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  <a href="/blog/blog/7324429/osnabrueker-reitermarsch-concert-band-2017">Osnabrueker Reitermarsch. Concert Band. 2017</a>&nbsp;
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  <div class="message"><p><strong>The History<o:p></o:p></strong></p><p>My first composition to be written in Berwick upon Tweed. The tune came to me while walking over the New Bridge towards Tweedmouth. <o:p></o:p></p><p> </p><p><strong>The Music<o:p></o:p></strong></p><p><span>A simple little march with all the glory and pomp of Prussia. </span></p></div>
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    <p class="post-info"><span data-time="2023-12-26T03:40:42-12:00" title="December 26, 2023 03:40">12/26/2023</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7324428/last-of-the-wine-tone-poem-symphonic-suite-for-military-band-1979-1981">Last of the Wine. Tone Poem/Symphonic Suite for Military Band 1979-1981</a>&nbsp;
</h2>

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  <div class="message"><p><strong>The History <o:p></o:p></strong></p><p>When completed in 1981, <i>Last of the Wine</i>, was 13 minutes long. It consisted of four movements: <i>The House at Kerameikos</i>, <i>The Corinthian Games</i>, <i>Under the Poplars</i>, and <i>The Final Battle. <span><strong> </strong></span></i>The work was inspired by Mary Renault’s classic of the same name. Perhaps 80% of the material found its way into <i>The Hellenic Symphony. Last of the Wine </i>had several rehearsals and <i>Under the Poplars</i> had several performances. I can’t believe I wrote the score and all the parts by hand – and it looked beautiful. <o:p></o:p></p><p><strong>The Music<o:p></o:p></strong></p><p>Please refer to Symphonic Wind Band Symphony, No 1. The Hellenic. 1918-2021.<o:p></o:p></p><p> </p></div>
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    <p class="post-info"><span data-time="2023-12-26T03:40:28-12:00" title="December 26, 2023 03:40">12/26/2023</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7324427/lo-he-went-satb-piano-1971">Lo, He Went. SATB. Piano. 1971</a>&nbsp;
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  <div class="message"><p><strong>The History<o:p></o:p></strong></p><p>I owe so much for my introduction to music to Earnest Arthur Winters. He was ex Royal Artillery trmonbonist. In 1969, when I was 13, I bought an old cornet from the RAF Halton Band. I had to get a paper round to pay for it. It Cost £9 and was paid in instalments. I enrolled for lessons at school and ‘Ernie’ was my mentor for close to five years. If you ask any brass musician of my generation, in the Aylesbury area of Buckinghamshire, the chances are Ernie was their peripatetic music teacher. His wife also taught violin. <o:p></o:p></p><p>For many years I was ashamed of my compositions and hid the fruits of my labour from friends. <i>Lo! He Comes,</i> was my first completed composition but I didn’t write my name on the score – which was originally for brass band. Somewhere in School, the score was waylaid. It was handed to Ernie who then handed it out a a band rehearsal. He never found out who composed it until almost 30 years later when I visited him. I <span> </span>don’t think he remembered the incident! I never got the score back but the music and harmony are fixed in my head and if I have one exceptional musical talent – it is my aural memory. Perhaps one day I will resurrect it – as a nostalgic keepsake. <o:p></o:p></p><p><strong>The Music<o:p></o:p></strong></p><p><span>A simple hymn with basic harmony.    </span> </p></div>
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  <a href="/blog/blog/7324426/athene-promachos-mov-4-symphonic-wind-band-symphony-no-1-the-hellenic-2021">Athene Promachos. Mov. 4. Symphonic Wind Band Symphony No. 1. The Hellenic. 2021</a>&nbsp;
