Rothwell Temperance Band

Concert Collection
Conducted by David Roberts
WestbankAMC: WAMCRTB004
Soloists: Paul Argyle, Andrew White
Total Playing Time: 62.00 mins

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The latest recording from the Rothwell Temperance Band under their conductor David Roberts is an attractive mixture of music under the heading "Concert Collection".  The band has had considerable success in recent days, including last year's 5th place in the British Open and this year's 4th place in the notoriously competitive Yorkshire Area, a performance that earned them an invitation to the Albert Hall, and that was described by Iwan Fox as " . . . a quality championship band from the word go".

The performances recorded here underline that quality, with some particularly impressive soloists, notably Paul Argyle on soprano cornet and Andrew White on trombone.  They open their programme with Edward Elgar's "Pomp & Circumstance March No 5", which makes a pleasant change from the more frequently played 1st and 4th.  The arrangement was discovered in the band's library, and extensive research has failed to discover the identity of the arranger.  David Roberts has picked just the right tempo – steady enough to preserve the necessary gravitas but not so slow as to turn the trio into a dirge as can sometimes be the case.

They follow the Elgar with Goff Richards' arrangement of George Gershwin's "Strike up the band", which receives a lively and vibrant interpretation with the opening scales deftly handled, as is the dovetailing between the various sections of the band.  In contrast, "The Ashokan Farewell", written at the end of a week long music camp, aptly conveys the sadness associated with the parting of friends.  Melodic lines are nicely sustained, and the burst of sound as the band moves into the last section just avoids going over the top, whilst the quiet ending is well controlled.

Janacek is not a composer one immediately associates with the brass band, but Philip Sparke's setting of the "Sokol Fanfare" works very well, retaining much of the dark tones and primeval nature of the original.  Taken from his "Sinfonietta", Janacek scored the opening "Allegretto" for a large brass choir consisting of 9 trumpets in C, 3 trumpets in F, 2 bass trumpets, 4 horns, 4 trombones, 2 euphoniums and tuba.  The music is full of rises and falls, and some of these seem rather overdone, with the canonic trumpeting a little forced, but it still captures the elemental nature of the music.  The excerpt ends rather abruptly, particularly for anyone anticipating hearing the trumpet melody which became familiar when used as the theme tune for ITV's "Crown Court".

Staying with Philip Sparke, but this time wearing his composer's hat, soprano player Paul Argyle presents a fine version of "Flowerdale" from "Hymn of the Highlands", which stands comparison with any other rendition available.  With a clear sound, the playing is delicate, but with no lack of power when called for, and this is one of the highlights of the recording.

Moving from Scotland to Spain, or at least to a Frenchman's interpretation of Spain, Bram Gay's transcription of the brief "Prelude to Carmen" contains a couple of the well-known themes and offers the opportunity for the percussion section to let their hair down somewhat.  From a brisk opening, complete with neat trills and articulation from the cornets, through the sustained melodic work by the middle of the band, the players seem to be enjoying themselves and their enthusiasm is nothing if not infectious.

"A nightingale sang in Berkeley Square" comes in a version by Richard Glascodine, one of the band's younger cornet players, and it is good to see such talent being recognised and used.  The arrangement was submitted as part of his degree course at the University of York and includes some atmospheric effects and varied harmonies to create a very individual version of the familiar melody.

Morley Calvert's output for brass was quite small but contains a number of gems, one of them being his "Canadian Folk Song Suite".  In three movements, it uses folk songs from various parts of the composer's native Canada, notably Quebec and Newfoundland, with the gentler central segment "She's like the swallow" contrasting with the more boisterous outer movements.  The first movement is a little understated and slightly slower than some other versions, but the dynamic contrasts are made and the tuba soloist produces a good sound.  The chords in the second movement are finely balanced and provide good support for the melody, with both euphoniums and horns making their mark.  The rather spiky finale is nicely pointed, with notes clearly defined and with just the right degree of separation.  The exuberant clapping section comes across well, and the excitement builds up effectively as the tempo increases towards the end.

