History of Brass Band Music Volume 2 - The Salvation Army Collection

Grimethorpe Colliery UK Coal Band
Trombone soloist: Dudley Bright
Conductor: Elgar Howarth
Doyen: DOY CD161
Total Playing Time: 78.46 mins

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Expected release date: mid September

How to sum up 125 years of brass band music in the Salvation Army in a single cd?  That is the task Grimethorpe and Elgar Howarth have set themselves as they reach the second volume of their survey of brass band music. Although Elgar Howarth's roots were in The Salvation Army, he left at an early age and has drawn on advice from Trevor Caffull, Steven Cobb, Ray Steadman-Allen and Paul Hindmarsh in selecting the programme.  Whilst such a collection is bound to be a little contentious with particular favourites
being omitted, by and large the music covers those areas you would expect, although possibly the chance could have been taken to include one of the earlier selections - something by Goldsmith for example - and to bring it up to date with a more contemporary selection or march, but then it could be argued that there are other recordings available to those wishing to seek out such repertoire.

The presentation is particularly impressive, with a brief introduction by Elgar Howarth, and comprehensive notes by Ronald Holz, who not only provides a summary of each item but also sets it in its context, complete with a number of historical quotes explaining how and why the music for Salvation Army bands developed as it did.  Of course, excellent presentation is one thing, but what of the playing?

One of the most striking features of the whole programme is the space which Elgar Howarth gives - even the most intricate music is given room to breathe, so that all the figurations can be heard clearly, and there is some superb playing throughout the band.  Salvation Army bands are not restricted in numbers by contesting rules, and this is seen particularly in the trombones, where they are often written in four or even five parts, and there are times here when the extra trombone sound is very telling.  Also deserving of special mention are Nigel Fielding on soprano, whose sensitive contribution is most welcome, Richard Marshall on Principal Cornet, and the horn section, whose clear sound is most effective in the quieter sections.

From the opening track, a straightforward setting of the hymn known in The Salvation Army as "The Founder's Song" due to its association with William Booth's words "O Boundless Salvation", one is struck by the full, balanced sound, with no part protruding over the rest of the band.  As Salvation Army bands are most commonly associated, at least in the eyes of the general public, with hymn tunes and marches, it is appropriate that two of the latter are included here.  George Marshall's "The Liberator" and Bramwell Coles' "Victors Acclaimed" top and tail the programme and both receive very stylish readings (complete with da capo), with much made of the contrasting dynamics and very tidy articulation, particularly from the trombones.

The term "tone poem" was recommended to General Evangeline Booth by Eric Ball as an appropriate descriptive title for some of the more extended works that were being written, one of the earliest of these being "Exodus", depicting in musical terms the oppression of the Israelites in Egypt and their subsequent journey to freedom, led by Moses.  It is given a very measured opening and again the wide dynamic range is effective, pointing the contrast between the more aggressive passages and moments of calm.  It seems as if Elgar's influence is more prominent than ever, and Richard Marshall is on top form.  Whereas the "death motif" passages can sometimes seem forced, here they are presented powerfully, but within the context of the overall composition, and the concluding presentation of the hymn tune "Leoni" fulfils the score's instruction in demanding "all that the band can give in breadth of tone and control of dynamics".

Two meditations are included in the programme, Wilfred Heaton's "Just as I am" and Dean Goffin's "The Light of the World".  Both have been recorded many times before but are always worth hearing again, especially when given such faithful readings, with an extremely fine pianissimo towards the end of the latter (taken rather slower than the "tempo primo" marked) and the soprano soaring over the band in "Just as I am".

The soloist in Erik Leidzen's "Concertino for Band and Trombone" is Dudley Bright, currently Principal trombone with the London Symphony Orchestra following spells with the Halle and the Philharmonia, and Bandmaster at the Ilford Corps.  The title is significant as the role of the band is crucial.  Leidzen's accompaniments are always of interest, but all the more so here, and the sensitive playing and conducting support the soloist in exemplary fashion, right from the opening bars where the swells and forte pianos are
telling without becoming distracting.  With time given for the soloist to execute his notes this is one of most convincing readings on disc of this difficult work, written for Maisie Wiggins, then Principal trombone of the
Halle orchestra, and whose own performance has recently been reissued on cd - it makes for an interesting comparison in the changing styles of playing over the years.

Ray Steadman-Allen's "The Holy War" was premiered at the International Congress in 1965 that marked the centenary of the founding of the Christian Mission.  Based on an allegory by John Bunyan, it depicts Mansoul's struggle against the wiles of the devil, and uses the Lutheran chorale "Ein feste Burg ist unser Gott", from which many of the motifs are derived.  Here, as in Les Condon's "The Present Age", contrasts abound in both style and dynamics, with some sections calling for an aggressive attack and a bright sound particularly from the cornets and trombones, interspersed with warmer, more peaceful interludes.  These contrasts come across well, although the baritone solo in the aftermath of the battle does not have the same impact as, for example, Simon Birkett with the ISB.  What does work very effectively is the inclusion of bells in the final celebratory passages, even if the cornets sound a little shrill at this point.

Representing the modern American Salvationist composers is Bruce Broughton's "Covenant".  Based on the hymn tune of that name, but not with any particular words in mind, its angular phrases, sparer textures and spiky rhythms make for a piece that is full of interest, and it is good to see it included in such a clear reading.  The composer is of course well known for his work in the film industry and there are passages that would not seem out of place as the cowboys rode across the wild west.

Les Condon died in 1983 whilst carolling with Croydon Band, but he left a considerable number of works in a range of styles, from simple melodies to inventive and intricate pieces such as "The Present Age".  Premiered in 1968 it soon became a favourite with both bands and congregations alike as the young Christian is shown passing through spells of happiness, bewilderment and despair before affirming his faith and pressing on to the future. The various stages are illustrated by the use of tunes such as "It is well with
my Soul", "To Serve the present age my calling to fulfil" and "I'll follow thee, of life the Giver", poignantly cut off in the middle of the phrase "I'll follow thee, deny thee . . . never", where Sandy Smith's horn playing is magical. 

The flutter-tonguing and trombone glissandi that follow are given real bite before another serene section, where Sandy Smith is joined in duet by Ian Shires on flugel.  The dovetailing of the various sections is carried out seamlessly, and there is sensitive use of rubato throughout.  The final section is built around Sir Arthur Sullivan's tune for "Courage, Brother", bringing the whole to a triumphant conclusion.

To summarise, those who are unfamiliar with the brass music of The Salvation Army will find here a good cross-section, illustrating something of the breadth and variety of the repertoire available.  For those who know the repertoire well, these readings are always full of interest and, just as with the "Essays of Brass" series from Yorkshire Building Society, offer fresh insight and interpretations.  There is some really superb playing here, from the lush tones of the full band down to the delicate phrasing in the trio, quartet and quintet sections, with the upward sweeping runs being particularly smooth and effective whenever they occur.

Peter Bale

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