Test-Pieces

CHAMPIONSHIP SECTION

Of Distant Memories  (Music in an Olden Style) by Edward Gregson
Published by Novello  (distributed Studio Music Co.)
Professor Gregson has been commissioned jointly by Kapitol Promotions, Black Dyke and the Worshipful Company of Musicians for the Royal Albert Hall Final challenge, which pays homage to, initially, the first original work written 100 years ago by Percy Fletcher for brass bands - Labour and Love. Gregson’s new work then honours some of the greatest test-pieces of the early 20th Century that are held in high esteem and have had a significant impact on brass band repertoire. Said Alan Hope of the Music Panel: “It’s a coup for the ‘National’ to again present a piece by the eminent composer, Edward Gregson and we are confident that this particular piece will be a massive success, both in terms of challenge and enjoyment, for the Royal Albert Hall occasion.”

SECTION 1

Fanfares and Love Songs by Gavin Higgins
Published by Faber Music
The hugely successful young composer, Gavin Higgins, has penned the other another new work for this year’s Finals. Commissioned by the National Children’s’ Band of Great Britain in 2009 and first performed by Leyland Band in the RNCM Festival of Brass of 2010, Alan Hope observed: “It’s exciting, with a wonderful middle movement and an energetic finale.”

SECTION 2

Purcell Variations by Kenneth Downie
Published by Egon Music
Written in 1995 and used in the Regional Section 1 contests of 1998, Purcell Variations was an instant success. Taken from the hymn, Westminster Abbey, it comprises an introduction and four variations. “We are delight to use this wonderfully melodic work once more,” said Alan Hope. “It’s already proved to be very successful and popular with bands, and we feel sure that its inclusion in the 2013 Finals music selection will be no exception.”

SECTION 3

Penlee by Simon Dobson
Published by Faber Music
Simon Dobson wrote this popular work in 2009 as a descriptive work of the 1981 Penlee lifeboat and the new cargo ship the Union Star tragedy, in which both vessels and their crews were lost in a storm. Said Alan Hope: “We are certain that bands and audiences will be moved by this wonderful, but tragic work.”

SECTION 4

A Malvern Suite by Philip Sparke
Published by Studio Music
Written in memory of composer, Gordon Jacob, and originally used for the Regional contests of 1985, this three-movement suite evoking the Malvern Hills is crafted to the high standards anticipated from Philip Sparke. The three movements are Worcester Cathedral, The Wye at Hereford and the busy and bustling finale Gloucester Market. Said Alan Hope: ”It’s a very audience-friendly work that bands should also enjoy rehearsing.”

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The test-pieces for the 2011 National Championships

CHAMPIONSHIP SECTION

Breath of Souls by Paul Lovatt-CooperPublished by PLC Music.

SECTION 1

La Force Del DestinoBy Verdi Arranged by Frank Wright.Published by Studio Music.

SECTION 2

Portrait of a CItyBy Philip SparkePublished by Anglo Music.

SECTION 3

Darkness VisibleBy Richard GranthamPublished by Lake Music

SECTION 4

Henry the FifthBy Vaughan Williams edited by Roy DouglasPublished By Studio Music.

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2010 British National tests announced

The Music Panel of the National Brass Band Championships of Great Britain has announced the test-pieces for the 2010 Finals as follows:

CHAMPIONSHIP SECTION

SECTION 1

SECTION 2

SECTION 3

SECTION 4

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CHAMPIONSHIP SECTION

About Peter Graham

SECTION 1

About Gilbert Vinter

SECTION 2

About Alan Fernie

SECTION 3

About Goff Richards

SECTION 4

About Bruce Fraser

In 2007, I was commissioned by Geo-Pierre Moren and the Swiss Brass Band Treize Etoiles to write a work for their own-choice contribution to the Swiss National Championships. The result was the Concerto for Brass Band, a four-movement work lasting about 18 minutes, with which the band won the Own-choice Section. It was subsequently suggested to me that it might be suitable for consideration as the Championship Section test-piece for the National Final in the UK. Time constraints proved to be an obstacle, however, with the ideal time for such a test-piece being only 12 minutes.

