examined children up to school - leaving age. The latter was definitely a
chore, often hearing the same simple pieces played repeatedly by successive candidates.
He adjudicated for the BBC giving his judgment as to whether the ensemble or even
soloist came up to the high standards of BBC broadcasting.
When composing, what really "pressed the button" with him was to be asked to write for
a special occasion, like the Queen's Coronation, or The Festival of Britain 1951. Many
top players asked him to write for them and of course the music just flowed and he
always delivered the pieces on or before time. (This is unusual with many composers).
To return to the two pieces you have chosen to study, they are a minute part of Gordon's
output as he wrote around 500 pieces. The first Old Wine has been more popular than the
Second, as is often the case. Emerson Wind thought it would be good idea however.
You may not know that Gordon was a POW in the First World War and when in prison
he got a scratch orchestra together and arranged music for them to play He also wrote
new pieces. I have a number of pieces in a rather dirty condition signed and dated with
two of the prison camps he was in Strohen 1917 and Bad Colberg (May and August
1918).
This may not be what you are after, but it is not within my power to find anything much
on your subject.
I wish you success in your future.
Margaret
132

June 28, 2012
Dear Margaret,
This email is very helpful. I appreciate the detail of your response.
I have a few follow-up questions that I hope will not take much of your time.
1. Do you have the manuscript scores of these two works? If so, would it be possible for
someone to scan them so I may have a copy?
2. I know very little of the St. Bess festival. Can you share anything about this activity?
Where is it held? Is it normal for members of the BBC Northern Orchestra to perform
works by local composers? I can't seem to find any information about it.
3. Do you know the name, date, and author of the newspaper clipping that you so kindly
quoted last week?
4. Am I understanding this correctly? Did Emerson request a sequel to the original Old
Wine? Can you elaborate on this at all?
5. Eric Wetherell's biography of Gordon is regrettably out of print. Do you know any
way I can obtain a copy? Are efforts being made through other publishers to print this
text?
Although the two works I'm investigating are a small part of Gordon's repertoire, they
each tell a story. It's my goal to find out as many details as possible that I can share it
with others.
All the best,
Marc Decker
133

July 2, 2012
Dear Marc,
I really can't help you at all with any of the questions: there are endless newspaper
cuttings here, but it never occurred to Gordon (I suppose) to register what papers they
were in or any other details. St Bees Festival may not exist any more . I've just looked it
up on the internet and it is a village in NW Cumbria England. The Festival was connected
with the St Bees girls private Boarding School , but no mention of a music festival now.
but it has a 400 year history.
Re newspaper cuttings of which there are very many most of them without a date or
mention of which paper. All that sort of thing was new to me, and we started a family
within a month of our marriage, so my time was fully occupied with domestic affairs.
No, I'm afraid I don't have the original ms of either: you could apply to OUP (Oxford
University Press, Music Department) for the first one. It may be in the archive
department. And Emerson Wind for the second.
To find a copy of Eric Wetherell's biography of Gordon is like looking for gold dust. The
publisher died very soon after it was published and it never had a second printing. I have
had many requests for it but am unable to help.
So sorry I can be of no further help.
Yours sincerely
Margaret
134

December 4, 2012
Dear Margaret,
Several months ago we exchanged emails on Gordon Jacob's chamber works, "Old Wine
in New Bottles" and "More Old Wine in New Bottles." Thank you very much for the
help. My DMA Essay on Gordon's chamber music is progressing nicely. I have follow-up
questions that I hope you may be able to answer.
Do you recall any English folk-song books Gordon may have kept around the house? Do
you have any of them still or can you recall the books titles? I'm trying to hunt down the
original folk songs that he utilized when he wrote the music.
Thanks again for your help.
Marc D. Decker
American University
Director, AU Symphonic Band & Screamin' Eagles Pep Band
Instructor, Greatness in Music
decker@american.edu

