The

OtficialJournal of the North Amsrican Erass Band Association, Inc, August 1994 lssu€ 57

USABB, Chicago Staff, Sheldon Theatre Shine at GABBFDanville, Kentucky hosted the bestGftat Aneriaan Bruss Band Festioal yetthis June and thr€r British-style brassbands contribud greatly to thc suc-cess. The USABB (Thonus Palmatier),with their Brass Quintet and HenldTrump€b, the Chicago Stafl B.nd(William Himes), and Sh€ldon Th€.atst (Larry Brentzel) ioined an impres-siveline-upof profu ssional brass groupsfrom across the nation, The weatherwas extsemely hot and humid, yet thatdid not seem to affect, outwardly atleast, any of thesegrcups. At pcak times,the ctowd was estimated to mnge fuom15,000 to 30,000, Interestinglt on theSaturday evening when USABB wasplafn& the performers can only see aftaction of the cmwd from the stage!Each group was video-taped by thelocal PBS TV station and a sp€cial pro-gram was broadcast later in July whichincluded exc€rpts from each group'sconcerts,

This weekend rnarked Captain TomPalmatier's "swan song" with theUSABB. A letter ftom him laber in thisissuegives you nDr€ details ofhis moveand replacEment. ln addition, MSCHeruy Segr€cci Fovides an inside/sview of the Festival, ftom the view-pointofthe USAaB, in theadde whichiollows. If anything, Henry is beingmodest, because the combined forcesof the three U.S. Army groups wereideed a high point of a weekend filledwith superior brass playing. Festivalorganizer C€orge Foreman has alr€ady€ommitd b the GABBF TaF Contestfor 195, the date bng ,une 16-1E inDanville; plans are also underway for a

sistcrGABBFll, in Battle Crc'ek, Ml, theweek bcfore,lune 9-11, 1995, but fuUdetails are not availablc and it is notclear yet whether a NABBA groupwould b€ fcatured there as well. Dc'tails will followNABBA'S August Boardof Directors m€'eting in Toronto.

When Sheldon Theahe first took thcmain stage early Safurday momin&when the oowd had not grown verylarge, they v'rere not surc what they hadgotten thernsclves into. By the end ofthe weekend they fclt fully integratedinto lhe Festival, had made a very sol idcontribution to its success, and could,as Milt Hovelson express€d it, feel privileged to have been part of such a high-class event. This is the lind of weekendwhere Bill Himes can be just getting offa bus, ready for his band to take thcsecond bandstage at the Festival, andbe called up by larry Brenbel to con-duct Sheldon Theah€, who had theplatform at the time. He quickly tookthe baton and the band followed himadmirably in his Celdrratbn ol Conlen-porury Gospd Songs and Amazing Graceanangement. That knd of ftllowshipnrakes this such a special weekend. Theev€nt also rnarked a sad bansition foreuphonium soloist Tom Raber, whowill be moving to Arkansas this sum-mer. His rendition of t€idzerl s Song olthe Brothet o Su day was met withsuch an enthusiastic ovation that wehoF he wiu be looking for or starting abrass band down south.

Other music featured by Sh€ldonduring the weekend idcluded:Mephistopheks (Douglas); Cirril !{arFartasy (Bilik/Himesri Sercnotd

(Toselli/Richards); Fant'arc Prchtde(Bullal; Serenade (Bourgeois); Z5Tro,rrones (Wil lson) ; AppalachianMotutain Folk Song S ite (Cumow); SoClad (Himcs), with Kcn RobertFlugelhorn soloist; Disne! Fafitasy(Richards); Bfile Ror,to (Brubeck/Edwards); Pfrise (Heaton); Mos?s GelDoun (Go$i Armv of lhe Niie (A lford),Champiohs (Willcocks)t Thc Preside t(German); Mrsrir o/ lle Ni8li (webber/Hirll,€F) ; Rades ky Ma rch (Strauss/Ryan);La rgo a l Ja. l o l u t n (Rossini), with TrygveSkaar tuba soloist.

The Chtc.go StaIt Band began theirwe€kend with a concert at Asbury Col-l%e, Friday evenin& as part of thecollege's Alumni weekend. EothramesCumow and Ronald Holz were invitedto guest conduct the ba ̂d lFilled bV lheSpidf (Curnow) and Mofiheil Citadel(Audoire)j b€fore an enthusiastic audi-ence. The CSB had one more engaSe-ment at thc Festival than Sh€ldon Th€-atrebecausc the invied gtalvation Armybrass band Drovides the bulk of themusic for the Sunday morning e(lr-menical church service, accompanf ngthe many hymns and the mass€d choiritem lBafrlc Hymn ol the Republic(Wilhousky/Soderstrom)l as well asproviding praise and devotional musicsuitable for the woBhip experience.Because your Bridge editor served asliaison b this group, I got a chana€ toconduct them again and sit in the frontbench comet section Sunday moming.It se€med to me that both the CSB andSheldon Th€.tE iust got better andbetter each time they played. By the last

ctnthued on Wge 3

N,4RBAOllicial quanerly joumal ol th€ NorlhAmsrican Brass Aand Association, Inc.Founded byJ. Perry Watson in 1980.Uselul news lor Bitish-styl€ brass bandsln North Ame ca. The views expressedby contribulors af6 nol n€cessarily ihos€ol lhe Norlh Americaf Brass BandAssoclalion, Inc. Publicalion andadvertising daadlinos arc lh€ 15th olJanuary, April, July, and Oclob€r.

Editor's Notes

Copyighl O 1994 by lhe North Am€icanBrass Band Associalion, Inc. Allrighls

Fomld W, Holz, Edllorlhe grass Band Brldgo&bury College Mtlslc DepLWllmor€, K€ntucky USA 40390T€lephone(606)858-3511 €xlension2246Facsimils 16061 858-3s21

This surnmer my brass band involve'ment has run the gamut; teaching at aSalvation Army summer cons€rvatory(KY-TN Division),Crrat Anerican B rassBand Fesfiuul, and BNFL'sChicaSo appearance. Lasr night (July 25th) Iwatched the PBS ry special on theCABBF, in which Sheldon Theah€,Chicago Staff, and USABB got fineexposure. Tha t samc day a note arrivcdfrom Bert Wiley, indicating that hisbrass CD catalog now had 499 listingslIt sccms that brass bands are thriving,wllat with SA staff band spechculars,and NABBA championships iust giv-ing the "icingon thc cake"for bandin8around North America.

On the othcr hand, I also scnse that,despitc the solid growth in NABBAbands in recent ycars, coupled withtheir phcnomenal musical improve-ment, we had best look seriously at thelong-range health of our movcmcnt.Too many bands do not lravc Iong-termstayingpowcr;notncarlyenoughyouthbands have bccn startoCl If we valuewhat wcarebuilding, wc need todoublcour efforts, wc nt11l to support oneanother now morc than ever. Contactyour NABBA board members ncarestyou and sharc your ideas and conccrnsiwork on fellowship programs betwcrnbands; bc a catalyst for the start of ayouth band in your area. Cet as manybands and brass enthusiasts that youknow to join NABBA. Our strengthwill be in our shared resources.

Inthisissuewehavca remarkabledocu-mcnt fromGeoffrcy Brand, courtcsy ofPresjdent Myers, that raises all sorts ofinterestin8 musical and philosophicalquestions about onc of the great brassmasterpieces, Elgar's Se?ern Srile. Justa brief examination of the two scoreexcerptsprovided-showing the origi-nal edition and then Brand's version-should be enough to intrigre any brassstudent. Consider, also, the wholeprob-Iem of the rccommended key change inlight of the old "high pitcn- Britishbrass bands! Well, enFy this articleand,if possible, explore with yout bandElga/s $eat wo*, whatever editionyou choose,

In Scptember, following the Augustboard meetrn& all contest informationconceming NABBA '95 (Toronto) andCABBF'95 will be scntout to NABBAbands. The Novcmber issue will in-cludea preview of the April contest.Inthe meantimq keep thosc band pro-grams and reports coming [Octoberlsth deadline fornext issuel as ivell asBand Bul let in Board and ComingEvr'nls material. Bcst wishes to you allfor a great 94-95 scason with yourbands.

R.W. Holz, Editor and Contest Chair

KentuckyBrass Band

FestivalFebruary 2t26, 1995

Singlstary Conter tol the Ans

The Unlvelslty ol Kentucky,Lsxlnglon

Host: Tho LExlnglon Brass Eand(Ron tlolz and Skip Gray)

Featu:lng Flve OtltetBrass Bands

gslslaadtng Sololsts& Cllnldans

ComblnedwithT,A,BA.

Reglonal Confercnce

Fortu her deialls: CallRon Holz

otllce 60G85&351 1 En 2246

Far 60ff58.3g21

Paul e Dro€le, RevlewerTom lityeB, AdvenblngLynene owens, Producllon

NABBA lilembelshlp 0uesIndividualSludent / RetirsdMember BandCorporatePatronLeadership

$201050

100500

1,000

To join NAIIBA, please mailyourname, address, telephone number.inslrument, and band s name (il youplay in one), plus annual membershipdues, lo-

tt. 8en L wlloyNABBA lilombgrshlp ChalrP,0. Bor 2138Cullowhee, tl0lh Csrollna 18723

Moving?The Brass Band Bridge cannol beloMarded because itis mailedlhirdclass. So, be sur€ lo mail to BenWleyyouroh and new addresses,or your copy ol the Bruge will bediscardod by the U.S. Posl Otfic€,and you will miss the next issues!

2 fhe 8r8ss Bafit 8rldoe tulust 1994

President's Podium

At the complction of our Champion-ships in Apnl, I had the pleasure ofhaving dinncr with lames Curnow,Bram Cregson. and Frank Renton, ouradjudicators, and Ron Holz, our con-lroller. We, of course, reflected on theday' s performances. Our thoughts wercconsistent within the group. Ourbandshad gotten the right notes, solved mostintonation challenges, handled thcrapid fireworks sr(tions, and generallyhad gi ven at&acti ve performances. Stillmissin& though, is great music mak-ing-theoverwhclmingexpression, thebreak-through momcnts of musical cc-stasy that 80 far bcyond the notes andmarks on thc pagc.

Why was that magic missing? As aconductor, I think I know why. It isscary, very scary to let your emotionsshow. lt also requircs taking lots ofrisk in the performancq and how manyband membcrs are so afraid to miss anote that they hold backcompletely inexpression?

I rerncmber vividly thc first time mybrass band lran{ended the notes. Itwas during a holiday performance ofCustav Hof st's.lr lreBleak MidtobneL awork I truly adorc. I let go of my sclf-imposed restrahrt and began to con-duct the meaning of the music. I con-ducted moreof thedFamics. Thebandfollowed. I delicately shetched the cndsof phrases and accelerated the othcrsections, within the meaning of thewords and carol, wcll beyond anythingwe had done in rehearsal. The bandwas with mc. We were one. Each of uswas giving our emotions to the audi-ence. Holst was thcrc. The audiencewas with ut mesmerized. The musicended. Thc silence lingered. Then cv-eryone began to dry their eyes.

5o that is what we will work on---+x-pandingour musical expression--dur-ing tlre NABBA Championships inToronto on April 21 and 22, 1995. Thetest pi€<es for each section will be se-lecd to provide the maimum chal-lenge and opporhrnity to the conduc-tor and each member of the band toachieve musical magic. The technicaltasts ll,ill still be there, but the maior

foc'lrs will be getting bcyond the notesinto the emotions. And yes, the achievc-ment of magic will bc p6rt of the adju-dication. ln addition, we hope to in-crease a bit the difficulty of both theHonorsand Championship section testpieccs to alleviate the tightgrouping ofperformances that has oconcd in thelast few years our bands are gettingbetter!

