Phoenix Music Publications

The Casbah of Tetouan was conceived during a visit to Morocco in the summer of 1988. The composer offers the following anecdote:
"As we crossed the Straits of Gibraltar and first laid eyes on the North African coast, I knew we were in store for an adventure! The city of Tetouan was our destination; we were soon standing before its main gates. As we entered the city, our senses were overrun by the many exotic new sights, complementing the wild sounds and smells of the bustling ancient city.  After proceeding only a few feet past hobbled live chickens, we found ourselves immersed completely in the endless, tiny alleys of the Casbah. It was a labyrinth of tunnels and passageways, lined with vendors and shops the size of walk-in closets. Anything could be had, including copperware, sacks of spices and grains, and silk. Street butchers displayed slaughtered lambs, goats and pigs, and a snake charmer with his cobra unnerved the unwary passerby. Somewhere around the urine-treated leather goods things began to swim before my eyes. After I informed the guide that I was ill, a young boy was sent to escort me to a quiet place. The boy knew every secret passage and shortcut in the Casbah. He led me through even tinier streets and tunnels, across nomad camps, and even through a kitchen! We sailed through the back door of a mosque, and out the other side. Finally we entered a large, dark and cool house, which seemed to be some sort of palace. The boy led me to a back room and laid me down upon a bed of large pillows. I passed out. I awoke thoroughly disoriented. The first things I saw were six elaborately cloaked elderly men, wildly discussing in Arabic what could possibly be wrong with me, I heard exotic music and aromatic food assailed my senses. After closer observation I discovered I was in a fancy restaurant, being entertained by a belly dancer. Somehow my wife and brother found me and we resumed our inspection of Tetouan. I still felt lightheaded and rather doped by the "therapeutic" tea; my impressions of the city were somewhat hallucinogenic."

- Kerry Turner

Originally concieved for brass quintet, The Casbah of Tetouan was then adapted for horn quintet. This version was subsequently revised as it appears here, once again for brass quintet. The Casbah of Tetouan has been recorded on CD by the American Horn Quartet and is available on the EBS label.

Check out the recording of this work: CD HEROES

"Soundings on the Erie Canal"was composed in 1984 and is based on the well-known American folk song "Fifteen Miles on the Erie Canal". The piece is written to be light-hearted and fun rather than a serious addition to the brass quintet repertoire. With the main melody, there is a lyric counter melody. The two interact in a musical exploration of different styles and variations, spanning from the barouque to bee-bop and jazz. The international quotes in the middle section represent the different nationalities of immigrants who helped build the Erie canal (chinese, Irish and Mexican). The piece ends with an exciting Presto, which is a variation on the main melody. Although this piece is an early work of Mr. Turner's, it is written with the same energetic and positive spirit which characterizes his other music.

Check out the CD of this work: CD HEROES

Judas Maccabaeus was composed in England in the tumultuous year 1746 and was designed as a compliment to the Duke of Cumberland for his victory over the forces of "Bonnie Prince" Charles. The year had also proved troublesome for Handel himself. With the increasing popularity of opera, opposition to his oratorios had grown among his regular high-society subscribers forcing Handel to cancel his plans for a 1746 oratorio season. With Judas Maccabaeus, Handel opened the doors to all comers, allowing the middle classes into the concerts for the first time alongside the high-society. The libretto was written by the Reverend Thomas Morell and is based on the first book of Maccabees in the Apocrypha.

‘Sound an Alarm’ appears in the second act. The people of Israel have just been thrown into despair by the impending invasion of the forces of the King of Samaria. This marvellous aria with chorus is a call to arms to rise up and fight off the invaders. Given the political background of the events of the time and coming at a dramatic high point in the oratorio, it couldn't help but strike a popular and patriotic note with the audience of the time. It is a tribute to the music that the dramatic impact survives to this day, moving audiences all over the world.

I chose the title "Improvisation" because of the circumstances in which the piece was written. At the time of receiving the commission by the Loraine Brass Quintet, I was doing quite a lot of traveling and didn't always have access to a piano or keyboard. During the month of April 1998, I had several different motives bouncing around in my head. The theme at the very opening (the listesso tempo after letter A) the motive in the treble voices at letter B and the subsequent fugue theme had all basically been decided on. I just needed to weave them all together in some sort of a coherent form. I had also decided that, with a bit of luck, the natural progression and development of these themes could evolve into a very nice B section melody (the Andante Cantabile after letter H). With this plan, and five days to kill in Chicago, I set about composing the quintet. Not having any sort of keyboard instrument at my disposal, I quite literally had to improvise and hope for the best. About 2 weeks later, I found myself on a flight to Melbourne, Australia via Singapore, where I had planned to stop over for two days. It was on this flight that I had the idea for the ending (approximately letter M to the end). So the first morning in Singapore was spent tagging on that part of the piece.
If a jazz musician is asked to improvise a solo during a number, he will invent variations on the song being played and spontaneously adjust the themes and harmonies to fit his own style, mood and capabilities. That is more or less, exactly what I have done with this piece, hence the name IMPROVISATION.

- Kerry Turner

Improvisation was commissioned in 1998 by the Quintette de Cuivre de Loraine for quintet comprised of two trumpets, two trombones and a bass-trombone. The adjustments to fit a conventional brass quintet were done by the composer.

Fragment of 'Improvisation' (mp3 200kb)

Check out the recording of this work : CD HEROES