Bread Garden & Turner

 Well here we are at the final blog post… I figured it was fitting to end this project with a trip to a coffee shop with a friend from this class. I had been meaning to try the coffee bar at Bread Garden for quite a while, and finally remembered to go there quickly between classes instead of Starbucks or Encounter. I was even able to trick Xiaoyu into coming with me before going to the gym! 

For the price and convenience, Bread Garden is a good option close to Voxman! I think DAYDRINK is better quality coffee, but it can be a slightly longer wait if you're trying to grab a quick drink between classes and rehearsals. Bread Garden also beats out DAYDRINK in regards to amount of seating. There are tons of spots to sit down and enjoy your drink, including a large patio now that the weather is nice. 

For my final piece, I wanted to discuss a piece by one of the most important composers for horn ensemble: Kerry Turner. Turner is an American composer and horn player. He is most known for his membership in the American Horn Quartet, which he joined in 1985. His works are extremely popular and are an exciting addition to any program. 

The Ghosts of Dublin is a piece for horn octet written by Kerry Turner. It was commissioned in May of 2001 by the Alexander Horn Ensemble Japan. This is the third piece, after Farewell to Red Castle and Barbara Allen, that Turner wrote for horn octet inspired by folk music from the British Isles. This piece is specifically inspired by the non-Classical music and history of Dublin, Ireland. The concept of the Ghosts of Dublin was inspired by Turner's experience walking through the streets of the city and feeling like he was "walking in the footsteps of countless previous inhabitants." 

The piece is approximately 8 minutes long and features original themes, inspired by Irish folk elements. The primary theme of the work is inspired by Dublin itself, and along the way we encounter various ghosts of the city's history such as the Irish legend Brian Born who recaptured the city of Dublin from Viking occupation. 

While it is common for horn ensembles to play sextets and octets with multiple performers per part, I would not recommend that practice for this work without designating sections as "solos" and sticking to one performer at a time, particularly for the more ethereal opening. Additionally, this piece features sections which are very rhythmically intricate which would only become more difficult to execute with additional players. Typical of Turner, the Ghosts of Dublin demands mastery of the entire range of the horn and would be best suited for an advanced octet. 

And thus concludes the run of this blog for ABEL! Thanks to everyone who took the time to read my posts and I hope you all learned something about coffee or brass ensembles along the way! 📯☕