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作曲:Peter Graham
出版公司:Gramercy Music


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艾薩克·牛頓寫給羅伯特·胡克的信,1676 年 2 月 5 日



作品繼續以attacca來進行一首輓歌,以此紀念美國作為爵士樂發源地兩個重要的銅管大師 – 邁爾斯戴維斯(通過吉爾埃文斯為他創造的聲音世界) – 以及抒情長號之父演奏湯米多西。爵士樂起源於黑人靈歌,福音歌曲《Steal Away》也為此奠定了基礎。

最後一曲〈Fantasie Brillante〉向世紀之交的 Sousa Band 銅管演奏家致敬。樂章的核心是赫伯特·L·克拉克 (Herbert L. Clarke)、亞瑟·普賴爾 (Arthur Pryor) 和西蒙娜·曼蒂亞 (Simone Mantia) ,講述了他們最偉大的獨奏片段(同時順便提到了Sousa Band收入最高的獨奏家—鼓手奧古斯特·赫爾梅克)。接著引導到一系列合奏強力和弦,代表此曲音樂意像中的巨大腳步聲。最後,以銅管樂隊比賽的性質為這部作品帶來了戲劇性的結尾。
《站在巨人的肩膀上》是由 The Cory Band 和威爾士國家青年銅管樂隊委託創作的,並得到了威爾士音樂中心的額外資助。該作品是為 2010 年第 158 屆英國銅管樂隊公開賽而出版的。

“If I have seen further it is by standing on the shoulders of Giants”
Letter from Isaac Newton to Robert Hooke, 5 February 1676

The art of brass playing embraces a range of diverse approaches and styles. Nowhere is this more apparent than in the musical melting pot of the USA. On the Shoulders of Giants pays tribute to this diversity and to the great American brass virtuosi whose legacy has provided the foundation for countless brass giants of today.

The opening movement, Fanfares, reflects on the legendary Chicago Symphony Orchestra brass section. It has been suggested that the much-admired and distinctive style of the CSO Brass was initially driven by the Germanic repertoire favoured by the early music directors. Here the opening bars from the finale of Bruckner’s 8th symphony provide the departure point for the musical journey.

The work continues (attacca) with an Elegy. America’s role as the birthplace of jazz and two of her leading brass lights are remembered here – Miles Davis (through the sound world created for him by Gil Evans) – and the father of lyrical trombone playing Tommy Dorsey. In acknowledgement that jazz owes its origins to Negro spirituals, the gospel song Steal Away underpins the movement.

The finale, a Fantasie Brillante, pays homage to the turn of the century brass virtuosi of Sousa Band fame. The centrepiece of the movement finds Herbert L. Clarke, Arthur Pryor and Simone Mantia stepping from the mists of time to deliver snippets from their greatest solos (together with passing references to Sousa’s highest paid soloist, drummer August Helmecke). Moments of individual virtuosity lead to a series of ensemble power chords – giant footsteps in musical imagery. Finally, an allusion to the “chess-like” nature of brass band contesting brings the work to a dramatic conclusion.
On the Shoulders of Giants was commissioned by The Cory Band and The National Youth Brass Band of Wales with additional funding from Ty Cerdd – Music Centre Wales. The work was published for the 158th British Open Brass Band Championships, 2010.