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All England Masters
2002:
Test Piece Review:
“Atlantic” – Concerto Grosso for Brass Band
Philip Wilby
Published by Kirklees Music
Commissioned by the Tomra Brass Band, with funding provided by Per
Einar Tomren
All things have context – and music is no different from anything
else in that sense. Context is different from perspective though
and it is therefore important to ensure that when you discuss works
of importance you do so with knowledge that there is a substantive
difference between the two things. Given that some of the greatest
orchestral works ever written have a historical, political or religious
context to their inspiration, it should come as no surprise that
one of the most talented composers for brass, Philip Wilby gains
much of his in the same way. It is also important however that you
realise that the context of his works differs greatly to their relative
perspectives. Thus, we come to his final work for brass in the form
of a test piece – “Atlantic”.
“Atlantic” is the last work from the composer who has in perspective
brought us some of the finest test pieces for brass in the last
30 years. “The New Jerusalem”, “Masquerade”, “Paganini Variations”,
“A Lowry Sketchbook”, “Dove Decending…” and “Revelation” form a
core of output that will be seen in years to come as some of the
most important works ever written for the movement. All however
have a different context to their creation. “Jerusalem”, “Dove”
and “Revelation” have firm foundations from Wilby’s deeply embedded
religious beliefs, whilst “Paganini” and “Masquerade” explore an
historical vein of inspiration. “Lowry” has echoes of an almost
economic and political cultural essence. So where does “Atlantic”
fit in?
Commissioned by the Tomra Brass Band in Norway with funding provided
by Per Einar Tomren who owns the much of the ship building industry
in the region, “Atlantic” is a Concerto Grosso for band that although
prefaced by a biblical quotation from Psalm 107 is essentially a
musical tribute to the people of the Tomra community who work in
the ship building and fishing industries. Therefore in context,
the work is both economically cultural and religious and as such
straddles the ground already covered by the composer in his previous
test piece output; yet is unique from the composer because of that
very duality.
Psalm 107 itself reads as follows:
They that go down to the sea in ships
And occupy their business in the great waters,
These men see the works of the Lord:
And his wonders in the deep.
And so to the work itself.
“Atlantic” is a Concerto Grosso for Brass Band. In the composers
own words this means, “….a work for several players, who are surrounded
by a larger group of musicians who support the musical argument,
provide antiphonal musical opportunities, and on occasions overwhelm
the solo group in climatic outburts. The piece has an energetic
opening movement, which returns at the end, and surrounds an elegiac
central section, haunted by muted tones and expressive solos for
the inner circle of players.”
The band is therefore seated to reflect this antiphonal approach
with the traditional seating arrangement replaced with a solo cornet
bench that now contains soprano, 1 solo cornet, flugel horn, solo
horn and 1st baritone. The traditional euphonium and baritone line
now contains 2 solo cornets, solo trombone, bass trombone and solo
euph, who sits where the second baritone usually plays. Across the
band to link together this inner circle are the solo Eb bass and
solo Bb bass. This is the “inner ring”.
The “outer ring” is as follows: The traditional back row cornet
section is replaced by three cornets, two horns and the remaining
baritone and euph, whilst the opposite side where the troms usually
sit is now occupied by three remaining cornets and the second trombone.
The only players who don’t really move are the second Eb and Bb
basses who form the bridge to complete this “outer ring”. The percussion
stay where they are thank God. The score reflects this by being
split in the same way with the top half of the page containing the
“inner” or “Solo Group” parts and the bottom half containing the
“outer” or “Tutti” group. The percussion stays in the middle of
the page. Got all that?
The piece is split into two main sections – Part One – which starts
slowly (and on a pedal B for the Bb bass!) and then builds with
a swell and accel to bar 25. We only need to be 15 bars into the
piece for those seasoned bandsmen and woman amongst us to recognise
lots of trademark Wilby moments of rhythm, sounds, hidden detail,
dynamic contrasts. The tricky technique (although not in the same
league as “Masquerade” for instance) that follows is clear and concise
and will need a firm control and a lack of desire to try and whip
up a storm if it is to be played successfully. Those who try to
go hell for leather can expect ‘nil points’ from the Cambridge jury
and get deservedly thrown overboard. On hearing the piece it is
clear that bands need to be exceptionally careful not to lose control
during bars 51 to 169. The solo lines (horn, trombone and flugel)
shouldn’t trouble bands of this standard but it’s the accompaniment
and tutti and work that needs a firm hand. Too many Roy Keanes’
in the band and you’ll find yourselves in more trouble than a Russian
Kursk.
It must be remembered that the piece was written specifically for
the Tomra Band, a Norwegian First Section Band and the composer
states that he wrote it with certain players very much in mind.
Therefore it doesn’t contain the technical pyrotechnics in many
of his other works. The movement ends loudly in a declamatory style.
Part Two – entitled Nocturne and Finale starts with a flugel cadenza
that again is not too difficult but will need a strong nerve and
bags of style, whilst the rep player will need to get his running
spikes on as they get to play the off stage reprise a little later.
The movement is elegant and sparse in turns and once again there
is an emphasis on style rather than technical content, with the
euph part containing some lovely moments that extend but do not
break the range. Marked at a crotchet = 70, the music moves with
a definite pulse. Bands that impress here will be those which allow
the music to flow. Care needs to be taken with the demis though
– beware! On closer analysis it’s clear that Mr. Wilby has created
some moments of real elegance here – expect some exquisite playing
in the more cultured performances.
Finally the reprisal returns and much of the last quarter is taken
up of a return to much of the content of the first movement with
the exception of 20 bars or so. It must be said that one felt rather
short changed in this respect.
It ends in typical style with a section that is not too far from
the ending of “Masquerade” itself.
As we said at the beginning, all works have context, and in this
case the context is clear – it is work of respectful homage to a
people who’s lives are inexorably linked to the sea – culturally,
economically and religiously. In perspective though, “Atlantic”
will possibly be seen as not perhaps one of Philip Wilby’s great
works, but none the less a work of substance and one that deserves
its place along side his other brass band test pieces.
©
4BarsRest
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