RSA85: A Birthday Celebration in Music

International Staff Songsters (Dorothy Nancekievill); International Staff Band (Stephen Cobb); Bramwell Tovey; Susan Turner; Derick Kane.
Fairfield Halls,
Croydon,
Saturday 22nd September

Ray Steadman-Allen’s 80th birthday was marked, amongst other things, by Fodens concert at the Brass Arts Festival at Regent Hall.  In celebration of his 85th birthday, SP&S Ltd brought together the Salvation Army’s two London-based staff sections, together with three noted soloists, two of whom performed works written especially for them.  Despite murmurs at the British Open that ticket sales had been rather slow, the hall was pretty full – the lower sections, anyway – on what proved to be a warm evening when better air-conditioning would have made things a good deal more comfortable. 

The evening opened, as one may have expected, with one of Ray’s fine marches: “The Silver Star” was published in 1962, the title referring to the badge presented to the mothers of those entering officership in The Salvation Army.  It has been played on many occasions to march the Cadets into the Royal Albert Hall on Commissioning Day, although they may have struggled to keep up with the pace set on this occasion.  Emotions were high, however, when the flag from the 1948-49 session of cadets (aptly named the Peacemakers) was marched smartly into the hall.  When Ray, Joy and their two daughters stepped onto the stage they were greeted with a spontaneous standing ovation.

Although probably best known in musical circles for his music for band, Ray has composed many vocal items, both for the big occasions such as the Royal Albert Hall, and also more intimate pieces such as the exquisite “O lovely name”, chosen as the first contribution from the International Staff Songsters.  No doubt familiar to many from the recording by Cambridge Heath Songsters on the lp “Citadel Highlights”, the ISS, directed by Dorothy Nancekievill, who is also Director of Music at Wells Cathedral School, made light of the awkward opening, singing with confidence and with the suspensions and piquant harmonies being given just the right emphasis, although some of the words did not come across particularly clearly.

Following a prayer by Ray and Joy’s elder daughter, the Rev Barbara Steadman-Allen – herself a fine trombonist – and introductions from Lt Col Trevor Davis, the ISS continued with “Blessed be the Lord My Strength”, an extended setting of Psalm 144, notable for some fine, well-balanced singing from both the male and female voices, again relishing in the close harmonies used at times.

Bramwell Tovey has made something of a feature of Ray’s “Fantasia for Piano and Band- Christ is the Answer”, having performed it both with Fodens and also at concerts in support of Clarence Adoo.  He was introduced not only as the Music Director of the Vancouver Symphony Orchestra, but also as a one-time 2nd baritone in the Ilford Salvation Army Band!  Whilst unable to vouch for the quality of his baritone playing, Bram is undoubtedly a very fine pianist, giving a convincing account of the work, first performed in 1964, and heavily influenced by Rachmaninov and Gershwin’s “Rhapsody in Blue”.  

Ray himself had played for that New York premiere, as he did for the first United Kingdom performance, given as part of the 1965 Centenary celebrations, and recorded for posterity along with “The Holy War” and Eric Ball’s “Magnificat”.  One of relatively few works written specifically for piano and brass band, it also calls for the band to exercise their vocal chords, the entry being secure, even if the current band seems to be lacking the rich tenor voices of former days.  The band supported the soloist well, with fine solo lines from Derick Kane and Kevin Ashman, and only the occasional moment of suspect intonation, when individual players seemed slightly sharp relative to the piano.

Bram, having been presented with a gift bag apparently containing one of the band’s cds, remained on stage to accompany Susan Turner in the song “Serenity”.  A setting of words by John Hunt, it was written for Susan to sing at one of the Royal Albert Hall festivals in the 1970’s, and if the voice has lost something of its former qualities, Susan, currently Songster Leader at Stowmarket Corps, is still able to project a song effectively, with every word clearly enunciated.

In addition to the major works Ray has written, there are numerous other pieces, smaller in scale and ambition, but just as well crafted and effective.  The ISB presented “By Love Compelled” with just as much care as any of the larger pieces in the programme, with fine solos by Brad Turnbull on trombone, and well balanced playing from the bottom half of that band.  The final phrase of the selection seemed singularly apt in summing up Ray’s dedication to Salvation Army music and the Lord’s service: “All my days and all my hours . . . not a fragment, but the whole . . . shall be thine, dear Lord”.
 
The ISS was formed during the leadership of General Arnold Brown, in part to mirror the activities of the ISB in being a beacon of excellence, and to introduce new vocal music.  Amongst the works commissioned in the early years, under the leadership of Lt Col Norman Bearcroft, was the three movement suite “My new day”.  It is quite demanding on both singers and listeners, especially in the lively first section, and the use of note clusters calls for impeccable intonation and secure pitching.  

The second movement, based on the words of “St Patrick’s Breastplate”, divides the chorus into smaller groups, much of the movement in the parts being step-wise, often resulting in unresolved suspensions, as when setting the words “Christ in danger”.  The final movement, using words by John Ellerton and an extract from Psalm 118, includes elements of the jazz waltz and fuguetto writing, particularly illustrating the words “This is the day that the Lord has made”.  Whilst not quite everyone’s “cup of tea”, it was a fine example of choral singing, although clearer diction would have made it even more effective.

Throughout the evening, tributes were presented from a variety of people, some in person and some being projected onto the video screen.  Dudley Bright, General Shaw Clifton, Stephen Cobb and Norman Bearcroft each reflected on their contact with Ray, referring amongst other things to the encouragement offered to younger composers and players, friendship shared between their respective families, and various pieces which had influenced them in particular.  

