This attractive and well laid out piece, by Essex composer Alan Danson, is generally tonal and contains interesting rhythmic interplay and changes of time to keep performers (and listeners!) on their toes.
This attractive and well laid out piece, by Essex composer Alan Danson, is generally tonal and contains interesting rhythmic interplay and changes of time to keep performers (and listeners!) on their toes. Review: "This work is in four contrasting movements, each one dedicated to a different aspect of time. The first movement, prefaced by the phrase Time, Time, Constant Time…. is pervaded by a gentle pulse, which propels it right from the beginning until its end. The harmonic language is colourful, but remains within the boundary of diatonicism. The music is well voiced, creating a full sound from the five-piece ensemble. The second movement is slower and more thoughtful in character, as could be deduced from the heading, which says Time Past: Memories, Sadness, Nostalgia. Following the classical pattern, the third movement, entitled Time Present: No Time! No Time! No Time! is a kind of scherzo, brash and rhythmic in style. Great precision is needed in fitting the jig-saw-like rhythmic elements together. The finale Time Future: Hope, Faith is lively and energetic in style, creating a rousing finish. Although brass quintets rely heavily on playing arrangements, it is also important to play original works. This work will provide a welcome addition to that original repertoire." – Stephen Wick, September 1994
Alan Danson's studies at the Royal Academy of Music in London were in Horn, Piano and Orchestration. After leaving college in 1974, he worked as a freelance horn player in West End shows, with Ballet companies, Symphony Orchestras and studios, whilst retaining his interest in composition. He has directed the Royal Philharmonic Orchestra in commercial work, worked as an arranger for BBC TV and composed for TV commercials. He is also involved in musical education. His development as a composer was as a result of his work experience in studying scores, observing compositional techniques whilst playing and directing groups, and composing for various musical combinations. See www.sounddimensionsmusic.com
Arranged by Tom Whitehurst, this is a joyful and descriptive solo for Tuba, as it tries to emulate the movement of an elephant. For secondary schools, colleges, professionals, amateurs and community performing groups.
Six movements, starting with Quick March which requires some fast and neat tonguing from all members of the quintet. The Polka which follows is full of colour and requires dexterous trumpet playing. The third movement Blues is a long way from a traditional New Orleans blues - with its melancholy mood and Debussy like harmony it is more like a small impressionist tone poem. Merry Waltz is followed by Preamble, a gentle, atmospheric piece at a leisurely walking tempo. The final movement of this suite Tarandtango (Tarantango) cleverly combines two dances, the energetic tarantella and the elegant tango, resulting in an exciting and virtuoso finale.
This attractive brass quintet based on the traditional sea shanty What Shall We Do With The Drunken Sailor opens with a fanfare followed by a main theme, first on trumpets and then on the horn. A series of linked variations follow, with the tune passed between the instruments in constantly changing tempos and styles. A strong rhythmic accompaniment keeps the sea shanty mood and the piece finishes with a showy flourish. Arranged by Eileen Clews, this light hearted work gives each player the chance to show off their instrument, so making it an ideal concert piece or a study piece for brass workshops.