Sean Priest | Crossover

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by Sean Priest

CROSSOVER takes its inspiration from the outstanding performers, teachers, and composers, who wrote for and performed on cornet and trumpet at the turn of the 20th century. This album explores celebrates the shared heritage of the cornet and trumpet.
Genre: Classical: Band Music
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  Song Share Time Download
1. Concert Piece No. 2 in E-Flat Major, Op.12 (Arr. J. Mortimer)
Sean Priest
8:15 $1.99
2. Slavonic Fantasy (Arr. B. Moren)
Sean Priest
8:08 $1.99
3. Petite Piece Concertante (Arr. A. Lourens)
Sean Priest
3:36 $0.99
4. Solo de Concours (Arr. B. Mansted)
Sean Priest
7:42 $6.99
5. Sonata in E-Flat Major, Op.18: I. Allegro con brio (Arr. P. Hopkins)
Sean Priest
3:15 $0.99
6. Sonata in E-Flat Major, Op.18: II. Andante con esperssione (Arr. P. Hopkins)
Sean Priest
3:10 $0.99
7. Sonata in E-Flat Major, Op.18: III. Allegro con anima (Arr. P. Hopkins)
Sean Priest
3:33 $0.99
8. Concert Piece No.1 in F Minor, Op.11 (Arr. J. Mortimer)
Sean Priest
9:21 $1.99
9. Andante et Allegro (Arr. A. Lourens)
Sean Priest
5:07 $0.99
10. Concerto for Band
Kew Band Melbourne & Mark Ford
16:34 $4.99
Downloads are available as MP3-320 files.


Album Notes
CROSSOVER takes its inspiration from outstanding performer-composer-teachers such as Vassily Brandt, Théo Charlier, and Thörvald Hansen, who wrote for and performed professionally on both the cornet and the trumpet around the turn of the 20th century. Developmentally, through the 1800s the cornet and trumpet belonged to a fluid and evolving tradition. As a result, artists often performed and taught both instruments, and they freely shared, borrowed, and adapted, pedagogy and repertoire. Differences between the two instruments and their performers eventually sharpened, but it is the sense of a shared heritage that Crossover explores and celebrates. All of the solo works featured here were written either for one, or both, the cornet and trumpet. While none of them were originally conceived for cornet and brass band, because the brass band tradition and aesthetic is itself deeply rooted in the 19th century, the arrangements richly and powerfully ‘locate’ the repertoire at its historical origins.

Vassily Brandt (1869-1923) was a Cornet Soloist and Principal Trumpet for the Helsinki Orchestral Society through 1887-1888. German born, in 1890 he emigrated to Russia to play First Trumpet with the Bolshoi Theatre Orchestra moving to First Cornet in 1903. Brandt was also Professor of Trumpet at the Moscow Conservatory, an appointment he took up in 1902, and his Concert Pieces for cornet or trumpet both date from around this time.

Thörvald Hansen (1847-1915), Principal Trumpet in the Royal Orchestra in Copenhagen between 1884-1915, published his Sonata for Cornet in 1903 in Copenhagen. While its material is still on the lighter side, by virtue of its title, length, and use of three clearly delineated movements, it is clear that Hansen set out to write a piece of formal recital repertoire for the cornetist.

Théo Charlier (1868-1944) received Honours in both cornet and trumpet while at the Liege Royal Conservatory. He was subsequently appointed Professor of Cornet and Trumpet at the same institution in 1901. The Solo de Concours was likely written for graduating members of his cornet and trumpet classes. While it is in one movement it follows a broadly three-movement structure and so moves away from earlier Fantasies, Concert pieces, and toward more ‘serious’ instrumental forms.

The German born cornet virtuoso, Carl Höhne (1871-1934), published his Slavonic Fantasy in 1899. It’s seemingly quixotic moments represent a significant musical and historical contrast to the works by Frenchmen Guy Ropartz (1864-1955), and Guilluame Balay (1871-1943). Both the latter represent the dramatic, lyric, and bravura characteristics of the salon style instrumental music of La Belle Époque. These latter pieces were written as Morceau de Concours, literally competition pieces, for the graduating cornet class of the Paris Conservatoire.

From Lancashire England, John Golland composed Concerto for Band for Markus Bach and the Swiss National Youth Band. Along with his Concertos for Euphonium and the work Sounds, Concerto for Band expresses Golland’s ability to pair creative musical depth with a thorough understanding of the ever evolving brass band idiom and aesthetic.

SEAN PRIEST began playing cornet at age 8. His earliest performances were with the Returned Services Memorial Band under his formative teacher Arthur Edwards, and the Howrah Citadel Band of the Salvation Army. He has appeared as soloist and recorded with Glenorchy City Concert Brass and Midland Brick Brass for ABC Radio, Melbourne Staff Band, Hobart City Band, RASWA Brass and Kew Band Melbourne. Sean continues to enjoy varied associations, as conductor, tutor, soloist, and member, with brass bands across Australia. Eight years after taking up the cornet Sean began playing trumpet with the Tasmanian Symphony Orchestra. This subsequently led to appointments with the Melbourne Symphony, Orchestra Victoria, and seven seasons as Principal Trumpet with the West Australian Symphony Orchestra. His career spans symphonic orchestral, opera and ballet, and commercial styles.

He has appeared as orchestral soloist with TSO and WASO, recorded for ABC Classics, broadcast on ABC radio, and been engaged on numerous recordings for International Film, TV, and Games. In music, Sean holds the Thomas Matthews Prize for Outstanding Performance, an Honours I Degree from the University of Tasmania, along with Fellowships from the Associated Board of the Royal Schools of Music, Trinity College London, and the Australian Music Examinations Board. Alongside his performance career Sean is an active and highly respected educator and adjudicator-assessor who takes a keen interest in the development of brass players and playing at all levels.

Sean is currently Director of Performance at St Michael's Collegiate and a Lecturer in Band Performance at the University of Tasmania.

Musical Director: Mark Ford.
Principal Cornet: David Barker.
Soprano Cornet: Ian Cooper;
Solo Cornet: Colin Lord, Gemma Hale, Stephen Creek, Grace Wendt;
Repiano: Josh Rogan;
2nd Cornet: Neil McPherson, Wendy Bardsley;
3rd Cornet: Kathryn Smyth, Warren Jensen;
Solo Horn: Marianna Barker;
1st Horn: Daniel van Bergen;
2nd Horn: Katie Scott, Cheryl Ford;
1st Baritone: Jessica Crabbe;
2nd Baritone: Aaron Ford, John Breen, Nick Beale;
Euphonium: Patrick Mudge, Matthew Savage;
1st Trombone: Joseph Yu;
2nd Trombone: Hamish Moffat;
Bass Trombone: Elijah Cornish;
Eb Bass: Steve Ford, Daniel Bögemann, Per Forsburg;
Bb Bass: Tim Curnow, John Conway;
Percussion: Broden Ford, Sean O’Toole, Moana Manu;
Timpani: Ben Dickson.



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