Ow'er 'igh Street (Jared McCunnie) - Major Work Score Preview

Описание: Ow'er 'igh Street
2nd Section Test Piece/Major Work for Brass Band by Jared McCunnie
Commissioned by Richard Harvey in celebration of the life of his Great Grandfather and citizen of Radstock (Somerset) - Samuel Lloyd Harvey (1 858-1 952)
Sample Recording by WFEL Fairey Band

Secure a copy of Ow'er 'igh Street at https://www.jaredmccunnie.com/owerigh...

ABOUT THE WORK
Ow'er 'igh Street, commissioned by Richard Harvey in celebration of the life of his Great Grandfather and citizen of Radstock (Somerset) - Samuel Lloyd Harvey (1858-1952), is a four-movement major work for brass band, employing selected folk songs from Somerset. Samuel significantly progressed the development of Radstock, through the exploration and reporting of local history, anthropology, geography and astronomy, while also being an author and composer.

Ow'er 'igh Street draws inspiration from Samuel's 1950 text of the same name, which tells of an aged and decrepit man's account of events in front of a Somerset inn. Infused with a series of folk tunes about young love, the composition is themed on the thrill and failings of British courtship.

Movement 1 (at 00:00) - Oak Apples & The Two Magicians: Opening with Britannic splendour, principal euphonium takes the role of the elderly gentleman, singing Harvey's composition 'Oak Apples'. Upon reaching its climax, the music is swept away into a vivid account of 'The Two Magicians', a song about a metamorphosing couple, with the male suitor transforming into the prey of the female. Listen out for some of the animals (including the duck and the fly!)

Movement 2 (at 03:21) - As I Walked Through the Meadows: Bellowing tubas open the ballad, singing of a more chivalrous gentleman who succeeds in suiting a young lady. The wedding bells are heard ringing as they celebrate their nuptials.

Movement 3 (at 06:04) - Sweet Kitty & Hares on the Mountains: The narrative flips to the females' perspectives, oft aggrieved with male advances. Propulsive and sassy, the music culminates to a peak tension point. Unfortunately, their narrative succumbs to the inevitability of wedding bells and their unwanted suitors.

Movement 4 (at 09:35) - Lord Rendal: The final account is of the upper class in Lord Rendal, who has unfortunately been poisoned by his partner, and being comforted by his mother. His spiteful bequest for his lover before his death leads the work to its conclusion, culminating the opening's Britannic splendour, a brief hint of 'Light's Abode, Celestial Salem' (a hymn performed at Samuel Harvey's funeral) and a number of the songs from throughout the composition.