For achicving the outstanding Cham-pionships in 1994, I give warm thanksto our adiudicators, Ron Holz, BcthHronek, Bert Wilcy, Sara North, andBob Barnes-and a very spccial thankyou to ourhosts Frank Hammond, thcNorth Carolina State University BritishBrass Band, the Triangle Brass Band,and MuBetaPsi. I don' tknowhowtheChampionships could be run morcsmoothly.Consratulationsl And toeachmember of the competing band r I hopeyou had a wonderful timcand learneda l i t t le. . . wc do i tal l for youl

Sincerely, Thomas A. Mlyers, Presi-

* * *

Championships XIII

L995

Attend theNABBA Championship6 Xlll

in Toronto, CanadaApril2l-22, 1995

Host: Weston Silver Band

* N/DBA*

Shlne at GABBFcontinued lrcm page 1

two proSrams on Sund ay, both groupswere in peak form. I was particularlyimpressed by Peggy Thomas' cxhila-rating pcrformance of Bcarcroffs de-manding cornet solo SokgofE :1 lalio ,dcU vered in 95 degrcc heatl Both band sput forward a finc array of soloisls,alwaysa wise idea at this Fcstival.

Othcr CSB literaturc included: 6od olWorrrlers (Himes); Riapsod! hr E llhoniun and Band lcldmow), with soloistTom Hanton; Cospel S,E-Aror8 (Himcs)IThc audicncc rcal ly san g!l; Ias LhtviasGrarrles (Graham)j latnaica Citadel(Holz); sa,ret By and Bv (Ballantine),with Flugelhomist Randy Cox; DeqpRiael (Wm. Broughton); Collase(Himcs), On lhe Kint 's Highualt(Iddzc );Harbor LiShl lBcarcroft), wi th0uphonium soloist Karl Strand); Ballade(Rowland), with trombono soloist BillLuhn; Ercelsior (Downie)i Marriage ofFigaro (Mozart/Himcs); Solo Srondo(Himcs), with Altohornist DamonLodge; Roilirs ?{lor,8 (Himcs).

There were many outstanding gioupsat the CABBF-Summit Brass andRhythm and Brass to namc two thatrcally impresscd mc. I felt vcry grati-ficd, however, to hcar the British-stylcgroups present such fine, varicd, andmusically-interesting programsthroughout the wc'ckcnd. lf you havcnot gotten to this Festival, make sureyou attend nextycar. NABBA bands!-Start getting your tapc entries readyl[R.w. Holz]

August 1994 Th€ Bra93 Band Sddge 3

Geoffrey Brand onElgar's The Severn SuiteTransc bed and edlted by Thomss A. ltysrsSW WtWl @by C@thet &and 1994. AI tighb re9ed.

Elgar wasenormously imfnrtantin theBritish musicsceneduringhis lifetimc,yct we have only one work from himfor brass band,IleSedem Sr//?.It waswrittcn in 1 930 specificatly to be the settest pie(e at the National Champion-ships, which in thoscdays wcre held insoutheast L)ndon at the Crystal palace.

I bccarne acquainted with that worksomctime in the 19y)s, first hearing it,thcn laterperformiig it many timcs.Itisa work with wonderful patches,butI felt it was notalways cluiteas comfort-ably scored asitcould havebccn.Thcrcwas something that necd€\i to be rc-considcrcd about the piece.

R. Smith &Company was the publishcrof the brass band version. Elgar con-signcd only the brass band rights ofpublication to that company in 1930.My association with R. Smith & Com-pany, music publighcr, began in 1967whcn I ioined the firm. Ovcr thcycarsIhavemadeitmybusincss toread backas to how the relationship with Etgarand fie Seren S ile happcncd.

It'rimportant to realize that Elgar wasa bassoon playcr, as well as a violiDistand trombonist so he was very in-formcd instnrmentally. Betwccn | 878and 1881, he led a wind quinrct, inwhich heplayed the bassoon. The quin-tet compris€d two flutes, an oboe, aclarineL and a bassoon, and for thisgrou p, Elgar wrote and arranged a con-siderable amount of music.

Sornetimes he would go wi th the quin-tet to play in a tiny village calledShuttleworth, inYorksNrein the northof England. The members stayed witha doctor ftiend of Elgar and from theaccounts had lovely times. The localorganist of the Shuttleworth ParishChurch was a man nam€d Herbert

{ The Bro$ Band Bddge tug||st t9€4

Whitele, with whom Elgardevelopeda warm friendship.

Whiteley was a gieat advocate for Bri t-ish music and British composers and,of course, Elgar shortly b€came a vcrymuch an admired. distinguishcd En,gl ish composer, alonS with Holst,Vaughan Williams, and others at that

Some ycars later, Whiteley moved toLondon and b€'camc musiccditor for R.Smith & Company. Before 1914, theycar of thc start of World War Onc,Whi tcley wrote to Elgar reminding himof theiracquaintance,and told him whathe was now doing, and cxpresscd thchopc that Elgar would writean originalwork forbrassband. To Whitcley's joy,Elgar rcplied positivcly, sayingye$, trewould, hdd love to, but he was so busy,he couldn't do it now.

WhatWhiteley wanted was for Elgar towritc a work to be used for the NationalBrass Band Championships of GreatBritain. The National Championshipswere not hr'ld b{tw{-n 1914 and 1919,sincemostbrass bands wcre unable tocontinuc due to the mcn being away,fighting the war.ln 1920, the Champi-onships resumcd, and Whiteley againwrote to Elgarwho said, yes, he wouldbut he couldn't do it now, he was toobusy. Each year Whiteley wrcte, butitwas not until 1930 that Elgar finallyagrced to compose a work.

It is important to consider a possiblereason for Elgat's acc€ptance. Elgar'swife had died in 1920; shc had been aSrcat influence on Elgar and a greathelp to him. He was a man who foundit difficult to manage his own financialaffairs skillfully. He wrote very fewworks in the 1920s after his wife's deathand from the evidence was experienc-

ing financial difficulrics. The annualwell-written letter from Whiteley (acopy of which is in the British Museum)ar ved that said something along thelines of Dear Sir Edward, you will ofcourse know why I'm hriting and willtrcall our conversations and rcmemberthat we have pursued this...It wouldbc quite wonderful if the Master of theKing's Music (that was the role andvery prestigious honorary titlc thatElgar held) would write the test pie.cefor the National Brass Band Champi-onships.

Astonishingly, Elgarsaid yct hewouldwritc thc work. The fec offercd wasconsiderable for that tim(-150 guin-cas-and my su rmisc is tha t he neededthc money,

Whitelcy's lefter inviting him to com-ttosc the Piece was wri tten in the end ofJanuary. Elgar understood that the workwould bcrcquired by Marchattheverylatest to allow for the music bo bc pre-paroC for the bands to bc rcady to per-form it in September.

Elgar didn't write a full score of TleSeoeftr S ite; hc wrote a short saorc.Someone elsc was cxpected to score itfor the full band. He instructcd and putin ideatbuthedid not write every notefor every instrument.

So by the end ofMarch, a work in shortscore form,which Elgar had titlcd lteS.rsnl S,r ifc, arri ved at R. Smith & Com-pany.lt was inquitelimitcd form. WhcnI say short scorc, you know, Elgar hadnot completed all thedetail asto how itshould be scorcd. Bu t the company wasthritled and dclighted and accepted it

The person who was hired to stcore thepiece, to orchestrate it for brass band,was Henry Geehl, a very accomplishedmusician, comrroser, and pianist whohad w tten works for brass band. Healso had a reputation for being able towork quickly. Therefore, it was HenryCeelil who scored the work.

Elgar and Geehl corresponded and thework went ahead, but when it wascompleted, Elgar wasn't totally happy

with what he saw in the scoring. Geehlwas also a strong personality, and therewas a little bit of altercadon bctw€'enthem. Anywa, in the cnd the workappeared in print and was pcrformc{during the Championships in Septern-ber 1930.

The work, incidentally. is dedicated toCaorge Bemard Shaw. Shaw wasa greatfriend of Elgar. Shaw had encouragcdElgar to accept and write the work.Shaw went to the Crystal Palace inSeptember I 930 to hear the contest per-formanes. Elgar, himsel t was not wellenough to 8o. Shaw respond cd thc nextday with a wonderful lettcr (l have acopy of i t hangi ng in my study at home)in which he bes€eched Elgar not towrite Italian terms, sine thosc splen-did bandsmen with their "hands oftoil", you know, wouldn't understandnecessarily. Shaw said to Elgar, Sir Ed-ward, you must write clearly in termsthey understand--such as "blow likehell here"-those so s of injunctions.It was a tremendors letter. Clearly,Shaw had been very impresscd by themusic and by the high pcrformanceshndards that had becn achieved, bothmusically and technically.

So the work was launched and eversince, it has always been regarded assomething of a special work, togetherwith a few othert becausc Sir EdwardElSar had written this one original workfor brass band.

Now wemust jump forward a numberof years. From 1955, I had worked as amusic prcducer at the British Broad-casting Corporatron. ln 1962 I decidedthe time had corne when I should leavein order to concEntrate on my conduct-ing career. Following a quite extsaordi-nary chance meetin& I was invited byEric Ball to succeed him as editor of theBritish Bandstan, a d also to b€comeinvolved with R. Smith & Company, asmusic editor.

At that time, the chairman and princi-pal shareholder of R. Smith & Com-pany was EIic [les, the son of JohnHenry lles. Edc lles was actually H,F.B.Iles, but everyone called him Eric. I

never knew why, but they did. Hcwasn't rcally a musician; he had a dc"gree in history from Oxford Universi ty.He lived in the house thathis father hadlived in, inMarsatq which isa coastaltown in southeast England in the countyof Kcnt.

,ohn Henry nes, the father, had beenvery much a showman. He owned andran Bellewe, which \aas a great plca-surc gardens in Manchester. He alsohad a similar placc in the south of En-gland callcd Dreamland in Margate.Ericaskcd me to come down to Margatewhere he lived, explaining that whcnthe war in England brokc out in 1939,duc to the bombing and thc fire andwater damage, his father had moved agreat many of the o ginal manuscriptsfrom the middlc of l-ondon and hadtakc'n them to Ma.gate for safety. Thosebrown paper parccls had been in thctop ofthe housc in Margatc cvcr since1940. Now 27 years latet Eric said,"Since you arc Soing to bc<omc in-volved and part ownerof the company,you should take all those parcels. Thcynow bclong to you."

Soonelovelyday, withmy wife,Violct,and our children, I drove down toMargate, and we spcnt the wholc daythere. Thosc pa(€ls were absolutelycovered with dust. They'd never b€enunwrapped. Wc brought them downfrom thcloft of the housc, gefting thor-oughly dirty in the process, and putthem into whatyou call the trunk and Iwill call the boot ofmy car, and drovethem back to London.

I didn't feel inclined to open them atthat timc, having recently b€come aesociad with the company and was,theretore, very busy, so what did we dobut put them back into the loft fromwhence they'd been taken 27 yearsear-lier. There they remained until in 1975whcn R, Smith & Company moved ou tof the middlc of london. It was nolonger sensiblc ftonomicallyor in tcrmsof sFac€ b stay in the middle of t n-don. We didn't nc{d to be there, and itwasn't themost conrlortable facility. Sowe moved out to watford, a suburb

north of lrndon. Of cours€, the parcelswere brought down ftom the loft,moved, and thrown back up into thenextloft.

But I determined that we would opcnthe parcels. Whcn there was a littlc timcand space, I would ask one of thc mem-bers of the staff to go up into thc loft toget a few of the parcels. I think I wentup a few times myselt too. Craduallywe opencd them all, and thcy were fullof interestirg manuscripts.

Working for R. Smith & Company atthat time was Philip Sparkc. Oneday,near the end of the saga of thc parcels inthe loft, Philip went into the loft at myrcqucstand broughtdown thcvcry lastparcel. IMycrs Note: Philip rernemb€rsit a bit differently. His cu.iosity hadgotten the bcttcr of him, and he wagsnooping in the loft, opened thc pack-age, and noticed that on toP was anunti tled $corc for lre Seoenr Slilc, writ-ten a wholc tone highcr than the published brass band version. Hebroughtit down and said, looky hcre.l Weopened it, and thcre on the top I saw inmanu script the saore ofTft e Severn 9tite.The first thing thatstruck me was thatit was all a tone higher. This was inconcert C; thags D mapr for the Bbinstruments and A mai)r for the E-flatinstruments. whereas thc publishedversion is a whole tone lowet concert&fl at. This,of course, was of enormoussignificance.

