A Border Composer's Blog

Athene Promachos. Mov. 4. Symphonic Wind Band Symphony No. 1. The Hellenic. 2021

Border Sketches. Suite 2. Birds of Berwick. For clarinet and piano.  

Berwick is full of birds. One of my favourites is the sparrow. I love it when hedgerows are filled with a large gathering of sparrows. They chatter loudly and dart about bushes manically and they are always unpredictable. There is also something rather jolly and happy about their socializing. In Berwick, the locals call them ‘spuggies' which seems to capture their character. When I composed ‘Spuggies’ I had the intention of putting the music to a video of busy spuggies. 

 

Border Sketches 

Border Sketches is a collection of suites inspired by the beauty and history of Northumbria. What today comprises North England and South East Scotland, (the Borders') in ancient times was The Kingdom of Northumbria.

The first suite, Paxton House, was composed in 2020 during the Covid-19 pandemic. During the various restrictions imposed in 2020, I was able to organise small groups that could perform outside.  We performed in Paxton House on August 7th 2020. The size of the group was limited, we had to be outside and socially distanced. What strange days! However, it was a beautiful day and Paxton looked glorious!

Birds of Berwick

This is the second suite of Borders Sketches. It was composed in 2021 for clarinet and piano. Berwick is full of birds including blackbirds, sparrows, seagulls, oystercatchers, cormorants and gannets. Until recently we even had a parakeet. However, one of my favourite birds, especially in spring, is sparrows.  In Berwick. ‘sparrows’ are known affectionately as ‘spuggies.’

Coastal Dispositions

The third suite was composed in 2021. It is scored for solo French horn and an ensemble of horns. I felt the horn, with its extensive tonal range was best capable of capturing the sea in all its moods. 

 

The Arabella. A Concerto for Trumpet (B flat) and Concert Band 

I started the Arabella in late 2022, however, it was a bad year and it lay ‘on the shelf’ for some 12 months. I restarted the piece in November 2023 it was completed on January 1st, 2024. Of course, I say finished as there is always something you can find to change. The work is in sonata form and starts with an introduction, ‘Baroque’ (or maybe Classical) in atmosphere. The second subject is in the minor key. Next, there is a shift to the major key and a jaunty, new theme, a codetta, is introduced which leads into the repeat of the exposition.  This new section makes a break from the earlier style and is a little tongue-in-cheek. 

The development progresses through a string of key changes and directly into the jaunty section, which I find exciting. The recapitulation leads to the second subject and then uses the codetta material to reach a rousing climax. 

The movement contains themes which appear contradictory but I feel the balance is good and that the piece ‘works.’

The Arabella is dedicated to Jeremy Brown, who lives in Tweedmouth. Berwick upon Tweed.

Movement two is now in progress. 

Athene Promachos. Mov. 4. Symphonic Wind Band Symphony No. 1. The Hellenic. 2021

The History

Athene Promachos was a 30ft high statue bronze statue sculpted by Pheidias. It was erected in 456 BC. ‘Promachos’ meant ‘fighting before’ or ‘in the front line.’ This was Athene’s guise as the defender of the city.  It was either erected to memorialize the Battle of Marathon (480 BC) or The Peloponessinam Wars. Athene faced towards the island of Salamis where the City was evacuated to before the first Persian Invasion in 480. Xerxes fleet was defeated at Salamis by Themistokles.  We know battle trophies from the Peloponnesian War were placed at the statue's base. Athene Promachos stood between the Propylaea and the Parthenon and would have been visible from afar. It would have been an incredible, majestic sight from any location in the city. Indeed, Pausanias tell us the first glimpse of Athens from approaching ships was the reflective glint of Athene’s helmet and the tip of her spear. The statue stood on top of the Acropolis for over 1000 years. 

The Music

Although the final movement, its evolution began back in 1980-81 while I was at Kneller Hall. The material used in the works restructuring in 2021, is both new and draws on motives from other movements. Athene Promachos opens with a subdued rising motive adapted from Paralos. A horn melody appears over the rising motive which is in the aeolian mode. It is a few hours before dawn and Athene is silhouetted against the dark sky. At bar 37 the high woodwind introduces what will become an ostinato section. On two occasions the reflective mood is lifted by brief, brass passages; breaks in the cloud bathe Athene in the moonlight. The ostinato returns and is subject to eight variations with the ostinato shifting pitches and keys. The ostinato draws to a close and there is a return to the original subdued mood. At the base of Athene’s base are piled the trophies from battles commemorating victories and reminding us of the victims of war. Sunrise is approaching! The eye is drawn upwards where rays of light dance over the bronze body of Athene. The opening theme of the first movements reminds us of the significance of Athene as the City’s protector. The sun intensifies. The brass announces the arrival of day and Athene is revealed in all her glory. Material from the movement’s opening is used here. And then, a change of key, a bright key, as Athene’s helmet dazzles in the sun. Almost aligh, Athene’s spear tip and helmet cast their fire far out to sea; a glorious beacon for seamen returning home.   Noble Athene, the protectress of the city, and a symbol of the glory of the emerging Greek world.

The Hellenic Symphony (for symphonic wind band) is published by Larch Music and can be purchased as an entire symphony, or in individual movements.