Category: TEST PIECES (Major Works) Composer / arranger: John McCabe
Written in 2002
Duration 15.00 Minutes
Commissioned by the BBC to mark Harry Mortimer's 100th anniversary.
The Maunsell Sea Forts are military defence structures from the Second World War, designed and built under the supervision of Guy Maunsell. There were three in Liverpool Bay, not far from Hilbre Island and now no longer extant, and five in the Thames Estuary between the North Kent and Essex coasts. Of these last, one was dismantled in the early 1960s, but the other four still stand, buffeted by the sea and the winds, as a reminder both of great engineering inventiveness and of the grim circumstances which necessitated the use of that skill. They form two types: a large single superstructure atop two huge cylindrical legs of concrete (Knock John is of this type), and a collection of metal tetrapods topped off withy single buildings used both for living and keeping watch for enemy aircraft and ships. These groups are connected by what must have been quite hazardous walkways, open to the elements though with guide rails for safety. The tetrapods are especially fascinating, resembling as they do nothing more than the towers in H.G Wells’s The War of the Worlds, but Knock John is also massively impressive.
This work was written after a boat trip around here of the Thames Estuary forts, leaving from the North Kent coast (from where, on a really clear day, most of them can be seen with the naked eye): Knock John, Shivering Sands and Red Sands. It is subtitled Nocturne for Brass Band because the work is framed by quiet music reflecting both the atmosphere of mystery that stuck me so vividly, and the fact that it would have been at night that the greatest danger came. It was, as it happens, an exceptionally fine and calm day when I made my trip, but one’s imagination can very easily conjure up a greatly different atmosphere. Formally, apart from the slow opening and closing sections, the music consists of a kind of rondo in which, however, the meat of the invention lies in the two episodes (the second a fast passacaglia), with the fanfare-like Ritornello (heard three times) binding the structure together.
The Maunsell Forts was commissioned by the BBC for the 2002 Open Brass Band Championships. A word must be said about the ending of the piece: it is, so far as I know, highly unusual for a contest piece to end quietly, as this does, but it would have seemed less honourable to write a work finishing with a loud and probably triumphant conclusion, in view of the subject-matter. The Thames fort still stand, as a memorial as well as intriguing and remarkably affecting artefacts, an unexpected page of recent but not yet forgotten human history.
Category: TEST PIECES (Major Works) Composer: Mario Burki
THE COUNTRYAND ITS MUSIC Macedonia is situated in the centre of the Balkan Peninsula and was the most southern republic in the former Yugoslav Federation. Its neighbours are Serbia in the north, Bulgaria, in the east, Greece in the south, and Albania in the west The State of Macedonia lies in the northwestern half of the ancient kingdom of Macedonia. Macedonia’s history stretches back for thousands of years. Archeological finds discovered in the Petralona cave on the Halkidiki Peninsula, have proven human existence in that region as far back as the Paleolithic Period. This northern region of ancient Greece was at its peak in 300 BC, during the reigns of Philip II and his son Alexander the Great. Their contribution to the history of humankind is immense and the expansion of the Greek language and its culture to the then known world has defined the course of history.
The Macedonian region is one of the richest in regards of dance and musical expression. Macedonian music is part of the musical idioms of the Greek mainland, but it also displays many interesting internal nuances, influenced by the many refugees who emigrated to Macedonia. Regular rhythms and harmonic melodies are typical for Macedonian music. However, there are many regional differences, also seen in the multitude of different regional instruments. In addition to the usual ensemble of violin, clarinet and “Laouto” (lute), we also find combinations of “Zournas” (similar to the oboe), bagpipes with drones, “Daires” (a big tambourine-like instrument), “Lyra” (a pear-shaped violin), and also drums.
THE PIECE I have been fascinated by the music of former Yugoslavia for a while now. After extensive searches for suitable music for my compositions I came across the traditional music of Macedonia and I decided to write a piece about it. My composition Mazedonia is written in three parts. The first part is written merely in the style of how I perceive Macedonian music, whereas in the second and third parts directly quote two traditional Macedonian folk songs. In the slow middle part I quote the song ,,Jovano Jovanke”, whose lyrics translate to: Jovana, Jovanke, you sit at the Vardar, bleaching the white linen and gazing upwards. Jovana, I wait for you, to come to my house. But you mustn’t, my love, Jovana. Jovana, your mother won’t let you come to me, my love, Jovana.” And in the last part I quote the song Dunje Raike”.