A solution to this problem came when I felt that it would be possible to consider the work as one in three-movements, without the original second movement scherzo. The revised Concertino for Brass Band now has a different shape, with the slow Lento espress at the heart of the music. All this is purely academic to the majority of listeners, who have not heard the music in its original format. However, I do believe that the ‘new’ piece, although in a different shape, has a convincing balance and it is my intention to publish the scherzo as a separate movement, to be performed either on its own or as part of the larger Concerto for Brass Band.

The style of the title accurately suggests a piece of absolute music, as opposed to programme music. The use of the term ‘concerto’ is in recognition of the degree of virtuosity required, which is in line with the terms of the original commission. Technical skill is never showcased for its own sake, however, but is always subservient to the musical argument.

On a visit to Switzerland, shortly before writing this music, I was greatly taken by the large and weighty sound routinely produced by horn and baritone players during a solo competition at Sion. I found it very attractive, more in line with the kind of sound produced by orchestral French horn players and it certainly influenced my writing. Speaking personally, I find that a sonorous, fulsome sound from the middle of a band produces a mixture that is more satisfying to my ear.

Listeners will no doubt detect a variety of musical influences, real or imagined! My admiration for the music of the late Wilfred Heaton is probably evident in the first movement, whilst the second movement contains the emotional heart of the music, providing scope for expressive ensemble and solo playing. The finale should be dynamic and full of restless energy. A final slowing down of tempo and the reprise of the opening theme from the first movement leads into a climactic coda.

Kenneth Downie was born in Glasgow in 1946 and educated in Scotland, Manchester and Durham. He holds the degrees of Bachelor of Arts and Doctor of Musical Arts.

After leaving university, he became a specialist music teacher in schools before, in 1976, finally leaving his position as Head of Music at Poole Grammar School to go into the jewellery business. 1998 saw the start of a return to his musical roots when he accepted an invitation from Professor David King to become the first-ever Composer-in-Residence to the then Yorkshire Building Society Band. This six-year period proved very productive and involved many concerts, broadcasts and recordings.

In July 2001, Kenneth Downie was appointed Creative Music Consultant to the Salvation Army, working closely with Dr. Stephen Cobb in the Music Ministries Unit, in London. In that capacity, he has special responsibilities for contributing to the whole range of Salvation Army brass and vocal repertoire, reviewing submissions for publication consideration and also for developing the talents of other writers. A considerable amount of new music has followed, much of it for The International Staff Band and Songsters.

2001 Kenneth Downie and his wife, Patricia, established the music publishing company, Kantaramusik. They currently live in Winchester and are very active in the Salvation Army Church.

Kenneth Downie’s compositions are frequently performed at contests and concerts around the world. Recent commissions include the test-piece and own choice-sections for the European Brass Band Championships, the Swedish and Dutch national championships, and the British Open Championship. In the last few years alone, Kenneth Downie’s music has received premieres in the Royal Albert Hall in London, the Royal Concert Hall in Glasgow, the Waterfront Hall in Belfast, and in Symphony Hall, Birmingham.

Kenneth Downie feels particularly honoured that, in 2008, his composition, St. Magnus was chosen by the brass band Association in his native Scotland, as the test-piece for the Scottish Championships, as well as that his Concertino for Brass Band has been selected as the test-piece for the Championship Section of the National Championships in the Royal Albert Hall, London.

Kenneth Downie is also honoured to be the Guest of Honour at the Swedish Championships in November, where all sections will be performing his music.

The Saga of Haakon the Good was commissioned by Frei Hornmusikk from Norway to celebrate the joining of the two neighbouring Kommuner of Frei and Kristiansund, which took place on 1 January 2008. The band used it as its test-piece in the Norwegian National Brass Band Championships the following February.

