Also available on CD - TIMOTHY REYNISH CONDUCTING:VOL 1 - UNIVERSITY OF KENTUCKY WIND ENSEMBLE 4949-MCD

Samurai (1995) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nigel Clarke United KingdomDiaghilev Dances (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kenneth Hesketh United KingdomDanse Funambulesque (1930) . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jules Strens BelgiumL’Homme Armé (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandConcerto for Wind Orchestra (2003) . . . . . . . . . . . . . . . . . Christian Lindberg Sweden

VOL 2 - UNIVERSITY OF KENTUCKY WIND ENSEMBLE 5347-MCDDances from Crete (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Gorb United KingdomGran Duo (2000) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Magnus Lindberg FinlandAwake, You Sleepers (2002) . . . . . . . . . . . . . . . . . . . . . . . . Laurence Bitensky USAPer la Flor del Lliri Blau (1934) . . . . . . . . . . . . . . . . . . . . . . . . Joaquin Rodrigo Spain

VOL 3 - ITHACA COLLEGE SYMPHONIC BAND 6733-MCD King Pomade Suite no 2 (1953) . . . . . . . . . . . . . . . . . . . . . . . . . Ranki Gyorgy HungaryElegy for Miles Davis (1993) . . . . . . . . . . . . . . . . . . . Richard Rodney Bennett UK/USASymphony of Winds (1981 . . . . . . . . . . . . . . . . . . . . . . . . . . . Derek Bourgeois UKBlackwater (2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fergal Carroll IrelandTails aus dem Voods Viennoise (1992) . . . . . . . . . . . . . . . . . . . . . . Bill Connor Wales

VOL 4 - ITHACA COLLEGE WIND ENSEMBLE 6804-MCDImprovisations-Rhythms (1975) . . . . . . . . . . . . . . . . . . . . . . . . Andreas Makris Greece/USAReflections (2000) . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Rodney Bennett UK/USAL’Homme Armé (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandResonance (2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandDances from Crete (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Gorb United KingdomMarsch (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marcel Wengler Luxembourg

THE ROYAL NORTHERN COLLEGE OF MUSIC WIND ORCHESTRA

CHAN 9549 Percy Grainger Works for Wind Orchestra Volume 1CHAN 9630 Percy Grainger Works for Wind Orchestra Volume 2CHAN 9697 British Wind Band Classics, Holst & Vaughan WilliamsCHAN 9805 German Wind Band Classics, Hindemith, Schoenberg, Toch & BlacherCHAN 9897 French Wind Band Classics, Berlioz, Schmitt, Milhaud, Bozza & Saint-SaensDOYCD 037 Morning Music - Midnight Music:Richard Rodney Bennett & Irwin BazelonDOYCD 043 Wind Music by Edward GregsonDOYCD 127 Wind music by Judith Bingham, Adam Gorb and Roger MarshKLAV 11152 Wind music by Nigel Clarke, Adam Gorb, Martin Ellerby & Geoffrey Poole

More information on Timothy Reynish visit www.timreynish.comFor info on recordings of WASBE Conferences in 1999, 2003, 2005, 2007, 2009 go to www.markcustom.com

2 11

INTRODUCTION

DEVELOPING AN INTERNATIONAL REPERTOIRE

Timothy Reynish writes:This is the fifth CD in my repertoire series aimed at making a wide range of international non-commercial repertoire better

known; it is the first which is a compilation of music drawn from concerts with different ensembles, recorded between 1998 and 2008.

A CELEBRATIONOf the six works on this disc, I have commissioned or published five, the odd one out being Adam Gorb’s exuberant

Adrenaline City, commissioned by the US Military; these recordings are being released as a triple celebration of the 75th birthdayin 2010 of Aulis Sallinen, of the award-winning works of Adam Gorb, and of British wind music of the past quarter of a century.

AULIS SALLINENThe Finnish composer Aulis Sallinen is one of the leading composers of his generation in the world today, and has

frequently been hailed as the natural successor to Jan Sibelius, but with eight symphonies, six operas, more than fourteenconcertante works, chamber and choral music, his music covers a far wider range than his illustrious compatriot. The PalaceRhapsody was written in 1996 in response to a joint commission from the Royal Northern College of Music and the College BandDirectors National Association.

