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Download Booklet PSALM PSALM three new stunning trumpet concertos written for CONTEMPORARY BRITISH TRUMPET CONCERTOS Contemporary British Trumpet Concertos me by three of Britain’s finest composers. From its inception, this recording has been Deborah Pritchard’s Skyspace is one of the first Skyspace (2012) Deborah Pritchard (b. 1977) entwined with my graduate studies. Fresh from modern concertos to be conceived solely for 1 I. Aurum [1.18] the Royal College of Music in 2007, I matriculated piccolo trumpet. Though a popular instrument, 2 II. Aurum Resonance [1.24] at the University of Oxford to begin a doctoral it has thus far been surprisingly restricted 3 III. Light Iridescent [0.50] thesis in musicology. During this time I to concerto performances of earlier baroque 4 IV. Opaque [0.49] encountered the music of Oxford professor concertos and transcriptions. This is despite its 5 V. Opaque Resonance [2.04] 6 VI. Dark Iridescent [1.07] Robert Saxton, who, it transpired, had written wonderful treatment in the symphony orchestra: 7 VII. Cerulean [2.22] a trumpet concerto Psalm: A Song of Ascents Messiaen’s Turangalîla Symphony or Britten’s in 1992. At this formative stage of my career, Four Sea Interludes, for example. Deborah’s 8 Psalm: A Song of Ascents (1992) Robert Saxton (b. 1953) [15.45] I was determined that I wanted to combine music maintains vivid and direct relationships solo performance with academia, and the with visual and conceptual art, placing her La Primavera (2012) John McCabe (b. 1939) 9 I. Allegro [5.23] opportunity to bring British music to life work within a fascinating, rich interdisciplinary 0 II. Andante [8.37] – by performing marginalised works and context. John McCabe’s La Primavera is a tour q III. Quick [5.08] commissioning new ones – was strongly appealing. de force of orchestral writing and thematic development, including one of the most beautiful Shakespeare Scenes* (2013) Robert Saxton It was following a performance of Psalm in and expressive flugelhorn parts in the repertoire. w I. The Magic Wood [2.32] 2008, with the Oxford Sinfonietta, that I first The combination of spring themes and pictorial e II. Falstaff [5.23] approached Robert with the idea to write a new references to sporting events (it was written r III. The Storm on the Heath [3.43] trumpet concerto. Why stop at one, I thought? in 2012, year of the London Olympics) makes t IV. Masque [4.42] Robert’s trumpet writing and musical language for a truly effervescent musical experience. y V. The Magic Island [4.40] immediately appealed to me. It had such raw Finally, Robert’s Shakespeare Scenes places the Total timings: [65.49] energy, complexity and yet cohesive structural trumpeter within an unusually explicit, dramatic identity. As a trumpeter, it gave me everything role: as Puck, Falstaff, King Lear and Prospero. SIMON DESBRUSLAIS TRUMPET that I was looking for in a concerto, including The opportunity to engage with these characters ORCHESTRA OF THE AGE OF THE SWAN technical challenges in generous measure. The is a delight which is certain to reward KENNETH WOODS & DAVID CURTIS* CONDUCTORS following events surpassed my every expectation: trumpeters for countless generations. www.signumrecords.com - 3 - The trumpet is ideally suited to the concerto. board, the eyes are the hammers, the soul is 1. Aurum and 2. Aurum Resonance are both there are also moments of chamber-music Indeed, many orchestral works exploit its the piano with many strings. The artist is the inspired by the warm, golden colours of the writing as well. In the central slow section ability to dominate an entire body of musicians, hand which plays, touching one key or another, descending sun, whilst 3. Light Iridescent which follows without a break, there is at first such as Mahler’s Fifth Symphony or Scriabin’s to cause vibrations in the soul.” and 6. Dark Iridescent portray the flickering an almost static mood, inner life staying Poem of Ecstasy. Though it has much light found before dawn and dusk respectively. below the surface, until at length a complex unexplored potential in the field of chamber His words could not resonate any more 4. Opaque and 5. Opaque Resonance are theme rises, initially, from cellos and basses music, it is most dominant in the concerto. succinctly than with my own experiences of based on the darkness of the night, whilst and eventually provides a full string texture. Unfortunately, we are missing at least one colour, since I am highly sensitive to both colour 7. Cerulean is a reflection on the serene, blue This is linked to the final quick section by a hundred years of concertos, from the Hummel and light, and have a synaesthetic approach sky of the day. The musical material of the short “quasi cadenza” for the trumpet solo trumpet concerto of 1803, to the French trumpet to composition with much of my music written piccolo trumpet and ensemble resonate in and bongos, and in the finale the music is concertos of the early twentieth century. This in