Edward Gregson (b. 1945)
The World Rejoicing
Fanfare for a New Era (2017)
Concertante for Piano and Band (1966)
Variations on Laudate Dominum (1976)
Euphonium Concerto (2018)
The World Rejoicing: Symphonic Variations on a Lutheran Chorale (2020)
David Childs (euphonium)
Jonathan Scott (piano)
Black Dyke Band/Professor Nicholas J Childs
No recording details
The Music of Edward Gregson Vol. VII
DOYEN DOYCD414 [74]
This is another conspectus of Edward Gregson’s brass band music from 1966 to 2020, the seventh disc in a series that will eventually feature his complete works for this medium. I have listened to them in chronological order. This provides a good synopsis of Gregson’s development from the heady romanticism of his younger days to the more contemporary, but not off-putting, “language of his maturity”. All these pieces are novelties to me, so I am beholden to the programme notes written by the composer and Paul Hindmarsh.
Gregson wrote the Concertante for Piano and Band when he was only 21 and still a student at the Royal Academy of Music. This was (seemingly) the first major work produced for this combination. It results from the composer’s encounter with the great piano concerto literature, including Mozart, Brahms and Rachmaninov. It is in three movements: a Prelude, a Nocturne and a Rondo. As the liner notes explain, this remarkable work had several performances but was not published until 2017. Gregson felt that the “stylistic influences were rather too close to the surface”.
More than 50 years on, the piece gives the listener no such qualms. They will enjoy the musical nods to Rachmaninov in the Prelude, bluesy echoes of George Gershwin in the Nocturne, and John Ireland and Arthur Sullivan (Onward Christian Soldiers) in the lively Rondo. Pride of place must be the gorgeous slow movement, a tender love song to Gregson’s wife Sue. It was given to her as an engagement present. There need be no doubt as to the effectiveness of the brass band and piano combination. It exudes confidence, proficiency and sympathy from the first bar to the last.
A decade later, Edward Gregson wrote his Variations on Laudate Dominum to be played during the 1976 tour of the United Kingdom of the Ontario-based London Citadel Band. The melody underlying this piece is Charles Hubert Hastings Parry’s “noble tune” for O Praise Ye the Lord (and other hymns):interesting and effective source material for the whole work. It is not heard in its entirety until the end.
The seven variations include an “interrupted waltz”, a reflective Siciliana, a cheeky tarantella, and a lively fugue based on the second half of Parry’s tune. The liner notes say that the true title could be “variations in search of a theme”. Gregson’s website notes that he “has always found the requirement for Salvationist band music to include a familiar religious song, less than stimulating”. One need not worry that this vibrant set of Variations lack inspiration.
The Fanfare for a New Era was created for a symphonic brass ensemble to celebrate the opening of the Stoller Hall at Chetham’s School of Music, Manchester. The brass band edition was first heard during the 2022 European Brass Championships. This wide-ranging work packs more punch than its three minutes would suggest. It is full of spiky rhythms, syncopation, pealing bell-like sounds and dramatic glissandi. The liner notes correct say that the Fanfare is designed to fill the whole “concert space”. It would make an exciting introduction to any brass band concert.
The outstanding Euphonium Concerto is different in character to the preceding works. Here the composer has embraced a degree of modernism that combines “rigour, romance and revelry”. The ubiquitous BACH motive (Bb, A, C and B natural) underlies much of the musical progress.
The opening movement, Dialogues, is largely self-explanatory. There is much interchange between the band and the soloist, covering a wide range of moods and emotions. The harmonies are sometimes acerbic, and the rhythms are often harsh. After a long and clearly difficult cadenza, the mood changes for the second movement, Song without Words. This dreamy, misty ballad rises to a considerable climax before collapsing to a serene close. The I was born in Scotland and have Irish ancestors, but I have never been to A Celtic Bacchanal. This final movement is an extrovert dance that makes use of Irish folk music. In the middle section the participants grow weary and maudlin, before getting their second wind. The movement concludes with a “life affirming coda”. The Euphonium Concerto was commissioned by the present soloist David Childs. It exists in versions for brass band and full orchestra.
The World Rejoicing: Symphonic Variations on a Lutheran Chorale is based on the well-known Nun danket alle Gott (Now thank we all our God). Once again Gregson is less than obvious with his use of the variation form. He writes: “I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development.” In amongst the variations there are several sections that are seamless: a playful Capriccio, the vibrant La Danza I, a dignified Processional, La Danza II, intricate Arias and Duets, a Fuga Burlesca, a Chorale and a final exuberant Postlude revealing the big tune.
One novelty of this piece is that the composer has made overt references to some of his key works for the genre. Enthusiasts may notice hints of Connotations, Dances and Arias, Of Men and Mountains, Rococo Variations and Of Distant Memories. Some others are hidden away. The work was dedicated to Gregson’s brother Bramwell, who sadly died in 2018. It was written specifically for the 2020 British Open Brass Band Championships, cancelled because of the pandemic. The premiere was eventually given on 21 September 2021, played by various bands.
I cannot fault anything about this disc. It is redundant to note the Black Dyke Band’s superlative playing. The soloists are masters of their art. The liner notes are exemplary. I look forward to further volumes in this series of Edward Gregson’s brass band music.
John France
Availability: World of Brass
