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United Kingdom 4th
July 2008 Clicking here opens the Tim-Pod which allows you to play this month's background music while you browse: L'homme Arme by Chris Marshall.
Many greetings from Leyland , UK – have a really productive second half
of the year wherever you are and I hope that you will enjoy browsing
this Homepage. I am off to Crete, celebrating my 70th
birthday with thirteen of the family (hope its not unlucky), so we shall
investigate the dances of Crete and Knossos, the home of the Minotaur,
featured below in the programme for Philharmonic Winds, Singapore, June
15th, when we played Adam Gorb’s splendid
Dances from Crete.
You can watch our joint birthday performance with Chethams School
here.
This Homepage is primarily about repertoire, and links to repertoire
ideas, so happy browsing.
INDEX this month:
1 BROWSING LINKS
WIND REPERTORY PROJECT
Over 500 scores presented with programme notes, errata, composer
biographies, further reading
CBDNA
BLOG Dozens of fascinating links about music, not all about band (I
am not convinced about the newest blog entry – look instead at
Simon Rattle and the jazz
viola.)
WIND BAND FM
Wind music 24/7 and links for purchasing over 500 compact discs
Your links to the world of wind music:
MARK CUSTOM RECORDS
with the biggest selection of recorded wind music
SHATTINGER
for wind ensemble and chamber music
JUST MUSIC for
British music which you just cannot get from your local supplier
ORGANUM-TAMBURA By Jeff Myers
FAREWELL by Adam Gorb STEVEN STUCKY WRITES: I have just heard a terrific new work for large wind ensemble, Jeff Myers's Organum-Tambura, premiered this year by the University of Michigan Symphony Band. Three movements, total 22'. I think it's just so original and compelling that all wind conductors owe themselves a look and listen! Jeff's data and downloads are easy to find at www.jeffmyers.info
ENGLISH PREMIERE OF FAREWELL 1ST JULY
I wrote about Adam Gorb’s most recent work, Farewell, in the Homepage
for 21st May:
While Adam has scored enormous successes with his lighter works such as
Yiddish Dances and Dances From Crete, Farewell represents a marked
departure from his more populist works. This is stark tragedy – I talked
to the National Youth Wind Orchestra of Wales about having recently seen
a production of King Lear in Stratford, Ontario, performed with the
passion of Grand Guignol, horridly realistic scenes of murder, (and I’ll
swear it was real blood when they gouged out his eyes.) Musically
Farewell is incredibly
strong, the first part characterized by a series of sharply defined
fragments which gradually climax together, giving place to a bleak
ostinato on horns or bassoons under more lyrical phrases in solo
woodwind. There is a brief flourish of activity, with virtuoso
reminiscences of a Klezmer Band, a return to the bleakness before both
elements, and orchestras, join in an incredible Mahlerian climax,
followed by a coda. I believe that the work takes the wind orchestra on
a journey of tragic dimensions, and that this is an important a
statement in tragedy for the wind repertoire as his two sets of dances
are in comedy.
After another week of work on the piece, I am convinced that it is a
major masterpiece, plumbing Mahlerian depths rarely explored in the wind
repertoire.
BRAZIL
HUNGARY
JAPAN
SINGAPORE
SINGAPORE
UK , LONDON
UK, CHELTENHAM INTERNATIONAL FESTIVAL
USA Various locations
USA ATLANTA
USA NEW YORK Carnegie Hall
USA ITHACA New York State
WALES, CARDIFF
ORGANUM-TAMBURA
for Large Wind Ensemble (2007) 23'
Organum-Tambura was written for the University of Michigan Symphonic
Band . This piece is all about blurring the distictions between color,
harmony and melody. Both organum (the practice of singing a parallel
melody an interval above or below another given melody) and the tambura
(Indian drone instrument) are evoked in this piece because these musical
topics resonate with the idea that harmony, color and melody are on a
continuum. Organum has harmony, yet it is functions like color because
it moves in parallel motion, so it sounds like one line. It is a color/harmony-melody!
The tambura also functions as a color, and plays a drone which is like a
harmony, with an array of harmonics; yet, the way in which the harmonics
sing, can be perceived as melodic as well
Organum-Tambura ( link to
complete premiere performance)
4.
BRITISH AND EUROPEAN REPERTOIRE
I often get asked to name my favourite top works, and I usually escape
by saying that the list is the present programme on which I am working.
However, I recently browsed about twelve conducting seminars in the USA
and Europe and found that not one had programmed any British music
written in the past quarter of a century. I therefore made up twelve
discs of repertoire for them to put in their resource section, and here
they are, omitting dozens of other top ten works!
EDWARD GREGSON & DEREK BOURGEOIS
1 Gregson
Metamorphoses
Novello
10.54
BEDFORD – GREGSON – SPARKE –ELLERBY
1
Bedford Sun Paints Rainbows
MusicSales
14.02
GUY WOOLFENDEN
Gallimaufry
13.50
All published by Ariel Music
www.arielmusic.co.uk
ADAM GORB
1
Awayday
7.03
All published by Maecenas
.