Since thcn I have tried io identify thatmanuscript. I think i(s HcnryCeehl'tbut I can not be 100 pcrccnt sure. It'sbeautifully handwritten/ as most scoreswere in thosc days. I was dcbermined torrukea comparative study betwen thatscore and the score in print. To myastonishment, it was full of differencrs.There were actually 64 omissions andenorc. For examPle, therc were twobars wherc one voice in the four-partharmony was totally missing. Thatvoidr still renuinsomitted in thcprinted

I decided I had to delve more deeply. Imade contact with the man who haswritten a very authoritative book on

arrgust 1991 The B|&ss Brnd Bddoo 5

I INTRODUCTION

Entrde 1 : Se\q1 gtte - lntducli , R. Snik Edllion (lgn)

Elgar, whobybirthisan Amcrican. Hisname is Jcrrold Northrcp Moore. Hehad been a librarian in thc Statet amusician, a cellist, and was vcry mucha student of the music of Elgar. When Itelephoncd him, he was very interestcdand told me about the Elgar Socictyand asked if he could come to look atthe scorc with me. He came to R. Smith& Co., in Watford, and wc spent timetogether going through the score. Hebecame cxtsemelyexcited when he sawat the side of the score corrections inblue crayon and gr€€n crayon. He toldmc these were Elga/s marks; Elgar of-ten worked in blue and gleer! so theymustb€ Elgar's. We assumed, correctlyI thinl, that they w€re Elgar's mark-i"gs.

There were all sorts of little things thatElgar had suggested, but sombhow

6 Tho 8.r!E Bond Bd{o tug||st 1904

those corrections had never found theirway intotheprintcd version.Of course,thc key chanSe, which is a profoundinfl uenceon how the music will sound,had not b€en indicad by Elgar. Whomade the d€\cision to put it a tone lower?I think it must have been HerbcrtWhiteley, thinking thc players wouldfind itdifficull in those dayt to play inkeys with slurps.

I leamed from Jcnold Northrop Moorethe sour(Es of the musia i^ me SeoenSlile. In 1930, Elgar had rememberedhis wind quintet and a minuet that hehad $,ritten for it many years ago. Healso recalled a toacata he had writtenseveral years before that, also for thcwind quintet. tn l92t much aIEr hisquintet days, Elgar had written a fuguefor organ.

So Elgar went to where he kept hismusic/ which \i/as in two sheds in thegarden of his home in Broadheath,which is in Worcestershirg outside thecity of Worcester. He called them ShedOne and Shed Two and knew cxactlywhich music was in Shed One andwhich was in Shed Two. He found hisminuet, his toccata, and his fugue andbrought them back to his dcsk, pre-surr|ably. A nd these three arc thc move-nents of me Seaeft S ile. Elgaradd.dan introduction, made links betweenthe movements, and wrotca aoda.

I thereforc had in full score, the work(The Seocrn Suilerlbclieve was rnade byHenry Geehl for Herbert Whiteley,music editor of R. Smith & Company.

I havealready said thatin thoscdays-wCrc talking 1930, nrore than 60 yearsago-it was thought that brass bandplayers werc not comfortable playingin keys that they considcred to bc alittle morc difficult. For E-flat inshu-mentt thc concert key of A maior, threcsharps, would have been a bi t difficultto handle.Italso took the &flat cometsup to thcir written D above the stave,which then was considered to be a bitout of rcach, too extraneous, Nowa-days, high Dsand E-flats and Fs cven,you know, arc all embraccd and en-compassd, but not thcn. So iYs mybclicf that it was Whiteley who, whenCeehl scored the piece in Elga/s key,thoughtit was too muchand iistructedthe printer to put it down a tone. Thagsmy surmis€. The piece was certainlypublished a wholc tone lower.

B€causc of all those chanSes, the 64enorsandomissiongand theprofoundkey change, I determinrd there oughtto be a ncw cdihon.

Next, I went to the British Museuh andfound Elgar's thee oliginalt ore basisfor the three center movements of thework-the toccata, the fugue, theminuet-in their odgrnal forms.I sawthat Elga/s use of them i^ The SeoemSrite) wasquite different hom theorigi-nals in plac€s.

Then I remembered (and this interested

me very much) that durinS my days atthe B.B.C., I had seen in the library anorcheshal version of lre Seun Suile.Icontacd theB.B.C. and asked if Icouldsee the orchcsual score. I took JenoldNorthrop Moore with me. Together,we went to the B.B.C.library, found theorchesbal saore, and spent many hourscombing through it, Again, the differ-ences that we saw were really veryconsiderable.

When did Elgar make the orchestralversion? Itwasin'1932, two yearsafterthe brass band version appeared. In1932 Elgar was askcd to Flerform withthe local orchestra at thc Worcester Fes-tival. He had b€rn conducting at theWorcester Festival for many ycars andwasrunningout of new works to Play.I b€lieve Elgar himself scorcd the or-chcstral version of me Setent Suita.lfso, that version was Elgar rethinkin&twoyearslater,of that work fororchegtra. Elsar also recordad it in 1932 withthe Lo;don Symphony Orchcatta. Hehad acontract,which started in 1914, tomake one record a year \4dth thc ton-don Symphony Orchcsha for EM I. That1932 orchcstial recording was reissuedseveral years ago (and reissucd justrecentlyoncompactdisc). I havca copyofit withElgar conducting thc LondonSymphony Orchcstra. His choice oftempi and mannerisms of performanceare very interestrng. And there it is inthe key of concert C major.

So back at the B.B.C.library,l now hadthe thrce origrnal sources (the toccata,tugue, and minuet). I had the Cc€hlscore with Elgals corrections. I had theorchesbal scor€ from the B.B.C., be-cause they kindly allowed me to makea c!py. And I had the recording ofElga/s version with the orchestra. Thedesire to make a new edilon becameirresistible. And all that matedal wasthe basis of my edition for biass band.

The new editron places the music backin the original ke, concert C nujor. Ittakes into account ElSar's laterthoughts, the changes of rhythh inplacB,changes of voicin& and changesof phndng as nqde in the orchestral

version. All thosc I incorporated. I alsoincluded the cortectlons that ElSar hadindicated on the orighal Ccchl score. Iincorporated them all. So that is thcorigin of my edition of T, e Seuern Suitc.

ls it in print? No. But is it available? Yes,it is from R. Smith & Company on hireorpurchase. lt isa littlemorc cxpensivethan the printed version because thecopies are all madc to ordcr. Includ€dare a full score and a set of parts.

It relluins one of my intentions, hopcs,ambitions to rc'Cord thisversion withagood band, this edition that I believewith dc.cp humility but great sinceritymore accords with ElSar's later wishestof the Setefh >'/llc.

IEdibls Nole fhis atlide and tB ldbtringnetule* botfleen Geolfiey *aM 4'd NAB8'r'.P|ss,iddt Ton ite$ werc tl1d nsJll of svealneirys, indudiry a Dffidbt 1992 neewh Chi6W, al tlF' klltuesl ktenatiowl Bandan ordgta Clinic, at l,l.nidl Pad D'o6E w6dsogxedl

Meyelsr When wc compared thc scorcsof the two vcrsiont they seemedquitc different, almost like two dif-fercnt works, even though thc foun-dation is the same.

8/dndi Ycs, The new edition is moredifficult to play, in part bccauscit'spitched a tone higher. A tone is aconsidcrablc diffcrence. And there.forq I do not anticipate dlat the newedition will receive vast numbers ofperforrnances. What I can say is thatit sounds extremely well on a largerband. During thc 2l ycars when IconducH theNational Youth BrassBand of Scotland, we performed iton tvrc or three occasions. ThatgrouPranged b€tween 60 and 90 players,and it worked extremely well on thelarger band, Remember that thewhole length of Ir, Seoen S ite isnearly 18 minutes. When it was firstplayed at the Crystal Palace, one ofthe movements was omitied, Usu-ally when it has been us€d as a tesfprece, a inovernent is omitted, butthe work should b€ played in itsentirety. Thm its architecture, with

its great dignity, great stature, isproperly hcard.

Mysrsj When did you complctc the re-visions?

B/ardj Tha(s a very good question, Iwish I could bc absolutely sure. wefound the Cc.chl score in the mid-to_late 1970s. I was askcd to lecture tothe Elgar Socicty on my €dition ofIre Serreri Sl/ilc- I think in'1979.

Myelsj So by tha t ti me you would havccomplctcd thc rcvision.

Branrl: Oh yes, I had, complctely fin-ishcd it.

Myelsr Havc thcrc boen many ordssfor the Ceoffrey Brand cdition?

Brand: No, a few, notmany.lthas tobesaid with greathonesty thatif bandshavethcprirrtcd vcrsionin theircuPboard, thcy're not likely to 8o outand spend moncy on a d ifferent ver-sion. I understand that. But it is re-quested from timc to time, usuallybya conductorwho has thedesire toperfo.m the work in its later form,which is as closr' to ElSa/s inten-tionsas I know how to makc it lt isusually a conductor who asksaboutthe edition. I dearly would like tothink that it'$goin8 to be uscd more,becausc I bclicvc the later version isa morc satisfactory work,

Mysrsj Where would the Piece's diffi-culty be graded on the one-to-sixscale?

Brardj I suppose iYs got to be a six.

Myersi So it would be aPproPriate forNABBA'S Championship kion?

Bnnl: Yes, the ChamPionshiPs toPgrade. Rernember that thc lengrh alsobrings its own challenge, the ques-tion of durability. It is also a workthat necds to be molded very musically. It has lovely things for musicians to enjoy and Phrascs ho betumed with great sensitivity.

Myelsi what hapPened in the new edi-tion to some of the awkward mGments that you mentioned were in

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it differend, since he was going togive a performance at the WorcesterFestival and also record it with theLondon Symphony Orchesha.

Myefsj And maybe had more time toreconsider.

8/zrd; Perhaps he had time then, moretime. That was orily two years beforehis death in 1934, but I Euly feel thatElga/s orchestral vergion is a workthat is more completely thought out,more cornlortable in performance,

and it is that which Ihave tried to bring intomy cdition for brassband.

D/oslej May I ask ifthcrc is any signifi-cancc to thetitleof fieSeuerl SuiLe ?

Ceortql: The Sevem istheriverSevem. Elgarlived in the partof En-gland through whichthcrivcrSevern flows.Itflows from thc Mid-lands into the BristolChanncl. So it was theriver that Elgar hadknown from his boy-hood, thcriverSevern.It's intcresting howmany composers havcwritten atlout rivers.Therc i s theMississr'ppiSrile by Frede Crof€,thc well known son&Old F alher Tha,ncs; theVolga Boal SonS,Johann Strauss'fa-mous walu, me BI eDcrt,rr; and soon. Per-haps ifs the timeleseness of rivers - thcyflow on and on, for-

Mycrs' note: TheCeoffrey Brand edi-tior\ofThestuerhS iteforbrassband isavail-ablein North Americathrough Bemel Music.

The purchase price is about $135.You also may be interested in the1932 recording of the orchestral ver-sion ol me Seuefi S ile conductedby Sir Edward Elgar that was released in 1992 by EMI Classics inVolume Two (a s€t of three compactdis.s) of Tre Elgar Edilioh, c talognumb€r EMI Classics Clls7 545(42.

Excerpts ftom lt s Serrem Suite rcp.o-duc€d with permission of R. Smith &Company.

the lower pitched version?

ErdrA With the omissions and erorscorrected and Elga/s desires incor-poEted, espc{ially the higher key,the voicing sounds more comfort-able.I think Elgar fashioned Arc workmore comPletely in the orchestraltranscription. You know, if one isgoing to p€rform a work as a con-ductor, oneselt you tend,I think, tolook at it differently. And I thinkElgar himselfperhaps just looked at

I fhe Bra3s Bsnd Bridgo Algtat 1904

SGRECCIon the USABB at GABBFlThefollowing article isexcerptcd f romMSC Henry Segrecci's article "ArmyBand Wows Festival, Palmatier BidsFarcwell", prepared for lhe Penlaglam,official weekly newspaper of The Mili-tary District of Washington (June 25,1994) Photo by Spec. Michael C. Tickle,JTJ

An audienc€ of morc than 10,000 gazedindelightas three U.S. Army Blackhawkhelicopters flew in close forma tion overthe Festival's Center Stage on Saturdayevsring. Precise timing made the mo-ment everr mone rpmorable when theensembles' Director, CaDtain ThomasPalmatier, rendered a salute as the he-licopters passed overhead on the finalchord of the national anthem.... Fol-lowing the anthem/flyover the brassband launched intoan Ame canb.assband favori|P', Fronliet Oocrtwe, ftofiHollywood movie composer BruceBroughton. In continuin& one listeneton the lawn said renowned Welsh eu-phoniumsoloistNickChilds "gave herchills" as he Frformed his signaturesolo Panforrirre (Sparke) with the band.