The second soloist is Andrew White, featured on trombone in Nigel Wear's take on "That's all", in the style of Tommy Dorsey.  Clearly at home in the upper register, the accompaniment is sensitive, restrained when under the soloist but bursting through in the occasional tutti passage.  The recording level seems a little low, however, and after the loud climaxes elsewhere it may be found necessary to adjust the volume settings for this number.  The arranger is a local jazz pianist and teacher who has family connections with the world of brass bands.

The song "Diamonds are a girl's best friend" has featured in several films since its appearance in "Gentlemen prefer blondes", where it was uniquely interpreted by Marilyn Munroe.  It was reworked for the 2001 version of "Moulin Rouge" as a vehicle for Nicole Kidman under the title "Sparkling Diamonds" and incorporating "Material Girl". Sandy Smith has provided another fine arrangement for band, using the available tone colours effectively, and the players sound pretty comfortable with the big band style.

Goff Richards' arrangement of "Abide with me" offers more scope for the band than many hymn tune settings, and Rothwell make the most of the opportunity, with gentle running passages decorating the euphonium melody in the first verse, an effective cornet obligato to the second, and the music thereafter rising to a rousing climax, complete with triumphant flourishes and fanfares, even if some may feel the percussion is a little excessive at the close. 

Barry Forgie was for many years the leader of the BBC Big Band and has produced a number of arrangements for brass, some of which can seem a little overblown and drawn out.  "Chicago" is certainly one of the most successful, with some unexpected interludes and changes of rhythm, and comes complete with some excellent work on vibraphone, with good use of rhythmic and dynamic contrasts throughout the band. 

Excerpts from the classics have often provided the climax to band programmes down the years, and in the "Finale from The Three Cornered Hat" Keith Wilkinson has provided another effective item.  Manuel de Falla's work started off as a pantomime ballet entitled "The Governor and the miller's wife", but at the behest of the great impresario Diaghilev it was rewritten, emerging as a two act ballet (not "opera" as in the otherwise excellent sleeve note) under its present title, and first performed at Sadlers Wells in 1919, with sets by Picasso and choreography by Massine.  It is a work with as many misunderstandings as a Whitehall farce and the finale depicts a fracas involving the police – chasing the wrong man – and the crowd, before matters are resolved and , as they say, everyone lives happily ever after.  The music is distinctly Spanish in character, with the use of traditional Andalusian melodies, a strong flamenco influence and a rustic feel to it, although in the opening bars the band's sound veers towards coarseness, and the cornets are a little shrill at times.  It is a colourful score, as one might expect with the link to Diaghilev, with vibrant rhythms and a relentlessness somewhat akin to some sections of "Firebird", and is a useful addition to the band repertoire. 

A postlude is provided in the form of William Himes' "Procession to Covenant", based round the hymn tune "St Margaret" and written for the occasion of his second marriage, an emotional occasion with his first wife having died.  The band chose to include it having featured the same composer's "To know thee" on their previous recording, "Spitfire", and it provides a welcome oasis of calm after all the excitement.  It is a restrained reading, with some fine flugel playing from John Ward, although the descending octaves through euphonium, Eb bass and Bb bass die away, with the Bb being barely audible.  This is a very minor quibble, however, and overall it makes for a most satisfactory conclusion to an interesting programme of music.

"Concert Collection" was recorded over two weekends in June and October 2005, when the band also laid down tracks for a Christmas cd.  David Roberts has provided brief but informative notes and a full list of personnel is included.  It is certainly well worth acquiring if the programme appeals, as the performances are of a high quality.  The band produces a full, clear sound, with strength in all areas, but there are a few  occasions where the playing gets very loud and almost aggressive, and playback settings may need adjusting to hear the recording at its best.

Peter Bale

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