The piece traces key events in the life of Haakon the Good (circa 920 –961), later to become King Haakon 1 – The Future King - who had been fostered by King Athelstan of England as part of a peace agreement made by his father.

The English king brought him up in the Christian religion and, on the news of his father’s death, provided him with ships and men for an expedition against his half-brother, Eirik Bloodaxe, who had been proclaimed King of Norway.

On his arrival he travelled north – The Journey to Tronheim -where he began to gain the support of the landowners by promising to give up the rights of taxation that his father had previously claimed.

Eirik’s sons allied themselves with the Danes but were invariably defeated by Haakon, who was successful in everything he undertook, except in his attempt to introduce Christianity to the country – The Missionary King - which aroused an opposition that he did not feel strong enough to face.

One of his most famous victories was The Battle of Rastarkalv (near to Frei) in 955. By placing ten standards far apart along a low ridge to give the impression his army was bigger than it actually was, he managed to fool Eirik’s sons that they were out-numbered. The Danes fled and were slaughtered by Haakon’s army. These ten standards are represented by ten loud chords starting in bar 420.

Composer Philip Sparke

Contact details for De Haske (UK) Ltd.:
De Haske (UK) Ltd.
Fleming Road,
Earlstrees,
Corby.
NN17 4SN.
England.
Telephone: 01536 260981
Fax: 01536 401075
E-Mail: music@dehaske.co.uk

Recommended recordings of The Saga of Haakon the Good
To order, contact World of Brass Mail Order Department
Telephone: 01933 445 445

1. Music for Battle Creek, Black Dyke Band
Catalogue reference: 24933

The music consists of a theme, followed by five extensive variations

The theme is the composer's own tune is set to the words: ‘Thee will I love, my strength, my tower', which is Johann Scheffler’s hymn, translated by John Wesley.

A strong modal flavour is characteristic of the theme and Brian Bowen has prepared this ‘contest’ version.

It differs from the original in that a repiano cornet part has been created and percussion parts modernised.

Variation 1
This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation.

Variation 2
Fire and ferocity are asked for in the course of this variation.

Variation 3
This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii.

Variation 4
Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint.

Variation 5
The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda.

The publisher, SP&S, asked me to re-work the percussion part expressly for a band contest. For the same reason, it was necessary to introduce a repiano part, something Salvation Army band publications do not normally have. Having the greatest respect for Dean Goffin's music, I proceeded cautiously. When first published in the early 1960s, all the percussion music was written on one stave, probably for two players. I have expanded this to three players by separating much of what was first written and supplying some new material and additional instruments. A feature of Goffin's opus is its contrapuntal writing, which does not depend on other effects. Excessive percussion could detract from the essence of the music and that remains true.

The original percussion was for snare drum, bass drum, triangle, loose cymbal and gong (tam-tam?).

I have added timpani, glockenspiel, tubular bells, xylophone, slapstick, and specified suspended and clash cymbals, plus large and small triangles.

The music for the new instruments is mostly re-allocated from, or suggested by, the original percussion indications. However, as there was no pitched percussion in the original, it has been necessary to be a little more creative. I'm not sure Goffin would have approved of such tinkering (and I knew him quite well) but, in this particular context, I can only hope he would have viewed my task with some benevolence.

Incidentally, the original publication of My Strength, My Tower was one of the first pieces I proofread when I worked for the Music Editorial Department at SP&S Ltd. I have since played and conducted it a number of times. The music is typical Dean Goffin in more academic mode, and I know it to be thrilling to play and listen to.

New stock codes for the 'contest version' of Rhapsodic Variations - My Strength, My Tower, as prepared by Brian Bowen, have been created by SP&S as follows;
29879: Band set and full score, £49.95
29880: Score only, £25.00
29881: Band parts only, £25.00

Recommended recordings of Rhapsodic Variations – My Strength, My Tower