The Army Brass Quintet once againdistinguished ibelf as one of the best inthe nation as its members appeared in

the spotlight with a sparkling mcmo-ri?cd rendition of L? klor tiasance fromHandel's Mtlsic lor the Royal Firaoor,s.Staff Sergeant Delores King-Williamsof Th€ U.S. Army Choral€ providedjust the rightchangc ofpace when sheoffered a fovely stylizatiotr of Savc lheBest lor last, and Anetiu lhe Bautift,with a cameo appearance by localDanville favorii,e, trumpeter VincentDMartino.

While the USABB and Brass Qulntetare popular with audiences, it was theperformance of the U.S. Army H€r.ldTrump€ts that festival chairftanGeorgc Forcman knew would dazzlethe audicncc. Palmatier led the long-belled cnsemble through several fan-fares and theanival s€quence that theHerald Trumpcts had recently per-form€d from the Whi te House balconyin welcoming Japanese EmpcrorAkihito. Onehad only toscantheaudi-errce toobscrve the raptattention, beam-ing smiles, and the loud chc€rs con-cluding each fanfare.

Completing the evening was a tour deforce for forty musicians, a collabora-tive effort that put all tfuee ensembleson the sldee at the sarne time. The fi-

nafe, titled lre Secon,l Datnting, wascompos€d by SFC Jame6 Horsay, staffarranger for "Pershing's Own." Thcepic composition was inspired by thedismantling of the Berlin Wall and theliberation of dre CommunistBloc(oun-tnes of Easbern Europe. Thc hvclve-minutc work evolves from the loncvoice of one tuba into a masslvewall ofsound, that coupled with dre peeling ofchimes and bellt proclairns thewilloffreedom. Following a thundcrous ova-tion and several cncores, a beamingCeorge Forcman shouted '"The U.S,Army Bra8s Band, Herald Trump€t6,and Btass Quinlet made this year'sFestival." It was a scntiment that thcmusicians heard timeand again as theymovcd away from thc stage. Staff SgtS{ott Littlc, cornetist with thc band,exclaimod: "the Fegtival wasgrcat andthat concert was the best I have cverplayed inmyentirclifc." lEdito/s Notc:Secon l Da70nin8 was rcpeated on Sun-day to iisurc a good vidcotaping forthc PBS speial, at thc rcquest of thcstation!l

. . .Sunday evcning'sconcert offcrcd theadded dclight of local composer,amcsCumow conducting thc brassband in aspiritcd pcrformance of his new workSitionietta, commissioned by TheUSABB. But as the musicians workcdtheir way through thc evening'sconccrt..,thcy knew tlrat thc camcraswere r€rording the final installment ofPalmatic/s ambitious six-year tenurcwith '?ershing's Own." Monday hcwould begin a transition to his nextassignment. As thc ensemblc's finalnotes concluded, and thc conductor'sarms fell to his side, audiencr and mu-sicians alike rose in tribute to thc offi-cer,

With mission completed, and thethoughts tuming toward thc trip home,a reflcctive and fulfillcd Palmatier ad-dresscd his boops for the last timc.T ou hit a homerun," he m|!sed; "10,000people can't be wrong-it just doesn'tget anyHter than this." IHenrySgrccci]

AugrJ€t 1994 lhe Br8EE 88nd Bddge I

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Palmatier Moves On: Holtan Takes USABBlThe following letter is address(d to all NABBA membersl

Dear Fdends: This is iust a short note toIet you know that I will soon be movingon from theUSABB and Herald Trum.p€ts. In September. I'll take commandofTh€ U.S. Contin€ntal ArmyBandatFort Monroe, Virginia in the Tidewaterarea, near Nor60lk. Whilel hatcleavingthe terrific musiciansand exciting work-ing enYiroffnent at The Army Band,I'm reauy looking forward to "sitting inthe bigchai/'and having my own band.Beginning in mid-Septembcr I can bereached at (8M) 727 388 , F AX l8,M, n74052. Themailingaddress willbei Cap-

tain Thomas H, Palmatier/Com-mander, U.S. Continental ArmyBand /Fort Monroe, VA 23651-99&5.

I've greatly enjoyed serving as a mem-berof thc Board of Dircctorsof NABBAand look forward to continu€d achveservice to NABBA. My successor asDirectorof theUSABB isCaptainTimethy .1. Holtan, who I'm sure will con-tinue to lead thcm on thcir quest toachieve greatness as a baass band. Ihope the NABBA rnembcrship will k'cpme in their "address bookJ' as an ac-tiveadvocateof brassbandsin America.

NABBA and its members are doinggreat things to further music (in allforms) in North America. Ifs a grcatprivilege to be associated with thoseefforts. Pleas€ accept my thanks for thefriendship extcndcd to me during mysixyearsat the helmof The ArmyBrassBand, and let me thank thc band pub-Iicly for their dedication and inspircdmusicianship.

Sincerely, Captain Thomas H.Palmatier, Associatc Bandmaster, Th€United Stat€s Army Band

International out thc w€rkcnd to conduct the massedbands. The response to thc cvent wasso great that two pcrforrnances wereneeded and ovcr 5000 tickets were sold.

The aftemoon and evcning concertscan only be described as veritable"feasts' for anyone interested in brassband music. Evcrylhing from classicaltranscriptions to new works of "con-test" proportions were heard and appreciatcd by a truly i ntcrnational audi-ence, some coming from asfaraway asJapan and Australia.

The event was a success not because ofthe numb€r of tickets sold but due tothe effedivencss of the programrningand the individual/corporai,e contri-butions of each of the particrpating en-s€nibles. The repcrtoire pcrformed byeach group prov€d not only to be goodmusic f it for theoccasion, butalsoaptlychosen music which positively dis-played the personality of eachband. Inaddition, each band perfomed severalnew works written sp€cifically for theoccasion, which made for very excitrnSand varied concerts. Some highli8htsof the day included:

Folk Dances (Shostakovitch/TorgnyHanson), performed by the Int€m&tional Staff Band. This perfonnancewas the highlight of the weekend for

some, for not only was it an excitingperforrunce of exciting music but ex-hibitcd thc finesse and ensembledisci-pline expected from fine British bands.

Wonderfl Tou,t (Pcler Graham), per-formed by the New York Staff Band.This was the "entertaining ' fun pieaeof the day fcaturing tunes associatedwith Broadway, Tin Pan Alley, andWest l4th Str€'et. the latter the old SAheadquartcrs location.

A CollaSe ol Contetnryrsry Ptuise (Wil-liam Himes), performcd by the Chi-caSo StalfDand. This piecc was biggerthan any expcctation one might havehad of any new work by this creativccomposer. Essen tially a mcdley of con-temporary praise songt the arrange-ments of each song gave evidmce ofgreat cra ftsrhanship, whether the songwas devotional, excitin& or just plain

Sir.e /es s (t onard Ballantine), per-formed by the Canadian StaIf Band.This up-tempo swing number, with a"bluesy'' verse of AmazinS G/rce in themiddle, was warmly received as the"swing" piece of the day.

Corrys Chtiti (Robert Redhead), per-fonn€dby the International StaflBand.The performance of this work can onlybe descriH as a study in solmd and

Augusl lg0l The Bnss E8nd Bdqe 11

BrassSpectacularIwhile NABBA met in Raleigh thisApril, The Salvation Army held an-other brass festival in Toronto. Hereisan overview provid€rd to The BridSeby Kevin Hayward, member of tlieCanadtan Staff Band and TerritorialMusic Departmentl

The lnhrrutional Bnts Srytaculat l\eldin the Roy Thomson Hall, one ofCanada's premiere concert halls, wastrulyanhistoricevent.Gathercd forthefirst time ever were four of the Salva-tion Army's staff bands and all eight ofthe Army's staff bandmasters. The bandin attendancer Intemadonal Staff Band(Robert Redhead), Chi.ago Staff Band(William Himes), New York StaffBand(Ronald Waiksnoris), and CanadianStaff Band (Brian Burd itt). The remain-ing staff bands represented by theirbandrMsters were: Am8t€rdam StaffBand (Peter Ayling), German StaffB.nd (Heinrich Schmidt), Japan staffBand (Hajime Suszuki), andMelboufne Staff Band (Crlin Woods).These gmdernen were us€d through-

Band Programs

rhythm of "contcst" proportirnrs.

The Finale for tDth concerts sproad all141 instrumental ists around RoyThomson Hall for an arr.nSemenr byWilliam Gordon of the hymn tuncRandoltk l"Cod be with you till w!'meet again"l. This "surround sound"finalc had an emotio al impact on thcaudience. Here is a complcte listing ofthe music perform€\l at the lnlc aliotolBrass Spettatl ar, inclrding the soloistsfeaturcd from each group:

Canadiin St fi: Srllcelerrs (Ballandne);Spiril of lhe Pioneerc lDownlc)

Chicago Staff: Ro/lirs /4ior8 (Himcs),M an ia ge of F igaro (M ozartl Himest Coi'I age o I Co nt anpl a ry P r ak? (Himes);SonSof E ullalion (Bearcroftt with cometsoloist Peggy Thomas.

Intemational Slalt: Fanfare of Pnise(Redhe ad\ M ar ch e S I au (Tchaikovsky/Phillips); Folk Darces (Shostakovitch/

12 The B.ass Band Edqe A!g(,st 1994

Han son); Co4n rs Crr risli ( Red hcad ); C/o,friorls Forntatu (Smith), with cornct so-loist David Daws; SonS ol lhe Brolhel(Lcidzcn), with cuphonium soloist Dcr{k Kanc.

New York Staff: Psahns, Hytnns andSpirilual So Ss (C\trnowr; WonderflTor, , (Craham); MV Refuge lBr.Broughton), with trombone soloistVanda Sp€nce-

Massed Bands: Montteal Ci lodel(Audoirc); Yorl're Nf?)er Too Far FrcrhGod (Himes.Mack); In Perlect Peace(Do \/,f.ie) ; Th e C alLt ry T n k( Bearcrof t);The Catladbn (MerittL Randolph (Cot-don).

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Recent Brass Band Concerts: MusicListed in ProFam Order

BtassBand of Columbus (Paul Droste).Trinity Church Surtuncr Music Series,Cloria Dei Worship Center, June 14,7994. Power atd Clory (Sotsal;S,temdmfi (Swearingen); Masqterade(Sparke), AIto HornSoloistLisa Calvin;So/o Sccondo(Himes),Sccond Alto HornSoloist roe Galvin; aEl,t Cttalry ODertrl/p (von Supp(/Jenkins), conductrdby lack O. Evans, hn tf o lhe Ril.(Berlin /Snell); El Capifarr Marcl (Sousa );Enlry ol lhe Cladiatorc lFucik/Seredy),C/onl Bel (Wm. Broughton), featurinSthc Trombone Sectioni Thc Ncut Concnanl (Curnow), A Viclot 's Pal l(Currorv), Marimba Soloist Jam(rsMoorc; Miltu Ma\ic (Stephcns), con-ductcd by Les Svsii La d of Freedoltl(Bulla); Arnericarrs We (Fillmore). Trisprogramwas latcrbroadcaston WOSU-FM on luly 4, 1q,4, 8:00 P.M.

Buffalo Silve! Band (Michacl Ru$so).Spring Concert at Transit MiddleSchoof , East Amherst, NY, May 24, 1994.Fa lare lcurnow); Cri ntorl (Richards);El Capilan March (Sousa); A Moolsirlc5r/il.' (Holst);,4rm?iE C/r.e (Him!'s),Con..rliro (Sachse), Soprano CornctSoloist Nclson Stan; fi eR{ri.Srield(H.C.Coffir); Pizzicalo Polka (Strauss); ,4Disn.v Faxlasv (Richards).

