Danson, Alan

Composed for the Peartree Trio of Peoria in the U.S.A., each miniature is a musical character in terms of styles, settings and trends of yesteryear and today. The Knot Garden evokes the ornate design of gardens of the Elizabethan age and contains many turns and ornaments, providing a good platform to demonstrate the unique blend of double reed players. At the other extreme Double Reed Workout in 7/8 time gives trio members a consistent work out of parts and a modern feel to this historical combination of instruments. The Old Eccentric with ungainly intervals, melodic lines and little turns of phrase represents an old world of mustaches, monocles and old Bentleys. The closing movement Concert Champetre is a playful Gigue in the mood of Champetre times of the past.

Composed for the Peartree Trio of Peoria in the U.S.A., each miniature is a musical character in terms of styles, settings and trends of yesteryear and today. The Knot Garden evokes the ornate design of gardens of the Elizabethan age and contains many turns and ornaments, providing a good platform to demonstrate the unique blend of double reed players. At the other extreme Double Reed Workout in 7/8 time gives trio members a consistent work out of parts and a modern feel to this historical combination of instruments. The Old Eccentric with ungainly intervals, melodic lines and little turns of phrase represents an old world of mustaches, monocles and old Bentleys. The closing movement Concert Champetre is a playful Gigue in the mood of Champetre times of the past.

The first in a series of three, each movement of these arrangements by Alan Danson presents a 'quasi cameo' of the character of its American origins. Ragtime Cakewalk suggests the essence and style of this type of dance through the chuckling cor anglais, solid bassoon accompaniment and counter line on the clarinet. In Cowboy's Toon the bassoon provides a laid back foundation, whilst the clarinet and oboe duet side by side with a line incorporating some of the bending tones one might expect to hear from the cowboy's drawl. In Barn Dance a sense of team enjoyment is portrayed, with the clarinet line accompanied by high jinks, vocal calls and clapping from the Cor Anglais and Bassoon.

The first in a series of three, each movement of these arrangements by Alan Danson presents a 'quasi cameo' of the character of its American origins. Ragtime Cakewalk suggests the essence and style of this type of dance through the chuckling cor anglais, solid bassoon accompaniment and counter line on the clarinet. In Cowboy's Toon the bassoon provides a laid back foundation, whilst the clarinet and oboe duet side by side with a line incorporating some of the bending tones one might expect to hear from the cowboy's drawl. In Barn Dance a sense of team enjoyment is portrayed, with the clarinet line accompanied by high jinks, vocal calls and clapping from the Cor Anglais and Bassoon.

Five sea shanties arranged by Alan Danson, each presented with a little twist. The clarinet provides a stomach lurching rolling motion in Blow the Man Down while bended tones on the cor anglais and bassoon provide a quasi queasiness to the arrangement. Set in a stoic march mood The Mermaid has the members in antiphonal fanfares at the close of the setting, along with the occasional (intended) mis-pitched flattened 7th on the Clarinet, while 'Drunken sailor' is given an up tempo treatment with horn call references to the chase. Bobby Shaftoe is in true dancing mood, with a beguine feel to the middle section before ending the shanty with toe tapping togetherness.

Five sea shanties arranged by Alan Danson, each presented with a little twist. The clarinet provides a stomach lurching rolling motion in Blow the Man Down while bended tones on the cor anglais and bassoon provide a quasi queasiness to the arrangement. Set in a stoic march mood The Mermaid has the members in antiphonal fanfares at the close of the setting, along with the occasional (intended) mis-pitched flattened 7th on the Clarinet, while 'Drunken sailor' is given an up tempo treatment with horn call references to the chase. Bobby Shaftoe is in true dancing mood, with a beguine feel to the middle section before ending the shanty with toe tapping togetherness.