Central Composers Alliance Works by Andrew Downes

Sonata for Clarinet and Piano - Andrew Downes

Thu, 01 Jan 2009 00:00:00 GMT

This Sonata in 4 movements was specially composed for Angus Meryon, clarinet, and Duncan Honeybourne, piano, who gave the first performance in the United Reformed Church, Salisbury, as part of the Salisbury Chamber Music Club series, on 2nd January 2010.

In Memoriam Herbert Howells - Andrew Downes

Tue, 01 Jan 2008 00:00:00 GMT

Composed at the request of the Royal Forest of Dean Herbert Howells Society to commemorate the 25th anniversary of Howells´ death. The world premiere was given by Duncan Honeybourne at St Mary´s Church, Lydney, Gloucestershire, on July 11th 2008, as part of the 2008 Lydney Festival. Subsequent performances by Duncan include ones at All Saints Church, Newland, Gloucestershire (July 2008), St Mary’s Church, Weymouth (June 2009), St Michael’s Church, Lyme Regis (June 2009), and the Baptist Church, Lydney (November 2009).

Concerto for Piano and Symphony Orchestra - Andrew Downes

Tue, 01 Jan 2008 00:00:00 GMT

Composed for pianist Duncan Honeybourne, the Central England Ensemble and Music Director Anthony Bradbury, and first performed by them at Birmingham Town Hall on 1st March 2009. The work was recorded for CD at the first performance, and copies are available by sending an email to Lynwood Music.

There was a great audience reaction to the premiere of the concerto, and written comments included:

´Andrew´s composition, Concerto for Piano and Symphony Orchestra was wonderful. I felt so uplifted after the performance.´

´We thought the second movement particularly wonderful.´

´So many people said wonderful things about the evening - we thought the music was superb - you really are a great composer Andrew. ... Have you begun the next one Andrew, because you now have a captive audience?´

´Congratulations on a wonderful composition. Keep them coming!´

´The piano concerto was real success!´

We loved the Piano Concerto - I´d love to hear it again!´

´It was a great privilege to be present at the premiere of your piano concerto. It was an unforgettable experience. Several people around us said it should be in the general repertoire. It is such an exciting work that it deserves many more performances. You seem to go from strength to strength! Do continue to excite and entertain your friends and supporters with your music.´

´Wow, what can I say?! We all thoroughly enjoyed the concert last night, especially the piano concerto.´

´The piano concerto was fantastic ---- hearing the concerto at the first performance is something that I will remember for a long time.´

The concerto was given its second performance, by the same artists, on Saturday June 26th 2010, in Coventry Cathedral.

Sonata for Contrabass Flute and Piano - Andrew Downes

Tue, 01 Jan 2008 00:00:00 GMT

Commissioned by the American flutist Peter Sheridan, this sonata was given its world premiere by Peter Sheridan accompanied by Claire Cooper on Thursday April 22nd 2009 at Monash University, Melbourne, Victoria, Australia.

Sonata for Violin, Horn and Piano - Andrew Downes

Mon, 01 Jan 2007 00:00:00 GMT

This work was commissioned by the Brahms Trio Prague (Ondrej Vrabec, solo and principal horn, Czech Philharmonic Orchestra; Monika Vrabcova, violin; and Daniel Wiesner, piano), who gave the world premiere on February 5, 2008 in the Suk Hall of the Rudolfinum, Prague, with subsequent performances at the Villa Bertramka Mozart Museum, Prague (September 2008), the Martinu Hall, Prague (February 2009) and at the Town Theatre, Jablonec, Czech Republic (March 2009). The Australian premiere was given by Bridget Graham, violin, Andrew Young, horn, and Lauren Simpkins, piano, at the Melba Hall, Melbourne, Australia on May 29th 2009.

The Brahms Trio Prague have recorded the work for CD, on the Czech Philharmonic Orchestra Artesmon Label.

´ ... a recording that deserves an international gramophone award... The three-movement work is thematically very tightly conceived... and has great emotional pull... his sonata has a distinct creative poetry... ´ HARMONIE MAGAZINE, PRAGUE, CZECH REPUBLIC (January 2008)

´ This is modern tonal chamber music at its finest. THE HORN CALL (journal of the International Horn Society, USA) (May 2008)

´... everyone who listens to this record will surely confirm that he (Downes) writes interesting music, which... alternates interestingly meditative sections with playful sections and is narrating something constantly and relaxedly, which gives a great space for the imagination of the interpreters.´ HUDEBNI ROZHLEDY MUSIC MAGAZINE (Czech Republic) (May 2008)

