Programme notes - 'The Holy Well' & 'Episodes and Fanfares'

Discussion in 'The Rehearsal Room' started by Bex_Euph, Dec 14, 2005.

  1. Bex_Euph

    Bex_Euph Member

    I need some help with my 3rd year performance programme notes. Does anyone know anything about the pieces-
    The Holy Well (From on Alderly Edge) by Peter Graham and
    Episodes and Fanfares (for unaccompanied euphonium) by Stuart Scott.
  2. brassneck

    brassneck Active Member

    - only found a little about Stuart Scott, but there is an email address for him (if it's still active) ....
  3. SoloBaritone

    SoloBaritone Member

    Hey mate.

    I did Episodes and Fanfares last year, if I can find my notes you can have them. Or if you look in the coursework room there might be some of my studies in performance work lying around that I haven't picked up yet.

    Jayne x
  4. Bex_Euph

    Bex_Euph Member

    Thanx Jayne
    They've gotta be in for fri though! Cant find anything about it can u remember anything? I will have a look in the coursework room. Ive emailed him as well thanx brassneck for that.
  5. SoloBaritone

    SoloBaritone Member

    I just made up stuff, not like me! Have you got the proper copy off Dave? I think there's some stuff written in there.

    I'll have a look when I get home tonight but I can't remember what I did with all my uni stuff when I moved house. I'll also ask Mark cos he's a big boc. What's your email address and I'll email you some stuff tomorrow if you like.

    Or, ring Dave cos he always helped me loads.

    Jayne x
  6. brass journo

    brass journo Member

    Hi Bex

    try all this info on Holy Well and Alderley Edge

    hope it helps


    The main theme from On Alderley Edge was commissioned for euphonium solo by Riki McDonnell. Recorded by both Riki and Morgan Griffiths of Yorkshire Building Society Band.
    Peter Graham has extracted this wonderful melody from his brass band 'test-piece' On Alderley Edge which was used at the National Brass Band Championships in 1997. The Holy Well is one of the landmarks on the Edge, a very ancient site. The arching melody demonstrates the lyrical art and control of our soloist to perfection.

    info on alderley edge:

    "The North Cheshire village of Alderley Edge is dominated by a 600 foot wooded escarpment (known locally as the Edge) where evocatively titled landmarks such as Wizard’s Well, Stormy Point and The Devil’s Grave have inspired storytellers for centuries.

    This work presents a musical portayal of many of these sites and also recalls some of the legends which have arisen from them. In dealing with the subjects of the forest, myths and folklore, parallels with the German Romantic Opera tradition became apparent to me and it seemed appropriate to draw upon sources and in some cases the language of that particular period in music history. Hence the references to Weber’s masterpiece Der Freischütz and the ideas of a redemption theme and the triumph of good over evil. This latter notion also have has a resonance with the brassband test-piece tradition of Perccy Fletcher, Cyril Jenkins et al. It is therefore perhaps doubly fitting, as we approach the millenium, for a nostalgic reminder of both the ethos and style of this period in the development of the brassband repertoire.

    The music itself could be considered to be a series of tone pictures. The Armada Beacon (the highest point on the Edge from where the advance of the Spanish Armada was signalled) presents some musical fireworks with a Spanish twist. The timeless nature of the ancient Golden Stone (reputed to have mythical properties) is evoked by a chaconne while the machine-like drive of the Engine Vein Mine is represented by a meccanio section. The Holy Well is outlined by the redemption theme (a pastiche aria) while in Stormy Point fragments of the Dies Irae can be heard against the brooding storm music. The Devil’s Grave (making reference to the Wolf’s Glen scene from Der Freischütz) completes the core of the work wich is framed by a Prologue and Epilogue.

    The Prologue sets the forest scene in the offstage horn call which also makes reference to the most enduring of the legends of Alderley Edge. A subterranean cavern is said to house a sleeping army who will rise if ever the country is in peril. Entrance to the cavern is by way of iron gates which are hidden in the landscape. Locals have their own ideas of the whereabouts of the gates and it is said that music (the horn call) from the cavern can still be heard at nights. In true local tradition I have signposted the entrance with a melody woven into the fabric of one of the landmarks. The mystery continues!"
    Peter Graham, June 1997
  7. Bex_Euph

    Bex_Euph Member

    Thanks love I will ring dave and ask him. My email address is
    ask mark as well for me. I need to get more organised!
    cu soon xxx
  8. Bex_Euph

    Bex_Euph Member

    thanks tabby