December 6, 2012
Dear Marc,
Thank you for your letter. I haven't the faintest idea WHICH books Gordon used for his
Old Wine music. As the term Folk-song suggests they are tunes which we know without
knowing any exact source. Not so much with the modern generation, but we were brought
up on them in school and they were constantly popping up here and there; they are part of
our heritage like breathing fresh air.
I haven't specifically looked through his music for a book of songs because it would show
up if it were anywhere and it is doubtful whether it would be possible to buy one. People
whistle them and hum them, perhaps even strum them but the nature of them is that there
are possibly hundreds of slight variations as individuals make them their own.
Kind regards
Margaret
135
Correspondences with Eric Wetherell
Marc Decker to Eric Wetherell

June 30, 2012
Greetings Mr. Wetherell,
I'm a graduate student at The University of Iowa currently studying band conducting. As
a part of my degree program I am writing a DMA Thesis and have chosen to do an
analysis of some of Gordon Jacob's chamber works.
I'm currently having trouble obtaining a copy of the biography that you completed on
Gordon Jacob only a few years ago. Emerson Editions says the book is out of print. Do
you have any suggestions for how I can obtain a copy? Only a few libraries in the USA
have it.
I am also curious if you know anything about Gordon Jacob's compositions "Old Wine in
New Bottles" and "More Old Wine in New Bottles." I've been in contact with Margaret
Jacob Hyatt and the circumstances surrounding these compositions are unclear. Any
information you can provide would be most helpful.
If it is easier to speak over the phone please let me know.
All the best,
Marc D. Decker
319-321-0044
136
Eric Wetherell to Marc Decker

July 1, 2012
Dear Mr. Decker
Thank you for your enquiry. My book has been long out of print and the only way you
might find a copy is through E-bay.
When I undertook to write the biography I stated specifically in the preface that there was
no attempt to discuss the music, mainly because the manuscripts are scattered everywhere
and his published works went out of print some years ago. As a result, because I was a
pupil and knew him personally, the book is primarily about his career and does not
discuss his works.
I find that the two pieces you refer to are not even mentioned in my book, so I can be of
very little help, I'm afraid.
Sorry not to be more helpful.
Eric Wetherell
Marc Decker to Eric Wetherell

July 3, 2012
Dear Mr. Wetherell,
Thank you for the reply. I'm trying to hunt down a copy of the biography. Do you happen
to know who currently holds the copyrights? Thames Publishing, Inc. in London was the
initial publisher, but they seem to be out of business. I'm hopeful that if I can find the
company that currently holds the copyrights I can get a digital copy.
All the best,
Marc Decker
Eric Wetherell to Marc Decker

July 4, 2012
Dear Mr Decker
I believe the copyright has passed to Music Sales who may well be able to help.
Best wishes.
Eric Wetherell
137
Correspondences with The Music Sales Group
Marc Decker to The Music Sales Group

June 28, 2012
Dear Music Sales Group Representative,
I’m searching for copyright information on a textbook formally published by Thames

Publishing, Inc. Does your company hold these permissions?
If so, I’m searching for a book by Eric Wetherell entitled “Gordon Jacob: A Centenary
Biography.” Do you do reprints?
Thanks for any help you can provide,
Marc Decker
The Music Sales Group to Marc Decker

July 1, 2012
Dear Mr. Decker
We do hold copyright permissions for the book you request but it is out of print.
The Music Sales Group

138
Correspondences with St. Bees School
Marc Decker to the St. Bees School

July 2, 2012
Greetings,
I'm searching for any information about a St. Bees Festival that may be related to the St.
Bees Girls School. According to my resources, it used to exist back in the 1960's. Can
you direct me to anyone who might have historical information about this?
This data relates to my doctoral thesis.
Thanks,
Marc D. Decker
319-321-0044
Anthony Reeve to Marc Decker

