On the Shoulders of Giants

The opening movement, Fanfares, reflects on the legendary Chicago Symphony Orchestra brass section. It has been suggested that the much-admired and distinctive style of the CSO Brass was initially driven by the Germanic repertoire favoured by the early music directors. Here the opening bars from the finale of Bruckner’s 8th symphony provide the departure point for the musical journey.

The work continues (attacca) with an Elegy. America’s role as the birthplace of jazz and two of her leading brass lights are remembered here – Miles Davis (through the sound world created for him by Gil Evans) – and the father of lyrical trombone playing Tommy Dorsey. In acknowledgement that jazz owes its origins to Negro spirituals, the gospel song Steal Away underpins the movement.

The finale, a Fantasie Brillante, pays homage to the turn of the century brass virtuosi of Sousa Band fame. The centrepiece of the movement finds Herbert L. Clarke, Arthur Pryor and Simone Mantia stepping from the mists of time to deliver snippets from their greatest solos (together with passing references to Sousa’s highest paid soloist, drummer August Helmecke). Moments of individual virtuosity lead to a series of ensemble power chords - giant footsteps in musical imagery. Finally, an allusion to the “chess-like” nature of brass band contesting brings the work to a dramatic conclusion.