Pickard’s
compositions to date include choral, orchestral, chamber, instrumental, vocal
works as well as a number of works for brass, in particular the two works for
brass band featured on a new release from BIS Records www.bis.se ,
Eden and Symphony No.4 ‘Gaia Symphony’.
SACD BIS - 2061 |
Eikanger-Bjørsvik Musikklag http://ebml.no brass and percussion ensemble are based in Lindås, Norway. They are probably the best known brass band in Norway having won the Norwegian Brass Band Championships fifteen times. Here they are directed on this disc by the Swedish conductor, Andreas Hanson. http://onstageartists.com/andreas-hanson-uk Hanson is one of Scandinavia’s most established conductors having conducted all of the finest Swedish orchestras such as Kungliga Filharmoniska Orkestern in Stockholm, Sveriges Radio Symfoniorkester, Malmö Symfonirorkester as well as conducting opera and ballet at, among others, Kungliga Operan in Stockholm. He has been engaged as a guest conductor in Russia, Great Britain, Poland and Lithuania. In 2000 he made his debut in London at a Proms-concert.
In 2005 John Pickard was commissioned to compose the test
piece for the finals of the 2005 National Brass Band Championship, held at the
Royal Albert Hall, London. This piece, Eden for brass band (2005), has
since been performed all over the world and is widely acknowledged to be one of
the finest works written for brass band. Pickard tells us in his excellent
booklet note that the work is prefaced by the final lines from Milton’s
Paradise Lost. It is in three linked sections, the first representing Adam, Eve
and the serpent; the second, an interpretation of the Eden story as a modern
metaphor for the havoc inflicted on the world and the third a lament.
The work opens with the instruments of Eikanger-Bjørsvik
Musikklag slowly joining against the tinkle of a bell, giving very much the
feel of dawn. Rich deep lower brass add
a richness as the music gently moves forward in short surges. Pickard’s use of
his instruments is skilfully done, beautifully orchestrated. The music moves
from rich sounds to passages of great luminosity. Soon there are courser, rasping,
agitated, sounds with a trombone leading the ensemble. Drums beat out as the
music becomes increasingly dramatic with further percussion joining as the
music drives forward, full of energy. Later a trombone takes on a jazzy feel as
the music is driven along, achieving a tremendous pitch with playing of supreme
virtuosity. Eventually a tolling bell introduces a slow section full of regret
and sorrow. The rich, lower brass enter as the music seems to gain a reflective
air before building again in dynamics as the coda is reached, surely giving a sign
of hope. The work concludes on a settled final loud flourish.
This is a beautifully structured piece, full of fine
orchestration and colourful ideas.
The sixty five minute Symphony
No.4, ‘Gaia Symphony’ for brass band
and percussion (1991-2003), was first heard in its complete version at the
2005 Cheltenham Music Festival. Gaia was the Greek goddess of the earth. Wildfire and Men of Stone were the result of earlier individual commissions. Tsunami and Aurora followed, later connected by three short movements entitled Windows to form the symphony. The Windows are openings in the continuous
brass sonorities to offer a glimpse of another sound world built of percussion.
Tsunami has a
forceful opening followed by a steady beating rhythm from the timpani over
which the band slowly build a theme. Soon a more animated section arrives with
the music dancing around against percussion, full of syncopated, dramatic
music. The music quietens momentarily but soon picks up to a violent forward
thrusting pace before falling to a longer sustained hushed section. Cymbals
appear to give the sound of water as individual instruments quietly join with a
stillness and tension as a drum beats quietly. Eventually the drum beat speeds up
and becomes more dominant as the music regains its dynamic, violent nature,
going through a number of surges, growing in strength to lead into Window 1 (Water – Fire) where drums and
percussion hammer out a primeval rhythm that shows the ensemble’s percussion
section to be first rate.
We are led straight into Wildfire
where staccato brass outbursts are interspersed by longer held passages. A side
drum drives the music forward with brass outbursts before more of a forward
momentum is gained with some extremely fine playing from this band. Soon a
quieter, slower section arrives but the music slowly builds again with
increased rhythm and dynamics and some particularly fine orchestration. There are quieter moments, full of increasing
tension, as the music pushes forward to the colossal coda that ends with
strange tapping sounds from the percussion as we are led into Window 2 (Fire – Air) where repeated
tapping leads to the entry of drums that take over in a faster rhythm before a
variety of percussion instruments have their say, bringing a variety of
textures. Eventually the music falls to a tolling bell with tinkling bells
adding to the texture as we are led into the next movement.
Aurora brings a
peaceful passage with mellow brass as higher instruments emerge from the background
bringing a sense of light. There is a lovely rising and falling passage and
some gloriously written hushed passages, beautifully played. Timpani then point
up a rhythm, leading the ensemble to a faster pace and rising to a series of
climaxes, finely pointed up by surges of percussion. Eventually the music falls
with a return of the mellow brass of the opening, becoming quieter in the
magical coda and leading into Window 3
(Air – Earth) where a drum taps a short motif before a bell chimes and a
vibraphone subtly joins. The music rises in dynamics a little in this strangest
and most inventive of sections.
The final movement, Men
of Stone is in four linked sections. It rises quickly to an outburst in the
opening of Avebury (Autumn, morning) before
a lone cornet plays a lovely melody. Soon there is another surge from the full
ensemble before building, with lovely little brass decorations, to the final
climax and speeding into Castlerigg
(Winter, afternoon) a rhythmic, dynamic section with violent drums, full of
fierce energy that falls, falteringly to Barclodiad
y Gawres (Spring, evening) a lovely section, a complete contrast to Castlerigg with some glorious moments,
full of exquisite colours and textures as a spring evening is depicted. The
music rises in passion before quietly leading into a rhythmic drumming passage,
with snarling brass, as Stonehenge
(Summer, night/dawn) appears, full of primeval violence. The music falls
with a sense of menace still remaining before an outburst followed by surges of
brass lead to the dynamic coda.
This symphony is a tremendous achievement both by composer
and the band. At times one forgets that one is listening to a brass band such
are the colours and textures and sheer brilliance of Pickard’s writing.
As for the performances, they are absolutely first rate. To
call this band amateur seems inappropriate such are their skills. The recording
is well up to BIS’ high standards, allowing every little detail and texture to
emerge. There are informative booklet notes from the composer. By including the
related work, Eden, BIS have given us
a very generous 81 minute disc.
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