July 3, 2012
Dear Mr Decker,
Thank you for your enquiry. I presume you have found a reference to the St Bees Music
Festival which ran for a few years in the early 1960s having been started by the then
Music Master at St Bees School, which, incidentally, was then a boys only school but has
for a long time now been co-educational.
We have some of the programmes, which were produced for the annual concert, in our
school archives, but I have never seen a written history of the enterprise. Perhaps you can
give me some idea of what specifically you are looking for.
Regards,
Dr Anthony Reeve
139
Marc Decker to Anthony Reeve

July 3, 2012
Hello Dr. Reeve,
I'm very glad to hear that someone knows about the music festival; I had almost given up.
I am looking for the program from 4 April 1959. If my information is correct it will
include members of the BBC Northern Orchestra conducted by Stanford Robinson. They
should have performed "Old Wine in New Bottles" by Gordon Jacob for its premiere
performance.
Do you have any specific dates for the years of the music festival? Do you know the
name of the music director who started the tradition? What sort of musical was typically
performed? Was it normal for the BBC Northern Orchestra to premiere works by British
composers at this event?
As you are the only expert I've been able to find on the festival, please send me your
title/address so I can quote you in my doctoral thesis.
I am also available to talk over the telephone if you prefer.
Please let me know at your earliest convenience.
Marc D. Decker
319-321-0044

July 5, 2012
Dear Marc,
I do not know much about the Festival but I have had a good look in the Archives and
can tell you the following. The Festival was started by the Music Master at St Bees
School, Donald Leggat. There was what looks like a trial run on the 28th and 29th March
1958 in the School Hall at St Bees when among other works, a new piece entitled
‘Pastorale, Variations and Epilogue’ by David Barlow, a student from Newcastle
University was played for the first time. In 1959 the venue was moved to Rawnsley Hall
and Crossthwaite Church in Keswick. There were seven annual concerts (excluding
1958) starting in April 1959 and ending in April 1965 (they obviously coincided with the
end of the school’s Easter term). From the programmes it seems that venues were
changed each year. For example, 1962 was in Millom, 1964 in Whitehaven. Leggat was
clearly the moving force. He managed to obtain financial support from private citizens
and from the British Arts Council. He also persuaded Sir John Barbirolli to be President.
140
In the archives we have the programmes for 1959, 1961,1962 and 1964. From a school
magazine in 1965 I can quote the following: “Expenditure has far exceeded revenue and
it will not be possible to continue the Festival in future years, principally because the
choir will not have enough time in which to attain the very high standard necessary for
such a large-scale undertaking.”. Leggat left the school at the end of the summer term
1965 to become Director of Music at Campbell College, Belfast.
Now for your specific queries. According to the programme for the 1959 Festival, the
piece you mention ‘Old Wine …’ was conducted by Leonard Isaacs. There is no mention
in the programme anywhere of Stanford Robinson nor is there any reference among the
members of the orchestra to the BBC Northern Orchestra. The programme notes say the
musicians were either ex members of the National Youth Orchestra or school pupils and
local musicians. In none of the other programmes is there any mention of the BBC
Northern Orchestra. It seems to have been the custom to premiere one new work each
year.
I am not a music buff, but there seems to be a complete cross-section of pieces from
Madrigals to Johnny Cash; works by Parry, Britten, Vaughan Williams; A Symphony
Concert including works by Elgar, Bloch, Handel, Purcell, Debussy Mozart (I am quoting
from the 1959 programme).
I have brought the surviving programmes home with me so if you require any further
details let me know.
I hope this helps.
My official title is Dr Anthony J H Reeve/ Hon Archivist, St Bees School. I used to be

Head of Classics here.
Good wishes,
Tony
141

July 6, 2012
Greetings Dr. Reeve,
Thank you for the detailed response. This is more information on the festival then I've
been able to find anywhere. It's most helpful.
Could I trouble you to scan in the 1959 program and email it to me? I would very much
like to include a copy of it in my doctoral thesis.
Thanks,
Marc D. Decker
319-321-0044