response to visual artworks. unison as the work opens, pull gradually apart rhythmic, once again accumulating through CD recording represents the beginning, not towards the centre and find resolution as the the juxtaposition of various overlapping the end, of my trumpet mission: to expand Skyspace draws its inspiration from the work concludes. strands. At the close, the trumpet solo has the the repertoire and make amends for those kaleidoscopic ‘celestial vaulting’ experienced last word (or the last note). lost years. I hope that it offers an insight into within a James Turrell skyspace, where temporal © 2014, Deborah Pritchard the wonderful array of contemporary music and methodical exposure to shifting sky colours Two aspects of the instrumentation should be making in the United Kingdom, and a window through an aperture engages the observer La Primavera (2012) mentioned. One is that for the slow section, onto some of the myriad possibilities the with the rotation of the earth, making both John McCabe (b. 1939) the soloist uses a Flugelhorn, that beautiful trumpet can offer. Welcome to the first chapter colour and light almost palpable. Whilst the instrument beloved of brass bands and of our journey together. perceived sky colour has provided the stimulus The Trumpet Concerto La Primavera is so-called treated symphonically with great respect and for my work, it was not my intention to portray because the initial impulse for the piece came sympathy by Vaughan Williams – it was also the © 2014, Simon Desbruslais physical colour, rather the imagined colour of from considering two aspects of the coming instrument employed by Miles Davis, another the mind’s eye – with the music being composed of Spring: the exuberance and vitality of musician whom I greatly admire. In the slow Skyspace (2012) and constructed in the manner of colours, burgeoning new growth, and the flowering section, the music pays what I hope is a Deborah Pritchard (b. 1977) through the delicate layering and juxtaposition (literally!) of the new or refreshed life as it discreet homage to his jazz style. The other of various textures and timbres. expands. So the opening quick movement’s music point concerns the percussion, which in a In his book Concerning the Spiritual in Art, is quicksilver and mercurial, with much celebratory note in the score is requested to be placed, Kandinsky writes: “…colour is a power that Skyspace is constructed in seven miniatures, material as well as overlapping patterns if possible, at the front of the platform next directly influences the soul. Colour is the key- with each one depicting a varying sky colour: and a gradual increase in density – though to, or near, the trumpet soloist, since the - 4 - - 5 - percussion part is at times in the nature of Shakespeare Scenes by Simon Desbruslais for began the work. At the close, both solo and it was at once clear that I would pay tribute an obbligato. a concert with the Orchestra of the Swan, ensemble trumpets play the Lydian fourth simultaneously to both Simon and Shakespeare, Stratford-upon-Avon. above A, the latter echoing the soloist; when and that the work would be a counter-pole The concerto was commissioned by the the latter has ceased, the note is therefore to the earlier one. In place of Psalm’s Orchestra of the Swan, and is dedicated to The title Psalm refers obliquely to the collection heard continuing in the temporal domain and, continuous, evolving structure, Shakespeare Simon Desbruslais, who initiated the of Hymns/Songs in the Hebrew Bible (150 in in terms of harmony, the Lydian fourth over Scenes consists of five character pieces, unified composition, and to Robert Saxton and Tessa the Western Judaeo-Christian tradition); in A divides the octave symmetrically, both by means of the musical letters of Shakespeare’s Cahill, whose encouragement provided the Biblical times, these were frequently parameters symbolically illustrate the circular name acting as pitch centres across the starting-point for this composition. The first instrumentally accompanied and range from (and therefore, eternal) nature of the journey. cycle. During the period between Psalm and performance was given by Simon Desbruslais songs of despair to those of spiritual fulfilment Shakespeare Scenes, my musical grammar/syntax and the Orchestra of the Swan, conducted and praise. The ancient natural trumpet Whereas Psalm (the earlier ‘marker’) emanates has (consciously) become more intentionally by Kenneth Woods, in the Civic Hall, (Shofar or ram’s horn) and silver/metal from my Jewish background, Shakespeare integrated regarding modal/tonal root movement Stratford-upon-Avon on 15 June 2012. trumpets are referred to in various books of Scenes illustrates my English up-bringing than previously and each of the five pieces in the Bible (Old and New Testaments) and were (my paternal grandmother was a ‘convert the later work is a closed ‘cadential’ structure, © 2014, John McCabe allotted a variety of (liturgical) functions.
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