Cambridge Heath Brass

Conductor: Roy Terry
The Parish Church of St Mary the Virgin,
Higham Ferrers

Cambridge Heath Brass, under the direction of Roy Terry, visited Higham Ferrers to present a concert in aid of the church’s organ fund. 

A two year appeal is nearing completion, with the renowned organist and showman Carlo Curly having been booked to give the inaugural recital at the end of June. The advanced state of the work was indicated by the presence of scaffolding in preparation for the final installation, immediately above where the basses had to sit!

Familiar hymn tunes

The programme included many works based on hymn tunes that would be familiar to the audience, commencing with Kenneth Downie’s “Intrada on Regent Square”, the final chord ringing out in the generous acoustic. This was followed by “Repton”, C H Parry’s setting of the words “Dear Lord and Father of Mankind”, in an arrangement by Gareth Green, Musical Director of the Egham Band.

Festival march

Salvation Army marches tend to fall into two categories: those designed for playing on the march and those intended for concert use only. Leslie Condon’s “Universal Message” sits squarely in the latter group, with its angular writing and somewhat disjointed figures, although the use of the tune “Whosoever will may come” underlines the link with the uncomplicated gospel message of the early days of the Army.

An item from the classics

The Salvation Army has frequently made use of classical music, both in the form of transcriptions for brass band and also as settings for religious texts. “Poeme” (Fibich arr Ray Steadman-Allen) is one such piece, the transcription calling for close observance of the various dynamic markings to be heard to best effect.

Piccolo trumpet

Kevin Kay Bradley provided a change of texture with three solo items, accompanied by Roy Terry on the chamber organ installed while the church has been without an organ. 

His first piece celebrated Purcell’s anniversary with “The Queen’s Dolour”, a sombre work displaying Kevin’s controlled playing on piccolo trumpet. The same instrument appeared in its more customary celebratory mode in the “Prelude to Te Deum” by Charpentier, possibly an appropriate choice on an evening when many would have been glued to the Eurovision Song Contest!

A fresh take on an old favourite

Kevin’s final contribution was Ray Steadman-Allen’s “Someone Cares”, based on John Larsson’s melody from the Salvation Army musical “Takeover Bid”. Usually heard on cornet, Kevin’s dusky-toned flugel seemed to change the character of the piece, making it more reflective, aided by his fluid playing and free interpretation of the solo line.

One from the archives

Another musical celebration for 2009 is the 200th Anniversary of the birth of Felix Mendelssohn, which was marked by a rendition of the “War March of the Priests” from “Athalia”. 

Transcribed by Frederick Hawkes, it appeared as No 8 in the Festival Series, and was particularly appropriate in the light of its frequent appearance in organ recitals – as well. The audience was also reminded that the similarity to the opening of Mendelssohn’s “Wedding March” has also been exploited on occasions by mischievous organists.

Sensitive playing

The second half of the programme commenced with Malcolm Arnold’s “Little Suite No 1”, featuring Principal Cornet Derek Watson in the central “Siciliano” movement, with sensitive support around the band, whilst much was made of the contrasts in the outer movements.

Antipodean Classic

The scripture reading was liked with Dean Goffin’s “The Light of the World”, with reference being made to the Homan Hunt painting in St Paul’s Cathedral, where Cambridge Heath Brass and its predecessor, the Cambridge Heath Band, participated for many years in the annual Watch Night Service. 

Mention was made of the associated words “O Jesus, thou art standing outside the fast-closed door”, as depicted in that painting, and the church’s Rector later pointed out that the words most commonly linked with “Aurelia” in their church are “The Church’s one foundation is Jesus Christ, our Lord”.

Organ interlude

Contrast with the brass sound was then provided by Roy Terry, as he played “Voluntary No 2 in G major” by the organist William Walond, generally credited as being the first composer to write crescendos in organ music following the introduction of the swell box.

Brass Band Aid

Roy spoke of the links between Cambridge Heath Brass and musicians in Africa, where young people have been supported in both the Democratic Republic of Congo and Kenya. Kenneth Downie wrote “African Trio” as a contribution towards “Brass Band Aid”, featuring the three melodies “Cum bah ya”, “Our father” and “Walking in the light of God”. 

With vibrant rhythms set against darkly-shifting harmonies, it was particularly well received by the audience.

Organ transcription

Ralph Vaughan Williams included a setting of “Rhosymedre” in a series of organ preludes on Welsh hymn tunes. 

Paul Hindmarsh arranged it for brass band, and it makes for an interesting companion piece to the composer’s “Three Preludes on Welsh hymn tunes”, written for the International Staff Band, with several passages strangely reminiscent of the song “Linden Lea”.

Popular variations

Continuing the link with Vaughan Williams, the band concluded its published programme with “Variations on a Pilgrim Song”, based on the tune “Monks Gate”. 

New Zealander Thomas Rive was a respected academic and musicologist, and his work makes use of well established forms such as the central “Passacaglia” to produce a work that is both scholarly and popular in its appeal.

The evening ended with what was the band’s traditional final contribution to the Watchnight Service referred to earlier, “How sweet the name (French)” (Ronald Tremain arr Don Osgood). 

Peter Bale

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