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  <div class="message"><p><strong>The History<o:p></o:p></strong></p><p>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.<span>  </span>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.<span>  </span>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. <o:p></o:p></p><p><strong>The Music<o:p></o:p></strong></p><p>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. <i>Athene Promachos</i> opens with a subdued rising motive adapted from <i>Paralos.</i> 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. And then, a change of key, a bright key, as Athene’s helmet dazzles in the sun. Almost alight, Athene’s spear tip and helmet cast their fire far out to sea; a glorious beacon for seamen returning home.<span>  </span>Noble Athene, the protectress of the city and a symbol of the glory of the emerging Greek world.<o:p></o:p></p><p><i>The Hellenic Symphony (for symphonic wind band)</i> is published by Larch Music and can be purchased as an entire symphony, or in individual movements.    <o:p></o:p></p></div>
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  <a href="/blog/blog/7324090/kerameikos-mov-no-3-symphonic-wind-band-symphony-no-1-the-hellenic-2019">Kerameikos. Mov No, 3. Symphonic Wind Band Symphony No. 1. The Hellenic. 2019</a>&nbsp;
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  <div class="message"><p><strong>The History<o:p></o:p></strong></p><p>The Kerameikos was an area of Athens known as the Potters’ Quarter. This lay within the city wall. The Kerameikos also contained the Dipylon Gate which led to the outer Kerameikos. The road from the Dipylon Gate was the Hiera Hodos (Sacred Way) which led to Eleusis and passed the Platonic Academy. It was the Hiera Hodos that celebrants took on their way to the Eleusinian Mysteries. The Hiera Hodos was lined with graves and tombs and both Pericles and<span>  </span>Cleithenes were buried here. <o:p></o:p></p><p><strong>The Music <o:p></o:p></strong></p><p><i>Kerameikos</i> is the shortest movement in <i>The Hellenic</i>. It is also the least altered movement from the original 1981 composition. The main alteration to the movement is a counter melody appearing on the horns or trumpet which is a subdued fanfare-type figure which appears in all other movements. This is one of the uniting motives of <i>The</i> <i>Hellenic</i>.<o:p></o:p></p><p>Walking out through the Dipylon Gate into the outer Kerameikos would have been a reflective experience. For this reason, the work is subdued but there are constant glimmers of contemplation, reflection and triumph. Many of the tombs and graves were ancient at the time Athens was at its peak. At a suitable location within the outer Kerameikos, Pericles gave his Funerary Oration in 404bc marking the end of the first year of the Peloponnesian War (404-431). His speech is often seen as a eulogy to Athens and so the atmosphere of the work is generally subdued and haunting but with moments of grandeur. The grandeur, conveyed by brass instruments and timpani, is always fleeting because the city remained at war.<span>  </span><o:p></o:p></p><p><i><span>The Hellenic Symphony (for symphonic wind band)</span></i><span> is published by Larch Music and can be purchased as an entire symphony, or in individual movements.     </span></p></div>
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  <a href="/blog/blog/7323598/paralos-movement-2-of-symphonic-wind-band-symphony-no-1-the-hellenic">Paralos. Movement 2 of Symphonic Wind Band Symphony No. 1. The Hellenic</a>&nbsp;
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  <div class="message"><p><strong>The History</strong><o:p></o:p></p><p>Paralos was Pericles' son. It was also the name of the State Trireme. Paralos traversed the Aegian carrying out various diplomatic duties on behalf of the world's first democracy. Of course, Ancient Athens was not fully democratic but neither is our present-day form of government which in reality is an oligarchy. The crew, known as the <i>paraloi </i>were staunchly pro-democratic. Throughout the 4th and 5th centuries BC, Paralos was engaged in most of the important diplomatic missions. In 405 BC, the <i>Paralos</i> was one of ten ships that escaped from the Athenian disaster at Aegospotami under Conon. It was then dispatched to inform Athens of the defeat, its arrival setting off a citywide panic.