This week the Marine Band released its album titled “Monuments” Recently, Assistant Communication Strategy Chief Gunnery Sgt. Rachel Ghadiali sat down with Colonel Jason K. Fettig to learn more about this year’s album.

Ghadiali: How was this project conceived?
Fettig: This recording project did not begin with the theme of the recording, but rather some of the works included. The anchor of the album—Music for Prague—is the monumental masterpiece from Czech-American composer Karel Husa. The Marine Band had the amazing opportunity to perform this seminal work in Prague in the summer of 2022 at a time when it’s original message has once again become very relevant regarding the present aggression toward Ukraine. I built the collection of music around this piece, and every other work on the program was composed especially for “The President’s Own” and premiered by the Marine Band. This album represents the first recording of every piece other than the Husa.

Ghadiali: Why was the album titled “Monuments”?
Fettig: Throughout Washington, D.C., majestic monuments to the foundations of our country and those who have been most influential in establishing and preserving our democracy permeate the city. These tangible structures are the most common representation of a “monument;” however, the true power of these impressive art pieces lies not just in their scale and design, but also in the emotions elicited when we interact with them. In a larger sense, a monument need not physically exist. It must only be an enduring model and memory of something that is important to each of us. In this way, music is in itself a monument; an art that exists on paper, but only becomes an emotional experience when it is brought to life in a moment in time by the human beings who create it with each other, and for each other. The collection of music on this album shares many qualities, including the fact that most were written or arranged specifically for “The President’s Own” and are represented here in world première recordings. Each is also a monument to something of substance: our Constitution, iconic American architecture and iconic performing art from a bygone era in our country, the love and lament for a great European city and for a family member taken too soon. Some of the monuments that inspired this music are there for us to see and to touch—and others touch us within—but all are preserved and illuminated through the unmatched power of symphonic music, and the personal experience of the composers and performers who have shared it here with great passion and dedication.

Ghadiali: How did you decide on which pieces to include on the album?
Fettig: I used the broadest meaning of “Monuments” possible, and wanted to ensure that each piece on the album was a very personal one to the composers who created them. The inspiration for this music runs deep in our composer friends, with themes that run from admiration, hope and joy, to heartbreak and pain. These emotions are felt very viscerally in these amazing pieces, and I hope that feeling comes through in the band members’ performances.

Ghadiali: Tell us about the collection of music on the “Monuments” album.

Fettig:

Fanfare Politeia, Kimberly Archer (b. 1973), world première recording
Kimberly’s heroic fanfare was written with great pride in our American Constitution, and it was a joy to showcase her wonderful music on an international stage. Since its premiere at President Biden's Inauguration, this Fanfare has been played all over the country by many bands.

blue cathedral (2000), Jennifer Higdon (b. 1962), transcribed by Maj Ryan J. Nowlin*, transcription world première recording
Jennifer's work is always very personal, but this piece written in memory of her brother may be the most so. Jennifer has been such a generous collaborator with us over the years, and it was a special opportunity to be granted permission for Major Ryan Nowlin to make a transcription of her most often-performed orchestral work.

Wooden Dimes: Ballet for Wind Ensemble (2021), James Stephenson (b. 1969), transcription world première recording
Jim and I have been talking about this suite from his first ballet from the very moment he was asked to compose, and we made plans for this band piece before I had heard a note of his ballet! Jim’s music is so good, and provides such connectivity to his audiences, that I knew this suite would be an incredible addition to the band repertoire. He did not disappoint!

Usonian Dwellings (2019), Michael Gilbertson (b. 1987), world première recording
I met Michael through Jim Stephenson and was so captivated by his music that I asked him to write a new work for band for us to premiere on our historic Japan tour in 2019. This is Michael’s first major work for winds, and he has created a stunning piece of music that will undoubtedly enter the regular repertoire for bands all over the world.

Ghadiali: This year you and the band were able to work with FOUR living composers on the project. Why was that significant?
Fettig: The traditions of the Marine Band are so important, as are the masterpieces of yesteryear that we often play and continue to champion as a permanent part of our musical heritage. However, it is equally important to us to be a living breathing arts organization and to play a leading role in developing the music of today and tomorrow, especially from American composers. This album represents the voices of our American musical identity today, and a voice that is deeply affected by where we have come from. That continuum of music--and its evolution over the centuries--is something that the Marine Band is uniquely positioned to highlight and to celebrate.

Listen to “Monuments” on YouTube

Download the album booklet to read more about the album