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5016041-Db894e-635212051320.Pdf THE ART OF DANCING INTRODUCTION phase in my journey: new music for the forces of By Simon Desbruslais trumpet, piano and string orchestra, where the 21ST-CENTURY CONCERTOS FOR TRUMPET, PIANO & STRINGS soloists are treated as equal partners. It has been almost three years since the launch The Art of Dancing Toby Young of my debut concerto disc, Psalm: Contemporary I initially suggested the double concerto idea Suite for trumpet, piano and strings British Trumpet Concertos. During that time to Geoffrey Gordon, who was inspired to write 1 Prelude [2.41] 5 Trance [5.12] I have been fortunate to work with two of its a vivid and powerful new work based on two 2 Garage [2.39] 6 Breakbeat [2.53] composers again on new commissions – John paintings by Wassily Kandinsky entitled Saint 3 Acid House [3.17] 7 Postlude [1.42] McCabe, who tragically passed away in 2015, Blue. It is particularly noteworthy for its central, 4 Drum & Bass [3.28] wrote the tremendous Sonata after William extended cadenza section which moulds the Byrd’s ‘Haec Dies’ for Trumpet and Piano (2014), forces of muted trumpet and piano with double 8 Saint Blue Geoffrey Gordon [9.41] while Deborah Pritchard evocatively showcased bass. True to providing equal concerto roles, Double concerto for trumpet, piano and strings, after Kandinsky the trumpet in Benedicite (2014) with choir and Geoffrey writes dense, often aggressive piano Seven Halts on the Somme (2014) with piano. textures which form a balanced counterpart Seven Halts on the Somme Concerto for piano, trumpet and I also enjoyed meeting and working with many to his dynamic, bold trumpet writing. This work Deborah Pritchard string orchestra, Op. 74 other composers, plotting new projects and was partnered in the first recording session For solo trumpet in C, harp and Nimrod Borenstein bringing their new music to life. by Toby Young’s The Art of Dancing after which string orchestra y I. Allegro [5.57] 9 I. The Grand Mine [1.57] u II. Adagio [5.17] this album is named. I first encountered Toby 0 II. Trônes Wood [0.53] i III. Allegro [7.51] This new disc, the second in my mission to through connections at the University of Oxford – q III. Pozières: The Moulin [2.03] expand the solo trumpet repertoire, is inspired he was completing his doctorate at the time – and w IV. Warlencourt Ridge [1.42] Total timings: [63.02] by Dmitri Shostakovich, who originally conceived I was struck by his wide-ranging musical tastes e V. The Sucrerie: Longueval [1.12] his First Piano Concerto as a trumpet concerto. and infectious positivity towards new projects. r VI. Flatiron Copse [1.45] What an important work to us trumpeters it It was a particular joy, therefore, when he chose t VII. Guillemont to Ginch [2.49] would have been! Eventually he arrived at a to write a double concerto that merged classical feat. Rita Schindler Harp final work that is not, strictly speaking, a double concepts with modern dance forms. In our various concerto, but a piano concerto with trumpet conversations I also encouraged the use of the obbligato. It was by reflecting upon this seminal piccolo trumpet, which receives novel treatment SIMON DESBRUSLAIS TRUMPET • CLARE HAMMOND PIANO composition in conversations with conductor in the ‘Garage’ and ‘Acid House’ movements. ENGLISH STRING ORCHESTRA • KENNETH WOODS CONDUCTOR Kenneth Woods that I began to develop the next In an almost exact reverse of Shostakovich, www.signumrecords.com - 3 - Toby had originally conceived of writing a piano the role of Director of Performance and have “You must have chaos within you to give birth quality of trance music and Mahler’s famous concerto, which after our conversations, became been relishing involvement with UK City of to a dancing star” Nietzsche Adagietto from his fifth symphony. The sixth a double concerto! Culture 2017. movement is an earthy Totentanz, beginning The Art of Dancing stately but gradually speeding up into a mad, I first metNimrod Borenstein by wonderful I am grateful to Kenneth Woods for his Toby Young possessed St Vitus’ dance to the death. A coincidence following a performance of Deborah unswerving support and belief in my work, to 1 Prelude final postlude recalls the opening one last time. Pritchard’s Violin Concerto Wall of Water at my manager Matthew Peters, to Clare Hammond 2 Garage In spite (or perhaps because of) this piece’s the National Gallery in January 2015. Nimrod’s who is quite simply one of the most incredible 3 Acid House electronic influences, the orchestration reflects double concerto is particularly noteworthy for people I have ever met, to the recording 4 Drum & Bass the baroque concerto da camera, with musical its extensive treatment of articulation – in fact, team at Signum Classics including Tim Oldham 5 Trance material being playfully passed between the the various rapid quintuplet groupings were and Mike Hatch