July 10, 2012
Marc,
Please find attached the first of four emails regarding the 1959 St. Bees
Music Festival Programme.
Regards,
Tony

July 11, 2012
Dr. Reeve,
This is fantastic! Thank you for sharing.
Marc Decker
142
Correspondences with Timothy Reynish
Marc Decker to Timothy Reynish

August 20, 2012
Greeting Dr. Reynish,
My name is Marc Decker and I'm a doctoral student at The University of Iowa working
on my DMA Essay. The subject of my essay is Gordon Jacob's "Old Wine in New
Bottles" and "More Old Wine in New Bottles."
I found your name listed as a French Horn player during the premiere of the original Old
Wine in New Bottles back in 1959. I also found a letter from Gordon Jacob to June
Emerson which mentions that he gave you his only manuscript score of More Old Wine
in New Bottles in 1982.
Would you consent to answering a few questions either over email or on the phone?
Thanks in advance for any assistance you can provide,
Marc D. Decker
American University
decker@american.edu
143
Timothy Reynish to Marc Decker

September 4, 2012
Marc,
Apologies for the delay in replying. Just finished some taxing contemporary recordings
and now can face the computer.
I am not sure I can be of enormous help. Gordon was our Guest Speaker at the first
Conference of WASBE and gave a witty and informative speech in which his intense
love of wind and brass music shone through. He then sent me a copy of More Wine after
the Conference.
I was lucky enough to play in the world premiere of Old Wine at the St Bees Festival,
with Guy Woolfenden as my second horn. We loved the piece but had no idea how
popular it would become.
Please telephone if you wish, I shall be in most of the time in the next few weeks, but I
doubt if I can help very much. I have one or two letters from him, which my wife could
possibly dig out.
Best wishes
Tim
Dr. Tim Reynish

Brookside Cottage
62 Moss Lane,
Leyland
PR25 4SH
www.timreynish.com
tel 44 (0)1772 421079
144
Marc Decker to Timothy Reynish

September 5, 2012
Hello Dr. Reynish,
I would very much like to speak with you over the phone.
Will you be available tomorrow afternoon, September 6, at 14:00 BST?
If not, perhaps something next week.
Take care,
Marc D. Decker
American University
decker@american.edu
Timothy Reynish to Marc Decker

September 5, 2012
Marc,
I am looking forward to your call.
Best wishes
Tim
Dr. Tim Reynish

Brookside Cottage
62 Moss Lane,
Leyland
PR25 4SH
www.timreynish.com
tel 44 (0)1772 421079
145
A Phone Interview with Timothy Reynish

September 6, 2012
Transcribed From Notes Taken by the Author
1. Please tell me about your experiences at the St. Bees Festival of Music, and what you
remember from the premiere of Gordon Jacob’s Old Wine in New Bottles.
St. Bees School is a public institution in St. Bees Village – a little town on the West
cost of Cumberland. The conductor of the school orchestra was Donald Leggitt, who
was my former teacher. He was the one who got me involved and asked me to play
the Horn in the band. He also asked me to handle the roster and membership, and
assist him with organizing the festival.
Leggitt was good friends with Gordon Jacob and he asked him to write the piece for
the festival. We had no idea the piece would become so popular afterwards.
A. Do you recall if Dr. Jacob was present for the premiere?
Sorry, but I’m not sure. You see it was a very long time ago.
B. I’ve been unable to locate the manuscripts for Old Wine in New Bottles. Do you have
any idea where they might be?
I would check with June Emerson or Oxford University Press.
2. Please tell me what you remember about the WASBE Festival in 1982, and what you
can tell me about Gordon Jacob’s More Old Wine in New Bottles.
Yes, Gordon Jacob was a featured speaker at the first WASBE conference. He gave a
brilliant speech and afterwards sent me a manuscript to More Old Wine in New
Bottles.
A. Do you still have the manuscript he gave you?
Yes, I believe I do.
B. Did he tell you anything about the premiere of the piece? Do you recall who
performed it first?
No, I’m not sure.