KENNETH HESKETH & STEPHEN
McNEFF
1
Vranjanka
Hesketh
Faber
8.16
COMMUNITY AND SCHOOL REPERTOIRE
Sunrise & Safari
Adam Gorb
Maecenas 9.25
MAJOR SYMPHONIC WORKS 1
American Games
Nicholas Maw
Faber
20.51
MAJOR SYMPHONIC WORKS 2
1 Sowetan Spring
MacMillan
Boosey
10.41
RECENT COMMISSIONS
Passacaglia
Jackson
Maecenas
5.38
MISCELLANEOUS WORKS 1
1 Pageant of London
Bridge
Con Brio
17.09
DANCES
1 Welsh Airs & Dances
Hoddinott
Denis Wick 8.58
SOME MAJOR EUROPEAN REPERTOIRE
Per le Flor del lliri Blau
Rodrigo
Piles 17.13
5. FAREWELL TO DON DEROCHE AND DEPAUL
UNIVERSITY
For years, Don DeRoche has been recording an incredible range of
repertoire for Albany ; while WASBE is lucky that he has become
executive Director, we have lost a tremendous asset in this series.
Check it out on Albany records. The latest disc includes
Fanfare for a Joyous Occasion
William Alwyn
6.
A BREEZE TO ENJOY
AN EVENING WITH TIM REYNISH
CONCERTGOERS will soon realise that wind band music operates in a
parallel universe far, far away from that of symphonic orchestral music.
With the exception of transcriptions of orchestral masterpieces for wind
(but seldom the other way around), never the twain shall meet. In spite
of the humbler nature of wind bands, with their colliery and distillery
origins, it was refreshing to note an audience for The Philharmonic
Winds that far outnumbered that at the Singapore Festival Orchestra's
fine performance the evening before. This despite all of the composers
featured hardly ever appearing in the standard symphony orchestra's list
of suspects One factor is the accessibility of many wind works. These
are meant to be enjoyed, rather than admired by academics and then
sequestered in a repository of forgotten works.
Veteran British wind conductor Timothy Reynish's programme
provided an enjoyable mix of the unstuffy and unfamiliar.
Kenneth Hesketh's Serbian folk music-inspired Vranjanka delighted in its
slow-fast dance rhapsody form, as did the Welshman Adam Gorb 's
four-movement Dances From Crete, which captivated with infectious
rhythms before closing with the celebratory smashing of china.
New Zealander Christopher Marshall 's U Trau, about some unattainable
Utopia, gave a 58-member mixed choir a major role with rather banal
lyrics sung in Niuspi, derived from Indo-European languages.
American David del Tredici's In Wartime sounded hardly warlike, but
suggested an impending doom as the carefree pastoral opening worked its
way from the hymn Abide With Me to the opening of Wagner's Tristan Und
Isolde, before closing with a siren and dimming of house lights.
Through all this, The Philharmonic Winds was ever sensitive to conductor
Reynish's directions, and its performers clearly enjoyed themselves in
Luis Alarcon's Piazzolla-derived Concertango accompanying the
rock-steady saxophonist Fabian Lim and a jazz trio.
The World Premiere of Zechariah Goh Toh Chai's Symphonie Bombastique, a
musical caricature of Reynish on his turning 70, was an ironic portrait
conducted by the composer.
The music, with its nonchalant swagger and wonderfully played riffs from
various solo instruments, made a fitting tribute from one creator
comfortable inhabiting both aforementioned parallel universes.
Such is the gift of versatility.
7.
ROYAL NORTHERN COLLEGE
OF MUSIC
1st July RNCM Wind Ensemble
As with most wind concerts, this was not covered by the Press, so in
line with previous Homepages, I am adding a few notes on my impression
of the music. It was a tough programme to which the RNCM players
responded magnificently.
Torso
Michael
Oliva
Starting with pianissimo bowed crotales, this fascinating soundworld
rarely gets above triple pianissimo, and when it does, the effect is
enormous. A mood tonepoem of about 6 minutes, for small ensemble – needs
three piccolos and three soprano saxophones who enjoy crescndoing from
nothing to ppp
Resonance
Christopher Marshall
One of my favorite commissions, an Ivesian mélange of tiny motifs, held
together by Wagnerian horns, emerging into a Methodist/Baptist hymn with
variations which itself dissolves into birdsong.
Farewell
Adam Gorb
I have no hesitation in saying that this is a masterpiece. It provides a
dramatic, tragic journey for players and audience, and reaches a
Mahlerian intensity.
Et Exspecto Resurrectionem Mortuorum
Messiaen
An extraordinary work in which Eastern rhythms, South American birdsong
and Western plainsong meet together in what is virtually an act of
worship. There are misprints in the little crescendo in the second
movement – there may be more.
8. TWO ADDITIONAL HORN CONCERTOS
Timothy Miles (milestim2@aol.com)
writes:
I thought you may be interested in adding this to your list of horn
concertos. My graduate project at the University of New Hampshire was
creating a wind ensemble version of Joseph Schwantner's Beyond Autumn:
Poem for Horn and Orchestra. My advisors for the project were Andrew
Boysen, who did the transcription of Schwantner’s Percussion Concerto
and Joseph Schwantner. The University of New Hampshire Wind Symphony
premiered the piece in November 2006 with myself conducting and Kendall
Betts, formerly of the Minnesota Orchestra and current horn professor at
UNH. Schott has added the piece to their rental catalogue (however it
has not appeared on their website yet). The piece is about 19 minutes
long.
Eduard Oertle
Eduard.Oertle@t-online.de
writes:
Apart from the works for horn and band listed on your website, there is
one piece that I could recommend: Boudewijn Cox "Adagio". It is
available from Beriato and you will find a sound sample on their website
(www.beriato.com).
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