Informationen zu "Granville Bantock Arr: David Heyes Dance of Witches Double Bass Trio"
Verlag: Recital Music
Verlagsnummer: RM1075
EAN: 9990093814541
Beschreibung
'I first came across the music of Granville Bantock (1868-1946) when I was
about 18 years old. If memory serves me well, The South Bank Show broadcast a
television programme about the City of Hull Youth Orchestra recording
Bantock's Hebridean Symphony and I was immediately taken with the wonderfully
evocative and beautifully epic music. Although his name and music have
gradually fallen from the radar, he was a very successful and important
musician in his day, combining his skills as a composer and conductor
alongside the role of Principal of the Birmingham and Midland Institute
School of Music. He was knighted in 1930, was influential in founding the
City of Birmingham Orchestra (which became the City of Birmingham Symphony
Orchestra) and both Jean Sibelius and Edward Elgar dedicated works to him.
One of my prized possessions is a biography of Granville Bantock, written by
his daughter Myrrha, and first published in 1972, and is probably the only
book written about this important and fascinating musician in British musical
life. Some years ago I discovered a bassoon trio by Bantock which I thought
would transcribe well for double basses but, as his music didn't come out of
copyright in Britain until 2017, I didn't think any more about the piece
until earlier this year. Bantock had composed the incidental music for
performances of Shakespeare's Macbeth in 1926, scored for 3 trumpets, 3
trombones, 3 bassoons, drums and 2 pipes, and the following year rewrote or
adapted his 'Dance of Witches: Rondo for 3 bassoons or cellos'. He must have
thought well of the music because he also composed a Macbeth Overture for
orchestra in 1940, also based on the incidental music from the play. 'Dance
of Witches' is in one extended movement, with three clearly defined sections,
which are inventive, dramatic and colourful. The piece gradually gains in
speed and momentum with something of interest for each player, and effective
musical contrasts between shorter fast notes and more lyrical phrases. It
reaches a climax with all three bassoons playing the highest note of the
piece followed by a two octave descending chromatic scale played in canon,
marked fortissimo, falling into the lowest register with a diminished chord
which dies away. This is followed by snatches of a short rhythmic motif,
passed from player to player, ending quietly and simply. The original key of
C major/A minor was good for bassoons or cellos but too low for double bass
trio and maybe an octave higher was not the best choice either. My original
compromise was G major/E minor - a 5th higher than the original version,
which seemed like a good choice. A few weeks ago I typeset the score and
parts, ready for publication, added a few judicious pizzicato notes and
passages to create tonal variety but, as I was writing this blog, I realised
that F major/D minor were better keys and, having transposed the computer
score, I knew this was the best choice. A few short passages and notes have
been changed enharmonically, otherwise it's the same as the original but now
in a new key. The piece uses a three octave range of the double bass trio and
hopefully makes a useful and accessible addition to the transcription
repertoire. If you like the piece listen to some of Bantock's orchestral
works - he was amazingly good but slightly forgotten today. I'm sure he would
have thought the bassoon trio was nothing but a 'trifle' or completely
insignificant when compared to the grandeur of much of his orchestral music,
but the signs of a master composer and craftsman are ever present in the trio
and this might be a good introduction to a fascinating composer who knew the
leading composers and musicians of his day.' [David Heyes / 13 December 2019]