´...the music is crisp, transparent, well composed for the musicians, and moves between cantabile, tranquillo passages and contrasting rhythmical gymnastics.´ WWW.MUNDOCLASICO.COM (Spain) (May 2008)

Introduction and Allegro for Solo Organ - Andrew Downes

Mon, 01 Jan 2007 00:00:00 GMT

Commissioned by American organist Carson Cooman, who premiered the work at the Memorial Church, Harvard University, Cambridge, Massachusetts, USA on 22nd June 2008, and has given subsequent performances at Christ Episcopal Church, Portola Valley, California, (July 2008); at First Unitarian Society, Newton, Massachusetts (July 2008); at Christ United Church, Worcester, Massachusetts (August 2008); and at Salem Hills Parish, Nantucket, Massachusetts (August 2008).

Finished Fields - Andrew Downes

Mon, 01 Jan 2007 00:00:00 GMT

A cycle of 4 songs to commemorate the 90th anniversary of the death of Wilfred Owen. The songs are settings of poems by this great World War 1 poet: 1914; Futility; Asleep; Happiness. The songs were composed for Jonathan Pugsley (baritone) and Duncan Honeybourne (piano), who gave the first performance at St Mary’s Church, Weymouth, Dorset, on Wednesday November 12th 2008, in a concert entitled Finished Fields, marking the 90th anniversary of both the death of Wilfred Owen and the end of World War 1. The concert was repeated on Friday November 14th at Holy Trinity Church, Eccleshall, Staffordshire. The USA premiere was given by Paula Downes (soprano) and David Trippett (piano) at the Memorial Church, Harvard University, Cambridge, Massachusetts on March 27th 2009.

Sacred Mass for Solo Voice - Andrew Downes

Mon, 01 Jan 2007 00:00:00 GMT

This work was composed for Paula Downes (soprano), who gave the first performance in a recital at the Chapel of the Massachusetts Institute of Technology, Boston, USA on March 6th 2008.

Sonata for Organ - Andrew Downes

Mon, 02 Jan 2006 00:00:00 GMT

Commissioned by Robert Green. World premiere given at St Davids Cathedral, Pembrokeshire, Wales, UK, on Wednesday 22nd August 2007.

Sonata for Double Bass and Piano - Andrew Downes

Sun, 01 Jan 2006 00:00:00 GMT

This sonata was composed for David Daly (Principal Double Bass, Bournemouth Symphony Orchestra) and his accompanist, Duncan Honeybourne, who gave the first performance at Christchurch Priory on June 14th 2007 as part of the Christchurch Music Festival. Subsequent performances have taken place at Montpellier Hall, United Reformed Church, Cheltenham, in August 2007; at Marlborough College (second movement) in May 2008; and at Sarum College, Salisbury, in November 2008.

Songs of Love - Andrew Downes

Sun, 01 Jan 2006 00:00:00 GMT

Settings of four poems for high soprano and piano. The poems are: How do I Love Thee? by Elizabeth Barrett Browning; To My Dear and Loving Husband by Anne Bradstreet; One Blessing Had I by Emily Dickinson; and I Love Thee by Eliza Acton. The songs were composed for Paula Downes (soprano) and David Trippett (piano), who gave the first performance at University Hall, Harvard University, Cambridge, Massachusetts, USA on Thursday February 1st 2007. The UK premiere was given by Jenny Saunders (soprano) and Julian Hellaby (piano) - both pictured left - at the Ellen Terry Building, Coventry University, on February 28th 2009.

An arrangement for soprano soloist with 10 solo stringed instruments (6 violins, 2 violas and 2 cellos) by Lee Armstrong of these songs was premiered on May 1st 2010, at St George’s Church, Edgbaston, Birmingham, by Paula Downes (soprano) and the Central England Ensemble, directed by Lee Armstrong.

1: How do I Love Thee? - Andrew Downes

Sat, 31 Dec 2005 00:00:00 GMT

This is the first setting of four poems for high soprano and piano. This poem is: The poem is: How do I Love Thee? by Elizabeth Barrett Browning. The songs were composed for Paula Downes (soprano) and David Trippett (piano), who gave the first performance at University Hall, Harvard University, Cambridge, Massachusetts,USA on Thursday February 1st 2007. The UK premiere was given by Jenny Saunders (soprano) and Julian Hellaby (piano) at the Ellen Terry Building,Coventry University, on February 28th 2009.

