Liverpool’s Heritage concert details announced...

Discussion in 'Bandroom News - User Submitted' started by TheMusicMan, May 13, 2007.

  1. TheMusicMan

    TheMusicMan tMP Founder Staff Member

    [imgleft]http://www.themouthpiece.com/images/tmp_news_icon.gif[/imgleft]Liverpool Philharmonic Hall July 10th 2007

    A celebration of 800 years of our great city seen through the composing talents of Liverpuddlian composer Phil Lawrence and how being born in Liverpool made him a composer! The programme boasts several premiers.

    The concert is to be recorded live by BBC Radio Merseyside and compéred by Roger Phillips.

    BLAZE Trumpet Concerto (2nd UK performance), “The most difficult yet musical concerto for the trumpet I have ever heard” ITG: Soloist Richard Marshall (Solo. Black Dyke Mills Band)

    Poets Love of Life & Death. World Premier. For Mezzo & Band. Soloist Margaret McDonald (mezzo) & The Fairey Band.

    Liverpool’s Heritage, 200 Choir & Band Premier. A work that charts the very beginnings of our city From 1004 to present day

    All other works in this concert are new arrangements by Phil Lawrence Inc.

    Verdi, Mahler, Mendelssohn, Sinatra, Wiseman, Crocker, McCarthy, Cole Porter, Fauré & more.

    Massed Choirs from Liverpool Welsh Choral Union, Greenbank & Sudley Schools, Sefton Voices, LYC, members from the RLPC, Halle, Met. Cathedral Choirs.

    The composer will be interviewed by Angela Heslop on BBC Radio Merseyside June 6th.

    Main Work: Liverpool’s Heritage

    Programme notes

    Move 1.
    A charter form King John in 1542 gave the port a special dispensation to take on all ships arriving to England. Thus began the special gate-way from the World. I quote all the main family names in almost a war-like chant that helped sculpt Liverpool's beginnings. The Moore's, Sefton, Derby, Stanley, Pictavensis. Saxons from 1004, Wulfric, Spott Earls of Mercia. Dark times without knowing the future? The opening is loud with shattering timpani, like birth, but also speculative as in questioning what will come, the end of the movement is very much a question mark!

    Move 2.
    The age of the tall ships and the overwhelming success of Liverpool as a No1 world trading port 1640's to 1790's. So the music here is quite ship/sea like (Flying Dutchman). And then, from over that very sea came the Irish. A composed a central gigue section, with lambake and tabor drums (not entirely unlike River Dance), ends in a positive manner knowing that the future of Liverpool will indeed be long and secure!

    Move 3.
    Composers do get the chance to make both social & political comment. Us composers will have a moan about society/government (like Shostakovich), but I guess I won’t be sent to the Gulag for this one? (Pontins, perhaps)! I had to grow up to see in retrospect in what Liverpool’s housing policy did to my family living in the Breck Rd area of Anfield in 1968/71. It indeed broke up the closeness of the extended family, not everyone had cars, and the old became trapped in a new and unfinished concrete jungle where public transport really wasn’t an option.

    A very dark opening a sad soloist tells how families in inner-city Anfield were systematically broken up and moved on so the council could break the stranglehold that private property owners/landlords had on the city. Music then breaks into quirky play-like jazz as the kids tell how they played in their beloved street games with their extended family around them.

    Then councilors came to inspect their clean houses to see if they were fit to go to places like Huyton, Kirkby, Skem & Cantrill Farm with no amenities, shops, or transport. The councilors have a, Ravel La Valse Ball Room tune to lure that law abiding respectful unquestioning generation away from their life time homes, neighbors and families. The solo singer returns to tell the tale of the broken families and how still some areas were never built on to this very day!

    Move 4.
    A modern day approach, a song, well, two Liverpool songs, the first in fragmented form. First we hear the first three notes from "Oh When The Saints" in a very "Walton'esque" tone, and later, all of, "You'll never walk alone" treated very differently in the band accompaniment. The song is dedicated to all those from and in Liverpool from the creative and industrial sector including thanks for my own musical upbringing, the arts, designers, sportsman & women, musical stage/theatre and screen, writers, architects, musicians, actors and comedians, modern industry, and most of all, musical education; may it never die in England’s greatest creative city. Liverpool!
     

Share This Page