Encapsulating the ‘Sprit of England’, the magnificent setting of Dorchester Abbey in Oxfordshire, hosted a significant part the English Music Festival - which using an array of concerts and lectures over a 5 day programme, continues in its tenth year to promote the works of the nation’s composers. 

Concentrating primarily on works from the early part of the 20th century - the ‘Golden Renaissance’ - it also commissions new works in the English tradition.  Looking to enable listeners worldwide with the opportunity to experience what the organisers feel are ‘all too-often unheard works’, the Festival has a primary objective to ‘...restore English music to its rightful place in the repertoire’.

Third appearance

Hard on the heels of their success at the Grand Shield, Jaguar Land Rover Band launched straight back into rehearsals for their third appearance at the prestigious event. With little time for celebration, the band was delighted to have been invited once again to showcase a number of brass band classics.

Accomplished

They started with Holst’s two 'Suites in Eb'.  Originally written for military band, the low brass 8-bar theme led by the trombones provided the audience with a taste of the euphonic sounds to come.

The Horowitz ‘Euphonium Concerto’ was commissioned in 1972 and its classical concerto form has become a firm favourite with players and listeners alike.  Jaguar’s Ian Wright, delivered an accomplished performance, particularly ever-modulating third movement.  

Majestic ‘Pageantry’

Although Herbet Howells’ ‘Three Figures’ had been considered for the programme, it was perhaps a touch too abstract in technical detail for the resonant acoustics of Dorchester Abbey. However, ‘Pageantry’ proved to be a majestic choice instead - played with subtle nuance and detail.

The ‘Establishment’

In looking to include a march to open the second half, Malcolm Arnold’s ‘Padstow Lifeboat’ was played with just the right degree of swashbuckling brio and provided an ideal segue into the original brass band version of Elgar’s ‘Severn Suite’. Played with an appreciation of balance, style and tempi, it was a highlight of the concert. 

Moorish Captain

The band’s penultimate offering was Frank Wright’s arrangement of William Alwyn’s, ‘The Moor of Venice’ - full of drama, pathos and a touch of disturbing intrigue.  ‘Prelude on Three Welsh Hymn Tunes’ by Vaughan Williams was a robust finale.

Once the enthusiastic audience appreciation had subsided, they were treated to one final contribution - the mournful ‘Elegy’ from John Ireland’s ‘A Downland Suite’ delivered with a composed sense of measured lyricism.

It was an appropriate close to a fine concert.

Kevin Whittaker