Clarence Adoo Trust Concert
30-Jun-2004Yorkshire Building Society
Conductor: Garry Cutt
Castleford SA Singers
Saturday 19th June 2004
Following the success of the first Northern Highlights Concert last year (In Aid of the Clarence Adoo Trust), featuring the Hendon SA Band and top vocalist Bobby Irvine, the organisers, Castleford Salvation Army Songsters, decided to invite the Yorkshire Building Society Brass Band to 'head up' this years event.
At the time of booking the band, their reputation as one of the very best in the world was never in doubt, but since that time they have gone on to prove, on the contest stage, that they truly are 'the band to beat'. On this night it was the Current British Open, European, All England Masters and Yorkshire Champions who took to the stage at St George's Church in Leeds …and they had the silverware on show to prove it!
At the commencement of summer and after the busy contesting season it was pleasing to see a 'fully fit team' in attendance: only Jonathan Pippen (who 'depped' admirably without rehearsal) was a less familiar face on Solo Trombone. Garry Cutt, who at the time of writing, will fly to New Zealand in a few days to work with the Waitkere Band in his new capacity there, was directing. It was also a privilege to have Professor Philip Wilby as compere.
'Carnival Romain' by Berlioz got the evening off to a blistering start. Morgan Griffiths' work in the early Euphonium theme was of the highest order. Garry Cutt, as he did all night, kept a tight rein on the band dynamically and thus ensured all the 'mini' climaxes were never over done: subsequently in the final bars when the band 'opened out' the effect was breath taking.
Particular gratitude must be given to both Garry Cutt and the band for their flexibility in programming. Following the massive success and impact of the 'Essays' series (3 volumes of SA music performed by YBS), and given the evening was in aid of a former SA Bandmaster - almost all items for the evening were published by the SA. Many of the works performed were prepared specifically for the evening, and up until then, were not within the regular repertoire of the band.
The first of these was Professor Edward Gregson's 'Variations on Laudate Dominum'. This was penned for the London Citadel Band (Canada), of which his brother Bramwell was director at the time, for use during their UK Tour in the late seventies. The tune is introduced immediately with a unison trombone statement but is only heard in full at the very end of the work, following a number of imaginative variations. Garry Cutt inspired a most assured reading, which was capped by Peter Roberts sitting majestically on top of the thickly scored presentation of the tune in the finale. Following this, Iwan Williams lived up to Garry Cutt's introduction of 'one of the finest exponents of the flugel horn' with a quite beautiful rendition of Joy Webb's song 'Share My Yoke' arranged by Ivor Bosanko. During his near ten year stint on Flugel horn, Iwan has been an integral part of YBS recent successes. He demonstrates a complete command and control of the instrument whilst in particular on this occasion, a real sensivity and 'heart' for a beautiful slow melody.
The Castleford SA Songsters(directed by Derek Ward) provided two songs in the first half. Their belief and passion for the Christian Gospel is communicated powerfully in a high quality vocal style. This was so evident in their performances of 'You are the Light' and 'Then will the very rocks cry out'.
Morgan Griffiths has recently returned to the band for his second spell as Principal Euphonium and Garry Cutt was quick to make mention, in his introduction, of Morgan's immense contribution to the successes of YBS prior him originally leaving the band in 2002. Morgan here presented Hartmann's classic 'La Belle Americaine'. Morgan's sound is ideally suited to this type of classic solo, and he demonstrated (like Iwan Williams earlier) an incredible command of the instrument. Even the most demanding sections were dealt with in such a composed, and seemingly effortless manner. If the soloist was not breathless, the audience certainly were! Morgan modestly accepted the rapturous ovation he received for his fantastic work.
Two more SA works were presented before the interval, the first of which being Kenneth Downie's treatment of the prayer chorus 'In Perfect Peace'. Even the tiniest of clips could not detract from the beauty of Downie's scoring. The rich scoring and imaginative harmonies make this piece ideal for the band to showcase their beautiful balanced sound, but more so on this occasion, an opportunity was presented for all present to reflect on their own personal 'peace'.
Professor Philip Wilby's historical knowledge of the Church, and it's varying music traditions plus his humorous stories of Pontefract (his birthplace) greatly enhanced the evenings proceedings. With his relaxed and informative manner, he identified well with the audience, and they clearly warmed to him. All were amused at his confession, that before he became a Professor, he wasn't sure how to spell the word! He was given the solution, when it was pointed out that the word 'Professor' has one front and two sides - hopefully the newly titled Professor Peter Graham will not have to refer to this article for confirmation!
