The Cistercians

concert overture for brass band

Andrew Baker

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sampleconcert overture

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leconcert overture for brass band

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lefor brass bandAndrew Baker

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leAndrew Baker

The Cistercians

Concert Overture for brass band

Andrew Baker

Dedicated to Morecambe Band

The Cistercians was written during December 2003 and January 2004 as an entry for Morecambe Band’s Centenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band’s 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.

The music was inspired by visits to three of Britain’s great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex administration and hierarchies.

In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style “tenor” – a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section – our medieval abbey has become a bustling trade centre – before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another “tenor” derived from the opening motifs. A short development section, including the folk dance “hocketing” round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.

Performance Notes:

Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.

Duration approximately 6’50”.

© Morthanveld Publishing Ltd 2014

This set has been provided to XXXXXXXXXXXXX (the ‘Purchaser’) by Morthanveld Publishing Ltd (the ‘publisher’).

The Purchaser may produce unlimited photocopies from paper originals (or prints from the PDF files supplied) as long as these ar solely for use by the Purchaser (or its members if the Purchaser is a band or organisation) for rehearsal, personal practice, replacement of lost parts, adjudication use or other miscellaneous purposes relating to the rehearsal and performance of this work by the purchaser. Supplying ANY copies or prints to any other person or organisation, or failing to prevent such supply, is a breach of copyright law. In the event of such a breach the Publisher reserves the right to levy any additional invoices as the Publisher deems appropriate, including but not limited to an additional full sales invoice. The Purchaser agrees by continuing to use this music that any such invoices will be accepted and paid on

issue.

sample

was written during December 2003 and January 2004 as an entry for Morecambe Band’s

samp

lewas written during December 2003 and January 2004 as an entry for Morecambe Band’s

Centenary New Music Competition, which it went on to win. The first two performances were at the final of this

samp

leCentenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band’s 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.

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lecompetition, part of the band’s 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.

The music was inspired by visits to three of Britain’s great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx.

samp

leThe music was inspired by visits to three of Britain’s great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of

samp

leThe Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this

samp

leausterity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex

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lemany of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel

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leIn a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material

samp

leand solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style “tenor”

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leas the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style “tenor” – a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance

samp

le– a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section – our medieval abbey has become a bustling trade centre – before rhythmic quaver pulses in

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letype section – our medieval abbey has become a bustling trade centre – before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another “tenor” derived from the

samp

lethe horns and cornets accompany powerful chords in the low brass; this is another “tenor” derived from the opening motifs. A short development section, including the folk dance “hocketing” round the band and a slightly

samp

leopening motifs. A short development section, including the folk dance “hocketing” round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda

samp

ledisjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.

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lebrings the work to a triumphant conclusion.

sample

Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare

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lePercussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight

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leDrum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.

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lemutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.

Duration approximately 6’50”.

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leDuration approximately 6’50”.

Soprano Cornet

Solo Cornet

Repiano Cornet

2nd Cornet

3rd Cornet

Flugel

Solo Horn

1st Horn

2nd Horn

1st Baritone

2nd Baritone

1st Trombone

2nd Trombone

Bass Trombone

Euphonium

Eb Bass

Bb Bass

Percussion 1

Percussion 2

Andante Misterioso q = 76

p

p

p

p

p

Dedicated to Morecambe BandAndrew Baker

The Cistercians

1 player

1 player

1 player

© Morthanveld Publishing Ltd 2016 |

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Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

A10

p

pp

p

pp

pp

solo

1 playercup mute

Cup Mt.

Cup Mt.

2

© Morthanveld Publishing Ltd 2016 |

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Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

18

p pp

pp

pp

pp

pp

pp

pp

2 & 3 Cup Mt. solo, open 3 3

33

open

open

(1 player)

triangle

3

© Morthanveld Publishing Ltd 2016 |

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Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

poco più mosso q = 80

B

26

pp

pp

pp

(1 player)

3 3

(1 player)

3 3

tam tam to timpani

4

© Morthanveld Publishing Ltd 2016 |

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Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

C35

mp

p mp

p mp

mp

mp

mp

mp

p mp

p mp

p mp

2 players

tutti

tutti

tutti

5

© Morthanveld Publishing Ltd 2016 |

sample

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samp

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samp

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samp

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samp

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samp

le

samp

le

Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

44

mf

pp

pp

pp

pp mf

pp mf

pp mf

pp

(timp.)

6

© Morthanveld Publishing Ltd 2016 |

samp

le

sample

sample

samp

le

samp

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samp

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mple

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samp

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samp

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samp

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samp

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samp

le

samp

le

sample

samp

le

samp

le

samp

le

Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

mf

51

mf mf

mf mf

mf

mf cresc.

mf mf

mf cresc.

mf

mf mf cresc.

mf mf cresc.

mf mf

mf mf

mf mf

mf mf cresc.

mf cresc.

metal st. mute

tutti; metal st. mute

metal st. mute

tutti; metal st. mute

metal st. mute

tambourine

7

© Morthanveld Publishing Ltd 2016 |

samp

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samp

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samp

le

samp

le

samp

le

samp

le

samp

le

samp

le

Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

ff

Allegro Vivace h = 80

D

55

ff f mf

ff

ff

ff

ff

ff

f cresc. ff

f . ff

ff mf

ff mf

ffmf

ff mf

ff

f ff mf

f ffmp

f ff

ff mp

ff mf mp

open

div.

open

open

open 5 5

5 5

Play if no Timp.

8

© Morthanveld Publishing Ltd 2016 |

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sample

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sample

sample

sample

samp

le

samp

le

samp

le

samp

le

Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

61

9

© Morthanveld Publishing Ltd 2016 |

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le

Sop. Cnt.

Solo Cnt.

Rep. Cnt.

2nd Cnt.

3rd Cnt.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Tbn.

2nd Tbn.

B. Tbn.

Euph.

Eb Bass

Bass

Perc. 1

Perc. 2

E68

mf

mp

mp

mp

mp

10

© Morthanveld Publishing Ltd 2016 |

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