The world premiere of ‘In Memoriam: E.H.’ to be given by the National Youth Brass Band of Great Britain this weekend is much more than just a new addition to the repertoire.
It is a deeply personal tribute from Martyn Brabbins, one of Britain's most distinguished conductors, to Elgar Howarth, the remarkable polymath musician, who died in January 2025, and whose influence still shapes the modern brass band world.
Brabbins (below) is the former Music Director of English National Opera, and musician who has a CV of the heftiest substance; including tenures as Artistic Director of the Cheltenham Festival, chief conductor of the Nagoya Philharmonic Orchestra, principal guest conductor of the Royal Flemish Philharmonic and more recently, in becoming chief conductor of the Malmo Symphony Orchestra.
It is a career that has earned critical acclaim for his commitment to contemporary music alongside that reserved for his interpretations of core repertoire from the orchestral and operatic worlds.
Rare opportunity
One of the most respected figures in British classical music, his brass banding hinterland is well known – one that was shown by the personal pride he felt in being asked to follow his great friend Elgar Howarth as President of The National Youth Brass Band of Great Britain.
The role therefore came with a rare opportunity.
For someone who has spent much of his career bringing other composers' music to life, writing ‘In Memoriam: E.H.’ represented the chance to tell a personal story of his own.
Responsibility
Yet this was never simply another commission. In fact, it wasn't a commission at all.
I felt on my appointment a responsibility to ensure that the next generation of young musicians understood the extraordinary legacy of this incredible musician and man
"I hate to disabuse you," he laughs, "but it was my idea. I felt on my appointment a responsibility to ensure that the next generation of young musicians understood the extraordinary legacy of this incredible musician and man.”
Howarth’s death brought an outpouring of global acclaim, but as Martyn Brabbins observed, it was a musical life that he still felt needed to be appreciated by the most recent generation of players.
He added: “When I was growing up, everyone was aware of Elgar Howarth. Times change, generations change, and perhaps today's young musicians know less about him than they could.
I just felt I'd like to write a tribute," he explained. "Not only for the audience to hear the piece, but for the young performers to be encouraged to look into his legacy."
Heart
That desire lies at the heart of the work.
Although Howarth became one of the most influential figures in British music, for Brabbins, his personal friendship with ‘Gary’ (at his insistence) was instilled not by outward showmanship, but from his quiet authority.
There was a wisdom about him that drew people in without him ever trying.
"It took people a little while to realise just what an extraordinary man he was," he reflects.
"He had an amazingly dry sense of humour, was incredibly intelligent, thoughtful and quietly inspirational. There was a wisdom about him that drew people in without him ever trying."
First meeting
The two first met during the 1990s at Glyndebourne Opera. Brabbins was rehearsing Mozart's ‘Don Giovanni’, while Howarth was preparing Harrison Birtwistle's ‘The Last Supper’.
Lunchtime conversations soon developed into a friendship that would last for decades, and although both had shared playing roots before becoming conductors, their conversations ranged far beyond brass bands.
Lasting advice
"We talked about everything; conducting, Richard Strauss , Harrison Birtwistle (above), our careers and life in general. Gary was much further ahead than I was at that stage, and he gave me one piece of advice that genuinely changed my professional journey. It remains with me every day. I've always been incredibly grateful to him for that."
Brabbins describes Howarth as "an unsung hero", whose influence reached countless musicians, often without public recognition. "So many things happened because of Gary. He inspired people, advised people and quietly changed lives."
Carefully woven
Those ideas are woven carefully into ‘In Memoriam: E.H.’
Rather than writing a dramatic memorial, he has created something intimate, thoughtful and symbolic
Rather than writing a dramatic memorial, he has created something intimate, thoughtful and symbolic – the starting point, as he explained, Howarth's name.
"If you translate the letters of 'Elgar H' into musical notes you have E, then L becomes A (from the solfège 'La'), G, A, R becomes D (from 'Re'), and H, in German musical notation, represents B natural."
Motif
These six notes - E, A, G, A, D and B - became the foundation of the work's principal musical motif, a signature from which the rest of the composition grows, branching into references to two composers who shaped Howarth’s artistic life.
Quotations
One is Harrison Birtwistle, whose groundbreaking works he championed throughout his career. The other is Richard Strauss (above), a composer he greatly admired.
They're small acknowledgements of two composers who meant a great deal to Gary
"There is a brief quotation from Birtwistle quite early in the piece and a very overt Straussian moment towards the end,” he adds. “They're small acknowledgements of two composers who meant a great deal to Gary."
Emotional heart
At its emotional heart lies something deeply personal.
Martyn Brabbins developed his musical motif into what he describes as, "a rather simple, tender and hopefully beautiful tune", first heard on solo flugel horn accompanied by vibraphone.
"It becomes almost like a contemporary hymn tune."
Deliberate reference
The reference is deliberate. Although Howarth was widely recognised as an innovator who transformed the brass band repertoire, Brabbins also wanted to acknowledge the warmth and sonority that they both felt had always been part of the brass band tradition.
"It's meant to be a gentle, touching tribute to a gentle, touching man."
"It's meant to be a gentle, touching tribute to a gentle, touching man."
Not anonymous
As a result, the work wasn't written for ‘anonymous’ performers either. Having spent an inspiring week with the NYBBGB during last year's summer course (above), Brabbins already knew many of the young musicians who would eventually perform the piece.
"I wrote the flugel horn solo with Noah Mallinson in mind and the accompanying vibraphone part for Alec Banner. Spending time with these young musicians, you realise just how phenomenal they are. Their musicianship really gets under your skin."
Spending time with these young musicians, you realise just how phenomenal they are. Their musicianship really gets under your skin
This he hopes will make the performance especially meaningful.
"The band has an incredible tradition of performing new music. That's something Gary believed in passionately as well. He commissioned new works, conducted countless premieres and constantly encouraged composers."
Defining strengths
He also believes that commitment also remains one of the NYBBGB's defining strengths.
"We have to keep opening the door for new music. We all love performing the great music of the past, but if we don't encourage new composers, where is the future repertoire going to come from?"
The young principals of the 2026 Course
Musical journey
As NYBBGB President, Martyn Brabbins sees the premiere as more than a memorial. It is also an opportunity for today's young musicians to recognise that every generation builds upon those who came before.
Reflecting on his own life, he recalls three remarkable teachers who shaped his musical journey—a bandmaster, a trombone teacher and his conducting professor in Russia.
Only later do you understand just how much they've shaped the musician, and the person you've become. Elgar Howarth certainly did that with me
"I still hear things they said to me decades ago. At the time you don't always realise how profoundly someone is influencing you.
Only later do you understand just how much they've shaped the musician, and the person you've become. Elgar Howarth certainly did that with me.”
Advice?
So too with these young performers. "They may not yet appreciate the impact musicians of previous generations can have on their futures, just yet,” he says. “But I hope this piece helps bring Gary a little closer to them."
As for his advice?
"When you're immersed in the brass band world, never forget there are many other musical worlds out there as well. Gary embodied that curiosity. He embraced opera, orchestral music, contemporary music, composition and conducting.
Keep your eyes and your ears open. Never let your passion for brass bands stop you discovering all the other musical worlds that are out there
He showed that being a brass musician never meant limiting yourself."
He added: “Keep your eyes and your ears open. Never let your passion for brass bands stop you discovering all the other musical worlds that are out there. Gary's life showed just how much is possible when you're curious, creative and willing to explore. That's a priceless legacy to pass on.”
With thanks to Simon Watts