Cincinnati Brass Band (Anita CockcrHunt). Northem Kentucky Univcrsity,Crcaves Concert Hall, May 27,'1991.Col.i./esf (Andcrson); loyftn, Iovhtl(Ballantine), Ni.rea (Hirncs)i TrornboncEnsemblc Tre Cledrsi8 Po&,e/ (Bulla),La d ofFreedotn (Blllal; Rock! Mo nltitlCefiterria, (Bosanko); Sinple Cifts(Steadman-Affcn); Lighl Walk (Gotr))Anerican Cioil War Fanlasy (Bilik/Himes).

Eastern Iowa Brass Band oohn dcSalme) Spring Concert, 1994 [Fourda tes / l oca t i ons : ' l i p to , 4 / l a /94 ;

lon,4 / 19 / 94;Olin.,4 / 20;Mt.Vemon,5/7 /941 Festiue Overttre(Shostakovich/Gott); Geistliches Lid(Brahms/Cody); lau,le (Curnow);Mephistopheles (Donglasr; Oklahona(Rodgers/D. WrightL Tea Fot Two

(Youmans/Snell); West Side Stoly(Bernsfein /D. Wright); Bol emian Rhsp-sody (Men)ry/Barry> May the Go,rdlrrd Bless Yofl (Willson/de glme). Asimilar program was presend at TheIowa Bandmaste$' Association Con-vention, May 13, 1994. Eastern Iowaplayed their NABBA contest progEm,the first four iterns listed above, andthen added four lighter itefts: Tea lorTroo; Trufipel BIws antl Cantabile(James/Geldard)j Anericans We(Fillmore); and M.y t}e Good Inftl BlessYaL

F$tival City Bra$ (Wayne Becker),with Cuest Conductor'James Cu mow.Marquette University, Weasler Audi.torium, June 4, 1994. Rule Britanfiio(Arne/Brand); Lol l t lon Overture(SpatkeL She@nd@h (Bulla), Eupho-nium Soloist Jcff Schaum; Riue/ Citysltlil.' (Curnow); Bla&' itLsu lhe Mom-ing Dtu lBullaL kenesThat Are Bight-esl (Round /Bcckcr),SaxophoneSoloistDr. Nicholas Contorno: /lriralion*(Cu'IJ.owlt kotlqnd the Brare (8(rkcr).Festival Clty Br.ss and afternoon clinicmusicians in massed band lcd by JamesCurnow: Sarchrs (Schubert/Curnow);W ash itl gl o n C ruy s (Cal1r lla /Cumow).

Smoky Mountain Brass Band (JohnWest) with the Asheville Choral Soci-€ty. University of North Carolina-Asheville, July 4,1994. Fes liac Otclhtre(Shostakovitch/Gordon); Praise(lIeaton), Atruzing Grue (Himes), So!s,on Pamde (s.l're / W ight); Choral iterns:Gershwin medlcy, excerpts fromF rostiaru (Thorn@n), Zion's Walls andAt the Rh)et (Copla^d'), Amazin| Gmce(Fillmer),Two spirituals-Soon-rl WiliBeDonea d Ain'a that M Nars; Com-bined ltems: Star SpanSld Banner, CodBl6s America, lt's A Grand Ni9ht lorSinging, Atmed Forces Salute, and BattleHynn of the Republic.

Weston Stlv.!Band (Ron Clayson) andLDndonCit del D.nd (Bram Gregson).Coltrusts ln Bras.s. London Citadel ofThe Salvation Arm, May 1994. Lo^-do^. PrcIude-The Gaelie Blessing(Rutter/Chrighnast Weston: Slrike U,atre Band (Cershwin/Rich ardsr; Fantas!

on Btilish SeaSongs lLa^glordrThe Lmkin the Clut Ab lLanglo.d), Alto HornSoloist Ches Crocket London: God'sCrrildlen (Himes); Btqlerc' Holiday(Andet.{n)t loy In MV Heart (Steadman-Allcn); Weston: The Frcgs Oucrhtre(Bantock); Copa Cdrara (Stephens)jSoflly, As I Leave You (Devita/

Catherall), Euphonium Duetists RonWilliams and Ted Robbinst Hoe-DounSforlr, (Barken/Herriot), Comet Solo-ist Bob Gray; Londo^i Kantara(Do w nid ) Th e N ew Cou eharf (Cumow);Weslo^: 2nd Rhapsody otl Ne$o Soiritu-als (Ballrj The BB and CF Marcl (Hume).

BNFL on Tour in ChicagoOn a ruly 21st evening marked by vio-lenl thunderstorms and stre€t flood-ing, BNFL Band providcd a srnall butvery cnthusiastic crowd a wonderfuleveningof excellcnt brass music. Spon-sored by The Illinois Brass Band andheld in St Joscph's Catholic Church,Libertyville, IL, thcconcert aptly dem-onshatcdwhythisband wasratcd num-ber #2 overall in thcJuly 1994 issue ofBruss Batd World.'lhcir rich, well-bal-anced sound ncarly overwhelm(d thclow-ceilinged, semi{ircular hall, butthc group adiusted very well to the notunflattcringacoustical propertiesof the

What continucs to impress me aboutthe top British bandt and this one inparticular, is their wonderful dynamicrange and control, something FrankRcn ton, in his commcnts last issue, en-couraScd our bands to emulate. ThcBritish brass band vibrato was in evi-dence, but not abusively so! This is atechnically-assurcd, young band-av-eragc age 23.7 according to conductorRichard Evang-+ut with some keyveterans providing the needed hadi-tion, likc second euphonium JohnClough, formerly of B lack Dykc MillsBand. All their soloistt despitc thisbeing their first concertjust off the planc,were right on the rnark. The program,listed below, lasted about 2 r/, houts,including a long intermission du ngwhich the band changed from tradi-tional band unifonns to tuxedos.

A broad mnge of styles was offered,and this band handles these quite well.This made for a very diverse and enter-

taining program. I feel that BNFL werebcst in the tradi tional and classical repertoires. Their readings of the Dvorakand Berlioz overtures werc simplybreathtakingl Richard Evans did hisbest to achieve good rapport with thcaudimce via his asides and introduc-tions;herrladea special hit witha Wo.ldWarll US Armylnfanhyband thatwasin the area for a reunion and attcndedthe concert. Of sF.cial notein thisbandis their superb E Flat soprano player,Alan Wychcrly. Also of interest is thefact of a trombone section tha t seems tofollow thc old E.F. Coldman sugges-tion ofhavinga smaller bore, non-trig-ger tenor trombone for thc first part, atypical mcdium bore tcnor with F-at-tachment for sscond trombone, and alargc bore, doublc-trigger bass trom-bone, what a wonderfully aggressivesectionl

I only had one real disappointment inthe evcning. Despite a scnsidve verbalintloduction to Eric Ball's sacred claesic, The Kingrlom Tiwnphcnl, the per-formance was rnarked by a *ther pcr-tunctoryapproach featuringdecidedlyrushed tcmpos and sevcral glaring er-rors from sevcral s€ctions, That wasliftle to complain of fo. the eveningwas a real triumph for this band as theystarted their USA tour. The audiencereceived them throughout the eveningwith great spirit and vocal acrlaru-tion. They deseryed the prolongedstanding ovation they received at theconclusion of a fuly 'conquering' ren-dttro of Pines of the AWiafi Way.Ileftthe concert dreaming of new ways to

Augunlgg4 The Br8€s 88nd Erldge 13

get the bands I lead to stsive for theexpressive and dll|amic range thisbandhad displayed throughout the concert.[R.w. Holz]

Program: Part I Or lle Quarler Deckl{lfordr; Carni,vl Ol.)ei rc (Dvoftk )Meditation fro'lj. ngb (Massenet), So-pmno Soloist Alan Wycherly; Srre?tG eorgia Browt (arr. Rictld'rdd lsotwoneTo Watch Ooer Me (Cershwin/Femie)Frotn Lhe Shores of the Mighty Pacific(Clarke), Cornet Soloist Russell Gray;TheCorsafu (\)etture (krlioz); Part II-

1{ The Brass Band Brldgg A|lgrst 1991

Stars atd Stripes Forcuer (so[sal; TeddyBear's Picnic, E Flat Bass Soloist BillCarE\ Troo Cals (Rossini), Duet byRussell Gary, cornet, Trevor Wallbank,trombone; Tre Kingdon Tritmphant(Ball'J; Hora Slaccalo (an. Heifitz), fea-turing comet section; Ca rniL,rl Cocktail,Euphonium Soloist Steven Singletary;R4lections in Naturc (Redhead\ AppianWay from !u$-qll8ol!s (Respighi/Snell). Encoresr Czrldas (Shauss)j Porrpa d Cicumstance *1 (Elgar)t God Saoethe Queen .

Band News

Kenosha WI will soon have a brassband, thanks to the start-up given to aparticipant a t Frank Renton's clinic thi sJune at Vandercook College. Welcometo NABBAI

Welcome woods Brass Band (DavidDruce) from Newington, Onldrio, a newband which evidcntly has corporatespon sor! S€e November issu e for moredetails.

Siera Nevada Brass Band's founderand solo comelist Petcr Cooper calledvp Brqss Bond Wolrd editor RobertMulholland recently and,.,oila, thebandgetsa feature in theJuly issue! Notsureif that would work for any band, butone from Las Vegasdoes haveacertainappeal.

The National Band of N€w Zealandwill be touring theUSA startinginOc-tober, 1995. According to thc latest is-s]ue of Moulhpiece (jolur'r.al of The NewZealand Brass Bands Associat ion)Kevin.Jarreft . MBE, hasbccn appointcdconductor for the six-wcck tour.Jarretthas been conductor of Wan8anui CityBrass Band for20ycars.To subscribe boMo lhpiece, wri te Editor: JohnHarr ison/P.O. Box l3-211, Christ-church, New Zealand.

The Brass Band ofColumbus'new CDhasbeen named Leari Orl (after a com-position on the disc by Ronald Holz)and release is expccted momentarily.Summcr conccrts included outdoorprograms on Junc 30 (Upper ArlingtonCivic Center), July 3 (MohicanWilder-ness Park), July 17 (Whetstone Park ofRos€s Cazcbo), and I uly 24 (Bethel Pres-byterianChurch, Bremen,OH.) In mid-August the BBC will record all of theOhio State University Marching Band'sfall football music at the request ofDirectorJon Woods. By hiring the bandto record the music prior to the season,Woods can supply his large band withaccurate readings of the new shows aswell as assist drill designers-

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The UniveEity of Wisconsin-EauClair€ Brass Band prcsented its debutconccrt on April 12, 1994. Thc band'sconductor is Rodney Hudson, Aisoci-ate Dir€ttor of Bands and Profc'ssor ofTromttonc at the university. Thc spe-cial guest soloist and conductor of theeveninS was rcnowned euphoniumistSteven Mead. The program consistcdprincipally of works ftom the Fadi-lional wind band rcpcrtoirc sctforbrassband, most prominently Tocuta (all.Fres.obaldi/Curnow), F;'lsl Suite in E-Flal(Holst/Herbcrt);KinSColto March(Sousa);and ADeri'.an Civil Wat Fattasu(Bilik/Himes). Other works includ(d:Ama.htg Cncc lqimesrt Fanfare a,ulFlo!ris*es (Curnow),Mrrsic lrcm t he 1 6t hCe lury Gerrn.iert MidniSht Euphoninn(Rich6rds), fcaturingSteven Mcad. Mr.Mead also gavc thc enthusiastic audi-ence thrq) encoret performcd in thcsccond euphoniumchair for the entircconccrt, and took the podium to con-duct the Holst suitre. The new BrassBand at thc University of Wisconsin-Eau Clairc was madc possible by thcgenerous loan to the University of acomplctc sct of instnrments by Booseyand Hawkes, U.S.A., Inc., who al$osponsorcd Mr. Mead'sappcarance. Theband has bcen in existcnce sincc.lanu-ary of 1994 and was plcascd to lcarnfrom the keen ear of a lifc-long brassbandsman, M.. Mead, that it is verymuch "on theright track'and isdevcl-oping a proper brass band sound. Forfurther information atJout the band andits start-up experience, contact eitherRodney Hudson at (715) 85 4156 orJeny Young at 97'15) 836 3633 or eitherp€rcon via fax at (715) 836 2284. Youngmay be reached via Intchct atlJYOUNc@cnsvax.uwec.edu

[Band press releasel

After NABBA'94 Triangle Brass Band(Michael Votta) had one concert left ontheir Spring Concet Series, this one attheacoushcally-excellent Baldwin Au-ditorium, Duke University. A very posi-tivereview in local Spectator concludedwith: "...the plalng was of very highquality, with dynamicsparticularly well

manag€d." The reviewer also encour-aged classical music loverc to take inTriangle s two summer concertsat theDuke Gardens in Durham.

