‘God rest ye merry Gentlemen’ is an ancient English carol. It was first published in 1833 but it can be traced as far back as the 15th century which makes it one of the oldest carols known. ‘God rest ye merry’ is a Middle English salutation. In this manner people wished one another greatness and might. In modern English the first line of this carol would read ‘May God keep you mighty gentlemen’. Andrew R. Mackereth has not kept to the original words in his up-tempo arrangement of the carol. It is still clearly recognizable but the arranger has taken a good many liberties. Sometimes a particular note is held longer at times motifs follow oneanother in various parts. If you listen carefully you may even be able to detect a motif from another well-known song.

In English-speaking countries ‘Away in a Manger’ is one of the first Christmas songs to be taught to little children. It is a moving song with simple words which makes it easy to understand. The song is also known as ‘Luther’s Cradle Hymn’. This suggests that Martin Luther was the author of the lyrics. According to researchers however this is a misconception – the author is unknown. In England ‘Away in a Manger’ is sung to a different melody than in the USA for example. The ‘English’ melody was composed by W.J. Kirkpatrick. Andrew Mackereth made a touching arrangement of the ‘English’ melody which suits the tender lyrics perfectly.

A virtuoso solo based on the Christmas song In Dulci Jubilo for Bb instrument and brass band especially for cornet or euphonium.

Exaltation is a nerve-wracking but spectacular concert opener by this young rising star from Britain. Het bij tijd en wijle virtuoze stuk zet de band in vuur en vlam met snelle flitsende passages. Het prachtige verstilde 2e deel zorgt voor het evenwicht in dit zeer bijzondere openingswerk.

From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title as well as being a play-on-words implies the nature of the work. It is a bright optimistic and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme. Fig. E sees the music of the opening bars fully realised with flourishes from the euphonium and baritones representing swirling clouds shooting stars or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.