Category: TEST PIECES (Major Works) Composer: Philip Harper
Set as the SECOND SECTION REST PIECE for the 2016 Brass Band Regional Championships of Great Britain.
Commissioned by the Cornwall Youth Brass Band to mark its 60th Anniversary, with funds bequethed by Dennis Arbon
This piece is inspired by an old Cornish folk-tale set in the village of Zennor on the coast of Cornwall, the most South-Westerly county of England.
After a good day‘s catch from the local fishermen, the village-folk would gather in the church at the head of the coast road for a service of thanksgiving. In the choir at Evensong was a very handsome young man. Matthew Trewhella, who had the most beautiful voice. His singing attracted the attention of a mermaid swimming in Zennor Cove who listened, entranced, for many nights. One night, she decided to go to the church and, disguised in human clothes, she sat in the shadows at the back. Matthew's exquisite voice caused her to sigh, at which point he noticed her for the first time and fell immediately in love. She knew that contact between merpeople and humans was forbidden, and so fled back to the shore with the congregation and Matthew in pursuit. Upon reaching the water, the mermaid turned and told him: "l cannot stay, I belong to the sea," to which he replied: "Then I will come with you!" and they both vanished beneath the waves, never to be seen again.
To this day it is said that the sound of a sweet, faraway man's voice can be heard from the sea on days of fair weather in Zennor.
The music is in three sections:
l. The Sea and Seafaring
The music rises and falls like the elemental swell of the waves, before the fishermen set sail and get to work on their boats at sea. They arrive home with a good catch.
ll. At the Church
The mermaid is portrayed by gentle, magical-sounding music, and the church choir is heard singing the hymn-tune Axbridge set to the words 'Safe home. safe home in port'. The euphonium plays the role of Matthew Trewhella, rising above the band on a number of occasions.
ill. Return to the Waves
Matthew and the mermaids eyes meet in a moment of drama. The village-folk chase out of the church and back towards the beach and, after several musical flashbacks, the powerful music of the sea re-establishes itself above all else. As the waves subside, the euphonium’s sweet but distant voice can be heard for one last time.
Category: TEST PIECES (Major Works) Composer: Philip Harper
Set as the SECOND SECTION REST PIECE for the 2016 Brass Band Regional Championships of Great Britain.
Commissioned by the Cornwall Youth Brass Band to mark its 60th Anniversary, with funds bequethed by Dennis Arbon
This piece is inspired by an old Cornish folk-tale set in the village of Zennor on the coast of Cornwall, the most South-Westerly county of England.
After a good day‘s catch from the local fishermen, the village-folk would gather in the church at the head of the coast road for a service of thanksgiving. In the choir at Evensong was a very handsome young man. Matthew Trewhella, who had the most beautiful voice. His singing attracted the attention of a mermaid swimming in Zennor Cove who listened, entranced, for many nights. One night, she decided to go to the church and, disguised in human clothes, she sat in the shadows at the back. Matthew's exquisite voice caused her to sigh, at which point he noticed her for the first time and fell immediately in love. She knew that contact between merpeople and humans was forbidden, and so fled back to the shore with the congregation and Matthew in pursuit. Upon reaching the water, the mermaid turned and told him: "l cannot stay, I belong to the sea," to which he replied: "Then I will come with you!" and they both vanished beneath the waves, never to be seen again.
To this day it is said that the sound of a sweet, faraway man's voice can be heard from the sea on days of fair weather in Zennor.
The music is in three sections:
l. The Sea and Seafaring
The music rises and falls like the elemental swell of the waves, before the fishermen set sail and get to work on their boats at sea. They arrive home with a good catch.
ll. At the Church
The mermaid is portrayed by gentle, magical-sounding music, and the church choir is heard singing the hymn-tune Axbridge set to the words 'Safe home. safe home in port'. The euphonium plays the role of Matthew Trewhella, rising above the band on a number of occasions.
ill. Return to the Waves
Matthew and the mermaids eyes meet in a moment of drama. The village-folk chase out of the church and back towards the beach and, after several musical flashbacks, the powerful music of the sea re-establishes itself above all else. As the waves subside, the euphonium’s sweet but distant voice can be heard for one last time.