ADAM GORBOn December 1st 2009, The British Academy of Songwriters, Composers and Authors declared Adam Gorb winner of the

award for the best Wind work in the year, the third time in five years; his Adrenaline City was the winner of this award in 2008and is the final piece on this compilation.

BRITISH WIND MUSICWhen I first went to the USA as a Churchill Fellow researching wind band and wind ensemble music in 1983, H. Robert

Reynolds gave me advice on developing repertoire:

All we can do is to make it better for the next generations.

Since the founding of WASBE and BASBWE in 1981, I have commissioned or published over one hundred works at everylevel of difficulty to try to make it better for the next generations. This disc is a small tribute to the dozens of composers and theirpublishers who have contributed new works to this vibrant and exciting repertoire.

I was delighted in the eighties to be able to publish the charming song settings of Buxton Orr in A John Gay Suite, followedby The Palace Rhapsody. I commissioned Adam Gorb’s witty Symphony No 1 in C in 2000 for a fortieth birthday party, (thefrequent stops in the scherzo and trio are aimed at catching out and embarrassing guests who were talking). Matthew Taylor’sBlasket Dances and Kenneth Hesketh’s Vranjanka are both part of the William Reynish commissioning series which started in2001, and the disc ends with Adam Gorb’s virtuoso Adrenaline City, a kind of son of his Awayday.

Professor in Woodwind and Brass at the Guildhall School of Music and Drama, and conducted the Wind Ensemble in a galaconcert at the Barbican, celebrating the 125th anniversary of the founding of the Guildhall. In the Spring of 2006 he was visitingProfessor at Ithaca College, in the Spring of 2009 visiting Professor at Cornell University.

His appearances in the USA have included conducting engagements at Universities of Arizona State, Bowling Green,Colorado, Connecticut, Florida State, Illinois, Iowa State, Ithaca College, Louisville, Michigan, Michigan State, Murray State, Syracuse,Stetson, Tennessee Tech, Texas at Austin, Texas Christian, Western Kentucky, Vanderbilt and Western Michigan.

www.t imreynish .com

TIMOTHY REYNISH ALSO CONDUCTS THESE FINE ENSEMBLES:

8477-MCD ROYAL NORTHERN COLLEGE OF MUSIC WIND ORCHESTRA, (UK)CLARK RUNDELL, TIMOTHY REYNISH, MARK HERON

Coogee Funk/Higgins - Deep Soul Diving/Howard - The Gilded Theatre/Hesketh - Kerala Reverie/Ward - Wasteland Wind Music/McNeff - Tranquility/Gorb

8469-MCD ROYAL NORTHERN COLLEGE OF MUSIC WIND ORCHESTRA, (UK)CLARK RUNDELL, TIMOTHY REYNISH, MARK HERON

Toccata Marziale/Vaughan Williams - An Elegy for Ur/Roxburgh

7211-MCD IRISH YOUTH WIND SYMPHONYJAMES CAVANAGH & TIMOTHY REYNISH, CONDUCTORS

Trumpet Concerto (I. Senza Sordino, II. Intermezzo Lirico, III. Rondo in Modo Classico)/K. Lendvay - Vranjanka/K. Hesketh -Prelude and Toccata/J. Kinsella - Image in Stone (I. Image in Stone (A Greek Grave stele from the first century A.D.), II. Death Be

Not Proud, III. Song, IV. On the Beach at Night)/S. McNeff - Samurai/N. Clarke

TIMOTHY REYNISH CLINIC FROM 2006 MIDWEST CLINIC

6787-MCD "The British Are Coming!" Great literature from Great Britain -Clinic

TIMOTHY REYNISH TRANSCRIPTIONS CAN BE FOUND ON THESE RECORDINGS:

5002-MCD TEXAS A&M UNIVERSITY-COMMERCE WIND ENSEMBLEBRADLEY N. KENT, CONDUCTOR

Wiener Philharmoniker Fanfare/R. Strauss - Occident et Orient, Op. 25/C. Saint-Saëns/ed. T. Reynish/B. Perry - Black Dog/S.McAllister - Fest Marsch from Tannhäuser/R. Wagner/trans. R.W. Rumbelow - O Magnum Mysterium/M. Laudridsen/trans. H.R.

