Mr Ball meets Mr Leidzen

A perfect musical match up, or just wishful thinking? Whatever the outcome, the South London Fellowship Band certainly enjoy the chance to enjoy a duet made in heaven.

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South London Fellowship Band
Conductor: Major George Whittingham
Guest soloists: Paul Archibald (trumpet) & Dudley Bright (trombone)
World of Sound: WOS003
Total playing time: 75.50 mins 

The latest CD by George Whittingham and the South London Fellowship Band brings together music by two of the Salvation Army’s most respected composers. 

Opposite sides

As Anthony Leggett points out in his informative sleeve notes, Eric Ball and Erik Leidzen, though based on opposite sides of the Atlantic, had frequent contact following their initial meeting in 1934. They both produced so many well-crafted, melodious compositions, enjoyable both to play and to listen to, and no doubt it there were some difficult decisions to be made as to which pieces to include, and which to omit. 

Those chosen are a good representation of their range and style, although they both also contributed choral arrangements for major Salvation Army celebrations.

Distinctive

The disc opens with Erik Leidzen’s “Pressing Onward”, with its distinctive opening horn fanfare being taken up throughout the band, which dates back to 1925. The other Leidzen march, “On the King’s Highway”, originally published in the American Salvation Army band Journal, is unmistakeably American and typical of his street marches. In both marches dynamics are carefully controlled, allowing for due contrast but avoiding any over-blowing.

Selections

Two Leidzen selections are included: “The Call” features several melodies linked around the theme of God’s exhortation to follow Him, including “Softly and Tenderly Jesus is Calling” and “What Shall the Answer Be?” “The Children’s Friend” is not written for children, but rather reflects on the relationship between God and the young, with “I Think when I Read that Sweet Story of Old”, “Gentle Jesus, Meek and Mild”, and culminating in a setting of “When He Cometh”.

Solo items

Both composers are also represented by solo items: Leidzen was the more prolific of the two, at least in terms of display pieces written for various solo instruments. 

First on the disc comes “Songs in the Heart”, based on a song by Ernest Rance, and played on trumpet by Paul Archibald, who comes from a Salvation Army background and whose father was a member of the band. 

Paul makes judicious use of mutes to vary the tone colour, and although some of the brief duets with cornet and soprano are not quite as telling as usual due to the differing timbres, it is a thoughtful and sensitive rendition, with excellent support from the band. Whilst Paul shows himself more than equal to the technical challenges, his reading of the minor mode variation is particularly fine, bringing out the yearning quality of the music most effectively.

The Challenge

Eric Ball’s “The Challenge” was specifically written with trumpet in mind, the dedicatee being William Overton, who gave the first performance at the Queen’s Hall in 1935, with Eric Ball himself providing the organ accompaniment. The declamatory nature of the opening, with the band responding to the soloists phrases, ensures that the soloist is never overpowered, and the straight trumpet sound contrasts well with the mellower sound of the band.

Commanding

The second guest soloist on the recording is Dudley Bright, Principal Trombone with the London Symphony Orchestra, and a member of the Regent Hall Corps. He performs Erik Leidzen’s “Concertino for Trombone and Band”, written at the request of Maisie Wiggins, herself Principal Trombone of the Halle Orchestra some time prior to Dudley’s appointment to the position. 

He was also featured playing the same work in Grimethorpe’s “Salvation Army Connection” recording. It is a commanding and subtle interpretation, and George Whittingham’s attention to detail brings the intricate accompaniment to life, following everynuance of the writing.

Demanding 

Rounding off the soloists is one of the band’s own, Principal Euphonium Bram Chestney of Hadleigh Temple, with Eric Ball’s setting of Edward McDowell’s “To a Wild Rose”. The slow tempo set is quite demanding, but the straightforward arrangement suits Bram well, with smooth playing and flowing phrases.

Several major Salvation Army works have been written to be featured at major events such as the “Festival of Gospel Song” held in the Royal Albert Hall in 1963. 

Coincidence or not, just as Cliff Richard was driving round Europe in a London bus and singing about “Big News”, Eric Ball put together a selection entitled “Good News”. Featuring various songs linked to the Gospel message, it places considerable demands on the players, not least in the testing flugel solo “Oh the Drunkard May Come”, played here by Reg Elliott. It is perhaps surprising that it is not played more often, as most of the melodies included are still in regular use, and it would certainly merit revival.

Dramatic contrast

“Sanctuary” was the first piece by Eric Ball to be published by The Salvation Army following his resignation as an officer in 1939, appearing some ten years later. Based around his own setting of words by Albert Orsborn, “In the Secret of Thy Presence”, the original material that separates the three verses makes for considerable dramatic contrast.

Positive climax

The well-balanced programme reaches a climax in Eric Ball’s majestic tone poem “The Kingdom Triumphant”: whilst frequently played during the Advent season, due to the inclusion of the carol “O come, O come, Immanuel”, it is intended to remind listeners that the Lord will come again, hence the positive climax featuring the tune “Helmsley”, with its associated words “Lo He Comes, with Clouds Descending”. The opening “Vision of Judgment” sets the tone for the rest of the performance, with measured note-lengths and attention to the varying dynamics.

Experience

This well-filled disc will provide much enjoyment, particularly for those who hanker after the more tuneful offerings of former years. The players bring countless years of experience, both in terms of musical ability and also as regards their faith, and this commitment is apparent in what are well-thought-out interpretations.
 
If there are occasional lapses, both in terms of technique and intonation, they detract little from the overall impression. As previously stated, Anthony Leggett has provided helpful notes on the music, and there are brief biographies on the two guest soloists, together with a couple of paragraphs concerning the band itself, although it is a pity there was not space for a complete list of playing personnel. 

For those who are interested, the band’s current line-up can be found listed on their website: www.slfb.freehomepage.com

Peter Bale

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