In May, Triangle gave three perfor-mances for American Airlincs as partof the promotion and celebration of ancw dirert fli8ht bctwccn Raleigh-Durham and lrndon. The flight wasinauguratcd on May 26th; the first twoconccrts wereon the previoustwo days,one in Ralcigh and on in Durham, atpromotional cvcnts. On the day of thefirst flight, thc band was at the air-port righ t a t thc ga te. The whole arcaaround the gatc was a big party-frc'efood, b€lt balloons, giveaways, and,of coulsc, thc bcst brass band music,courtesy of Triangle Brass. The Govcr-nor ofNorth Carolina, the local districtCongrcssman, and a few arca Mayorsall gavc spceches; it was a botally fes-tive occasion. Thc band played bothBritish and American Music, includ-in9: Fantasy o Btitish Sea Songs(L-angford); Fatnous Brilish MarchesI,anglotdrColond BoSe! (Alford ); H,glS.hool Cadets (Sousa); Tre Sfars arriStripes Foreoer (kus)i A,netica lhe Beau-liirl (Himes), Rr/lc Bfilorniq and Marchfrom Secontl S ite in F Major (Holst/Herbert). lConnie Vamcrl

Th€ Allegheny Brass Band oohn Culp)will be touring Bcrmuda this summer,playing a serics of concerts thcrc July20-25 They have' recently relcased, inconnectionwith their island tour, theirfirst compact disc, Pop 'N' Rhvthfl lAtour rcport should be in the next issueof The Brtdge, as well as a rcview oftheir new rcrordingl. If you are inter-esd in getting a copy of the CD orwish to contact the ABBrcall Al Due gat (4'12) 486 1888; or Bill Plant at (412)486 0145, or write to: The AlleghenyBrass Band, P.O. Box 15 100, Pittsburgh,P A 15237.

The Buffalo Silv€r Band participatedin a Buffalo Civil War Festival last fallwhen Wendy Peek was directing them.They ioined the Exc€lsior FiIe and

Drum Corpsis pres€ntinga widcrangeof musical excerpts from the period. Inrecent programs bandmember NelsonStarr, a former Salvation Army bands-man (Buffalo Citad€l Band) has hadquite a workout in filling in variouspositions. His norrnal position is 9>prano Cornet, but he has also bccncallcd upon to pinch hit as a eupho-niumsoloist,altohom soloist. and soloB-Flatcomct. M..Starr tells us that wewill bc hearing much more regularlyfrom Buffalo Silver in the futurc, andthat thingsareon thc upswing with thisNABBA band.

The Salt River Brass Band's (RalphPicrce) IndependenceDayConcert,July3, Chandlcr Center for the Artt Chan-dler, AZ, saluted the old-fashioncdAmerican town band. Music includcdarrangcments of Pop tunes byCeBhwin, Stcphen Foster, Cc'orge M.Cohan, Dvorak's Ngto Wo rld Syfiphotty,and patriotic favoritcs.

Af ter thestandingovation they rceivedat The Iowa Bandmastery AssociationConvcntion in May, thc Eastern lowaBrass Band felt reiuvcnated enough totackle theirsummcr season, which willhrcludc concerts for Ccd ar Rapid y Etr-ic Fest-Flag Day at the Brooklyn Op

era House, the Fr?do, Festiua, in CeAar Rapids,The 4lh ol luly Celebralion atFafifax,Heitage DaVsin M t Vernon, thedowntown Concert Scries at WcstBranch, and the Concert Series at theArboretum in Dubuque. On July 23thcy will host BNFL Band from GreatBritain. Eastern Iowa is producing aChristrMs tape to be marketed as afund raiser to help dcfray opcratingcxpenses. The tape may be orderedthrough Mr. David DeHoff, 890Parkview Dr., Marion, I A 52n2-2754.

Smoky Mountain's July 4th conclrt(listed in Band Programs) with theAshevill€ Choral Soci.ty was playedtoan ove low crcwd estimated at 8m-900. Enthusiasticaly received, the con-cert made lor a splendid Independenc€Day celebration. As repord by Bert

AueBfig91 lte Brdss Brnd Bndgo 15

Wiley,band manager, itwasoneof themost exciting concerts of the past sea-son and served as a terrific close to anoutslanding year.

In addition to thcir latcst concert lseeBand Programsl with guest conductorlamesCurnow,Th€ F€stivalCityBrasshad a busy 1993-94 scason. BackinJune1993, William Himcs served as Suestconductor at a program on the campusof AlvernoCollege. In November. 1993,they joined the Bell€ CityBrassworksfora combincd concert in Racinc, ThcirDecember conccrt washeld at AlvemoCollege. On March 5, 1994, they trav-eled to Concordia University to Fin theConcordia wind Eft€mblc (LouisMenchaca) for a united festival of mu-sic. During ,ames Cumow's vrsit thisJune, anaftcrnoon workshop washcldJune 4th on the Marquette UniversityCarnpus, using Festival CltyBr.ss andbrass players from variousgroupt in-cluding Illinois Brass Band, RacineDrassworkt and local cornmunity windplayers from such groups as TheKntghtrdind Ensembl€ and theWauwatosa Community Band. Thosewho participated in thc workshop wcrctreated not only to the words and wis-dom of Mr. Curnow, as he led themthrough a variety of his compositiontbut also leamed a valuable lesson onthe art and stylc of playing in a brassband. Also prescnt at the workshopwas a representativc frcm Boosey andHawkes, Mr. Doug Torvik, whobrought with him an array of instru-ments which participants could try out.SFcial thanks to Bruce Klin& F€stivalCiys lead baritone player who orSa-nized the entirc event. Next yca/sschedule starts on December 3rd, witha concert at The Salvation Army OakCreek Corps. The Band returns toConcordia on March 5, 195; MarquetteUniversity on.lune 3, 1995, which hopesto be a 10th Anniversary celebration.See future issues of The Bridg€ forupdat6. lKathy Musack]

A N ot lh eesteft B ras s Band Chtna ionshitwas held atWestPoint Military Acad-

cmy on lune 25, 1994. Not a NABBAsponsored event, four bands partici-pated: Atlantic Brass (Salvatore A.Scarpa), Danbury Erass Band (AlanRaph); Impe al Brass (Brian Bowen);The New England Brass Band (Wil-liam Rollins).The formatwasvcry simi-lar toNABBA,however, witheachbandpresenting a program within a 25-30minute range; the point sprcad was thesamc as for NABBA-so% for the TestPiecelPlanlangalcts by Cregsonl, 50%for the remaindcrof the program. Thctrophy went to Imperial Brass, with atotal of 91 points. The other resultswcrc: 2nd-Atlantic (83.5); 3rd-NewEngland (81);4th-Danbury (70). Theadjudicators were Lt. Colonel DavidDetrick (foundcr of US Army BrassBand and Wcst Point Bandmastcr);Charles Baker (N€w J€rsey Symphonyand Montclair Corps Band of The Sal-vation Army); Cordon Ward (GreaterNcw York Music Director ofThe Salva-tion Army, Principal Cornet of Th€New York Staff Eand). BandmasterMichael Orfitclli of the ManchesterCitadel [CT) Band of The SalvatronArmy servcd as contest controller.IMark Frechl

NABBA welcomcs back to thc USAColonel Detrick, the man responsible

for the est-ablishment of The U.S. ArdyBrass Band. Recently he was guestcon-d\ctor br a Ma! ln Monlalrirconc€rt bythe Montclair Cotps Band (CharlesBakcr) and Songst€rs (Sheila Smith) ofT1lcSalvation Army, two very fine en-scmblcs located in northem New Ier-scy.

,ust rc'ceived beforc publication was anote from Robert Bernat, River CityErass Band, who is recovering from arccent hospitalization. RCBB has pro-duced a small pamphlct, H ighlights: TheFitst Thirteen Seasons, 7981-1994, thatdocumcnts the remarkable achievc.ments of this professional brass band.Thc grouy's latcst program, that Bobcould attend but notconducL wasen-titled RCBB Honolees' Corcell (DenisColwell served as conductor). Eightindividualswho had served theRCBBand the Pittsburgh community wcrcdesignated RCBB Dir€ctors Emeriti andcach had a piecc played in thcirhonor.

Westem State College Department ofMusic presented a Colol4tlo Bnss BandWorkshop luly 7-8, 1994, with lohnKincaid scrving as clinician co|,lductor,supported by brass soloist/cliniciansRitchie Clendenin (cornet), Francislaws (euphonium), and Robefi Nagel(comet). Fifty-two perfonncrs were in-volved in theclinic band, drawn ftomseven states. Eleven of the SrouP weremembers of The Rocky MountainBrassworks.

Band Wanted! Any band in the NewYork Area looking for a British-bainedcomet player? A Scottish cometisL inthis country for a year as a nanny. calledNABBA secetary Bert Wile, abso-lutely desperate to find a band she couldplay with during her year in the USA.The address is: Kristina Fairweather,1346 Miluana Lane, Wantagh, NY11793.

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River Cit/s Lat€6t Reviewed by PaulBierley, Sousa authority and memberof the Brass Band of Columbus.

Concert in the Pa*. River CiV BrassBand (Robert Bernat). PolyphonicQMPR 604D. TT 62:32. Program: ElCapit4, (Sousa/Berna0; Daisy Bell(Dacre/Langford)i Sweet afid LouGarnby/Snell); The Belle of Chicago(gusa/Benat); M'plelatf Ra8 0oplin /CumowlCometSolo-Whirluind Polka(IAvy /Geldard\t Cnnd Du&ess GaW(Offenbach/Seymour); SenW Fidelis(Sousa/Bernat); The Firefian's Polka(Ripley/Bemat); On WiLh The Motley(Leoncavalf o/Farr); Witliam Tell Fitule(Rossini/Hawkins)j Manhattafl B@ch(Sousa/Bemat); Ir"s's Sw?zt Old Song(Malloy/Snell); Lassus Trcmbone(Fillmore/ B€mat); Tlte Was hingtotl Post(Sousa /Bernat); The Lost Chord(Sull ivan/Langford); EuphoniumSolo-Belieoe Me If Those EndearingYoung Chdifis (arr. Boddingion) fieLibe y Bell (Solusa/Bf,'rr'6t);12th SkeetR g (Bowman/Peberdy);The SIar6 \fidStipes Fofti.El (Sotsa /8€rrrat),

Pittsburgh's professionalsshike again,this time with an excitlng mix of old(and new) chestnuts, all pleasant. It's af un album-relaxed and light-hearted,in which they make everything soundeasy,

The seven Sousa marches arc reallyto€-tappers, only }{atth4ttah Berch ̂otIending itself especialy well to brassband interpretation. The soloists, Jo-seph Zuback on euphonium and Ber-nard Black on comet lnot menhoned inthe notes or Fcketl dash off their pieceswith ease. One surprise is the unusualettecton love's OId suuf Song in whicha flugelhom is played down the bell ofa tuba.

Thisrecordingdernonstrates that f renchhoms can be used effectively in British-style brass bands, but it must be saidthat the Pittsburghers could make any-thing sound good on iust about anycombination of instruments. Tlus i9among the best execud and recordedbrass band recordhgs this rcviewer

has heard. All peffomances ate cleanand sharp, and at times Ore band actu-ally sounds much like an organ. [PaulBierleyl Note This recording is notavailable directly from Pol)?honic.Contact Bemel Music; or The RCBB,P.O. Box 6436, Pittsburgh, PA 15212.Phoret 412122-7222.

New Releases Reviewed by Ronald W.Holz, Ledngton Brass Band/ABburyCollege SASF Blass Band.

