Bourgeois in Brass

Yorkshire Building Society Band
Conductor: Dr. David King
Soloist: Ian Bousfield
Egon Recordings: CDSFZ 113
Total Playing Time: 69.45 mins

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This is an epic recording. The brass music of Derek Bourgeois has been integral to the development of the banding movement in this country for over 25 years and now in his 62nd year this CD is a long overdue tribute to a composer who has done much to extend the musical possibilities and boundaries of the modern brass band.

For a man who has written ten symphonies, eight concertos, several extended works for orchestras, two operas and a musical, the brass banding public have had to be content with a small but immensely impressive series of works that have had a strong appeal to both performers and audiences alike. For this recording by the newly crowned European Champions we are treated to four of his major works that span the period 1980 in the form of "Blitz", to the present date with his latest and perhaps most challenging work, "Apocalypse", which was given it's World Premiere performance at the Gala Concert in Bergen just a week ago. In addition we have the opportunity to hear the premiere of his four movement "Sonata for Trombone and Brass Band" performed by Ian Bousfield as well as his immense "Concerto Grosso".

These come together to form a mightily impressive release, and it is fair to say that we for one hope there may be others to come, which would cover his other major works such as "Devil and the Deep Blue Sea", "Concerto No 1" and his now rarely heard, "Diversions for Brass Band". For now though we have the opportunity to enjoy some brilliant playing from YBS and some equally brilliant compositions from the man who studied under Herbert Howells and Sir Adrian Boult and who graduated from Cambridge University with first class honours in Music and a Doctorate, and who has had a love and active involvement in the banding world ever since he conducted the famous Sun Life Band in Bristol between 1980 and 1983.

The first work on the release is his most recent. "Apocalypse" is a return to the musical vein the composer first mined to such great effect in the late 1970's and 1980's when he brought works such as "Blitz" and "The Downfall of Lucifer" to our ears. These were gritty, uncompromising compositions, full of aggression and at times musical violence, but fresh and challenging to a banding world that was starting to appreciate more avant-garde offerings. "Apocalypse" returns in such force that its title sums up the work perfectly.

Although it has no direct programmatic link to the last chapter of the revelations of St. John the Divine, the musical sentiments are apparent right from the start. The several sections are linked in thought – thoughts of destruction, pain, domination, warfare, attack, offence, strife and struggle and so the work is harsh and at times very hard in character, and the struggle not only of the musical language but of the players in meeting the immense technical demands placed on them is very transparent. The performers are tested to the very limit – the composer describes the work as "almost unplayable" and only a band of YBS's quality can really do it justice. It takes a few hearings to get to grips with, but you are rewarded with a piece whose violent undercurrents excite as only Bourgeois can whilst the surreal moments of calm are beautifully ethereal. It is an amazing work.

Ian Bousfield is of course an amazing player and his performance of the composer's "Sonata for Trombone and Brass Band" is supremely delivered. The work was composed in 1998 and now exists in three formats – for brass, wind and as a solo work with piano accompaniment. This version is immensely satisfying to listen to and the soloist is in complete command of the subject matter and of his instrument. The first movement is cast in sonata form, whilst the second is a sharp scherzo in 5/8 time. The third is a very lyrical adagio that has lush harmonies and textures whilst the fourth is an up tempo rapid scorcher that ends in a triumphant triple forte climax. It is a great musical vehicle for a great musical player.

It is doubtful whether the brass band world would have ever heard of "Blitz" if the composer had got his way and called his Opus 65 "Lip Transplant" as he intended when it was written in 1980, but the test piece for the National Finals of 1981 has remained firmly in our musical conscious ever since it first appeared twenty two years ago. How times flies, and even today the work has the ability to test the very best bands to the full, whilst the musical subject matter still has the immediacy to shock the system.

It is interesting to note that the composer had to change many aspects of the work (especially the end) as it was felt the original ideas were too unfamiliar to the players of the time, whilst there really isn't as in his "Apocalypse" a direct thematic link between the title and the music itself – the composer seems to have given it the title in retrospect and which reflected the "new" ending he gave the work and the memories he gleamed from "dashes" to the Anderson shelter during air raids in the War. It is still a corker though.

Finally we have a stunning rendition of "Concerto Grosso" – the one piece here that was in fact not a full blown brass band composition at all. Written in 1979 as a commission for the ten piece Philip Jones Brass Ensemble, the composer transcribed it for brass band a couple of years later and directed the first performance by the Sun Life band on a BBC broadcast in 1982.

Ever since that time it remained something of a "hidden classic" – deemed perhaps too difficult for all but the very best bands in the world (although the composer himself doesn't think so) and it only occasionally saw the light of day. Grimethorpe did it justice a few years back under Frank Renton, but it wasn't until Eikanger performed it at the European Championships in Birmingham in 2000 and then YBS themselves give a breathtaking account in Brussels in 2002 has it really come to fore once more. It is a real "Tour de Force" in the true meaning of the word and YBS do it justice here with both soloists and ensemble showcasing their talents to the full. The recording studio rendition may not have the verve and raw excitement of that performance in the Palais des Beaux Arts in May 2002, but this does come very, very close indeed.

As we have said, this is an epic recording. YBS and David King have brought us four exceptional works, played in an exceptional manner. Recorded over three days in March this year it is a band at full tilt, playing music that requires immense reserves of stamina, technique and musicality. All the players involved (including the guest deps) should be congratulated fully for their efforts, whilst Dr King shows that he has an intuitive understanding of the composers musical thoughts and ideas. There should also be a big pat on the back for Egon for taking the decision to release such a serious CD, plus the graphic designer for a superbly laid out and attractive cover and booklet. This is a very strong contender for our CD of the year.

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