Category: TEST PIECES (Major Works) Composer: Peter Graham
Fritz Lang's 1927 science fiction epic Metropolis is considered to be a masterpiece of cinematic vision and a high point of German Expressionist filmmaking. Set in a future dystopian world the film introduces the viewer to two contrasting communities living in the vast city of Metropolis. Those above ground live a life of privilege and pleasure serviced by the underground-dwelling drone workers whose role is to maintain and operate the banks of machines which provide the city's power.
Lang's film, which can be considered a type of 20th century morality play, draws upon a range of themes and influences from Marxist ideals and social satire to overt religious symbolism.
The music does not attempt to precis the plot, such as it is, but simply reflects my musical responses to Lang's noirish visual style and set designs – the brooding machine rooms, the decadent nightclubs, the gothic cathedral and so on – paradoxically a world of terrifying beauty.
Metropolis 1927 was commissioned by Bramwell Tovey and The National Youth Brass Band of Great Britain with funds provided by The Arts Council of England. The first performances took place in the Winter Gardens, Weston-super-Mare on Saturday 19th April and in the Cheltenham Town Hall on Sunday 20th April 2014.
This revised version was premiered by The Black Dyke Band, conductor Nicholas Childs, at the 38th European Brass Band Championships in the Konzerthaus Freiburg, Germany, on Saturday 2 May 2015.
Category: TEST PIECES (Major Works) Composer: Peter Graham
Fritz Lang's 1927 science fiction epic Metropolis is considered to be a masterpiece of cinematic vision and a high point of German Expressionist filmmaking. Set in a future dystopian world the film introduces the viewer to two contrasting communities living in the vast city of Metropolis. Those above ground live a life of privilege and pleasure serviced by the underground-dwelling drone workers whose role is to maintain and operate the banks of machines which provide the city's power.
Lang's film, which can be considered a type of 20th century morality play, draws upon a range of themes and influences from Marxist ideals and social satire to overt religious symbolism.
The music does not attempt to precis the plot, such as it is, but simply reflects my musical responses to Lang's noirish visual style and set designs – the brooding machine rooms, the decadent nightclubs, the gothic cathedral and so on – paradoxically a world of terrifying beauty.
Metropolis 1927 was commissioned by Bramwell Tovey and The National Youth Brass Band of Great Britain with funds provided by The Arts Council of England. The first performances took place in the Winter Gardens, Weston-super-Mare on Saturday 19th April and in the Cheltenham Town Hall on Sunday 20th April 2014.
This revised version was premiered by The Black Dyke Band, conductor Nicholas Childs, at the 38th European Brass Band Championships in the Konzerthaus Freiburg, Germany, on Saturday 2 May 2015.
Category: TEST PIECES (Major Works) Composer: Peter Graham
Fritz Lang's 1927 science fiction epic Metropolis is considered to be a masterpiece of cinematic vision and a high point of German Expressionist filmmaking. Set in a future dystopian world the film introduces the viewer to two contrasting communities living in the vast city of Metropolis. Those above ground live a life of privilege and pleasure serviced by the underground-dwelling drone workers whose role is to maintain and operate the banks of machines which provide the city's power.
Lang's film, which can be considered a type of 20th century morality play, draws upon a range of themes and influences from Marxist ideals and social satire to overt religious symbolism.
The music does not attempt to precis the plot, such as it is, but simply reflects my musical responses to Lang's noirish visual style and set designs – the brooding machine rooms, the decadent nightclubs, the gothic cathedral and so on – paradoxically a world of terrifying beauty.
Metropolis 1927 was commissioned by Bramwell Tovey and The National Youth Brass Band of Great Britain with funds provided by The Arts Council of England. The first performances took place in the Winter Gardens, Weston-super-Mare on Saturday 19th April and in the Cheltenham Town Hall on Sunday 20th April 2014.
This revised version was premiered by The Black Dyke Band, conductor Nicholas Childs, at the 38th European Brass Band Championships in the Konzerthaus Freiburg, Germany, on Saturday 2 May 2015.
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