7. Tw i l i Sh t Dft rfi s. Ro9er Webster, Cor-net Soloist, with Cws-Glastow Band(ArchieHuhhinson). PolyphontcQPRL066D, TT 6l:36. Programt lubilance(IJtutesrt l'd Rtther Hat)e 16 s (Shea/Himes); Rrssi4n Dan.e (Boehme/Halliwell); T.rtlight Dteams (Clatke /Fr€€h,i Concett Et de (Goedicke/Wm.Broughton); Heaven Gales(langworthy); Crossroad (Bulla); Cot-c efi o lor Comet lTtttnpet'l an d Brass B ottd(Sparke). Roger Webster's rich, darkmellow comet comes through beauti_fully on this wondetful new solo CD,ably accompanied by CwS clasgow.The plalng is simply excellent andWebste/s classic sound ranks him inthe great tradition of tluly outstandlngBrit ish-trained cornetists: HarryMortimer, Derek Garside Roland Cobb,and Derek Srnith, to name four of thebest His vibrato 16 not overbearin& hissense of style and phrasing very wellsuid to the music recorded hete. Sixof the nrne items come ftom SalvationArmy FurMls, a statement about howwell the new integration of that reper-toire is succeeding. The major workthe SDarke Concsrfo, seems ideal for thecom;l though it was originally writtenfor trump€ter Bernard Black of RlverCity Bra$. What a wonderful additionto largescale works for comet andband! The trde tune, f?riIWI Dtafl'contains some of the most chatmin&whirnsical plaf ng----a suHued conc€waltz with an exquisite cadenza. Theengineers, in order to put Webstelssound ouite "out ftonf' have sacri-ficedev€r so-slightly the rnellow secdon ofthe ban4 at least as far as this revreweris concemed; some of Ore detail is lost

18 tle BraEs BEnd Bddge August tglx

on occasion. they seem just a bit distant.But that is not a major criticism, for theCD is very well-produced. The prGgram is a delightful mix of styles: secu-Iar and sacred; Brilish, American. andcontinental traditions; modem and clas-sic repertoires. The accompanyingbooklet gives good notes of the musicand performers. The art of 'tlassic cor-net playing" has certainly been given aboost with this excellent recording.

2. Derorarce. The BNFL Band (RichardEvans). Kirklees KRCD 1015. TT (}4:20.Program: Hail to the Spirit of Libetly(Sousa/Newsome); Russian Rhapsotl!(Rachmaninov/Snell), Trfi npet V ohln -laly (Clarke/Cay), with Soprano Cor-nct Soloist Af an Wychcrlcy ; 1 8lh V at ia-liofl on a Thefie of Paqanifli(Rachmaninov/Sncll); The Day ThoGaoest (W ilby); Debomce (Gollard);Orl€o (Monteverdi/Hopkinson)i Hei€Kali (Hubay/Snell), with Comet Solo-ist Russeff Crayr flre lvind Bdeath Mylvir8s (Henfey-Silbar /Barry\ Ten-,ierly (Gross/Chapman), with AltohomSoloist Melvyn Bathg te; Morning(Gricg/Catherall), Cackaigle Ovelturc(Elgar/Ashmore). BNFL s€ems to bethcbusiest recordingbrassband of late!Deborence, after a John Golland test-piece, offers a traditional mixofoldandnew, popular and classical, transcrip-tion and original bmss band work.Golland's dramaticreoeadonin soundof a Swiss novcl by Charles Ramuzevokes for me memories of Strauss'Alpire Swphony arr.d Eric Ball's test-piece Hr'srr Pa?k. The unusual elementin this thirteen-minute work involvesthe uscofan alphom, well-handled byfamous altohorn soloist GordonHigginbottom. Here again, the only wayI can describe the effect is to suggestthat Golland uses the natuml overtoneseries of the instrumcnt to special ad-vantage, especially its non-temperedtunin& in much the same way thatVaughan Wiliams exploid the natu-ral trumpet in his Thild Sylrlphony .Thetwo Rachmaninov transcriptions comeoff very well, with a ch, romanticapproach very flattering to the band.

The Monteverdi adaptation combinesthe famous opening Sihfomid with othershort /itorrelli from that first great op-erc, Oteo 0607). For those readers fa-miliar with the Rafael Mendez ve$ionof Hst-,e Ktli (Hubay), the Snell versionwill come as an interesting surprise.And I never thought I would heie T€r-dellyananged fotof all things,altohomand brass band-but here it is, well-played by Meliyn Bathgate. The excel-lent Wilby hymn-tune arrangement(The Da1/ Thou Caoesf St. Clelkeht ,makcsme think hewould havemadeagood Salvationjst, a piece that seemslikc it is right out of a rccent CqElqISff ies ioumal. Theconcludins workbvElgar isall that I would have hoped forin a brass transcription of this famousoverture. Somehow it is fitting, for tra-dition has it that Elgar porhaysa Salva-tion Army strcct brass band in thecourse of hisevocafion of London town,This bcing thc first Kirklccs CD TheBridte has had theprivilcge to rcvicw,I assure our rcadcrs that thc sound isfirst-clast the recordingbeing done ina hall chosen for many recent record-ingg Pcel Hall, Univcrsity of Salford.You should thoroughly relish and cn-

ioy this outstanding band, intcrcstingprogram/ and well-produced rccord-ing

3. Rornncein B':,'ss,Vollnne lL Th€ BNFLB.nd (Richard Evans). PolyphonicQPRL 053D. 'IT 75:21- Program: Ro-,tnnce de I'Amour (Barry); Illst the WaVYou Are goel/Barry), with FluSelhornSofoist Cary Lord; Li'i Datlin' (Hetli/Sparke\ Meditation frol]r. !!g!p(Massenet/Barry), with Soprano Cor-net Soloist Alan Wycherley; Kiss MeAgain (Herbert/Celdardr; Itue at lheRo.tu (Diamond/Sparke, with CometSoloist Ru ssell Gray; Myfa m\av(Parry /Stephens)j fie Follrs l4&o Lioeon the Hill(Kerry/Richards), with FlugelhornistGary I.ord; Ronan I ic Int er lud e fu ofi . RockMl]sic ]l (Richards), Annie Laurie(Newsome) j Car.)atina lMyers/Broadbent); Cirl uith Flaxen Hair(Debussy/Wiggins); GeDrgia on MyMind (Carmichael/Morrison), with

Cornet Soloist Russeli Grayi SomaqheftAt Thete (Barry\ Passi g By (Purcell /Sparke), with Comct Soloist RussellGray; Aubade (Sparke), with Eupho-nium Soloist Billy Milla \ Aranjuez MonAmoul (Rodrigo / Batry); Serenade forT ofi i (Sp arke) ; b1 d ian I o nt n er (Herbet t /Celdard);Marory(Webber/Richards).Scvcnty-five minutes of lush, romanticbrass! Volume one, which I have notheard, must have been a success if asecond volume was demanded. Therecording sound seems somewhat en-hanccd to providc that lush sheen insound that matches thc colorful art-work on thc cover. The plalngiscon-sistentlyona high level for such a grcatdeal ofmusic, with the soloistsmakingthe finest contribution. Somc dclight-ful surprises included Philip Sparkc'seuphonium solo Arbatle and Barry'stranscriptionof Rodrigo's Aru juez,nona,no!/. \{hile I pcrsonally found thclong program somewhat overdone,despitca fincattcmptby tlre producersto givc varicty in thc style requiredIusingboth classical and popular] thcrcwil lbemanywho wil l f ind thiskind ofCD just the ticket for either relaxing,easy listcning., or as an excel)ent re-sourcc for literature of this nature.

4.Firebird.G methoryeCollieryBand(Ray Farr). Polyphonic QPRL 010. Tr46.47. Program Midnight Sleighride(Sautcr-Finncgan/Farr\ O with theMofley (Leoncavallo/Farr), with So-prano Cornet Soloist Petct Roberts;Songs ol lhe Quay (Rlchatds); ln a Senli-nenlal M@d(Ellinglon / Howarth), wi thFlugelhom Soloist Stanley Lippeatb AF a I hx P r elu de (Bulla\ ; S cha:o (Colland),with Tuba Soloist Stephen Sykes; B.mePatrol (Howarthr; Wy Did I Choose Yot(Lmnard/Fan), with Trombone Solo-istglanley Priestley; Infenul Dance andFinale frorr. The Firebird (Shavinsky/Fan). Pol'?honic has rercleased this1982 recording in CD format, provid-ing an updated hearing of this famousband when led by Ray Farr. I particu-larly laud the solo plalng of Sopranocornetist Peter Roberts, who pro\ridesall the right pathos for the famous ex-

August 1994 rhe Brass Band Bddqe 19

cerpt from I PaSliacci. Tuba soloistStephen Sykes also delivers a d)mamicperfonnance of a liftle-known, but ex-cellent S6ler2o by John Colland. Thetwo big Russian banxriptions comeoff with expected brilliance and techni-cal assurance. Two shorter, but veryenterlaining and easily programmedpieces thatarepaft icularly well-playedhere, ar€ Bulla's FestiTE Prcluale a dRichards' Son8s o/ llre Qroy (the latterbased on two Northumbrian tunes), ltis easy to determine why this band wasa pac€-s€tter in the early lgm's-reatattention to technical detail withoutignoring the expressive demands.While shorter than many CDs, due totheoriginal Iimltationsof the vinyl disc,this CD packs an exc€llent sound andmusical rnedlcy of fine brass plalng. Itis interesting, from an historical per-sp€ctive, how this kind of recordingbegan to show a change in the contentand format of brass band recordinss.This band was less tikely to fcatuirewhat has been denigratingly called"boogie in thc bandstand" and wouldtend to conc€ntrate on better qualityliterature. The only exception to thathere is the "hokey" adaptation ofProkofiev's lroi*, trcm Ll. Kiie Suite.here labelled MidrE rt S leighride. All inaU, we can be glad Polyphonic is bring-ing back soma of these fine earlier re-cordings in CD format; this is a goodone!

5, F 6tiul Fanfr res.T'iangle Brass B.nd(Michael Votta). Live Cassette Tape ofPe omanceslnNewYorkcity,Wash-ingto& DC, and Chapel Hill, NC. Pro-Sram: Fesliral Fanlare (Hi''J,esr; AllThror gh th e N i ghl (Langtot dD Resu r gam(Ballri March ftom A M@rside S ite(Holst); l(inS's Herald trorJj' Pag@ntry(Howells); Salvatiofi ls Crcateil(Tchesnokov/Hile); Swphony Rhap-sody for Eulrtonium arrd Brass Band(Cregsont with Soloist Neal Corwell;BeThou My Visioi l,aReau). Whilc TheBridg€ has heard of several NABBAbands producing tapes and/or CDs,this is the first that has b€en reeivedfor revrew. Plainly stating the "live"

20 The&83sBsndBddgg Aug|,st 1991

nature of the tape/ Triantle Blass d€-livers a quality program of music, allgood rnaterial - no filler items. The re-cording quality varies due to thc thrc€recording locations. Only the eupho-niu m solo suffers for thit because NealCorwell's good performance of theGregson MaPsody can not be heard tobcst ad vantage. I particularly likql theopening and closing hyrrm arrange-mentt the band plafng with lots ofvervc and energy! Marcia [a Reau'sinuginative heatrncnt of the h''nm tuncSiare deserves wider playing by otherNABBA bands, and I hope she writesmore for brass band. Trlangle and theirgifted conductor. Michael Votta, deservc commendation for this non-profittund-raising tape that I hope will provide a rmdel to othe! NABBA bandsconsidering similar ventu res. It takes arisl to put out live readings, especiallyon suah standard repertoire likeRestngarn and Pageanlry, yet it also pro-vides good, non-studio-controlledmusic making. That is what is spc'cialabout this tape.