Reynolds - Passacaglia (Homage on B-A-C-H)/R. Nelson

10 3

TODAY’S DILEMMA – WE CAN’T UNPICK THE 20TH CENTURY

In programming I look for emotion in music; I try to balance moods and styles, to provide contrast, to give players andaudiences points of reference, to match works and to draw on an international repertoire. I try to choose pieces which willchallenge the players and their audiences in four ways, emotionally, musically, intellectually and technically, pieces whichacknowledge developments of the past hundred years but which maintain contact with the public. It is very tempting forconductors, players and audiences to turn to well-tried pieces which provide safe listening.

The late Sir Michael Tippett once wrote:We all know that the big public is extremely conservative and is willing to ring the changes on a few beloved

works till the end of time, and that our concert life, through the taste of this public, suffers from a kind of inertia ofsensibility, that seems to want no musical experience whatever beyond what it already knows.....Surely the matter isthat the very big public masses together in a kind of dead passion of mediocrity, and that this blanket of mediocrityis deeply offended by any living passion of the unusual, the rare, the rich, the exuberant, the heroic and thearistocratic in art.

A leading British composer, Diana Burrell, spoke of her perception of the job of a composer:Try and find a language which doesn’t disregard everything which has happened in the twentieth century,

that does acknowledge Stravinsky and Schoenberg and Boulez, while being simple enough to work for the concerthall, or church, or for young people - the wider community in some way, but which acknowledges that this is wherewe are - we can’t go back. We can’t unpick the twentieth century.

Robin Holloway perhaps sums up the present state of a great deal of British music of today when he writes:I am trying to write music, which, though conversant with most of the revolutionary technical innovations of

the last 80 years or so, and by no means turning its back on them, nonetheless keeps a continuity of language andexpressive intention with the classics and romantics of the past.

I hope that this set of recordings might introduce new musical ideas into programmes of the future, and inspire conductorsto explore the incredible repertoire published in the United Kingdom in the last quarter of a century.

- Tim Reynish, December 2009

TIMOTHY REYNISH

Timothy Reynish has emerged as one of the leading conductors of wind bands and wind ensembles in the world. In thepast few years he has conducted many of the principal professional bands in Asia, Europe, North and South America; these includecivilian bands such as Dallas Wind Symphony, State of São Paulo Symphonic Band, Brazil, Volga Wind Orchestra of Saratov, Russia,Cordoba Symphonic Band, Argentina, Philharmonic Winds, Singapore, and leading military bands including the “President’s Own”US Marine Band, Staff Band of the Norwegian Army, US Military Academy West Point, Singapore Armed Forces Band, CroatianArmy Symphonic Wind Orchestra Zagreb, Hungarian Army Symphonic Band Budapest, Royal Military School of Music, Kneller Hall,and the Band of the Royal Marines, Portsmouth.

He comes to the wind world via a thorough grounding in orchestral music and opera, having studied horn with AubreyBrain and Frank Probyn and been a member of the National Youth Orchestra for six years. He was a music scholar at Cambridge,working under Raymond Leppard and Sir David Willcocks and held principal horn positions with the Northern Sinfonia, Sadler’sWells Opera (now ENO) and the City of Birmingham Symphony Orchestra His conducting studies were on short courses withGeorge Hurst at Canford Summer School, Sir Charles Groves and Sir Adrian Boult, with Dean Dixon in Hilversum and FrancoFerrara in Accademia Musicale Chigiana in Siena, where he won the Diploma of Merit. A prize winner in the MitropoulosInternational Conducting Competition in New York, he has conducted concerts with the City of Birmingham Symphony Orchestra,the Royal Liverpool Philharmonic Orchestra, the Hallé Orchestra, the BBC Regional Orchestras and the London SymphonyOrchestra as well as in Norway, Holland and Germany, and opera in Sweden.

In 1975 he was invited by Sir Charles Groves to become tutor for the Postgraduate Conducting Course at the Royal NorthernCollege of Music. Two years later he succeeded Philip Jones as Head of School of Wind & Percussion, a post he retired from after aquarter of a century. At the RNCM, he conducted a wide range of opera, including Marriage of Figaro, Zauberflöte, La Bohème,Erwartung, and several operas by Britten. With the RNCM Symphony Orchestra his performances included symphonies byBeethoven, Brahms, Dvorak, Tchaikovsky, Bruckner and Mahler, as well as many of the Strauss tone poems, Stravinsky’s Firebird,Petrouchka and the Rite of Spring, the Verdi Requiem and Tippett’s Child of Our Time.

