Written for players at the Centre for Young Musicians in London where the composer Gordon Carr taught for thirty years. Review: "Music for CYM (Centre for Young Musicians) Brass is an exciting piece that should be embraced by both young and more experienced brass quintets. The beginning of the first movement starts with some counter melodies and shared melodic material between the trumpets. This movement contains some very nice fanfare like figures that build toward the end and then die away. The texture of the first movement is angular with the horn, trombone and tuba providing a stiff ostinato that supports the two trumpets. It is marked Alla Marcia and has a very strict and pointed style. The second movement is in 6/8, marked Andante, and should be performed with a quasi legato articulation. Flowing muted melodies contrast the fanfares nicely. It begins a Moderato but moves quickly to Allegro. This movement has a frantic feel that should be played with a great deal of energy. Performers must be aware of the 7/8 and 5/8 bars. There are seven bars near the last half of the piece where the first and second trumpet are in syncopation with each other, requiring careful precision. The third movement changes meter from duple and triple to compound and to compound complex. It is frenetic and requires a hight developed sense of time on the part of the players. Generally, the piece is tonal by shifts tonality frequently. This composition is recommended for competent high school or young college brass quintets. It incorporates some well placed rests, keeping endurance issues at a minimum. Numerous syncopated rhythms require careful counting and concentration." – Southeastern Brass (the Louisiana University Student Brass Quintet) in the International Trumpet Guild, 2004
Gordon Carr was born in Matlock, Derbyshire in 1943 and educated at Dulwich College and the Royal Academy of Music where he studied the horn with Barry Tuckwell. He has enjoyed a varied freelance career, which encompassed playing with all the major London orchestras. As a session musician he played on the soundtrack of numerous films including 'The Boys from Brazil', 'The Spy who Loved Me' and 'Straw Dogs' and on the backing tracks of much pop music. As a soloist he appeared at the Wigmore Hall, on the South Bank and around the UK, Italy and Belgium. In his twenties he began to write music, and wrote several large scale works for the Locke Brass Consort whilst a member of this group. In all he has written in excess of 130 works. For thirty years he taught at The Centre for Young Musicians and throughout his career has coached and conducted on holiday music courses. Conducting engagements have been with The Locke Brass Consort, London Brass Consort, London Youth Symphonic Band, London Youth Chamber Orchestra, Royal Academy of Music Brass Ensemble, London College of Music Symphonic Band and the International Summer School Orchestra at Keele.
Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.
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 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.
The Planets Suite in Miniature is an attempt to take the listener through Gustav Holst's orchestral masterpiece in less than ten minutes using only five brass instruments. Only five of the seven most famous and recognisable melodies from the original are used, beginning, like the prototype, with Mars. The different movements appear in the same order as Holst wrote, although the rhythmic pattern of Mars reappears on occasion. The piece ends with a clash of interest as the two most well known movements, Mars and Jupiter, compete for the right to finish. The harsh sounds of Mars are heard first before the hymnal Jupiter theme is heard over the driving rhythm of Mars. Jupiter finally triumphs with the piece ending with one final verse of the tune used for the hymn I Vow To Thee My Country. This instantly recognisable arrangement by Thomas Chinery is both challenging and playable, and of a length that will not tire the players too much while at the same time maintaining the essence and power of the original music to ensure interest for both audience and players alike. A recording by the Argento Brass Quintet can be heard on http://www.youtube.com/watch?v=hGg1-pcHzrs
A beautiful melody for French horn, this famous tenor aria, arranged by Tom Whitehurst, is full of soul, passion and tragedy. Vesti La Giubba - put on the costume and prepare to laugh. For colleges conservatories, professionals, amateurs and community performing groups.