Composer's Note

How many music eras have we seen? 5? 20? 50? To what extent has the brass band world evolved to respond to changing styles? Should we be content with staying in our comfort zone or look to be more original? Is that the

right question? What direction could we be taking? What can we do to enrich the repertoire?

 

The tradition of brass band music is strong but conservative. The composer can bring new approaches in orchestration, counterpoint, extended tonality, innovative instrumental techniques... possibilities are endless. Yet for the most part the music brass bands play often seems to belong to past eras compared with contemporary classical music. Where are we now? I don't know and I'm not sure that evolution is always the most useful way of thinking about music. I always prefer to speak about evaluation in music - how it comes across to the listener - rather than evolution - the era or style to which it might or might not belong. I attach the greatest importance to generating an emotional response through my music and I'm convinced that when we composers reach our goal of conveying an emotion (the emotion we worked for), our ‘contract’ with the audience is honored. In this new composition, I have not set out to revolutionise composing for brass band, but to keep the material relatively clear and direct. For example, a lot of the most active technical writing is presented in unison.

 

The title, Dear Cassandra, is taken from Greek mythology. Cassandra predicted the arrival of the Trojan Horse. In my piece (a true ‘open mail’ to soothsayers) I attempt to interrogate through the music and the compositional process the future direction brass band music might or might not take. Beyond the curiosity of knowing how the future will be written, the fear to being locked into writing only for human technical capacities haunts my thoughts, and especially composing what has already done for hundreds of times...

 

Dear Cassandra (Concerto for Brass Band No.14) is cast in three movements that play without a break.

1 : 6'

2: 4'40

3: 5'20

Total : ca. 16'

INTRODUCTION : The work opens in exploratory mode, as the players search for new sounds from a single tone, using dynamics, unisons and octaves effects. There is much interplay between musicians and sections as they search for the ideas, textures and atmospheres that will sustain THE CALL to Cassandra.

 

THE CALL [Letter E] : Here the composer is asking Cassandra where are we going with the brass band compositions. Is it the right path to follow? Are we being inventive or original enough to progress brass band music, compared, say, to the orchestral world? To transform the music into pictures I decided to use a rhythmical sequence that represents the title (Dear Cas-san-dra / quarter note-quaver-quarter note-quaver).

 

From letter F, the piece presents a series of moods and feelings about the daily routine of composing. FEAR [Letter F] : There is no secret - I'm scared by composing for brass bands. This is not because I might not have good enough ideas but because I absolutely don't know if we are working in the right way to innovate the banding world. Do we need to compose the most demanding piece ever? No. Can we work with electronics? Yes, but that has already been done. So, what can we do?

From letter F, the band plays the ‘scary’ rhythniic ostinato, introduced by the horns and then joined by others.

 

At letter ], the solo euphonium and soprano comet take over the lead to engage in some musical TESTS. The band quietly gives up the ostinato to imagine something else.

 

Letter L : Maybe something to settle a composer's fears! In Psychedelic Rock the audience is just blown away by what they hear, but there is not a lot of material used - limited ‘information’ but huge impact, emotionally and physically. Here the basses are the leaders with series of notes jumping from Eb to Bb that are really demanding to play but need to be approached with finesse and lightness. At the end of the episode, the eu.phoniums take over the basses lines and bring the band (and composer) back to a positive mood of creation.

 

HIGH HOPES : Back to basics - were gonna try to start again from a firm base and especially a good vibe. I know that the goal is having fum, and I do my best to offer emotions. In this section the solo comet and euphonium will show their lust to do their best for the future. The band supports the soloists in their mind with light and colorful harmonies.

 

NO MATTER [Letter Q] : An atonal solo from bass trombone shows that I need to keep confidence in my job. Nothing else matters than writing my own music.

 

From S to T the audience is invited to hear preparation for the last call to Cassandra saying, “I don't care about the future. Let's just make music!”

 

FINALE : The story ends like that... After years of composing for brass bands, I admit that I'm always doubting my efforts. Even if it was a dream for me to live from my hobby, this is without any doubt much harder than I could ever imagine: giving emotion, sharing my passion, feeling the crowd suspended to the last note... That's it!

 

Theme

The principal theme is shown by a rhythmic cell of 4 notes representing the voice saying (beginning of the mail) and also representing the title of the piece :

Dear - Cas - san - dra

long - short - long - short

 

You'll find in this composition a few hidden dedicaces.

Bar 9 : E-B-B-C Thema (to be heard later also)

From M : High hopes comes from psychedelic rock group Pink Floyd. Meaning in the same time ‘don't need a lot to be happy ’ / ’high hopes for our future '. The audience will recognize the thema by Tubular bells and horns.

From 440 : Stabat mater by Pergolesi Thema. This thema is really important for me as it played a role in my job as composer.