He was awarded a Churchill Travelling Fellowship in 1982 which enabled him to study the development and repertoire ofthe American symphonic wind band movement. In the following two decades he developed the wind orchestra and ensemble ofthe RNCM to become recognised as one of the best in the world, commissioning works from composers including Richard RodneyBennett, John Casken, Thea Musgrave, Aulis Sallinen, Adam Gorb and Kenneth Hesketh, performing regularly in major Festivalssuch as Aldeburgh, Cheltenham, Huddersfield and Three Choirs, broadcasting for BBC and Classic FM, playing at three WASBEConferences and making commercial compact discs for Doyen, Serendipity and Chandos. He was President of WASBE, the WorldAssociation for Symphonic Bands & Ensembles from 2001 until 2002.

He has given clinics, lectured, guest conducted and adjudicated in Argentina, Belgium, Canada, Denmark, Estonia, France,Germany, Hungary, Israel, Japan, Norway, Oman, Sweden, Switzerland, Turkey and the USA. For ten years he was Editor of theNovello Wind Band & Ensemble series and he is now holds a similar post with with Maecenas Music. His engagements recentlyhave included concerts and conducting clinics in Brazil, Canada, Croatia, Latvia, Ireland, Israel, Sweden, Switzerland and the USA. In2000 he toured Australia and New Zealand, conducting and lecturing on British wind music, and in the Fall was a HousewrightScholar at Florida State University; in Spring 2002 he was Visiting Professor at the School of Music, Baylor University, Texas, andduring the Fall 2003 was Visiting Professor at University of Kentucky, Lexington. In the Fall of 2005 he assumed the post of Senior

4 9

THE MUSIC

A John Gay Suite (1972) Buxton Orr (1924-1997)Published Novello - Music Sales

Recorded by The “President’s Own” United States Marine Band on 22nd February 1998 at George Mason University, Fairfax, VA

1 Intrada 2 Romanza 3 Intermezzo 4 Finale

The composer wrote of the genesis of his John Gay Suite:The idea for this Suite came by the conjunction of left-over thoughts from a projected version of The

Beggar's Opera, which failed to come to fruition, with my first invitation to direct the Wind Band Course at theCanford Summer School in 1972. The first three movements were performed there and the completed four-movement work received its first performance at the conclusion of a Wind Band Course with the Bedfordshire YouthConcert and Wind Band in April 1973.

The opening movement is based on a crazily syncopated version of Lillibullero, a tune extremely popular especially in thetime of the revolution of 1688. Argument was rife about the political consequences of the popularity of this song, but suffice it tosay that it appeared in a number of ballad operas as well as The Beggar’s Opera, (1728), including The Livery Rake, 1733, DonQuixote in England by Henry Fielding 1734 and The Lover His Own Rival (1736). The second movement begins with a version ofa nursery song known to many as Golden Slumbers Kiss your Eyes; here Gay’s words are O Polly, you might have toy’d and kiss’dand the original popular tune is O Jenny, O Jenny, where hast thou been? There is a minor trio section based on Can love becontrolled by advice, based on the original song Grim King of the Ghosts.

The third movement sets a well-known tune Over the Hills and far Away, but the original duple time theme here hasmeasures in triple time, adding a certain piquancy: The setting is of Were I laid on Greenland’s Coast, and again there is an uptempo trio My heart was so free derived from the original setting of Pray, fair one be kind. For the finale, Orr uses the openingscene of Act 2, sung by Mat of the Mint and the chorus, in Orr’s hands a swaggering syncopated tune of great energy, Fill everyglass for wine inspires us, with a contrasting allegretto central section based on If the Heart of a Man, originally Would you have ayoung virgin? There is a short da capo of the syncopated Lillibullero and a rousing coda

- Program note by Timothy Reynish

Palace Rhapsody (1997) Aulis Sallinen (born 1935) Published Novello - Music Sales

