I originally intended the title “Falling Ever Deeper” to be one intimating total melancholy and as an emotional reaction to some immense personal challenges I faced during 2014. But as the piece developed I realised that the phrase “Falling Ever Deeper” could have positive resonances as well as the perhaps more obvious negative ones. So, the piece in essence gives a fairly accurate account of a journey through crisis, isolation and moving on.
The opening movement, Maelstrom, is dominated by the musical scream played by both instruments at the beginning of the movement. Of course this ‘scream’ has emotional overtones, but musically represented my overriding intention to have the flute an equal in the balance between the two instruments throughout the composition of the entire work. The opening movement is to be played as frantically and as breathlessly as possible.
The second movement, Void, is an opportunity for the lyrical and timbre possibilities of the flute and the player to be explored and discovered. As much contrast as possible is required to make the movement as dramatic and ultimately, as moving, as possible.
The last movement, Epiphany, is intentionally more up beat emotionally than the first two. Drama, speed and accuracy of the intricate articulations are the main points of focus for me as composer when listening to a performance of the work.
I wrote this piece for my two great friends, Vernon Hill and Virginia Taylor. Their friendship has been very important to me over several years, and no more so than in 2014. Their inspiration to me as a wind player and as a composer is incredible and endless.
And I dedicate the piece to my friends, Cooper, Stephen, Margaret and my brother Craig and his partner Sue for helping lift “Falling Ever Deeper” out of the abyss, and into the sunshine.
An Andy Firth original written in tribute to the great Australian jazz icon, Don Burrows.
Originally composed and arranged for Andy’s 16 saxophone big band CD “Sax To The Max!” this arrangement has been cleverly scored to work with various combinations of woodwind instruments. Andy has scored simple but authentic sounding jazz flute solos to capture the spirit of Don Burrow’s playing style. But if you think that this makes the chart too hard for your players, you would be wrong. In fact any intermediate level flute ensemble should be able to play this arrangement with ease. The rhythm section is optional as the chart can be performed with or without one. The lively bossa nova feel of the rhythm section combined with the catchy melody and tightly scored parts is sure to be a crowd pleaser where ever it is performed.