<o:p></o:p></p><p>On long journeys, Parolos would have been beached while the crew ate, relaxed and slept <o:p></o:p></p><p><strong>The Music</strong><o:p></o:p></p><p>The opening material for Paralos emerged while walking between Kneller Hall and Whitton High Street, somewhere between 1979 and the summer of 1980. The original work was later rehearsed by the Green Howards Band, in Osnabruck, under my direction. Timpani, bass drum, tam-tam, cymbals and snare drum are important in creating a driving rhythmic base. heavy percussion is prominent. Paralos is approaching from far off on the horizon. Heralded at first by the distant tap of the snare drum. Next comes the pumping snippets of horns which accent the powerful pull of oars. A repetitive rising motive enters on the clarinets and is reinforced by other instruments. Meanwhile, the timpani drives the music forward in intensity and ever-growing volume. Then, with an enormous crash, the battering ram of Paralos smashes into the water. For a moment the water calms before a mighty pull on the oars powers the ship forward exposing the beat of the large drum, an ancient metronome, at ships aft. Behold, the majestic, noble Paralos. On board, the ship surges toward its home port, the Piraeus close to Athens. A lull. Relaxed at their posts, the oarsmen enjoy the gentle bobbing of their ship as rises and falls with the gentle, mesmeric pulse of the sea. <o:p></o:p></p><p>Now, the hoplites begin to muster on deck. Their armour gleams in the sun. The hoplites' possessions need to be checked before Paralos arrives at Piraeus. As the hoplites return to lounging on the deck there is a stir. Far off on the horizon, someone spots a flash of light. There is mounting excitement as the flash is seen again. Athena Proachos’ spear tip, erected at the highest point of Athens, the Acropolis, is guiding its citizens home. Once confirmed, Paralos prepares to arrive at the Piraeus in full glory. The oarsmen begin with a gentle pulse, preparing themselves for full speed and soon the thunderous driving beat returns as Paralos gathers speed.<o:p></o:p></p><p>On the walls of the Piraeus, a crowd is gathering to watch Paralos’ arrival. It is far off but the tap of a drum is increasing as the ship draws nearer. Now a rising theme which gathers intensity. What a sight! In a blaze of diminished chords and a smashing of the tam-tam, Paralos speeds into the harbour and the crowds cheer. <span>    </span><o:p></o:p></p><p style="text-align:justify;">As always, I had immense pleasure painting a musical canvas of the <i>Paralos</i>. Much of the time I had little idea what I was doing harmonically and was guided by my ear. I think I took refuge on occasion in the use of diminished chords. You can pile them up, expand them, put them in a series and everything seems to fall in place. Interpolated into <i>Paralos</i> are references to the material used in the first movement and movements to come. At this, I have been successful but it was aided by the fact <i>The Hellenic</i> was a long time in gestation – somewhere in the region of 35 years. The original suite, itself emerging from a one-movement work, grew from 13 minutes duration to almost 30 minutes. <o:p></o:p></p><p style="text-align:justify;"><i>The Hellenic Symphony (for symphonic wind band)</i> is published by Larch Music and can be purchased as an entire symphony, or in individual movements. <span>    </span></p></div>
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  <a href="/blog/blog/6876715/eleusinian-mysteries-movement-1-symphonic-wind-band-symphony-no-1-the-hellenic">Eleusinian Mysteries. Movement 1. Symphonic Wind Band Symphony No 1. The Hellenic</a>&nbsp;
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  <div class="message"><p style="text-align:justify;"><strong>THE HISTORY</strong></p><p style="text-align:justify;">The Sanctuary of Demeter at Eleusis, 18km from Athens, was the epicentre of the cult of the Eleusinian Mysteries. Twice a year initiates walked from the Acropolis to the Sanctuary via the Sacred Way (Hiera Hodos). The Sacred Way led down from the Acropolis and left the city through the Dipylon Gate, in the potter’s quarter of the city. </p><p style="text-align:justify;">At Eleusis initiates entered the sanctuary, first into the Great Hall, known as the Telestron and then into the subterranean cavern known as the Anaktoron. Entrance to the Anaktoron was only permitted to those initiated and to initiates. In the Anaktoron sacred items were contained in a large chest. Here, in the darkened cavern lit by candlelight, initiates swore oaths and were introduced to the secrets of the chest. It is highly likely that ergot, a psychotropic fungus that grows on certain cereals, was eaten during the initiation. Following the