Commissioned jointly by Timothy Reynish for the Royal Northern College of Music and the College Band Directors National Association

First performance was at the Cheltenham International Festival of Music on 6th July 1997 by theRNCM Wind Orchestra conducted by Timothy Reynish

Recorded by the Baylor University Wind Ensemble on 5th February 2002 in Jones Concert Hall, Baylor University, TX

Sallinen has viewed this new work in the vein of the Harmonie arrangements of 18th century opera and has based the piece on his very successful opera The Palace, deriving the composition, in rhapsodic form, from some of the main themes. The Palacewas commissioned by the Savonlinna Festival in Finland, premiered in 1995 and received its premiere in the original Englishversion at New York City Opera in 1998.

THE ENSEMBLES

Baylor University Wind Ensemble Director of Bands and Conductor, Eric Wilsonwww.baylor.edu

Baylor University in Waco, Texas, is a private Baptist university, and a nationally ranked liberal arts institution. Chartered in1845 by the Republic of Texas, Baylor is the oldest, continually operating university in the state. A twenty-eight-piece regulationmilitary band was organized in 1903 by Charles Parker as part of the university's R.O.T.C. program until the end of World War I,when the military division was dissolved and the organization became known as the Baylor Bear Band, becoming the Golden WaveBand in the spring of 1929. The Baylor University Wind Ensemble, organized in 1972, swiftly developed into one of the leadingUniversity Wind Ensembles in the United States.

SUNY Fredonia Wind Ensemble Director of Bands and Conductor, Paula Holcombwww.Fredonia.edu

The State University of New York at Fredonia was founded in 1826 as the Fredonia Academy, the first classes held with eightstudents. It became the New York State Normal School in 1867 and gained university status in 1948, when it adopted its presentname, and a growing reputation as the leading State School in New York for music and music education. Fredonia's School ofMusic has a strong tradition of musical and teaching excellence. Boasting some of the finest performance venues in Western NewYork, the student-centered campus emphasizes the arts with its programs and facilities, and the world-class faculty dedicatethemselves to helping students become excellent musicians whether they pursue careers in education, performance orcomposition, sound recording, music therapy or music business

Irish Youth Wind Ensemble Conductor, Ronan O’Reillywww.iywe.ie

The Irish Youth Wind Ensemble was formed in 1985 by James Cavanagh and Colonel Fred O’ Callaghan, one of the lastinglegacies of European Music Year 1985 when the Ensemble was one of many artistic initiatives in Ireland. To date, some 800 youngwind, brass and percussion players have participated in the Ensemble and have benefited greatly by the experience. The ensemblehas always had a policy of innovative planning, so that the vast majority of pieces in each programme have been either a Worldpremiere or an Irish premiere. Guest conductors have included Tim Reynish, John Wallace, John O Connor, Fergus O Carroll,William Halpin, Mark Armstrong and Wayne Jeffery.

The Royal Welsh College of Music & Drama Wind EnsembleHead of Woodwind, John Reynolds

www.rwcmd.ac.ukThe College is the National Conservatoire of Wales and a leading UK provider of specialist practical and performance-based

training in music and drama with over 550 students, both national and international. Founded in 1949, it was accorded Royal statusin 2002, and was recently granted planning permission for its £22.5 million development to build a new concert hall, theatre,drama rehearsal spaces and exhibition gallery to complement and enhance its existing high-quality performance facilities. The WindEnsemble was one of the first groups to give concerts at the College, and as well as a regular series of concerts in Cardiff, has alsoplayed at the Cheltenham International Festival and elsewhere.

8 5

The opera is a satire with dark undertones on the subject of authoritarian power - the libretto draws on two differentsources, borrowing characters from Mozart's opera Die Entführung aus dem Serail and ideas from Kapuscinski's novel TheEmperor, which recounts the fall of Haile Selassie, last Emperor of Ethiopia. While the score includes many of Sallinen's mostinfectious melodies, the undertones are ominous as the occupants of the Palace transfer power from one dictator to an equallytotalitarian authority. The music deliberately reflects the black comedy of the opera –exaggerated contrasts of style mirror thedramatic shifts of mood from bustling matter-of-factness to dark, bleak drama via ironic jazzy episodes of comic burlesque.

