Duration 10.00

In Blaze I have clearly blended symphonic blowing styles of the trumpet plus the virtuosic attributes of today's modern cornet player. Many solo cornets parts (more past than present) in band are often clearly defined between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this defined range; I have incorporated this range into the concerto. The low register is much explored, and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# opt. The ideology of this blend of course makes sense as the original dedication is to Rod Franks, LSO, and of course blending with that is Rod's history at Black Dyke Mills Band.

 

The concerto is ten minutes long and in one movement comprising of four sections and one solo cadenza, with one section only appearing once, an episode. This singular section was a revised addition and dedicated to Richard Marshall who gave the first premier in New Zealand in June 2003. For the purists the form is thus, A, B, A (vari), C (episode). D (slow movement), E (3/8 episode 1), D (vari), E, (episode 2). A (last move), B, A (developed) = (coda finale).

 

The compositional style? Well, I hope quintessentially, 21st C English with an element of nostalgia (modal/old English). There are some hints at jazz playing styles and rhumba, but romantic English I would say, and especially the slow movement.

 

Blaze is also very bold; the title itself reflects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment; just as a matador stands alone in the ring for the first few seconds, and looks at the mass crowd in defiance, he thinks, "you are here to see me die", so the soloist stares the audience back in the face, and opens with the richest, largest sound (not loudest) one can muster, thus throwing the gauntlet down to the ears of all who might disbelieve what they are about to encounter, a gladiatorial cornet, a Blaze from the stage.

 

For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of over-all control, a test beyond the reasonable. And for the audience? Of course, a BLAZE never to be forgotten.

 

 Phil Lawrence

 

This work can be heard performed by cornet soloist Richard Marshall & the Grimethorpe Colliery Band on their award winning album entitled 'BLAZE'

Alexander Goedicke was a Russian pianist and composer. Although he was a professor at the Moscow Conservatoire, Goedicke had received no formal training as a composer and his success and recognition in this field was achieved through competition entries, namely the Rubinstein Prize for Composition which he won at the tender age of 23.

 

Regardless of his academic qualifications, his output as a composer is substantial with recognised works including four operas, twelve extensive works for orchestra, four marches for concert band, countless chamber works and compositions for piano.

 

Unfortunately, the vast majority of Goedicke's music has fallen out of vogue and is rarely performed apart from his Concert Etude for trumpet with piano accompaniment which was written in 1948. This firm favourite of the trumpet repertoire has now been arranged for brass quartet by David Childs and can be performed on either trumpet or cornet.

Although originally composed for cornet and piano, this arrangement was produced as a direct request from Roger Webster. The composer, Böhme (himself a cornet player), was a devotee of Felix Mendelssohn whose style he frequently emulated. Arranger Ralph E. Pearce has significantly expanded Böhme's rudimentary accompaniment by adopting some of Mendelssohn's motifs in similar pieces.

 

The music essentially consists of three contrasting sections. After a short introduction a virtuosic tarantella-like theme appears. This is followed by a more lyrical section, after which the tarantella theme appears. This leads to an exciting coda, which brings the piece to flourishing close.  

 

La Napolitaine is the opening track on Roger Webster's solo CD, entitled Webster's Choice, accompanied by the CWS (Glasgow) Band (Polyphonic QPRL099D).