religious rites, vigils were held, libations poured and after the sacrifice of a bull, a feast took place. </p><p style="text-align:justify;">During the Hellenic period, The Mysteries were deeply intertwined in Athenian political and cultural life and constituted a State religion. The cult became Panhellenic and hence The Mysteries, of which there was a Greater and Lesser event, involved not only the entire city but attracted celebrants from all over the Athenian Empire. </p><p style="text-align:justify;">Little was recorded about specifics of the Cult because to reveal any aspect of its practice was a crime punishable by death. The Cult of Eleusis was already an ancient religion by the time Athens reached its cultural zenith in the 4th century BC. It survived into the Roman era and Caesar Augustus, Hadrian, Antinous and Commodus were all initiated. The only non-initiate to have entered the Anaktoron was Marcus Aurelius after he had the sanctuary rebuilt following its sacking by the Sarmatians in 170 AD.   As Christianity spread, the cult fell into decline and by 393 AD had disappeared completely.</p><p style="text-align:justify;"><strong>THE MUSIC</strong></p><p style="text-align:justify;">I remember exactly where I was when Eleusinian mysteries first seeded itself in my aural memory; the road from Kneller Hall to Whitton Railway Station. It was a spring lunchtime. As the first movement, <i>Eleusinian Mysteries</i> is a repository of snippets upon which the symphony is built. The opening section draws its rawness from the consecutive fifths which create a barren, ancient scene. It is dawn, fires are lit and smoke curls heavenward. Following a descending figure the scene shifts to a brisk 5/4 theme depeicting the procession of celebrants making their way to the Sanctuary of Eleusis. People are mildly intoxicated, some dance, some talk of sing. At one place a libation is poured to a roadside shrine. The procession moves on kicking up the dust underfoot. With the crash of a tam-tam the sancturary is glimped through the trees. The procession presses forward, the temple drawing closer. Suddenly, nestled under the mountain, the Sanctuary comes into full view; A beautiful white complex nestled in surrounding greenery. The ancient building opens it door to welcome the celebrants and the mystic spell of Eluesis embraces all who enter. The music drives to  a powerful and triumphant climax. </p><p style="text-align:justify;"><i>The Hellenic Symphony (for symphonic wind band)</i> is published by Larch Music and can be purchased as an entire symphony, or in individual movements.          </p></div>
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  <a href="/blog/blog/6876704/symphonic-wind-band-symphony-no-1-the-hellenic-2018">Symphonic Wind Band Symphony No 1 The Hellenic (2018) </a>&nbsp;
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  <div class="message"><p style="text-align:justify;"><i>The Hellenic</i> began in 1979 while I was a pupil at the Royal Military School of Music, Kneller Hall. The Symphony began as a one-movement tone poem and was inspired after reading Mary Renault's iconic, Last of the Wine. It was this book that ignited my interest in classical history. Ironically, I discovered <i>Last of the Wine</i> in the cookhouse of RAF Gatow, Berlin where my band was based for the Berlin Tattoo.</p><p style="text-align:justify;">At Kneller Hall, the tone poem developed into a suite of four movements lasting approximately 13 minutes. On returning to my band in Osnabruck, Germany, in 1981, the manuscript was scored for ‘military band.’ Over the next thirty-six years the score lay in a box until, in 2017,  I decided to develop the work further. By this time the term ‘military band’ had become outdated and so my scoring was for symphonic wind band.