Sanctuary

Boscombe and Howard Evans provide an interesting selection of insightful music in a well crafted release.

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Boscombe Band of the Salvation Army
Conductor: Bandmaster Howard J Evans
SP&S Ltd: SPS 227 CD
Total playing time: 76.21 mins 

“Sanctuary”, the latest offering from Howard Evans and Boscombe Band, could be said to present an overview of Salvation Army devotional music. The Bandmaster’s excellent sleeve note outlines the development of the various categories of music included, all of which are intended to enhance the worship experience, rather than primarily as concert items. 

The examples chosen reveal a wide variety of styles and emotional content, and the composers included range from Arthur Goldsmith, writing in the 1920s, to the present day, with Kenneth Downie, James Curnow and William Himes.

Opening Gift

The opening piece, Leslie Condon’s “Gift for his Altar”, sets the tone for the whole release, with the music given space to breathe, and with phrases carefully pointed for effect, in particular to emphasise key harmonic changes. Snatches of melody emerge from the overall texture, with a long pause held on the final chord.

George Marshall’s meditation on “Horbury” is a classic from the past, dramatic and vibrant as befits the associated words of the hymn “Nearer my God to thee”. Whilst some of the writing seems rather predictable, in particular the use of sequences when building up the tension, it is nevertheless still effective, and receives a committed reading from the band, despite some intonation issues that may trouble some listeners more than others.

“Even Me” is an early work by Kenneth Downie, published as long ago as 1977, but exhibits several familiar characteristics, including the prominent use of the trombone section and exploiting the tone colours available.

The Call

Although Erik Leidzen’s selection “The Call” was not published until 1952, it was actually submitted for a composition award in 1926. Drawing together songs relating to God’s call, the main melodies include “What shall the Answer be?” and “Softly and tenderly Jesus is calling”, with the “Come home” phrase from the chorus of the latter being used as a linking motif.

Though not a prolific writer, particularly following his commissioning as a Salvation Army officer, Dean Goffin’s works display the craftsman’s touch, with meticulous directions regarding dynamics and phrasing in particular. 

In “Compassionate Christ” Howard Evans gives due attention to the feature of the groups of descending semiquavers that appear throughout the piece, and there is some excellent playing from the bottom half of the band. The subtle rises and falls are well judged, and the contrast between the various sections of the band comes across well.

Sanctuary

The title track, “Sanctuary”, was the first piece of Eric Ball’s to be published following his resignation from Salvation Army officership. Using his own setting of Albert Orsborn’s “In the Secret of Thy Presence”, together with another original melody “The Heart’s Desire”, the music illustrates various moods, touching on the tensions which reflect the human experience. 

The trombone melody in the second verse is particularly neatly handled, and the cornets fade away to nothing in the final bar.

Howard Evans points out that Colonel Arthur Goldsmith’s “Rockingham”, from 1920, was the first composition to appear in the journals with the title “Meditation”, with the programme notes in the score indicating that it is intended to “...illustrate the feelings aroused by the hymn”. 

The composer includes quasi recitative passages, and the final section incorporates the characteristic running quavers that are found in many works of the period, starting in the lower half of the band.

Easter theme

The Easter theme is continued with Ray Steadman-Allen’s “Emmaus Journey”, one of his lesser known works, and one that has been over-shadowed by Dean Goffin’s work on the same theme, “The Road to Emmaus”, which was published at the same time (1953). 

The work presented here, an expansion of a score originally penned ten years previously, is longer and more demanding, with John Starkes giving a first-class reading of the taxing euphonium part. Fierce interjections from the trombones seem to echo the confusion in the minds of the two disciples leaving Jerusalem after the crucifixion, and then the melody “Jesus himself drew near” brings a calming effect. 

The Easter experience is made complete with some exultant trumpeting, a brief reference to “Hail the Day that sees Him rise”, and a rousing rendition of “Up from the Grave He arose”.

Light of the World

Described by the composer as a companion piece to his earlier “Light of the World”, Dean Goffin’s “Wonderful Healer” is based on the tune “Angelus” (“At even, ere the sun was set”), with “Wonderful Healer” providing the secondary theme, and fragments from “The Great Physician”. 

Attention to detail is seen in the careful placing of the repeated “Touch me again” motifs, and the controlled playing in the 9/8 agitato sections.

Across the Atlantic

The disc closes with three works from across the Atlantic, two from the newer generation and a second work from the Swedish-American Erik Leidzen. James Curnow’s “Guardian of our Way” displays the open textures one frequently finds in American scores, and is notable for its prominent glockenspiel part, the programme notes acknowledging that many bands would not have possessed the instrument at the time of publication. 

Its contribution is very tasteful, and there is some excellent playing by both flugel and trombones in “Jesus, like a Shepherd lead us” and “Crimond” respectively.

Master

William Himes’ mastery of brass band orchestration is seen to good effect in “To know thee”, based on the tune “Blaenwern”. Counter-melodies and ornamentation are kept subservient to the main theme, and the brilliant full band climax provides a marked contrast to some of the more reflective works.

Following this, Erik Leidzen’s restful “Notturno Religioso” supplies a fitting epilogue to the programme. Based on the tune “Barnaby” (“Now the day is over”), the melody moves through the various sections of the band from cornets down to basses, the well-balanced reading bringing out the various tone colours of the band.

For those who are familiar with Salvation Army repertoire, the performances given by Howard Evans and his band will no doubt revive many memories, with a big plus being the inclusion of “Emmaus Journey”. 

Those to whom the music is new will find well-crafted, insightful music-making, with the band and its soloists in good form. As previously pointed out, there are times when the intonation is slightly suspect, but this detracts little from the overall effect.

Peter Bale

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