The National Youth Brass Band of Great Britain | Fragile Earth - Sir Karl Jenkins @nybbgb1952 | Uploaded April 2024 | Updated October 2024, 3 hours ago.
The National Youth Brass Band of Great Britain under the direction of Guest Conductor Dr Robert Childs with Guest Soloist Dr David Childs (euphonium). This work was commissioned by The National Youth Brass Band of Great Britain with financial support from The Colwinston Charitable Trust, Arts Council England and Department for Education. It was first performed by The National Youth Brass Band of Great Britain under the baton of Dr Robert Childs on Saturday 6th April 2024 in The Dora Stoutzker Hall, Royal Welsh College of Music, Cardiff.
In three movements, this piece is about climate change. It is impossible to cover every aspect and nuance of global warming in fifteen minutes of instrumental music with no text. I am not a believer in copious programme notes that mean little to most people. However, I have described some musical pointers to help the listeners on their way.
There would have been two ways to approach this composition; all doom and gloom from beginning to end or to introduce some element of hope. I have chosen the latter, so each movement contains a passage of optimism.
I. Scorched Earth
The title is taken from a military phrase where retreating armies left their mark by destroying the habitat as they marched, leaving nothing beneficial to humanity behind. In this instance, the core subject is heat of such intensity that it destroys all in its path: volcanic eruptions (with tsunamis being an after-effect), earthquakes, forest fires and smouldering landscapes. The slow middle - section, brings a suggestion of abatement and a plea for hope and renewal but the horror returns.
The movement opens with a dissonant cluster of cornets, signifying intense heat, interrupted by explosions from the percussion. Low-trilling brass brings a crescendo of menace that leads into the movement proper and its militaristic flavour. The plea for hope, mentioned above, interrupts the flow but catastrophe returns.
II. The Blue
The Blue refers to two of the biggest phenomena on Earth; the oceans (over 95% of the Earth’s water) and the Antarctic Blue Whale (the largest living being, mammal or animal). The movement opens with a reference to the Blue Whale, of which more below. This moves into a majestic theme reflecting both the ocean and the whale. A hint of impending doom is introduced by a faster tempo that spells possible disaster (whaling, oil spillage, etc). The music ends in a reflective mood that references the whale.
The whales are represented in the ensemble by the tubas in two ways. A low drone for its call and the ‘blowhole’ effect achieved by the band blowing air through their instruments without producing a note.
III. Flight
Flight explores the forced migration of all living beings, man and beast, with music building from small scurrying beings and birds to an exodus of humankind.
The movement opens with a tolling bell before a solo cornet enters, depicting a desolate landscape. Increasing movement builds in a minimalistic style, and episodic figures dart in and out before a slow low brass theme echoes humankind. The piece concludes with a big bold optimistic statement reminding us that nature is a powerful force, but we must help it recover.
The National Youth Brass Band of Great Britain under the direction of Guest Conductor Dr Robert Childs with Guest Soloist Dr David Childs (euphonium). This work was commissioned by The National Youth Brass Band of Great Britain with financial support from The Colwinston Charitable Trust, Arts Council England and Department for Education. It was first performed by The National Youth Brass Band of Great Britain under the baton of Dr Robert Childs on Saturday 6th April 2024 in The Dora Stoutzker Hall, Royal Welsh College of Music, Cardiff.
In three movements, this piece is about climate change. It is impossible to cover every aspect and nuance of global warming in fifteen minutes of instrumental music with no text. I am not a believer in copious programme notes that mean little to most people. However, I have described some musical pointers to help the listeners on their way.
There would have been two ways to approach this composition; all doom and gloom from beginning to end or to introduce some element of hope. I have chosen the latter, so each movement contains a passage of optimism.
I. Scorched Earth
The title is taken from a military phrase where retreating armies left their mark by destroying the habitat as they marched, leaving nothing beneficial to humanity behind. In this instance, the core subject is heat of such intensity that it destroys all in its path: volcanic eruptions (with tsunamis being an after-effect), earthquakes, forest fires and smouldering landscapes. The slow middle - section, brings a suggestion of abatement and a plea for hope and renewal but the horror returns.
The movement opens with a dissonant cluster of cornets, signifying intense heat, interrupted by explosions from the percussion. Low-trilling brass brings a crescendo of menace that leads into the movement proper and its militaristic flavour. The plea for hope, mentioned above, interrupts the flow but catastrophe returns.
II. The Blue
The Blue refers to two of the biggest phenomena on Earth; the oceans (over 95% of the Earth’s water) and the Antarctic Blue Whale (the largest living being, mammal or animal). The movement opens with a reference to the Blue Whale, of which more below. This moves into a majestic theme reflecting both the ocean and the whale. A hint of impending doom is introduced by a faster tempo that spells possible disaster (whaling, oil spillage, etc). The music ends in a reflective mood that references the whale.
The whales are represented in the ensemble by the tubas in two ways. A low drone for its call and the ‘blowhole’ effect achieved by the band blowing air through their instruments without producing a note.
III. Flight
Flight explores the forced migration of all living beings, man and beast, with music building from small scurrying beings and birds to an exodus of humankind.
The movement opens with a tolling bell before a solo cornet enters, depicting a desolate landscape. Increasing movement builds in a minimalistic style, and episodic figures dart in and out before a slow low brass theme echoes humankind. The piece concludes with a big bold optimistic statement reminding us that nature is a powerful force, but we must help it recover.