"Shine As the Light" by Peter Graham, has had a massive recent impact within both the SA and Contesting 'worlds,' and has been featured on approximately 30 recordings to date. YBS have used this extensively as part of their programming in recent years, but, nevertheless, this performance still had such a vibrance and freshness to it. The outstanding presentation of the 'Candle of the Lord' theme by Stuart Lingard must be not be overlooked but more of his playing later. Often when a familiar piece is performed, it can be easy to underestimate the quality of the music or skill of the players whose hands it rests in, but this was certainly not the case in this performance that was the highlight of the evening for many. The frenetic activity taking place in the finale was never allowed to overshadow the worship song theme 'The Light has come' and the band were well and truly 'ablaze', as the score requests!
Following the interval, the band 'dusted off' an early SA work. 'Where Duty Calls' was published in the Festival Series, where in those more conservative days, such works were only deemed suitable for use in SA Festivals/Concerts. Although written prior to the 'revolution' in brass band writing, (inspired by Eric Ball in particular) and sounding dated in comparison with other works featured in this programme, YBS reminded many in the audience (containing many current and ex SA Bandsman) just why the work was so popular in those earlier days with a committed performance. Perhaps after listening to, or learning of this performance, SA Bandmasters might be compelled to delve a little deeper into their band's music cabinets!
We were then given the opportunity to hear from the man for whose benefit the evening was organised. Clarence Adoo was tragically paralysed following a car accident nearly eight years ago. Despite the obvious and immense difficulties he has faced since then, Clarence's Christian faith has been an amazing inspiration to those he has come into contact with. In interview with Jo Ward, a close friend who studied with him at the RCM, Clarence was able to tell us about how the funds from last year's event helped pay for specialist pioneering Russian treatment, and how he intended this year's proceeds would be spent. Whether or not you share Clarence's beliefs, it is always a humbling experience to hear of the courage he continues to show. Inspired by Clarence, Philip Wilby's own antiphonal arrangement of 'Thine is the Glory' gave the audience to join together in a triumphant congregational song.
Then followed two SA works, again in complete contrast: first, Wilfred Heaton's ever popular Festival March 'Praise' saw YBS in a performance that demonstrated all the swagger and subtle touches required to do this work justice.
'Resurgam' provided this listener with his highlight of evening. As he had done so many times throughout the evening, Garry Cutt's direction allowed them the freedom to express themselves so beautifully. The grading of the famous final section and restful and supremely controlled end will live with this listener for a long time. Stuart Lingard has developed into one of the outstanding leaders in the banding world today: his solo playing was very very special, and enhanced an already stunning performance. So much expression was evident and this was mirrored by Morgan Griffiths moments later. With Stuart's work in the regular master classes and workshops he undertakes with YBS and the level of commitment he demonstrates as a section leader and soloist, he will undoubtedly become an inspiration to the 'next' generation of players. Those at the Eric Ball Celebration Concert last October, will remember the emotional and silent response to this work when it was performed by the massed bands of Black Dyke and the ISB. On this occasion, the response was mixed: most wished to accept the piece in silence, whilst others simply wanted to applaud rapturously for what they had heard. Both responses were equally justified and served as a reminder to all present, of the quality and spiritual impact of Ball's music. 'Resurgam,' in particular, continues to move audiences in so many different ways.
Captain Mark Sawyer brought words from scripture specifically based around thoughts on the 'The Second Coming' in preparation for the final two items: 'The Midnight Cry' from the songsters and the 'The Kingdom Triumphant' from the band. The songsters gave a powerful rendition of their song and this forming a strong thematic link with the final work presented by the band. This work was used as the finale to the Eric Ball Celebration Concert, and like other 'major' works featured on this programme, it has been used extensively by both SA and Contesting Bands. The music vividly describes the second coming of Christ, whilst referring to the Advent in the middle movement using the carol 'O Come, O come Immanuel'. The final movement is based round the tune 'Helmsley': Eric Ball's setting of this magnificent melody is inspirational, and the band responded with a powerful reading, again with their 'legend' Peter Robert's high work above the band. The perfect end to what had been for many, the perfect musical and spiritual evening.
For more details of the Clarence Adoo Trust, look at www.clarence.org