who showed exemplary 6 Breakbeat two soloists against the body of ripieno strings. a new challenge that I had not faced to the professionalism, inhuman aural skills and 7 Postlude same extent in existing trumpet music. I would unshakeably cheerful temperament during the As the piece unfolds, there is a suggestion visit his house to rehearse these sections, and intensity of the recording sessions, and finally The Art of Dancing is a modern homage to that the trumpet is trying to tempt the piano, I was struck by the expert precision and clarity to all four composers involved in this recording the baroque dance suite. The piece is a set leading it astray through a set of elaborate of Nimrod’s musical ideas. I also find a for producing instant classics for the trumpet of loose variations or embellishments on the music games. The trumpet often steals the tremendous beauty to the soaring, extended and orchestral repertoire. I would like to opening prelude – a short arioso based on a piano’s melodies, becoming more and more melodies of the central movement, laced with dedicate the CD to the memory of three pop-song I wrote for a Japanese boy band – with dominant – indeed, the trumpet is metaphorically melancholy. Deborah’s solo trumpet concerto, important musical figures in my life, who died each movement hinting at a different style of ‘masked’ (i.e. muted) through most of the after the same paintings by artists Hughie in close proximity – Nick Gale, John McCabe electronic dance music. The first movement work, only becoming unmasked to reveal his true O’Donoghue that inspired her duo work for and David Trendell. reflects UK Garage, a quirky dance style based identity at the very end of the sixth movement. trumpet and piano, atmospherically contrasts on syncopation and rhythmic instability. The © Toby Young the trumpet with strings and obbligato harp. second, Acid House, showcases the psychedelic 8 Saint Blue It reminds me of when I was fortunate to aspect of this drug-fuelled genre, moving Double concerto for trumpet, piano and strings, visit the studios of Hughie, and to improvise into a short interlude recalling the opening after Kandinsky in front of the paintings alongside Deborah. prelude, acting as a type of refrain. Drum Geoffrey Gordon I performed and recorded both of these and Bass presents a fast, virtuosic movement concertos in the newly-renovated Middleton Hall for both soloists, before a hypnotic central Inspired by the works of Russian visual artist at the University of Hull, where I have assumed nocturne, inspired simultaneously by the hypnotic and visionary, Wassily Kandinsky, Saint Blue - 4 - - 5 - (a double concerto for trumpet, piano and 9 - t Seven Halts on the Somme of the woods. The trumpet then re-enters and stopping points is shown stretching out into strings) is divided into two contrasting for solo trumpet in C, harp and string orchestra the music moves to the next painting: III. the distance. The road becomes symbolic of sections, with the second essentially embedded Deborah Pritchard ‘Pozières: The Moulin’, a place where many a journey away from the conflict of the past in the first – a kind of sonic exploration of the Australian soldiers lost their lives, as fast moving towards hope of a peaceful future. sacred and profane – in a fairly straight-forward I. The Grand Mine strings and an elegiac muted solo trumpet © Deborah Pritchard A-B-A design. The first section is a reaction II. Trônes Wood depict the moving sails of the windmill. The to Kandinsky’s 1911 All Saints I (part of the III. Pozières: The Moulin music then descends and slows down before y - i Concerto for piano, trumpet and string Stadtische Galerie’s permanent collection in IV. Warlencourt Ridge the next painting: IV. ‘Warlencourt Ridge’ is orchestra, Op. 74 Munich), and features the soloists and full V. The Sucrerie: Longueval marked by the return of the opening solo Nimrod Borenstein string orchestra in a shared expression of this VI. Flatiron Copse trumpet idea, transformed and placed against colourful masterpiece. The contrasting B section VII. Guillemont to Ginchy a richer texture. It is also a moment of sadness, I. Allegro draws the orchestra’s principal double bass remembering all those who lost their lives. The II. Adagio into a trio with the trumpet and piano soloists, Seven Halts on the Somme responds to the upper strings then heighten in intensity as the III. Allegro creating a kind of extended, jazz-infused series of oil paintings by artist Hughie next image: V. ‘The Sucrerie: Longueval’ is cadenza, after Kandinsky’s In Blue (1925; part O’Donoghue that mark seven stopping points introduced and the lower strings play an The concerto for piano, trumpet and string of the Kunstsammlung Museum’s collection for British troops during the Battle of the aggressive passage that suggests both the orchestra was composed during 2016 and in Dusseldorf).
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