National Youth Wind Orchestra

Conductor: Dr Glenn D Price
Soloist: David Campbell - clarinet
St John Smith Square
Sunday 9th August

A communication breakdown between the organisers and the venue over the start time for this year’s concert led to several audience members having an extra half hour wait, although the delay did benefit those who were stuck in traffic! 

So it was that at 3.30pm the performers entered and took up their places or the “Fanfare” from Edward Gregson’s “The Sword and the Crown”. 

This opens with antiphonal trumpets, and one soloist was placed at either side of the stage, with the remaining four trumpets across the middle of the platform, percussion at the rear, the lower winds to the audience’s right, and the remaining players encircling the audience. 

This layout proved most effective, as the opening trumpet phrases were taken up by the tutti players, and then echoed by the six French horns, standing at the back of the auditorium. The remaining players, none of whom used copies, joined in to produce a thrilling sound to kick off proceedings in fine style.

Colourful orchestration

The programme consisted entirely of music by British composers, and continued with Kenneth Hesketh’s “Masque”, in which the changing rhythms of the opening sections were played with confidence and assurance. 

The colourful orchestration made the most of the sonorities offered by the wind instruments, with the xylophone also playing a prominent role. 

On occasions, the middle of the ensemble could have been clearer, being slightly swamped by the massed flutes and clarinets, whilst the location of the timpani at the side of the stage lessened their impact a little, but from the expressions on the faces of the players they really relished the challenges of this attractive score.

Prelude & Scherzo

Gustav Holst’s “Hammersmith” was written for the BBC Wireless Military band but its premiere was given in America. Whilst a version for orchestra received several performances, it was not until some twenty years later that the original was re-discovered, since when it has become an essential part of the wind orchestra’s repertoire throughout the world. 

The slow, atmospheric opening to the “Prelude” came across well, with the dark tones of the low winds and brass, and with some beautifully sustained lines from the French horn section. Solo contributions from Lucy Elliot Higit (flute), Sarah Haynes (piccolo), James Black (Eb clarinet) and Nicholas Macorison (bassoon) were woven together neatly, before interjections from piccolo and trumpet cut through the texture.

The “Scherzo”, depicting the laughing, bustling crowds of the Cockney street markets, came vividly to life, with a fugal passage starting with flutes, then clarinets followed by saxophones, the glockenspiel and xylophone adding their own incisive brightness to the ensemble. 

After the exuberance of the “Scherzo”, the meandering music of the “Prelude” returned, the clashing keys of E major and E minor striking off against each other as the sounds faded into the distance.

A touch of the exotic

The name of Kit Turnbull may be familiar to some on account of his piece “Timelines”, commissioned by the late Leighton Rich for the Hampshire County Youth Brass band, and subsequently recorded by the Carlton Main Colliery Band. 

The clarinet solo “African Dances” takes as its origin the construction of the clarinet from the African blackwood tree, the five sections drawing on various aspects of Pan-African music. 

After an extensive introduction, during which the skilful use of percussion added considerably to the overall effect and to the growing tension, the soloist entered in the chalumaux register, the solo line sitting neatly between the flutes at the top and the lower winds at the bottom, ensuring it could still be heard. 

The technical demands placed on the soloist were considerable, and included flutter-tonguing and an extended cadenza, during which the percussion once again came to the fore. Soloist David Campbell demonstrated his mastery of the instrument throughout, the knowledgeable audience showing their appreciation at the close.

Henry IV

Opening the second half, conductor Dr Glenn D Price, a Canadian who is actively involved with the World Association of Symphonic Bands and Ensembles, highlighted the importance of Guy Woolfenden’s suite “Gallimaufry”, drawn from music written for the Royal Shakespeare Company’s productions of Henry IV at the Barbican Theatre. 

It proved to be a catalyst in encouraging many other prominent mainstream composers to write for the wind ensemble, as well as being very popular with audiences and players. The six continuous movements cover a wide range of musical styles and emotions, from the stately trumpet solo (reminiscent of Geoffrey Burgon’s music used for “Tinker, Tailor, Soldier, Spy”) to the revelry of tavern life, with its echoes of Malcolm Arnold’s film scores. 

The changes of mood were clearly defined, with an emotional interlude in which a cor anglais solo portrayed the dilemma faced by Prince Hal as he chooses between his real father and the tragic-comic figure of Falstaff, who has acted as a surrogate father throughout his roistering youth.

Thrilling climax

A rousing recruiting march, heralded by piccolo and drums, led into the final section, “Church and Status Quo”, depicting the rejection of Falstaff and the coronation of Prince Hal. 

The music descended to the depths, with prominent use of bass and contrabass clarinets and contra bassoon, before dark-toned horns intoned themes used earlier in the piece. As the music grew in intensity, powerful timpani and ringing cymbals were joined by a thunderous tamtam in a thrilling climax.

Tribute to Malcolm Arnold

John Paynter’s arrangement of the “Sarabande” from Malcolm Arnold’s ballet score “Solitaire” made good use of the massed flutes and clarinets, with the cor anglais adding its own plaintive edge to the sound. 

The slow metre of the music proceeded with a gentle lilt, imbued as it was with the composer’s unique blend of poignancy and pathos, and the inclusion of an important piano part (played by flautist Rosie Breckon) was an effective touch.

A brass masterpiece reworked for wind

It provided a gentle interlude before the finale to the concert, Philip Sparke’s “Year of the Dragon”. Familiar enough to brass band audiences, the wind band version presents its own challenges to all the players, and on the whole the young performers coped very well. 

Rhythms were clear and succinct, with soaring horns and euphoniums and clean arpeggios in the clarinets, with special mention for Nicky Chave on bass clarinet.

In the wind band version, the trombone solo of the second movement is transferred to the cor anglais, beautifully presented by Helen Hambling, on top form throughout the programme. The serene chorale was well sustained with a full, balanced sound, if at a slightly faster tempo than usual.

Cracking start

The third movement got off to a cracking start, with rolling scales from the woodwind and crisp punctuations from the brass, and excellent interplay between sections and individuals. A duet for bassoons set against tubular bells and glockenspiel provided an unusual sonority, although elsewhere in this movement it was clear that some players were being stretched to their limit. Things soon rallied, however, drawing the music to an impressive and convincing finish.

Once again, it was an impressive display from all involved, although the choice of programme seemed to favour the woodwind over the brass, who seemed largely to be in a subsidiary role – not that they were lacking in any way, with some particularly secure work from the trumpet section, but they did not have many chances to shine. 

The audience, seemingly largely made up of family and friends, appreciated their efforts, although one wonders whether a reduction in the cost of tickets would have attracted a more diverse crowd.

Final gripe

One final gripe: with all the investment put into the course and the associated concerts – the same programme had been given in Birmingham Town Hall the previous evening – it is a pity that a little more attention cannot be given to the programme notes. 

Dr Price’s biographical note spoke of 2003/4 as being in the future, the programme note for the Gregson described the whole work, rather than just the fanfare, and that for the Arnold included a description of the “Polka” as well as the “Sarabande”. 

Lastly, the notes for “Year of the Dragon” – as was the case with those for Hugh Fraser’s “Tuba Concerto” in their previous concert – described the brass band version, which could have left people waiting in vain for a solo trombone to appear! 

A small point, maybe, but possibly a case of the ship being spoilt for a halfpennyworth of tar.

Peter Bale

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