Phoenix Music Publications

The Berceuse for the Mary Rose for woodwind quintet was composed in February 2004. The inspiration for the piece came from a visit to the Mary Rose ship hall in Portsmouth, England. The composer was able to view the ghostly inner hull of the ship, which remains submerged in sea water. In this short historical fantasy piece, the listener too is with the Mary Rose as it is displayed in this condition. Thus the piece begins in a ghostly, grey and mysterious mood. Gradually the story of the famous ship unfolds. With the introduction of an authentic part song by Henry VIII himself, “Pasttime with Good Company”, the listener is quite suddenly transported to the year 1545. An impression of sights, sounds and smells are portrayed as the ultimate destiny of the Mary Rose arrives. As if awakening from a dream, we are left staring at the silent wreck of the ship. The Berceuse for the Mary Rose was commissioned by Members of the Cinq Beaufort Woodwind Quintet of Rotterdam, The Netherlands: Ada Bienfait, Joop Bonebakker, Maarten Hudig, Coen Schimmelpenninck van der Oije and Ad Smit.

Every night around four fifteen I awaken. It is neither sudden nor brought on by a bad dream. Usually my mind is quite blank when I drift out of a deep sleep. Then, as if on cue, the first haunting thought occurs. It is usually a dilemma which I have not been able to resolve. I'll turn it over in my head one more time until I'm reminded of something I said to someone who may be mildly related to the dilemma. Embarrassment, anger and regret come over me as I relive the stupid remark...there in the darkness, under my sheets.

Turning on my side, I'll shrug off an insult to myself about my irresponsibility and suddenly I am reminded of something I was supposed to do, or perhaps something I must do tomorrow. I won't, however, be able to take care of it tomorrow because of that original dilemma I was pondering earlier.

I turn over on my other side, and slowly many other problems and dilemmas, each somehow related to the original one, begin to circle in my head. I toss and turn more turbulently now, and usually throw the covers off in an over_heated sweat. I make conscious attempts to calm my mind, reciting the 23rd Psalm or Reinhold Niebuhr's prayer, "God, grant me the serenity to accept the things I cannot change..."

Sometimes the clear solution will briefly come into focus through the confusion of prayers, bewilderment and resentment. Then it too will become swirled into the grand dilemma. It remains unsolved. And the storm that haunts me every night at quarter_after_four has numbed my mind yet again as I drift off as quietly as I awoke.

Quarter_After_Four was composed during the month of September, 1996. It was originally intended to be a piece for violin solo and piano, which was to be written for the violinist Atti1a Keresztesi, a colleague of mine in the Luxembourg Philharmonic. The addition of the horn brought a wider spectrum of color and special effect possibilities. It was also a logical choice to add the horn, as several horn players of international repute had suggested I compose a piece that could conceivably re programmed with the Brahms Horn Trio. I hope this piece will be added to the already fine repertoire which is steadily growing for this type of ensemble.

- Kerry Turner

Check out the CD of this work: CHAMBER MUSIC OF KERRY TURNER

Rhapsody was meant to recreate, with music, four vivid yet fleeting memories in the life of the composer. The scenes which flashed into Mr. Turner’s mind were both full of character and color, indeed each interesting enough on which to base an episode of music.
The episodes are entitled: The Story Behind the Scream, Return to the Scene of a Past Romantic Affair, Crossing a Street in Old Shanghai, and The Steeple of the Belair Church. The piece begins with an introduction which states the principal theme over a dreamy background. This theme reoccurs throughout the entire work, sometimes in counterpoint with the new episodic material, sometimes alone and sometimes in the accompaniment. The four episodes are tied together with three interludes, which bring a source of continuity to the work. The Finale presents a completion of the principal theme and integrates the various melodies and motifs of the episodes.
Rhapsody for Nine Instruments was commissioned by Mr. Maarten Hudig of Rotterdam, The Netherlands. The commission was a retirement gift presented to him by his colleagues. The instrumentation of the commission was outlined by Mr. Hudig himself as it corresponds to the instruments of his chamber ensemble.