146
Correspondences with Oxford University Press
Oxford University Press to Marc Decker

July 10, 2012
Dear Mr Decker,
Thank you for your email. Oxford University Press does keep archive material. You are
welcome to make an appointment with our Archivist to visit our archives in person.
Unfortunately as we are a commercial company, the Rights department does not have the
time or the resource to sift through the archive material for you.
Please note if the materials in our archive is less than 30 years old, permission cannot be
granted to reproduce these materials.
If the materials you wish to reproduce are over 30 years old, approval is required from
our CEO, Nigel Portwood. There is an application process for obtaining approval from
the CEO, which needs to be followed.
In addition, if the material is authored by a third-party, permission will also be required

from that third party, if the material is in copyright.
I hope this answers your query.
With best wishes,
Khol Dieu
Khol Dieu (Miss)

Music Rights and Licensing Manager
Oxford University Press
Great Clarendon Street
Oxford OX2 6DP, UK
Tel: +44 (0)1865 355077
Fax: +44 (0)1865 355060
Email: khol.dieu@oup.com
147
APP
PENDIX C – ARCHIV
VAL MATE
ERIALS
St. Beees Festival of Music Souvinir Proogramme

148
149
150
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153
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158
159
160
161
162
163
Lettters from Gordon Jacob

b to June Emerson
164
165
166
167
168
169
170
171
APPENDIX
X D – OLD WINE IN N EW BOTT
TLES SCORE
172
173
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187
188
189
190
191
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226
227
228
229
230
231
232
233
234
235
APPENDIX
X E – MORE
E OLD WIN
NE IN NEW
W BOTTLES MANUSC
CRIPT SCO
ORE
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
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278
279
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283
284
285
286
287
288
289
290
291
292
293
294
APPENDIX F – DISCOGRAPHY
Jacob, Gordon. “More Old Wine in New Bottles.” In Carnival. Youngstown State
University Wind Ensemble and Dana Chamber Winds, Steven L. Gage conductor.
Concert Masters Recording YSUSWE CD3 (2002).
——. “More Old Wine in New Bottles.” In Old Wine in New Bottles. Youngstown State
NAXOS 8.572762 (2012).
——. “Old Wine in New Bottles.” In The Chamber Winds. Air Combat Command
Heritage of America Band, Lt. Colonel Lowell E. Graham conductor.
75442261842 CD (1993).
——. “Old Wine in New Bottles.” In Ohio Music Educators Conference 2005.
Cleveland State University Chamber Winds, Birch P. Browning conducting.
Soundwave Recording, LCC CD (2005).
——. “Old Wine in New Bottles.” In Star Wars and Other Scores. Youngstown State
Concert Masters Recording TSUSWE CD2 (2000).
——. “Old Wine in New Bottles.” In Old Wine in New Bottles. Wisconsin Wind
Orchestra. Mark Custom Recording, 3882 MCD (2001).
——. “Old Wine in New Bottles.” In Old Wine in New Bottles. Youngstown State
NAXOS 8.572762 (2012).
——. “Old Wine in New Bottles.” In Voyages. Depauw University Band, Craig Paré
conductor. Mark Records CD 710396957825 (2011).
295
APPE
ENDIX G – LETTERS
S OF PERM
MISSION
296
297
298
299
300
BIBLIOGRAPHY
Battisti, Frank and Robert Garafalo. Guide to Score Study for the Wind Band Conductor.
Galesville, MD: Meredith Music, 2000.
Blocher, Larry, Eugene Corporon, Ray Cramer, Tim Lautzenheiser, and Edward S. Lisk.
Teaching Music through Performance in Band. Edited by Richard Miles. 2nd ed.
Vol. 1. Chicago: GIA Publications, 2009.
——. Teaching Music through Performance in Band. Vol. 3. Chicago: GIA Publications,
2000.
2003.
2009.
Chappell, William. Old English Popular Music. Edited by H. Ellis Wooldridge. New
York: Jack Brussell, Publisher, 1961.
——. Popular Music of the Olden Time. New York: Dover Publications Inc., 1965.
Fay, Matthew. “Gordon Jacob: A Background and Study of His Works for Wind Octet.”
DMA diss., Florida State University, 2010. Accessed July 23, 2013. ProQuest
Dissertations & Theses.
Fennell, Frederick. “William Byrd Suite,” The Instrumentalist 30, no. 2 (September
1975): 35-41.
Fiese, Richard. “College and University Wind Band Repertoire 1980-1985.” Journal of
Band Research 23 (1987): 17-42.
Gilbert, Jay Warren. “An Evaluation of Compositions for Wind Band According to
Specific Criteria of Serious Artistic Merit: A Replication and Update.” DMA
diss., Northwestern University, 1993. Accessed July 23, 2013. ProQuest
Gordon Jacob. Directed by Ken Russell. British Broadcasting Corporation, 1959.
Jacob, Gordon. “Arnold Schoenberg 1874-1951.” Music and Letters 32 (1951): 312-314.
——. Begone, dull Care (SATB). London: Stainer & Bell Ltd., 1937.
——. The Composer and His Art. London: Oxford University Press, 1955.
——. The Elements of Orchestration. New York: October House, 1962.