Perhaps the most striking tribute was that given on video by Professor David King, who spoke of the influence the Steadman-Allens had, both within the Salvation Army and outside, when they were appointed to Australia for three years.  He also spoke of his own affinity with Ray’s music, explaining how it is “intellectual, discerning, and with an underlying simplicity”, reminding both listener and player of “the great truth behind the notes”.  He spoke of having recorded several pieces with the Yorkshire Building Society Band, quoting the “Rhapsody on Negro Spirituals” as having greatly impressed him as a young cornet player, and mentioning his admiration for “Children of the Heavenly Father (Trygg i Fare)”, commissioned for a Norwegian Salvation Army band and based on a Scandinavian children’s hymn.

Another work recorded as part of the Essays in Brass series, was “The Holy War”, inspired by John Bunyan’s allegory of the same name, and premiered in its definitive form in 1965.  The music depicts the conflict between good and evil, featuring Martin Luther’s chorale “Ein Feste Burg”.  The ISB’s playing was incisive, with marked contrast between the bright tones of the cornets and trombones and the mellower sound of the saxhorns.  The exposed baritone solo was taken by Iain Parkhouse, and the percussion were also impressive, particularly the tubular bells in the final section.

As the audience returned to their seats after the interval, a smaller group of bandsmen, stood at the back of the stage, presented Ray’s Triumph Series march “Southdown”, a reminder of the sterling work he has done in producing works suitable for smaller combinations.  This was followed by the congregational song “He giveth more grace”, sung to Ray’s tune “Blacklands”, under the direction of the composer.

He was also persuaded to conduct the next items by the band and songsters: first, the members of the ISB’s trombone section were joined by players from Chatham and Kettering, two corps which the Steadman-Allens have attended since their retirement from active officership, to play “Wonders begin when the Lord comes in”.  One of several trombone ensembles written by Ray, and based on a tune from the musical “Take Over Bid”, it showed just how idiomatic Ray’s writing is for the instrument, having been a member of the ISB’s trombone section for several years.  Taken at a steady pace there was some very stylish playing, particularly from the bass trombones. 

The song “The Christian Mission” reflects on the origins of the Salvation Army, with the opening line “In the East of London the work began”, and referring to the ministry in such venues as a tent, in the street, and in a dance school.  The male voices made the most of the line “We may be rough and speak aloud . . .”, even if their voices were a little too refined for the phrase to be taken literally!  As they sang, this reviewer was reminded of two notable vocal recordings overseen by Ray in the early 1970’s, “Trumpet of the Lord” and “Sound the Battle Cry”.

Ray has composed a number of solos with band accompaniment, and one of the most recent, “Lyric Variations”, was played by Derick Kane, for whom it was written at the request of Stephen Cobb.  With its wide-ranging solo part, with angular lines and frequent jumps between octaves, it is perhaps not the most accessible of works, and there seemed to be moments of uncertainty in the somewhat fragmented accompaniment – it should be remembered that the concert came very soon after the return from the summer break, and rehearsal opportunities were probably limited. 

There were excellent contributions by Gary Fountain on soprano and Robert Foster, the band’s longest-serving member, on flugel, together with some effective percussion, particularly on xylophone, although the soloist was occasionally swamped by the band.  Derick displayed his customary dexterity, with some lightning-fast fingering, but the performance overall seemed somewhat lacking in warmth.

In “Remember me”, a setting of words by Isaac Watts, Ray uses the male voices, divided into three parts, to provide a gently rhythmic tread beneath the melodic line, with the men echoing the ladies in the chorus.  There is also a piano solo linking the verses, played with just the right amount of rubato by Richard Phillips, on top form throughout the evening.

The second major item from the band was “Romans 8 – a brass celebration”, written as a companion to a series of Bible studies, and first performed at the Territorial Music School at Cobham Hall in 1985.  It opened quite fiercely, with powerful percussion, especially the timpani, before introducing the hymn “This joyful Eastertide”.  

References to “Ein Feste Burg” brought echoes of “The Holy War”, played earlier in the concert.  The second section featured an attractive original chorus, “We are born of the Spirit, we are new in his love”, complete with delicate decorative figures on glockenspiel, whilst “The Family of God” was depicted using the tune “Slane” (“Lord of all hopefulness”). The climax was reached with Sir John Stainer’s majestic tune “Cross of Jesus”, a massive cymbal roll leading to a quiet, reflective coda and a beautifully balanced final chord.

Ray, in typically modest and self-effacing fashion, thanked all those who had organised the evening, taken part, and attended, saying that he did not recognise himself in the tributes which had been given.  For his part, he paid tribute to the support he had received down the years from his wife Joy, and daughters Rosemary and Barbara, as well as stressing his commitment to the Lord he has served down the years.

The ISS provided the final musical item, “Vesper”, setting words by Salvationist poet Peter Cooke to an original melody featured in Ray’s ensemble piece “Trombone Vespers”, before a spoken benediction, appropriately drawn from Romans 8.  Although the evening ended in something of an anticlimax, with many in the audience anticipating a rousing encore which did not materialise, it was nevertheless a fitting tribute to a very unassuming man who has contributed so much to the development of Salvation Army music, and whose influence has spread far beyond the movement itself.  With such a wealth of music to choose from, there was bound to be disappointment that individual pieces had not been included, but the selection of items represented a good cross-section of the work of this versatile composer.
 
Peter Bale

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