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
This arrangement of familiar nursery rhymes was intended as a means of introducing younger children to the medium of the brass quintet. Each rhyme is dressed in a musical identity, with each player given plenty of note activity. Some rhymes are slightly tongue in cheek while others are blatantly satirical. The work opens and closes with the rhyme Oranges and Lemons and the medley runs logically lasting for 5 to 6 minutes. It is an ideal encore item or light alternative to follow a quintet that might have challenged both performer and listener. A Medley of Rhymes for Five Brass is a popular addition to serious concert programmes.
This short piece was composed for the 15th anniversary celebrations of the Mainstreet Brass quintet in the U.S.A. It is an ideal opener for a variety of occasions. The work is tonal with some note clusters, providing a contemporary edge to its character, while its style alludes to the French school of writers. Following an expectant and anticipatory opening it builds to the main Allegro middle section of the piece. The work closes with echoing references, over a dominant pedal, to the main theme.
This arrangement by Gary Hunter of Schubert's Adieu portrays the song in a different colour. Written for brass quintet, the song remains lyrical and easy on the ear, and is ideal for church settings and general concert performances.
The Swan is the most famous movement from The Carnival of the Animals, usually represented by the 'cello which emulates the swan elegantly gliding over the water with only its reflection for company. In this arrangement for brass quintet it is the trombone with its lush tenor sound, that should be played in the style of Tommy Dorsey, that gives the swan its grace. The other instruments accompany the trombone with rolling chords which represent the feet of the swan hidden beneath the water propelling it along. This powerful melody will leave your hair standing up and a tear in your eye.
Written for Thames Brass, a successful professional brass ensemble in which the horn player at the time was one of the composer's former students. Having spent much of his life as a horn player, and having also had the honour of working with the finest players, in Movements for Brass the composer explores the sonorities of brass in a way that is rewarding to play.