301
——. How to Read a Score. New York: Boosey & Hawkes, 1944.
——. Joan, to the Maypole. London: Oxford University Press, 1930.
——. More Old Wine in New Bottles. Yorkshire, England: Emerson Edition Ltd., 1981.
——. More Old Wine in New Bottles (MS). Yorkshire, England: Emerson Edition Ltd.,
1977.
——. The Oak and the Ash for Female Voices (SSA). London: Oxford University Press,
1931.
——. Old Wine in New Bottles. London: Oxford University Press, 1960.
——. Orchestral Technique. 3rd ed. London: Oxford University Press, 1982.
——. “Schoenberg and Brahms op. 25.” Music and Letters 32 (1951): 252-255.
——. The Three Ravens (SATB). London: Oxford University Press, 1935.
Jewitt, Diana. Dancing Round the Maypole. London: English Folk Song and Dance
Society, 1999.
Kopetz, Barry. “Gordon Jacob’s ‘An Original Suite.’” The Instrumentalist 44 (June
1990): 22-30, 53-56.
Olson, Robert. “A Core Repertoire for the Wind Ensemble.” Journal of Band Research
18 (1982): 11-35.
Nicholson, Chad. Great Music for Wind Band: A Guide to the Top 100 Works in Grades
IV, V, and VI. Galesville, MD: Meredith Music Publishers, 2009.
Paul, Timothy. “Pac-Ten Wind Ensemble Programming Trends.” Journal of Band

Research 47, no. 1 (Fall 2011): 49-63.
Powell, S. “Recent Programming Trends of Big Ten University Wind Ensembles.”

Journal of Band Research 44 (2009): 1-12.
Smith, Reed, et al. American Anthology of Old World Ballads. New York: J. Fischer &
Brothers, 1937.
Trachsel, Andrew Jason. “Toward a Critical Edition of Gordon Jacob’s William Byrd
Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book.”
DMA diss., Univesrity of North Texas, 2007. Accessed July 23, 2013. ProQuest
Wetherell, Eric. Gordon Jacob-A Centenary Biography. London: Thames Publishing,

1995.
302
Whiston, J. Alan “Gordon Jacob: A Biographical Sketch and Analysis of Four Selected
Works for Wind Band.” PhD diss., University of Oklahoma, 1987. Accessed July
23, 2013. ProQuest Dissertations & Theses.
Wiltshire, Eric, et al. “Programming Practices of Atlantic Coast Conference Wind

Ensembles.” Contributions to Music Education 37, no. 2 (July 2010): 45-63.
Winther, Rodney. An Annotated Guide to Wind Chamber Music. Miami, FL: Alfred
Music, 2004.
Weeks, Clarence Leo. “Gordon Jacob’s ‘William Byrd Suite’: A Corrected Edition.”
DMA diss., University of Houston, 1997. Accessed July 23, 2013. ProQuest
Zevik, Emma. “A Maypole Journal.” PhD diss., Union Institute, 1992. Accessed June 19,
2012. ProQuest Dissertations & Theses.

