M. Eibl - In allen guten Stunden - Festival Music in Variations for Concert Band

This is a compositional journey back to the early Wilhelminian era I dare - albeit with the modern line-up of a symphonic wind orchestra.
Names and start times of the variations by clicking on "...more".
Goethe's poem "Bundeslied" (Covenant Song) with its opening "In allen guten Stunden" (In ev'ry hour of joy) was written for the marriage of the reformed pastor Johann Ludwig Ewald (1747-1822) to Rahel Gertrud du Fay (1749-1822) on September 10, 1775 in Offenbach. Around 40 composers subsequently “put it on notes”. Later, during the heyday of singing academies and student associations, Zelter's setting, in particular, gained importance as the anthem of many such societies.
In addition to the melody from 1799 (e.g. Deutsches Kommersbuch), which is mentioned in the correspondence between Zelter and Goethe, there is an apparently later one (~1810) for which Zelter is named as the composer, too - often incorrectly also given the year 1799, here the rule is large uncertainty. One looks in vain for an entry for this later work in the correspondence.
The Festival Music on Zelter's melody contains the following through-composed sequence of variations (translated):
00:19 Opening . . . . . . . . . . . . . . . . . . . . . . . Andante
01:11 Covenant Song . . . . . . . . . . . . . . . . Moderato (the original melody sounds here)
02:04 Stealthy crab . . . . . . . . . . . . . . . . . . . . Adagio
03:29 Far-away around . . . . Andante meno mosso
04:42 Strangely exhilarated . . . . . . . Tempo di valse
06:01 Fugue over both lines of the song . . Andante
09:23 Final. . . . . . . Moderato - Con moto - Andante
In terms of form, the piece can also be seen as a sequence of fantasy - fugue - finale. The finale appears, in a further variation, as a recapitulation of the two initial parts, Federal Song and Opening, in this reversed order, with a final climax at the end.
Score (and parts) are available via the e-mail address in the channel description.
The highest appreciation goes to all the creators of such brainworms as they, once entered the mind, settled in this piece and could no longer be gotten rid of: Felix Draeseke and Gustav Mahler are cited. Also someone might feel reminded to Edward Elgar and Gottfried Huppertz.