Symphony No. 1 in C (2000) Adam Gorb (born 1958)For 12 winds and double-bass

Commissioned by Tom Hill for a private party, premiered by the RNCM Wind Ensemble,conductor Timothy Reynish, 10 June 2000.

First public performance at the RNCM conducted by Clark Rundell, 28 June 2000.

Recorded by the Baylor University Wind Ensemble 2 May 2002 in the Jones Concert Hall, Baylor University TX

Allegro molto - Andante cantabile - Allegro molto e vivace - Allegro molto e vivace

The composer writes:For most composers, the prospect of writing their first symphony is a daunting one. The thought of

conceiving a large-scale work following the example of one of the great traditions in western music offers achallenge that many put off indefinitely and others never attempt. In writing my first symphony I have ignored thiscolossal weight of expectancy and written a party piece, which I think is appropriate as it was commissioned for afortieth birthday party. The symphony is designed as a companion piece to the Strauss serenade in Eb opus 7, and isscored for pairs of woodwind, four horns and double bass.

The mood is light and effervescent as befits an accompaniment to champagne and strawberries on asummer evening. The structural and thematic model of the piece is a very famous first Symphony in C by a certainL. van Beethoven. Towards the end of the fourth and final movement may be found quotations from othercelebrated symphonies in C. Your answers, on a postcard please, to ….

- Adam Gorb

Vranjanka (2005) Kenneth Hesketh (born 1968)Published Faber

Commissioned by Timothy and Hilary Reynish in memory of their son WilliamWorld Premiere by the Guildhall School of Music & Drama Wind Orchestra, BASBWE Conference

Conducted by Timothy Reynish at the Royal Northern College of Music Sunday 6th November 2005

Recorded by the Irish Youth Wind Ensemble on 8th July 2007, WASBE Conference, Killarney, Ireland

Kenneth Hesketh writes:Vranjanka (the title means "From Vranje," a town in southern Serbia, pronounced VRAHN-yahn-kah) is

loosely based on the traditional folksong Šano Dušo. The melody exists in two versions, one in 7/8 and one in 3/4. Ihave chosen the version in 7/8 and in doing so, have extended the melodic ideas of the original with new material.

evokes the cold expanses of Finnish landscapes. With a strong sense of national identity, Finnish traditional melodies often appearin Sallinen’s works, and the subject matter of several of his operas draws on the history and folklore of that country such asKullervo, based on the Finnish national epic, the Kalevala. His second opera, The Red Line, set against the backdrop of the firstFinnish national election, is perhaps his most successful, with productions in London, New York, Germany, Sweden andSwitzerland. His first work for wind, Chorali, opus 22, for thirty two wind, harp, percussion and celeste, was written in 1970. In 1981he was made a Professor of Arts for Life by the Finnish Government, enabling him to concentrate purely on composition and twoyears later, in 1983, he shared the prestigious Wihuri International Sibelius prize with Krzysztof Penderecki.

Matthew Taylor was born in London in 1964 and studied composition at Cambridge with Robin Holloway and at the RoyalAcademy of Music in London with Edward Gregson. Friendship with Robert Simpson proved inspirational, a debt Taylor continuesto repay by conducting Simpson’s music in concert and on CD – his account of Simpson’s Eleventh Symphony (which is dedicatedto Taylor) was selected as a ‘Record of the Year’ by BBC Radio 3 in 2004. Taylor’s brilliant and widely performed First Symphony of1985 led to commissions for orchestral, chamber and solo works, and his scores have been championed by orchestras, ensemblesand artists such as the BBC Symphony and BBC Scottish Symphony Orchestras, the Kreutzer, Dante and Schidlof Quartets, EmmaJohnson, John McCabe, Emily Beynon, Martyn Brabbins, Richard Watkins, the Goldberg Ensemble and many others. His catalogueincludes three symphonies, concertos for clarinet, horn, piano and double-bass, four string quartets, other substantial orchestraland chamber scores as well as numerous instrumental works and songs.