2: To My Dear and Loving Husband - Andrew Downes

Fri, 30 Dec 2005 00:00:00 GMT

This is the second setting of four poems for high soprano and piano. This poem is: To My Dear and Loving Husband by Anne Bradstreet. The songs were composed for Paula Downes (soprano) and David Trippett (piano), who gave the first performance at University Hall, Harvard University, Cambridge, Massachusetts, USA on Thursday February 1st 2007. The UK premiere was given by Jenny Saunders (soprano) and Julian Hellaby (piano) at the Ellen Terry Building, Coventry University, on February 28th 2009.

3: One Blessing Had I - Andrew Downes

Thu, 29 Dec 2005 00:00:00 GMT

This is the third setting of four poems for high soprano and piano. This poem is: One Blessing Had I by Emily Dickinson. The songs were composed for Paula Downes (soprano) and David Trippett (piano), who gave the first performance at University Hall, Harvard University, Cambridge, Massachusetts, USA on Thursday February 1st 2007. The UK premiere was given by Jenny Saunders (soprano) and Julian Hellaby (piano) at the Ellen Terry Building, Coventry University, on February 28th 2009.

4: I Love Thee - Andrew Downes

Wed, 28 Dec 2005 00:00:00 GMT

This is the fourth setting of four poems for high soprano and piano. This poem is: I Love Thee by Eliza Acton. The songs were composed for Paula Downes (soprano) and David Trippett (piano), who gave the first performance at University Hall, Harvard University, Cambridge, Massachusetts, USA on Thursday February 1st 2007. The UK premiere was given by Jenny Saunders (soprano) and Julian Hellaby (piano) at the Ellen Terry Building, Coventry University, on February 28th 2009.

Far from the Madding Crowd - Andrew Downes

Sat, 01 Jan 2005 00:00:00 GMT

Opera in 5 Acts with libretto by Cynthia Downes based on the novel by Thomas Hardy

List of roles:

Bathsheba Everdene - soprano; Gabriel Oak - baritone; Frank Troy - tenor; Mr Boldwood - bass; Bathsheba´s Aunt - mezzo-soprano/contralto; Maryann Money - soprano; Fanny Robin - soprano
Small parts and chorus
Dancers
Orchestral Ensemble - minimum 19 players including piano and percussion (no timps)

The world première performances of Andrew’s new full – scale opera, Far from the Madding Crowd, commissioned by the Thomas Hardy Society for the 2006 Hardy Festival in Dorchester, Dorset, were given to audience and critical acclaim on July 26th, 27th and 28th at St Mary’s Church, Dorchester. A DVD recording was made of this performance, and is available from Lynwood Music. Excerpts can be viewed at www.andrewdownes.com and on YouTube.

Far from the Madding Crowd was given a second run of performances on August 29th, 30th and 31st 2007 at the Church of St James the Great, Wednesbury. Funding was provided by the Wednesbury Music Club in celebration of it´s 60th anniversary.

REVIEWS OF THE OPERA:-

On July 27th, in the Dorset Echo, Marion Cox wrote of “this milestone musical work: composer Andrew Downes’ score injects all the emotional ups and downs, the passion and the poetry of Thomas Hardy’s great novel upon which the opera is based, and in doing so, he has created a rich and lyrical musical feast”

´Of the libretto by Cynthia Downes, Marion Cox wrote: “she has tackled the stern task of transforming one art form into another with sensitivity and skill, leaving the core of Hardy’s plot intact.”

The part of Bathsheba Everdene was taken by Paula Downes, described as possessing a voice of “appealing lilting quality”, whilst Jonathan Pugsley (who took over the major role of Gabriel Oak at two weeks notice) was described as possessing “an exceptional talent”. Other roles were taken by Daniel Sumner (Mr Boldwood), Simon Walton (Frank Troy), Emma Rothman (Bathsheba’s Aunt), Ali Hill (Maryann Money), and Kate Hopkins (Fanny Robin). The orchestra was the Central England Ensemble (led by Anna Downes), and the Musical Director was David Trippett, who “interprets the lush score with robust grace” (Marion Cox).´ (from the Music Journal of the Incorporated Society of Musicians, September 2006, including quotations from the review by Marion Cox in the Dorset Echo, July 27th 2006)

´The English composer Andrew Downes is appreciated worldwide for the warmth and integrity of his music, and his strongly individual artistic personality renders his work instantly recognisable. A contemplation of Downes cardinal qualities – touching lyricism, a pungent harmonic gift and a strong rhythmic bite – promised good things for this new opera, based upon one of Hardy’s more optimistic novels. Downes’ Hardy settings to date have contained some of his most satisfying writing, and there was every reason to suspect that “Far From the Madding Crowd” would be something rather special.