6. SotnethihgOU, SotnethirS Nrur, MehoTorontjo Res€wlrt Band Oed Robbins).Private Cassette Recording. Prograrn:Marchi,q Onuard (B.sa ko,; Sdtnd o.ttI h e P ro cla tru | i on (kll) ; Th e B @t ti frt C i ty(9i l fverberg); Montreal Ciladel(Audoire); Menories of the Pastgake' ayrt AnflV oJ C,(i (Soderstrom);Mar ch in g I n (Citf inl ;Th e Shd@ d P sal n(Coffin); Star lake (hllL The CrystalTtde (Wright); Lloyd (Coles) tYorhnhgterYorl, (Ketteringham); Hymn Tune-Mozart lMozatt, Under Tuo Flags(CDlcsr; Deq Hanr@ny (Wright). Thetitle of this cassette laF tells you whatyou get, a tnixture of old and new Sal-vation Army pieces played by a re-markable group of gentleman fromToronto called "band reservists," rc-tired bandsmen who are on call to helpout their local band when needed, butno lonter, in retirement years, as acti!'eas they used b b€. The personnel in-cludes somc of the most famous anddedicated of Canadian bandsmen. Thegroup and the recording are worthy

ventures. Bearing in mind the agc ofthc p€rformert it is nof surprising thatthe tapc beomes a Perfornance-prac-tiae documcnt for how bands soundeda generation or so ago. There is greatspirit and music here, if some technicalproblcms are apparenL especially inquality of tone production. The musicnnges ftom a 1919 clasgic rnarch byBramwell Coles (UnderTwo Flags) to arecent l9E9 march by Kcith Griffin(MarcNng ln). The seven rErches arcwhat come off best in thig tape, Oneworkreclaimed from obscurity is Albertlakcway's M.rnori6 of the Past, a fillingpiece to includel Thc group has onlybeen together since 1988 and maintainsan active minlstsy throughoutOntario.Definitely a tape for the SA band his-tory buffs.

* * *

* Nz49BA*Championships )(III

1995

Attend theNABBA Championship Xlll

in Toronto, CanadaApril 21-22, 1995

Host: Weston Silver Band

Band Books:

Trc Shon Rovterc by Bonatd ty. Hotz

1. Camus, Raoul F., Editot. AtnericanWin l atul Percussion Musi.. Volurne 72,mree Cefituies ol Amelican Music: ACollection o! Sacreil and Sealal Mrcic.C.K. Hall & Co., '1992. 4&l pp., musicalscore anthology, with explanatory casay, cxc€llent do<lnEntation and in-dex. ISBN 0-815145517. Hardback.

Students of brass band history will bcdelighted to have access bo twenty-fourscorcs from Arnerica's l9th-cenfurybrass band literature. This anthologycovers in a thorough and scholarlymanner thc brass band music of theperiod 1840-f880, with excerpts ftommany of the maFr brass i)urnals andafiangelsof theday. Othcr instrumen-tal groupings covered include, accord-ing to the edito/s catcgoriesr Haut-boys, Flarmony and Janissary Music[these two being either woodwind cn-sembles or mixed woodwind/brass/percussion bands, 1790s-1840s1, TheGolden ABc of Bands lemcrging windband music in thc latter partofthc lgthcenturyl, and Field Music lFifcs andDrums;Trumpets and Buglcsl. The fac-simile reprints are quite readable andseve.al pieces have receivcd ncwtypcsettings. Camus' introduction tothe anthology is both precisc in docu-mentation and enlightcning as to thehistorical and cultural context of themusic. Highly recommended to seri-ous students of wind and brass music.

2. Freedland, Michael. Music Ma :meSlory of Fnnk Sira .Portland,OreSon:Valfentine Mihhell, 1994, 31fi pp, 27photos, index. ISBN 0-85303-280-7HardbackISBNG85303-2&l-X. Paper.

Fr€tdland supplies a fast-rcadin& gen-eral biograph, not a mr6i6dl biogra-phy, ot one of America's grcat cornet-ists and bandmasters. The book'sshength lies in the many stories andanecdotes about Simon-hisearly train,ing, his first precocious band directingexperiences, his stint as Sousa's soloist[including the his famous role, or lackthereot in the Sousa Band 'strike'], his

leadership of the fam€d Armco Band ofMiddletown, Ohio, and his final yearsof teaching a t the cons€rvatory lcvel inCincinnati. The weaknesses lie in a tctal Iack of documentation Ino endnotesand no biblioSraphyl, a somewhat in-flated assessmentof Simon's role inthedevelopment of collegelevel windbandt 6nd a lack of thorough in forrna-tion in areas many p€ople likely to buythe book wou ld b€ interest€d: proqramand repcrtoire lisbs for the ermio A'ana,sample programs from thcir nation-wide radio broadcasts, detailed musi-cal descriptions of Simon's solo play-

ing, stylc, and repertoire, to name but afew. Howe!€r, Freedland has suDDliedthe banding community much morethan was previously available aboutthis impotant figurc in band histicry.For thatwe must be gratcful. The toneis vc.y respectful ofSimon, almost rcv-erential, yet still ernphasizing abovcall, the human asDccts of his storv-and a fascinating itory it is! Exctu;ivedistributor: Specializ€d Book Servic€s,5804 N.E. Hassalo St,, Portland, OR92714-3644. Phone: 503-287-3093. ListPrice $16.95 paper 922.50 Cloth.

New Music for Brass BandsRovlgws by Paul Drosto

CMstnras ltems flom Rosehill Mu.6ic. Wc Wish YN a M6ry Christfi,G (arr..lohn Ruttcr); /es s Ctild 0ohn Rutter).hr the August 1993 issueofThe AridgcI revicwcd fi ve Christmas carols in set-tings by David Willcocks and JohnRutter. The brass band arrangcmentswcre by RayStcadman-Allen and PctcrCraham. Roschill Music hasadded twomore carols to this series, which nowtotals ninc.

We Wish You a Merlv Christnas is ar-rang€d by ,ohn Rutter and hanscribcdfor brass band by Eric Wilson. Thisshort and spiffy arrangement takes the'Tnglish tladitional carol', throughfourverset the first three at the spcrd dot-tednuarter-note equals 60{6, then aPrcsto section at 84. The entire picce isover in less than two minutes,

The tu nc is passed frorn the homs to thccornets, then to the tuba section, and onto an interesting first trombone andrylophone duet. The hrtlion verse tlreeleads to the Presto; scored thinly atfirst, then adding instrurrents for astrong ending. The mnges stay in thestaft except for a few notes in thc end-ing for the solo and repiano mmeE,and anoptional Eb soprano part. Thisisa very well-<rafd arrangement, play-

able by bands atall lcvcls. The.e are novocal parts in the scorc,

tohn Rufte/s ,/.stls Cr,-/r/ is xorcd forbrass band with optional SATB vocalparts (published s€parately by OxfordUniversity Prcss). The carol is presentedfive times in this three-minutearrange-ment. The score is marked "brisk andvcry light," and this prescnts both amusical and tc.chnical challcnge for theinstrumcntalists. The ranges are some.what high in the Eb soprano and solocornctpa s, but not in the cxFeme.

The inshurnental s.oring is varied fromverse to versc, as are the vocal parts.There is a definite Latin-American feelto this picre, with a prominent part formaracas and claves. The third versefcahres solo for flugelhorn (sopranovoices) and euphonium (tcnor voices).The last vcrse ends softly, except for aloud final "stinger." This carol will notbe familiar to American audiences so itwould be a very nice addition to aprognm of traditional, wcll-known,Christmas music. The frequent s)'nco-pation and stylistic demands will re-quire some rehearcal time, even for thebetterbrass bands, butmost bands willbe able to handle it

AulrBt1994 rho B.a$ Band Bndg€ 21

Flve Short Music Reviewsby nonsld Holz

7. Punchikello (William Rimmer). 14:fious Classic Marchcs #3. Wripht &Round, 1994. Roger Thompson has prcvided a full scorc transcription of thiswell-known brassband march and hasadded a flugelhom part not availablein thc original edition. Punchinello is in6/8, with an abnrpt shift into 2/4 forthe second sbain. Moderately dif ficult,with good dynamic contro! and con-hast rcquired.

2. Siaidrrnr (William Rimmcr). &!4qiAClassic Malches lA. tdight & Round,I 994. Full scorc transcription by RogcrThompson, with ncw flugelhorn part.Moderately easy march, with lovelymdodic linesin moststrainsand a rous-ing "bass solo" in the third strain.Thompson has mostly allowed theflugelhorn to doublc solo comet, withoccasional assistancc to backrow cor-net or solo hom, a wise decision thatdoes not do violence to the originalintent of the scoring. This would be agrcat training march foreither a youthband or a newly emerging adult brassband.

3. Cornel Solo: I Will Ah,ays LnLv you(Parton/Barry). Wright & Round, 1994.The comet soloist needs great expres-sive ability in a particlrlar pop style, thepaft being marked "very ftc'ely---nlla

Whitney Houston," The work beginswith a recitativelike solo that couldmake or break the whole thingl The topnote for the soloist is C above the staff,but the general rangc is not high. Theaccompaniment is delicately scoredundemeath thc soloist and onlyopensup when the soloist rests. For thosewanting something from a recent filmlThe Bodygurdl and who want a stylis-lic challcnge for soloist and band, thisshort anangemcnt could fill the billquitc well.

4. Cornel Solo: My Ain Folk (I.€mon/Broadbent). Wright & Round, 1994. Iwas not familiar with this lovely, folk-tu nc-like melody, hcre solidly arrangcdby Derek Broadbcnt in a straightfor-ward way. Two prcsentations of thctunc are given, vcrsc one with the solo-ist on the melody, verse two, a wholestep higher, with soloistobbligalo.Thesoloist's range rarely exceeds Ab abovethcstaff, exceptforademandingly sus-tained and diminuendocd high Bb inthcclosingbars. This is tsaditional, cf-fective music for brass trand and solo-ist, with no tcchnical problems for theband, but rcquiring mature musician-ship and flcxibility from soloist andconductor.

5. Iurcssic Park (Williams/Catherall).Wright& Round, l994. AlanCatherall'sadangement allows the conductor tofea h.lre either thc enfire six-minute ad-aptation from Williams'film score or toadjust the length by suggesting differ-ent starting spots. The oFning adagiocalls for an expos€d solo hom recitativethat is not for the weak of heart, or lip.Once the main tune, moderato, getsgoing, theanangementrcadsquibewcll.The ending creates some impressivcsounds and does call for everyone to

give their all. This isa modcrately dif-ficult arrangement that could serve avariety of progarn situations-pro-gram openct closer, encore, or part ofa film-music serction; the recommendedcuts add to that flexibility. In order toget thc bcst rcsults, threc percussion-ist5 are needcd, requiring two of themto cover mclody percussion instrurnentsIvibes and bellsl.

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programs and adicl€s on r€centaclivilies to THE BBIDGE

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FestlvalFsbruary 2$26, 1995

Slngletary Cenler for the ArlsTho Unlvorslty of Ksrilucky,

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22 The 8r8ss &nd Bddgo August 1994

New Test PieceBy Philip WilbyFovlevred by Bonald Hol.

Pa ila fot Band (Philip W ilby). RosehillMusic, 1994. Subtitled'?ostcardsfromHome" this four-movement suite waswritten as a lowcr level test-piece,though the movements can bc playedseparately. Thc four movements aredesaribed by the composer as follows:"1. Touerc and ChinneFr Two pieces ofcontlasting mood,onehcraldicand onemysterious; 2, Chltrches-Iord ol lheDattce. An arrangement of the famousmelody made popular by MartinShaw's hyinn of Jesus' life and minietry ; 3. Pastoral e-Surulay Aflern@n: Thcaf ternoons of childhood, which s€emedso long and langrorous, in the daysbefore televisioni 4, Coloration Dau Pa-frdej A community celebration with abrass band at the c€ntre of the proces-sion, and leading to a reprise of theopening fanfare music from thc firstmovement." The style of the musicembraces a consonant neo-tonal pal-ette that is rather conservadve, com-pared to some of Wilbye's other largcworks for brass. Nonethelest it is a Fyto have this fine music that would, toNA88A bandsmen, be seen to rangesomewhere between Challenge andHonors Sections. Some special require-ments include muted alto homs andflugel in the third movement, as well asexposed solos in the same rDvementforeuphonium, solo comet, Eb soprano,fiIst trombone, and , especiallt solohom. Three percussionists are needed.In evoking memories of the role brassbanding played in hischildhood, Wilbyhas a clafd a colorful suite that willchallenge and please bands of all lev-els. Conductors should not dis.ounttheability b feature singlemovemenb/Frticulaiy the rollicling Irrd o/ lrreDarce and the festive final movement -lots of pomp, pageantry, and wit.Highly recorfinended.

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