In the past decade, Kenneth Hesketh has developed an international reputation in many fields. For wind orchestra, hisMasque is an energetic overture, full of good tunes and exciting scoring, while an earlier work, Danseries, is a four-movementwork derived from Playford's Dancing Masters Tunes of the 17th century. Diaghilev Dances is a wonderful homage to theimpressionistic ballets of the early 20th century, early Stravinsky, Debussy and Ravel, marvellously scored with great solo partsespecially for subsidiary woodwind instruments. His Cloud of Unknowing is a richly scored work, with demanding parts for tunedpercussion, piano, celeste and harp, a rich sound world unique in the wind ensemble medium. Three other works emerged during2004, all published by Faber; Internal Ride, Whirligig and a Flute Concerto; his most recent work for wind orchestra is The GildedTheatre. He is prolific in orchestral and chamber music and was appointed composer in residence with the Royal LiverpoolPhilharmonic Orchestra in 2007.

Adam Gorb studied at Cambridge University and the Royal Academy of Music and has been on the staff at the LondonCollege of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of Schoolof Composition at the Royal Northern College of Music in Manchester. International recognition came in 1994 with the WalterBeeler Prize for his work Metropolis. With it began what has developed into one of the most important wind ensemble cataloguesby a contemporary composer, ranging from extremely challenging to the most accessible, seized on by players internationally,widely recorded and now absolutely central to the world's wind repertoire. Following Metropolis has been a steady stream ofworks at all technical levels, from the virtuosity of his Percussion Concerto, Elements, written for Evelyn Glennie, through thehugely enjoyable Yiddish Dances, Dances from Crete, Adrenaline City and Awayday to the music for amateur and school bands,Bridgewater Breeze or Eine Kleine Yiddische Ragmusik and music for educational purposes, Candlelight Procession orTranquility. The crucial and consistent feature of Gorb's work is that it communicates strongly without patronising players oraudiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; itis lost. He has won the prestigious British Association of Songwriters, Composers and Authors three times with Towards Nirvanain 2004, Adrenaline City in 2008, and Farewell in 2009.

The musical form of the piece is as follows: a fairly slow introductory section where the theme is only hintedat but never heard and a faster second section cast in a set of variations on the folksong. These are not variations inthe traditional sense, with clearly marked beginnings and endings, but ongoing developments of the various melodicmaterials in the folksong with original material 'growing out' along side.

The text for Vranjanka influenced the composition more often than not at an unconscious level, but it isincluded here for reference:

Sana, my soul, opens the door to me,Open the door to me and I will give you coins.

My heart is burning for you, Sana.Your fair face, Sana, is snow from the mountains,

Your forehead, Sana, is like moonlight.That mouth of yours, Sana, like a deep red sunset,

That eye, my darling, makes me burn.When night comes, marvellous Sana, I twist in sadness,

Your beauty, Sana, will not let me sleep.

Blasket Dances (2001) Matthew Taylor (born 1964)Published Maecenas – Music Masters

Blasket Dances, commissioned by Timothy Reynish, was written in memory of the courageous spirit which infused generations ofBlasket people and is dedicated to the equally courageous spirit of Will Reynish, who loved wild places – and wild ceillidhs.

Composed between August 2000 and April 2001 Premiered by the RNCM Wind Orchestra, conductor Tim Reynish, 27th June 2001.

Recorded by the SUNY Fredonia Wind Ensemble on 18th October 2007 in the Ford Concert Hall, SUNY Fredonia, NY

Introduction – First Dance - interlude – Second Dance – interludeThird Dance – interlude – Fourth Dance

Matthew Taylor writes:The Blasket Islands lie on the very fringe of Europe, exposed and unprotected in the Atlantic a few miles off

the Dingle peninsular in South West Ireland.. In its time, Blasket folklore was as rich as any in Ireland. On a visit I wasparticularly captivated by some recordings of solo songs and dances played by violin and accordion. Enthusiasticgrunts, cheers, tappings of feet and clinking of glasses frequently punctuated the songs, whose subjects embracedtime-honoured themes of love and nature

This work plays without a break A slow introduction evokes the Blaskets seen today from the mainland,craggy, deserted, yet strangely impressive, till the first dance is announced by clarinets, initially in the distance butgaining power and force with each subsequent repetition. A brief interlude, begun on horns and trombones, easesinto the second dance, based on an old Blasket love song. This is a theme and variations, the theme sharedbetween solo oboe and bassoon, while the other instruments enter successively to adorn the tune in two variations.