´Two weeks in Dorset acting as repetiteur and orchestral pianist gave me a clear perspective of the new work, which was given to large audiences in Dorchester’s St. Mary’s Church on three consecutive nights. It is a generously and powerfully conceived work, characterised by high spirits and opulent communicative power. Intimate moments of sublime beauty give way to passages of relentless percussive drive which capture the crueller elements of Hardy’s rustic vision. The harshnesses and despondencies of the human soul are faithfully mirrored, yet optimism and joie de vivre are here in plenty, captured in music of endlessly fertile invention and with plenty of good tunes. The variety of characterisation in Downes’ rich score matches the complex layering of plot and texture which makes the book itself so gripping.

´The performance was commendably faithful and atmospheric, especially so given the unyielding acoustic of the venue. Of particular interest was the mixture of professional and amateur singers, which had the entirely satisfying and altogether appropriate effect of replicating the very nineteenth century rural gatherings with which Hardy would have been so familiar. Not only was this a charming touch in performance, but it reminded us what such projects as this should be about: throbbing with team spirit and verve.

´All the leading roles were in safe professional hands: Paula Downes brought a delightful purity and coquettishness to her role as the flirtatious Bathsheba Everdene, whilst Jonathan Pugsley, a late substitution as the faithful shepherd Gabriel Oak, projected a warm tone with admirable sincerity and strength. Other fine singers included the bubbly Alison Hill as a bewitching Maryann and the splendid Emma Rothman, whose Aunt was richly and hilariously characterised. Simon Walton was a marvellously declamatory and forthright Sergeant Troy and one admired Daniel Sumner’s richness of tone and security of delivery as the ultimately tragic Mr Boldwood. Soprano Kate Hopkins was a perfect choice for the role of Fanny Robin, whose character and poignancy she brought to life with immense sympathy.

´David Trippett directed the Central England Ensemble, an orchestra of much personality. Orchestral playing was strongly projected and muscular, the music itself deeply emotional and richly idiomatic. Ann Nation’s costumes were fabulously colourful and the dancing captured the spirit of Victorian Dorset with charming felicity. The libretto, by the producer Cynthia Downes, was economical whilst preserving all the verve and nuance of Hardy’s masterpiece.´ (Review by Duncan Honeybourne for Musicweb and other websites)

After attending a performance of the opera, Roderick Dunnett of Church Times wrote that the opera “deserved the highest accolades. Andrew Downes’ music seems to me apt and inventive at every turn. Much of the lyrical writing is quite splendid…Downes marries an instinctive feeling for a good tune with real substance in the orchestral argument and texturing.”

Richard Bratby of the Birmingham Post wrote: “...hugely appealing...magical episodes abound…poetry and surging lyricism…a magnificent romantic opera.”

Helen Guy of the Sandwell Chronicle wrote: "This adventurous adaptation of Thomas Hardy´s classic novel kept its audience spellbound from beginning to end."

Michael Jones for the British Music Society Journal wrote: "Downes´ music is very accessible - drawing upon folk-dance on occasion while in general using much leitmotivic thematic development. Some of his style reminded me of RVW (Andrew studied with Herbert Howells at the RCM in the 70s), but Downes´ personal voice did full duty in responding to a demanding range of circumstances - from farm fires and storms to a murder... I was particularly impressed by Downes´ orchestration - lots of solo work for the woodwind in particular, which included cor anglais, bass clarinet and contrabassoon - often in dialogue with the singers on stage. There was also an important part for orchestral piano, which took thematic leads and had a role on its own as a sort of continuo... Act 4 reveals the consequences of Troy´s neglect of Fanny when her coffin is opened - this scene was especially musically powerful... Overall a very fine performance, well appreciated by the large local audience present - and all for £5 a ticket - not Covent Garden prices but much better value!"

Roderick Dunnet of Opera News (January 2008) wrote: "Conversion of a novel into an opera sometimes works (as in Of Mice and Men, or Verdi´s success with Dumas and Victor Hugo); sometimes, however, it proves dramatically defeating. Conrad´s Under Western Eyes (John Joubert), Bronte´s Jane Eyre (set by Joubert and Michael Berkeley) and Hardy´s The Trumpet-Major (Myfanwy Piper´s libretto for Alun Hoddinott) are all modern British operas on the cusp between triumph and failure.

Far from the Madding Crowd, a new two-hour opera by Andrew Downes, may be one that succeeds. It was staged in a church setting, at Wednesbury, near Birmingham — highly apt for the funeral scenes, though the action was thus restricted to a slightly limited acting area. One missed any sense of Hardy´s rolling Devon countryside: the focus was more on the domestic.