An Analysis of and Conductors Guide To Gordon Jacobs Old Wine

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An analysis of and conductor's guide to Gordon

Copyright 2013 Marc Decker

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/4960

Follow this and additional works at: http://ir.uiowa.edu/etd

Part of the Music Commons

“OLD WINE IN NEW BOTTLES” AND “MORE OLD WINE IN NEW

Marc David Decker

A thesis submitted in partial fulfillment

Thesis Supervisor: Associate Professor Richard Mark Heidel

MARC DAVID DECKER

All Rights Reserved

This is to certify that the D.M.A. thesis of

Marc David Decker

has been approved by the Examining Committee

Thesis Committee: ___________________________________

Dr. Gordon Jacob

his encouragement, guidance, patience and knowledge. Special thanks go to Professor L.

went into completing this study.

I extend my sincere thanks to my fellow graduate students from Iowa: Carter,

overall supportive. I remember our time at Iowa fondly.

formal structures, and recognizable folk melodies.

Malcolm Arnold, and Philip Cannon. As a composer, he has approximately four-hundred

Giles Farnaby Suite (1967).

chapters include a brief biography of the composer emphasizing the musical

developments of his youth, his achievements as an educator, and a discussion of his

LIST OF EXAMPLES ....................................................................................................... ix

LIST OF ANALYTICAL FLOWCHARTS ..................................................................... xii

INTRODUCTION AND PURPOSE ...................................................................................1

Review of Selected Literature ..........................................................................2

CHAPTER ONE – BIOGRAPHICAL SKETCH ..............................................................11

Early Life and Student Years ..........................................................................11

CHAPTER TWO – OLD WINE IN NEW BOTTLES ......................................................22

History of the Composition ............................................................................22

CHAPTER THREE – MORE OLD WINE IN NEW BOTTLES .....................................72

History of the Composition ............................................................................72

CHAPTER FOUR – CONCLUSION ..............................................................................118

Suggestions for Further Study ......................................................................120

APPENDIX A – GORDON JACOB’S WORKS LIST...................................................121

Works for Full Band .....................................................................................121

APPENDIX B – INTERVIEW QUESTIONS AND RESPONSES ................................127

Correspondences with Margaret Jacob Hyatt ...............................................127

APPENDIX C – ARCHIVAL MATERIALS..................................................................147

St. Bees Festival of Music Souvinir Programme ..........................................147

APPENDIX D – OLD WINE IN NEW BOTTLES SCORE ..........................................171

APPENDIX F – DISCOGRAPHY ..................................................................................294

APPENDIX G – LETTERS OF PERMISSION ..............................................................295

INTRODUCTION AND PURPOSE

structures, and recognizable folk melodies.

Gordon Jacob (1895-1984) was a British composer from Upper Norwood,

become internationally recognized musicians, and composed about four-hundred works

for instruments and voice.

Jacob is generally regarded as a conservative composer who favors clear large-

Some of his common compositional techniques include loosely structured imitation,

counterpoint, augmentation and fragmentation of thematic material, original

contemporary middle 20th century compositional devices – such as polychords, quartal

Gordon Jacob composed approximately 110 works for various combinations of

interpretation of the music.

Review of Selected Literature

Currently, no scholarly publications, theses, thematic catalogs, conductor’s

These scholarly documents assist in collecting relevant biographical information, aid in

two musical works explored in this study.