6

A second interlude featuring tuned percussion, leads into the Third Dance, a Romance, intoned by trumpets.The last interlude is the longest but the most contemplative in character. It comprises a calm chorale on trombones,tuba and flute, and a gentle fugato. A brief oboe cadenza leads into the final dance, a vigorous Blasket gigue, fullyscored, which gains energy and momentum as it progresses.

Adrenaline City (2006) Adam Gorb (born 1958)World premiere 3rd March 2006 at the Clarinet Summit, by the US Military Academy Band, West Point,

conducted by LTC Timothy Holtan

Recorded by the Royal Welsh College of Music & Drama Wind Ensemble on 27th November 2008, St Andrew & St Teilo Church, Cardiff, Wales

Adam Gorb writes:Adrenaline City is a concert overture, inspired by both the stress and vibrancy of twenty-first century city life.

It is in sonata form and is notable for a time signature in 10/8. The harsh and dissonant opening passage iscontrasted by a mellow second subject theme in the saxophones. The percussion come to the fore in the middlesection, and at the close of the work the harmonic tension reaches an exhilarating breaking point before resolving onthe tonal centre of A.

I am deeply indebted to Steve Grimo of the US Air Force Academy Band for getting this project together. Thebands involved in the commissioning of Adrenaline City include The US Military Academy Band, LTC Timothy J.Holtan, Commander, USAF Band of Flight, Lt Col Alan Sierichs, Commander, USAF Band of Liberty, Lt Col LarryLang, Commander, USAF Heritage of America Band, Maj Douglas Monroe, Commander, USAF Band of the GoldenWest, Capt Michael Mench, Commander, USAF Band of Mid America, Capt Donald Schofield, Commander.

THE COMPOSERS

Buxton Orr was a musician of wide-ranging skills and tastes. Born in Glasgow in 1924, he studied medicine, abandoningthis career for music, working with Benjamin Frankel, and like Frankel making a name in film and theatre music. Later hiscompositions included songs, chamber music, works for brass and wind band including a Trombone Concerto, orchestral musicand a one-act opera The Wager staged by the New Opera Company at Sadler's Wells in 1961 and subsequently broadcast. In 1965he joined the staff of the Guildhall School of Music & Drama and in 1975 founded the Guildhall New Music Ensemble. Between1970 and 1980 he was the conductor of the London Jazz Composers' Orchestra, touring England and Europe and taking part in the1972 Berlin Jazz Festival. His interest in music theatre led to his writing Unicorn, The Last Circus, and Ring in the New, the latterduring his period as Composer-in-Residence and Associate Director of the Music Theatre Studio Ensemble at the Banff Centre forFine Arts in Canada, and for which he and Michael Bawtree were awarded the Seagrams Prize of the American National TheatreNetwork in 1988. In 1990 Orr gave up regular teaching to devote more time to composition and remained active until his death onDecember 27th 1997.

Aulis Sallinen can be justly regarded as the natural successor to the greatest Finnish composer Jean Sibelius. His output iswide-ranging and includes eight symphonies, six operas, concertos and chamber music, and he has established a position as one ofthe leading composers of his generation. After early experimentation with serialism, he adopted a clear, diatonic style that often

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Records 10815 Bodine Road • Clarence, NY 14031-0406Ph: 716 759-2600 • www.markcustom.com • Support Music, Don’t Copy.WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.

A John Gay Suite Buxton Orr1. I. Intrada 3:362. II. Romanza 4:393. III. Intermezzo 3:074. IV. Finale 3:55

The “President’s Own” United States Marine Band

5. The Palace Rhapsody Aulis Sallinen 16:24

Symphony No. 1 in C Adam Gorb6. I. Allegro molto 3:487. II. Andante cantabile 3:558. III. Allegro molto e vivace 4:059. IV. Allegro molto e vivace 4:46

Baylor University Wind Ensemble

10. Vranjanka Kenneth Hesketh 8:09Irish Youth Wind Ensemble

11. Blasket Dances Matthew Taylor 14:10Introduction, First Dance, interlude, Second Dance, interlude, Third Dance, interlude, Fourth Dance

SUNY Fredonia Wind Ensemble

12. Adrenaline City Adam Gorb 8:38Royal Welsh College of Music & Drama Wind Ensemble

8655-MCD � 2009