Easily the evening´s best features were the caliber of Downes´s score and the quality of his youthful performers. A former professor at the Birmingham Conservatoire, Downes has an impressive command of his art — of sustaining an extended structure by use of linking motifs; of judging what works dramatically; of orchestration (several of Downes´s works have been introduced by the Czech Philharmonic); and of deploying his best ideas without overusing them.

The orchestra for this performance, the Central England Ensemble, is a striking young group formed from players fresh out of college. The strings were impressive, as were the sly bassoon for hapless Fanny Robin (Kate Hopkins), the jettisoned lover of caddish Sergeant Troy (Simon Walton), characterized with a single trombone and strings; a piccolo-led repeating phrase like a roll-call from Billy Budd; effective use of a solo horn; and a well-judged piano part (played by Duncan Honeybourne) embedded within the orchestra.

Downes sometimes uses traditional melodies, with a haunting medieval underlay. Vocally, the most rewarding performance came from Manchester-trained baritone Jonathan Pugsley as Gabriel Oak, who managed a bit of folk-like piping on a recorder. A distinct feel of Ralph Vaughan Williams (Mr. Valiant-for-Truth, The Pilgrim´s Progress) and Britten in places (The Turn of the Screw, Rejoice in the Lamb) added to the intensity and atmosphere of this opera.

In Ann Nation´s beautifully costumed, attractively blocked staging, Paula Downes, the composer´s daughter, brought a fine upper register and cold authority to the marriage-resistant Bathsheba Everdene. Alison Hill scored with her lively characterization and appetizing mezzo quality as the far-from-pliable soubrette, Maryann Money. Downes´s present five acts might usefully be compressed into three, but this was an impressive undertaking that deserves to be performed elsewhere, and a patent triumph for young Midland talent."

RODERIC DUNNETT

Songs of the Skies - Andrew Downes

Sat, 01 Jan 2005 00:00:00 GMT

Celebrating British Airways in Europe -for young voices with chamber orchestra or CD

Poetry by schoolchildren coached by Julie Boden

Commissioned by Symphony Hall, Birmingham, with financial assistance from British Airways, for first performance on 3rd October 2005, by over a thousand children from Birmingham schools, with the Central England Ensemble, conducted by the composer. Subsequent performances have taken place in the UK Midlands and the USA.

6 songs:-

1. Lift your Eyes up to the Skies

2. We are Flying Out to Elmdon

3. Ghazal of Italy: Milan and Rome

4. In Barcelona

5. Où est Lyon?

6. Questioning the Clouds

CD with synthesised sounds and vocal parts added by Paula Downes, soprano, available for use by schools

7 Preludes for Piano - Andrew Downes

Sat, 01 Jan 2005 00:00:00 GMT

Specially composed for Duncan Honeybourne who gave the first performance on the 2nd March 2006 in the Chapel of the Ascension at Chichester University. Subsequent performances by Duncan at the Dorset Rural Music School in Blandford Forum (April 2006), the Parish Church of St Francis of Assisi, Bourneville, Birmingham (June 2006) Birmingham Conservatoire (November 2006 and November 2010; Wednesbury Museum and Art Gallery (October 2007) and Prelude 3 (Winter Lanes) at the Royal Northern College of Music (December 2006). Three of the preludes were played by Michael Jones at Kidderminster Art Gallery (October 2007)

A CD of the preludes has been made by Duncan Honeybourne, and the individual pieces can be heard on YouTube.

Anna's Bridal March - Andrew Downes

Wed, 01 Jan 2003 00:00:00 GMT

Specially composed for the wedding of the composer’s daughter, Anna Rebecca, to Michael Jason Price, at St.John’s Church, Hagley, Worcestershire, on 28th December 2003. Performed by Duncan Honeybourne, organ, Ian & Jo Hattersley, trumpets, Claire Beckett and Phil Dawes, horns.

Mountain Song - Andrew Downes

Wed, 01 Jan 2003 00:00:00 GMT

Commissioned by Nancy Spidel and the Colorado Flute Orchestra, and first performed in the Vance Brand Civic Auditorium, Longmont, Colorado on 20th December 2003, with a subsequent performance in December 2006. The Colorado Flute Orchestra, with Kathy Moore, harp, and Chris Engleman, bass, were conducted by Nancy Spidel. The Colorado Flute Orchestra performed the work again at the 2007 USA National Flute Convention in Albuquerque. The Columbia Flute Choir, directed by Sharyn Byer, gave performances at the Columbia Flute Choir Festival in November 2004 and at the USA National Flute Convention in Pittsburgh, Pennsylvania, in August 2006. The Texas Woman´s University/Brookhaven Flute choir, conducted by Pamela Youngblood, performed the work at the Margo Jones Performance Hall at Texas Woman´s University in October 2009.