Tubalations

Conductors: Carl Woodman & Derick Kane
T4 Tuba Quartet & Stotfold Band
Bandmaster: John Street
Letchworth Free Church,
Saturday 23rd January

Tubalations was the brainchild of Roy Scott, who wanted to mark the completion of 50 years as a tuba player with Stotfold Salvation Army Band. 

Following a day of rehearsals and master classes, a public concert was presented in Letchworth Free Church. As well as making music together, the opportunity was taken to raise some much-needed funds for the Clarence Adoo Trust, to help pay for physiotherapy following his serious car crash in 1995.

Inaugural fanfare

The group of 29 lower brass players commenced the programme with “Tubalations Fanfare”, specially written by Derick Kane, who shared conducting duties with Carl Woodman. Featuring the tune “Soldiers of Christ arise and put your armour on” it introduced the audience to the somewhat unfamiliar sounds, before Stotfold Band, under Bandmaster John Street, presented the hymn tune arrangement “Colne” (Thomas Rive).

Demanding solo

The first solo performer was Charley Brighton, who had previously given a talk on the development of the euphonium before giving delegates the opportunity to try out his extensive collection of period instruments. 

Tony Matthews originally wrote “Tuba Train” for tuba and piano, later reworking it for euphonium. In six varied movements, its descriptive writing portrayed a range of moods, and was as much a challenge for the pianist as for the soloist. 

Charged with playing his own at times fiendish part, Tony coped manfully, whilst Charley’s produced some beautifully expressive playing, particularly in extremes of both high and low register. The final movement, “Speed Wrap” gave him the chance to show his dexterity with a relentless stream of fast semiquaver runs.

Tuba sauce, anyone?

Peter Smalley studied in Bristol with Steven Mead, and provided several piece for the then newly-formed British Tuba Quartet. One of these was the quirkily-titled “Tuba Sauce”, the 4th movement of which was presented by the tuba ensemble. 

With the heading “Custard”, and the unusual marking “Tempo di swing cold lumpy custard”, it gave each of the four parts a moment in the spotlight as the various lines built up and slotted together.

An old favourite

Derick Kane turned to one of the older items in the Salvation Army repertoire for his first solo, “We’ll all shout Hallelujah” written by Norman Audoire, the American civil war melody “Tramp, tramp, tramp the boys are marching” having been linked with various sets of words over the years. 

Derick rattled through the successive variations at a cracking pace, with only occasional moments of untidiness shown by the band at the changes of tempo.

Tribute to Major Leslie Condon

Major Leslie Condon did much to develop the role of the tuba within The Salvation Army before his untimely Promotion to glory whilst carolling with Croydon Citadel Band. His daughter Dorothy has recently produced a memoir of her father with the title “He just couldn’t say no” to raise money for the Leslie Condon Trust, which funds places for young people at music schools. 

She spoke about Les, his life and witness before Philip Scott of the Royal Air Force played his classic solo “Celestial Morn”. Philip demonstrated total control over the instrument with some excellent lyrical playing in the slower sections and glittering technique in the faster passages, although the swift tempi chosen did present a few problems for the accompanying band.

Trio for quartet

The quartet T4 is made up of Keith Loxley and Andy Scott (euphoniums) and Carl Woodman and Martin Blessett (tubas), and they were assisted in several of their items by percussionist Jonathan Whitmore. 

Carl and Martin swapped their tubas for sousaphones for a rousing rendition of “The Thunderer” (Sousa, arr Smalley), before quietening things down with a reflective setting of Jerome Kern’s “They didn’t believe me” (arr Bill Holcombe). Finishing their set with “Keystone Chops” (Lennie Niehaus), they produced some well balanced playing, with the players interacting well with each other.

Massed tubas to the fore

Michael Kenyon took his inspiration for “Moto perpetuo – Endless Song” from the tune “Bishopsgarth”, associated with the words “My life rolls on in endless song”. This was presented with the massed tubas joining the basses of Stotfold Band, before the congregational song “Lord, for the years”.

Bandmaster John Street had written “March Medley for Basses” for the event, taking bass features from many familiar Salvation Army marches, starting with “Red Shield” and also including such favourites as “Mighty to Save” and “Star Lake”, before ending with “Cairo Red Shield”.

Clarence Adoo had made the journey from Newcastle to be present, and the interview conducted by Carl Woodman was an inspiration as he spoke of the opportunities that have come his way since the accident.

T4 plus one

T4 returned with another item by Peter Smalley, his “Cool Suite”, consisting of four contrasting movements. “Strollin’” was presented in suitably laid-back fashion, and “Lazin’” continued in similar vein, with each player being featured in turn.
 
“Hangin’ Out” included some interesting effects, including the euphonium equivalent of the whinnying horse in Leroy Anderson’s “Sleigh Ride”! The final section, “Cruisin’”, opened with fast ostinato figures before a sudden switch to a lower tempo, complete with walking bass.

The final new work to be featured was Paul Sharman’s “Tubalation, for euphonium and tuba quartet”. Derick Kane joined T4 for the premiere of this work, based round the chorus “Sing and make music in your heart to the Lord”, and with a snippet of “Congratulations” thrown in for good measure. 

The solo part exploited Derick’s smooth command of the upper register, with an allusion to Norman Bearcroft’s works in the central cadenza, and he had ample opportunity to put into practice some of the techniques he had referred to in the master class earlier on.

Pause for thought

To introduce the devotional period, Derick played David Catherwood’s setting of “Annie Laurie”, the tune being associated with the words “The Christ of Calvary”. 

Commissioner Robert Street, the brother of the Stotfold Bandmaster, brought a scripture message, reflecting on how memories are passed down through generations, and quoting words of William Booth concerning the need to honour God, and to be concerned for the welfare of others. To close this segment of the programme, the tuba ensemble played an arrangement of Evelyn Glennie’s “Little Prayer”.

Rousing finale

Two more movements of “Tuba Sauce” followed: “Ketchup”, marked “Tempo di Squashed Tomato”, and “Gravy”, taking its inspiration from the nickname given to a West Indian cricket supporter, and which is probably the first piece of reggae music to be written for tubas. 

The final item for tubas and band was Peter Graham’s arrangement of “Swedish Hymn – How Great Thou art”, as reworked to feature five euphonium parts. 

Accompanied by the band, it made for a positive finale to a fine day’s music-making, which had raised around £1,500 for the Clarence Adoo Trust see www.clarence.org.uk

As a final benediction, T4 played John Rutter’s “The Lord bless thee and keep thee”.

Peter Bale

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