No er det snart klar for ny brass-tevling i Grieghallen, og vi er i full gang med å øve inn vårt repertoar.
Det vår kunstneriske leder, Andreas Hansson, som dirigerer Bjørsvik under årets NM for brass.
Andreas har fokus på musikken; kva vi skal formidle og instruerer korpset på ein måte som får alle til å dra i samme retning. Til dømes ved bruk av bilete og historier for felles forståelse av korleis vi skal forme musikken. Vi gler oss til spele repertoaret i Grieghallen.
Fredag 3. februar – treknina finn stad fredag 3. 09.45
Pliktnummer: Variations on a Theme of Michael Tippett av ulike komponister
Processional Michael Tippett (arr. Hindmarsh)
Danse des Amis Bramwell Tovey
Midsummer Song Edward Gregson
Scherzettino Michael Ball
Collage Elgar Howarth
Birthday Fugue – Finale Philip Wilby
Devised by Paul Hindmarsh to celebrate the centenary of Sir Michael Tippert in 2006, this unqiue collaboration between five leading creative voices in brass band music of recent years also celebrated the 60th and 70th birthdays of two of its contributors, Edward Gregson and Elgar Howarth. Philip Wilby pays birthday tributes in his dramatic fugal finale. The theme is taken from Tippett’s opera The Midsummer Marriage, and it also appears in his Birthday Suite for Prince Charles (1948), scored predominently for brass.
The work was written for Foden’s Band and Bramwell Tovey to perform at the 2006 RNCM Festival of Brass in Manchester (UK). The same artists have also recorded it for NMC. Variations on a theme of Michael Tippett is a demanding work that has techncial and musical challenges appropriate to Championship Section brass band competitions, while also possessing considerable audience appeal.»
Laurdag 4. februar klokka 15.45
Sjølvvalt: Dances and Arias av Edward Gregson
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.
Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance – Aria I – Dance (scherzo) – Aria II – Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.
The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.
The work is dedicated to my brother and sister.