Claude Thomas Smith (1932-1987) was born in Missouri and spent much of his distinguished career as a composer, conductor, and educator in the state. He played cornet as a child before switching to horn while a student at Central Methodist College. His studies there were interrupted by service in the 371st US Army Band during the Korean War. He completed his degree at the University of Kansas, where he also developed an interest in composition. He went on to band director positions in both Nebraska and his native Missouri, finding time between classes to compose more than 100 pieces for wind bands and other media over three decades. He won several awards and honors for his music, both during his life and posthumously. His family founded Claude T. Smith Publications in 1993 in order to preserve his legacy and bring even more of his music into print. The Phi Beta Mu Lambda Chapter established a composition contest in his name after his death. See more about him at Claude T. Smith Publications, Wikipedia, C. L. Barnhouse, KTTN, and the Wind Repertory Project.
Smith’s Symphony no. 1 (ultimately his only symphony) resulted from a commission by the National Honorary Band Fraternity and Sorority, Kappa Kappa Psi and Tau Beta Sigma in 1977. It was premiered that year by the Intercollegiate Band at the two groups’ national convention at UCLA. Its four movements are typical of traditional symphonic form, especially the opening “Flourish” and closing “Toccata.” The internal movements flip the usual slow-scherzo progression, with a 6/8 “March” coming before the heartfelt “Lyric Song.” All four movements demonstrate Smith’s melodic and harmonic gifts, giving every section of the ensemble plenty of interesting material. Smith’s daughter, Pam Smith Kelly, provides additional program notes in the score:
Symphony no. 1 is one of the most difficult and diverse compositions that my father wrote. Dad was commissioned to compose this work in 1976, at the same time that I had graduated from high school and began my undergraduate studies. The following spring, Dad received permission from the Kappa Kappa Psi and Tau Beta Sigma “powers that be” for me to audition on bassoon for the National Intercollegiate Band at UCLA that summer. This was an amazing honor to have the opportunity to audition and perform in either the band which my father conducted or the top band which was conducted by the legendary composer/conductor Carmen Dragon. I practiced diligently during the summer and I vividly remember my dad saying that this composition, which he had originally titled Divertimento, was much longer and more difficult than he had originally projected. Upon arrival in Los Angeles, I was trying to fit in as much warm-up time as possible, but also knew that Dad really needed my assistance…mostly taping parts together before the first rehearsal. I was honored and thrilled to become a member of the band that Carmen Dragon conducted, and I was so proud when Dad came to our rehearsals for us to rehearse Divertimento. I remember vividly the pressure that I felt to perform the soli in the second movement as well as possible. My bassoon friend…and I performed just as Dad had anticipated. What a thrill to be part of such an important and vibrant composition.
Following the commission, Dad met with Art Jenson, the president of Jenson Publications, who wanted Divertimento to become Symphony no. 1. Art was successful in his persuation, and he had the title revised and Symphony no. 1 became a staple of the band literature to this day. It is with great pride and gratitude that Claude T. Smith Publications, Inc. now publishes this exhilarating composition.
The Heart of Texas Concert Band performs Symphony no. 1 (don’t forget to follow along in the score):
Read up on this piece at Claude T. Smith Publications, the Wind Repertory Project, J. W. Pepper, MusicRoom.com, Hal Leonard, and the Wind Band Symphony Archive.