Joseph Horovitz: Music for Brass Band

CWS (Glasgow) Band and Brass Band Berner Oberland
Conductor: Joseph Horovitz
Soloists: Steven Mead, James Gourlay, Roger Webster, Ewan Millar
Polyphonic Recordings: DPRL 901D
Total Playing Time: 93.23 (2 Disc set)

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Joseph Horovitz will celebrate his 80th birthday in 2006, and the banding world should give three cheers for a man who has given us so much wonderful music over the years.

The pity of course, is that in these days of ubertestpieces – huge technical tour de forces packed with showcase solo pyrotechnics that are seen by bands and their MDs as the only way in which to win major events, his special and unique brand of elegant, understated beauty of writing has been somewhat neglected.

It is a huge pity, as in many ways his music has been the perfect vehicle for the brass band to display its strengths and beauty. His compositions are gems of detail, colour, timbre, light and shade, yet unlike many of those modern compositions that are impressive solely for their construction, his works reveal a clarity of thought and purpose that makes them immensely satisfying to listen to time and time again. 

He is the musical equivalent of Sir Christopher Wren as opposed to the rather soulless Richard Roger creations that are all the vogue in this day and age.

In light of this we have had a look back at this release from 2001, when the composer himself took up the baton to direct seven performances of some of his major works for brass.  And, it reveals itself to be a recording of real depth and stature.  

The double CD disc is made up of two of his major concerti: the classic ‘Euphonium Concerto' written in 1972 and premiered memorably by Trevor Groom, and the ‘Tuba Concerto' written some 17 years later in 1989 for James Gourlay with funds made available though the Musicians Union.

In addition there are two of his major test piece works for brass: ‘Ballet for Band' which was used as the set work for the 1983 National Finals of Great Britain, and ‘Theme and Cooperation' which was also used for the same purpose in 1994.

Finally, there are two works that reveal his sophisticated sense of musicality: 'Concertino Classico' which is a text book composition of its genre, and his dark and mysterious ‘The Dong with a Luminous Nose' which despite its nonsensical Edward Lear inspiration, is work of fantastic breadth and subtlety. 

The opening track though is his wonderful ‘Sinfonietta', a three-movement gem of a piece that is as light as puff pastry and just as tasty. The composer allows the then CWS (Glasgow) band the time and the space to make it sound crystal clear whilst the players themselves, led by the Messer's Webster and Mead, display great artistry and understanding of the genre.  

Steven Mead then gives an authoritative account of the famous ‘Euphonium Concerto' which even some 30 years after it was premiered in such style by Trevor Groom at the Royal Albert Hall, reveals itself to be a work of grace and elegance and a benchmark in solo composition for the instrument.

The ‘Concertino Classico' is written in a manner that befits the heritage of the compositional sonata form, and has such refined feeling of gracefulness and discernment that you think the two soloists are asking ‘After You.' No. ‘After You' in the way in which they produced such a well mannered performance.  

The ‘Tuba Concerto' is in comparison to the early Euphonium work, a much darker, sombre and at times menacing composition – right from the opening Allegro section. It is though a work of rich vision and is given a superbly rounded and mature reading by James Gourlay.

That leaves the two test pieces and the bit of Lear inspired craftsmanship.  ‘Ballet for Band' is an unique piece of brass writing – a delicious musical soufflé that has a wicked sense of humour running through it like the printing on a stick of rock. All that lightness of touch and colour makes huge demands on both performers and conductors alike, and there have been few occasions since it was used over 20 years ago that a band has overcome it with the requisite feeling of ballet style.

Too many times we have heard performances that have bass players wearing steel toecapped diving boots rather than ballet shoes, and conductors who have tried to instil slapstick humour instead of the witty, dry and intelligent bon-mots that litter the work. Some performances have been like watching Reeves and Mortimer rather than listening Stephen Fry reading PG Woodhouse. 

‘Theme and Cooperation' is another work that has such an understated feeling of good taste about it. It has been neglected for far too long since it was used in 1994 to such fine effect at the Nationals, but amid the crash bang wallop that many bands favour as own choice selections it seems a rather light weight composition in comparison.  It is a beautifully constructed work though with some lovely extended sections of lyricism and is given a fine reading by Brass Band Berner Oberland.

Finally, the Lear inspired ‘The Dong with a Luminous Nose', which has a darkness of character that encompasses the mystical fantasy of what is in essence a sad and rather lonely heartbroken character of nonsense. "While ever he seeks, but seeks in vain. To meet with his Jumbly Girl again; Lonely and wild – all night he goes, Yonder – over the plain he goes, The Dong with a Luminous Nose."

It is a brilliantly atmospheric piece of writing that captures the poem and its character to a tee, and ends a recording that if you already have it in your collection is well worth dusting off a putting back on the CD player, and if you haven't is well worth investing in.

Lets us hope that in his 80th year, Joseph Horovitz gives us something else to savour.  In many ways, the brass band movement desperately needs it. 

Iwan Fox

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