</p><p style="text-align:justify;">In 2017, having recently returned from ten years in South Korea, I began to suffer anxiety. This condition went undiagnosed until 2021. I am convinced my anxiety was caused not by any mental problem on my part, but by returning to a society that is itself unwell. One of the strange symptoms of my condition was my experience of lucid dreams or more specifically lucid aural dreams. Since this time, my creativity is aided by dreams in which I can manipulate musical ideas. The more intense and time-consuming a project, the more likely it is to trigger lucid dreaming. I tend not to compose a melody through this process rather than reshape the harmonic and structural geography. In especially intense periods of creativity, a piece will replay itself over and over in my inner ear to such an extent it is carried into my sleep and at the right point, usually in the early morning, a lucid dream is sparked. On waking, I know exactly in which direction I want to take a piece. </p><p style="text-align:justify;">My initial inspiration came from my interest in ancient Greek history. In essence, this history consists of the primary sources (literature, philosophy, architecture, etc, etc,) created by a substantial list of amazing individuals. These individuals lived within a narrow time frame of not much more than 200 years, in what is the Classical Period of the broader Hellenic Period. The Classical Period begins with the death of the last Athenian tyrant, Hippias, in 510 BC, and ends with the death of Alexander The Great in 323 BC. The Classical Period saw the emergence of Athens as the cultural and political epicentre of what was to become an Athenian Empire. </p><p style="text-align:justify;">Unfortunately, for most people today, the names in this list are little other than just names. The legacy of Athens shaped Western Civilization and yet we are largely ignorant of its significance. Despite such fertile soil, the legacy of Athens has sparked no blockbuster movies and the incredible output of playwrights has rarely appeared on television in my lifetime. As a history teacher with many years of experience, I have never had to teach Ancient Greek History. For nefarious reasons history has been rewritten and the Greeks bypassed. We titillate ourselves speculating about Hitler winning the Second World War, but ignore what might have happened to Europe if Darius or Xerxes had defeated Athens.  Chucked to one side are the Ionian Enlightenment, Thermopylae, Marathon, the birth of democracy, any knowledge of oligarchy, the Peloponnesian wars, and a great pile of philosophy. As for the contributors, we have, Herodotus, Thucydides, Xenophon, Plato, Pericles, Socrates, Alcibiades, Praxiteles, Phidias,   Sophocles, Aeschylus, Themistocles, Aristophanes, Euripides and Aristophanes et al. </p><p style="text-align:justify;">My interest in the peripheral world of the Ancient Greeks developed and I was and still am fascinated by Spartan society, the exotic character of the Persians and Egyptians and how the legacy of Athenian culture rooted itself in the development of Rome. </p><p style="text-align:justify;">Ironically, while Athens reached its golden era in the Classical Period, it also experienced one of the most brutal wars in history, namely The Peloponnesian War.  While wild passions led to acts of inhumanity and savagery, order and restraint, both personal, social, and artistic flourished. These contradictions obsessed Euripides’ in his tragedy, The Bacchae. At few junctures in history has there been such growth, marvelling, and beauty alongside such cruelty and ugliness. The Classical Period is a mirror of humanity's potential for both greatness and depravity. </p><p style="text-align:justify;">The four movements of The Hellenic are: </p><p style="text-align:justify;">Eleusinian Mysteries <br>Paralos <br>Kerameikos <br>Athena Promachos </p><p>I had great fun updating these youthful compositions. I love their raw quality and the use of heavy percussion to impart a sense of energy and drive. I feel I have successfully painted images of wispy smoke drifting over the awakening city or, the State Trireme, Paralos, ploughing through the blue Aegean. And then there is Athene Promachos' high on the Acropolis; Her spear, held aloft so the sun sets fire to the tip and flashes the city's location to approaching shipping.  What stirring stuff. So, read the historical data to each movement, sit back, close your eyes and drift back to ancient times. <span><o:p></o:p></span></p><p style="text-align:justify;">You can read about each movement in subsequent blogs.</p><p style="text-align:justify;"><i>The Hellenic Symphony (for symphonic wind band)</i> is published by Larch Music and can be purchased as an entire symphony, or in individual movements.    </p></div>
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