Untold Stories

Owen Farr
Cory Band
Conductor: Dr Robert Childs
Doyen Recordings: DOY CD225
Total Playing Time: 62.46

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The tenor horn is frequently seen as the "poor relation" of brass instruments: looked down upon by some as being inferior to its orchestral counterpart the French horn, and not being perceived as being as glamorous as the more favoured solo instruments in the brass band. 

The number of solo recordings available is very small in comparison with the range available or cornet, trombone or euphonium, and yet amongst the select number that has been produced there are some gems, and this new offering by Owen Farr is up there with the best. 

Since joining Pontypool Brass Band at the age of six, Owen has progressed via the National Youth Brass Band of Wales, BTM, Tredegar and Faireys, before taking up the solo horn position with the then Buy As You View Band.  He has also worked tirelessly supporting other young players, and has won many friends through his quality performances with Sonar Brass, as well as promoting new works for his somewhat neglected instrument.  His recording features a number of new compositions and arrangements as well as a couple of established favourites, and he is well supported by the sensitive accompaniments provided by Cory Band under Dr Robert Childs.

"Bride of the Waves", described as a "Polka Brillante", was written in 1904 by the American cornet virtuoso Herbert Lincoln Clarke, and he recorded it at the time with the Sousa Band. Right from the outset, Owen Farr makes it his own, with a commanding interpretation commencing with a well-thought-out introduction, with effective use of rubato throughout.  Owen has an even tone across the whole range of the instrument, and the tutti passages are integrated into the overall performance more effectively than can sometimes be the case.

The first of the new pieces is Paul Lovatt-Cooper's predominantly lyrical solo "An Untold Story", from which the recording takes its title.  The Young Composer in Association with Black Dyke, his music is certainly catching the imagination at the moment, with works both for full band and concertante items. 

His trombone feature "Twister" has been recorded by Brett Baker and he has accepted a commission to write a concerto for percussion and band for Dave Danford.  Following the initial statement of the theme by the soloist, the horn is set alongside various other solo instruments, moving onto a lyrical counter melody as the cornets take over the theme.  A gentle cadenza draws this attractive piece to a close – an excellent addition to the horn repertoire.

Although Jean Baptiste Arban wrote his Cornet Method with that instrument in mind, his sets of variations have been taken up by other brass soloists over the years.  "Variations sur la Thema Favori" has been arranged by Owen especially for the recording, and follows a similar pattern to the more familiar "Carnival de Venice".  The shape of the melody is always allowed to come through, even amidst the most fiendish sections, with no snatching at the notes, and very clean articulation in even the fastest and most intricate passages.

Tony Small has arranged various sections of Karl Jenkins' 'Adiemus' releases for the Cory Band, and "Salm O Dewi Sant", from the 4th Adiemus release, entitled "The Eternal Knot", has been adapted from a version originally featuring the flugel horn.  Written in homage to David, Patron Saint of Wales, in Owen's hands it is every bit as effective as the more familiar "Benedictus" that Tony arranged for David Childs.

Rodney Newton, formerly a professional percussionist, is very adept at writing descriptive music, and "Fugitive" depicts the soloist as he attempts to flee from the band in hot pursuit. 

Changing time signatures and the prominent use of percussion, especially the xylophone, add to the thrill of the chase, although a central "Andante" section allows the soloist - metaphorically at least - to catch his breath.  After this rather nostalgic interlude, a cadenza leads to the renewal of the hunt – no happy ending for the soloist, though, as he is caught in the final bars, but an enjoyable romp for both player and listeners.

Peter Kneal's "Variations on a Welsh Theme", written in 1981 and based on the Welsh folk song "Watching the Wheat", seems to divide audiences into two opposing camps.  Whilst it may have suffered from too any half-hearted readings from learners in the past, Owen demonstrates its true merit in this accomplished rendition, drawing the best from the music without ever becoming over indulgent.  The accompaniment is again first class, with finely judged swells, whilst the solo line flows smoothly, with the more intricate figures coming across as a natural part of the whole, rather than just being tagged on for mere display.

The Scottish melody "Banks and Braes" was written in 1788, and the sleeve notes state that the composer, Charles Miller, was advised to "keep to the black notes of the harpsichord and maintain some sort of rhythm".  The version here was penned in 2000 by Robert Collison and incorporates some unexpected harmonic twists, whilst still allowing the simplicity of the melody to shine through.

Despite the objections of some so-called purists, there are well-established precedents for adapting music originally written for one instrument as a solo vehicle for another.  Bach and Vivaldi certainly had no qualms about doing so, and the practice has continued up to the present day.  Some arrangements are more successful than others, and there is sometimes the need for compromise where certain figurations and techniques – such as double-stopping, for example – do not easily transfer from one medium to another. 

On the other hand, when entrusted to a sensitive performer, such versions can work well, and enable the modern brass player in particular to tackle works by composers who did not have their particular instrument available in their time.  Felix Mendelssohn's "Violin Concerto" has become well established as a favourite since its composition in 1844, with its lively and skittish "Finale" being particularly popular.  Michael Hopkinson's transparent scoring ensures that the soloist has every chance of being heard, and Owen Farr's delicate approach makes light of the difficulties of the solo line.

Gareth Wood, currently Composer in Residence with Cory, is no stranger to writing for the tenor horn, with his "Concertino", with its echoes of the music of Kurt Weill, having been recorded as long ago as 1989. 

His "Concerto for Tenor Horn & Brass Band" was written for Owen Farr to perform with the National Youth Brass Band of Wales, and is in three movements which highlight both the lyrical side of the instrument and also its agility.  Whilst the lyrical side is prominent, it is quite a robust work, with the role of the band being at least as important as that of the soloist.   An unaccompanied horn melody in 5/4 time starts the first movement, gradually joined by members of the band, leading to some attractive dialogue and interplay. 

The second movement opens gently, building progressively into a strong tutti, then moving into a more rhythmic, rhapsodic passage, featuring the return of the original theme before gently the music fades out.  The "Finale" gives plenty of opportunity for display, with a Latin American feel to it, bringing a fine contribution to the repertoire to a triumphant and exhilarating conclusion.

With comprehensive notes on both music and performers in a 16-page booklet, the presentation of the recording is well up to Doyen's customary standards, and this issue will delight both fellow exponents of the horn and all who enjoy top class brass music.


Peter Bale

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