Concerto Grosso for Brass Band and Orchestra
Instrumentation: 2 (I & II = picc). 2 (II = ca). 3 (II & III = bcl). 2 (II = cbsn). - 4.2.3.1. - timp. - 4 prc. - hp. - org. (optional) - brass band - strings.
Brass Band: 1 sop cnt. 4 solo cnt. 1 rep cnt. 2 2nd cnt. 2 3rd cnt. 1 flghn. 3 tnhn. 2 barihn. 2 euph. 3 tbn. 2 Eb bass. 2 BBb bass.
Percussion:
1.) Sanctus bells (2 sets), Tubular bells, large metal Guiro, Ratchet, Marimba, Xylophone, Tam-tam
2.) Crotales, Water gong (medium), 4 Tin cans & 4 Metal bars of varying pitches, 2 Cowbells, Cabasa
3.) Water gong (large), Glockenspiel, Tam-tam, Almglocken, 4 Tin cans of varying pitches, Bell tree, Bongos, Whip4.) Bass drum, Kick drum, Trash metal of varying pitches, Maracas, Sleigh bells, Suspended cymbal, small Tam-tam
PROGRAMME NOTE
For some, the British brass band may inspire images of days gone by — of miners and ‘the Hovis advert’, or Terry Wogan and the Floral Dance.But brass bands are a living, vital, and integral part of our musical cultural whose reach extends far beyond the borders of this little island.
The British brass band movement is unique within the musical world, both in terms of its geographical roots — originating in the coalfields ofthe North, Wales and Scotland — but also, for much of its history, being a distinctly working-class pursuit. The early popularity of brass bandsresulted in a rapid proliferation of bands throughout the UK to the point that they could be found in almost every village and town in thecountry, with close connections to the local pits, collieries, and factories. As such, brass bands, ‘could be regarded as one of the mostimportant aspects of British art music,’ their growth resulting in, ‘the first mass involvement of working-class people in instrumental art music,not just in Britain, but possibly anywhere.’ (Trevor Herbert, ‘Bands: The Brass Band Movement in the 19th and 20th Centuries’).
This is a music born of industry — from coal and steel and tin — the sound of the brass band, for me, inexorably bound up with the bleakmining landscapes of Britain. But it is also intrinsically linked to politics. When Thatcher went head-to-head with the National Union of MineWorkers in 1984, in what was to be the longest and most bitter industrial dispute in British history, brass bands became a symbol of resistance.With pits under threat, so were the bands associated with them, many being forced to fight for their very existence. Despite the rapiddismantling of British industries over the past three decades, brass bands continue to thrive both in UK and internationally. This is a testamentto the enduring appeal of a music which is so evocative, so redolent of a time and place that it sits at the very heart of the British musical andcultural landscape; and yet there is a universality to this music that now extends beyond borders, class, and politics. Brass bands may haveoriginated in the coalfields of Britain, but there are flourishing brass band scenes now in every corner of the world.
Having grown up in an ex-mining community –– beginning my musical training in the local brass bands in which my whole family continue toplay –– this music is close to my heart. Concerto Grosso for Brass Band and Orchestra is a love letter to that music and those communities.Drawing on banding’s cultural legacy and musical style it is a celebratory work that puts the brass band front and centre. Concerto Grosso forBrass Band and Orchestra is a five movement piece in two parts. Part one looks at the mediums geographical, industrial, and socio-economicroots; whilst Part two explores musical aspects synonymous with the music: high lyricism and dazzling virtuosity.
Part 1.
1.) Island (mysteriously)2.) Coal (mechanico)
3.) Class (confidently)
Part 2.
4.) Sentimental Music (espressivo) — Cadenzas
5.) Contest Music (with driving energy)
