This rousing march, perfect for the start of any concert was composed for the Bearpark & Esh Colliery band and dedicated to the Miners of the North East. Written in traditional brass band march style with a 6/8 trio and bass solo, this is sure to make the listener sit up and listen.
Category: MARCHES Composer: George Frideric Handel Arranger: Phillip Littlemore
Duration: 5.00
Following the spectacular success of his Pomp & Circumstance March No. 1, which received over 100 performances in its first year, it was almost inevitable that Elgar would write a second. However, what is not commonly known is that the initial sketches for what was to become the Pomp & Circumstance March No. 2 were written first! Due to the successes of the first march, not least because it now features at every Prom concert, it is forgotten that not only did Elgar submit the manuscript for both marches to his publisher at the same time, but both marches were premièred at the same concert and both performed a few days later at the same Promenade Concert.
Category: MARCHES Composer: Edward Elgar Arranger: Philip Littlemore
Duratin 6.40
Elgar's Pomp & Circumstance March No. 1 was completed in July 1901 although the 'big tune' actually dates from earlier in that same year. It was premiered in Liverpool by its dedicatees, the Liverpool Orchestral Society, on the 19th October. It was repeated in London a few days later by Henry Wood at the Promenade concerts and the result was sensational, the audience roared its applause, and refused to allow the concert to continue. In order to restore order, Wood conducted the march three times - the only time in the history of the Promenade concerts that an orchestral item was accorded a double encore in Wood's lifetime.
Categories: MARCHES, LIGHT CONCERT MUSIC Composer: Edward Elgar Arranger: Philip Littlemore
Elgar’s Pomp & Circumstance March No.4 was completed on the 7th June 1907, five days after the composer’s 50th birthday. The first performance took place a few weeks later on the 24th August at the Queen’s Hall, with Henry Wood conducting. Similar in structure and style to Pomp & Circumstance March No.1, it has a lively, rhythmic march section and a very broad, lyrical ‘big tune' melody in the Trio. However, in this march Elgar superimposes one on top of the other in a final, extedned coda. Several attempts have been made to fit words to the main tune, the first of which were by the composer's wife, Alice, for her song The King's Way. The musidc was later set to Alfred Noye's Song of Victory before a later attempt to make a patriotic Song of Liberty for World War II by author A P Herbert.
Categories: MARCHES, SALVATIONIST MUSIC Composer: Wilfred Heaton
Salvation Army festival march. Duration 4.31
Click on MORE DETAILS to hear an audio extract and view the Solo Cornet part.
With this effort, Deputy-Bandmaster Wilfred Heaton, of Sheffield Park Corps, made his debut in the Festival Series Band Journal. At the outset it should be made clear that this is no ordinary march, and it will need quite a different approach from that of the usual type of music written in that form.
Introduction - A clean use of the tongue and a strict observance of the dynamic markings are essential in this short but trumpet-like figure for Comets and Trombones. The semiquaver anacrusis may cause a little trouble at first, but a clear indication by the conductor will soon correct matters. Bar four, where the Basses enter on the third beat with an imitation figure, will also need to be watched.
Section A - The melodic outline is a little broken, 1st Comet and Flugel Horn having the melody for the first two bars. See that the upward scalic figure, where the Solo Comets join, is correctly timed. All that is necessary for the accompaniment is a steady tread with good rhythm.
Section B - Much of the music here resembles an interlude rather than a second subject and several unusual features are seen. The first is the imitation figure for Baritones and Euphonium which will need careful handling. Bar seven, however, is the most unusual feature and may present a problem to many, but this will solve itself if taken slowly at first in practice, increasing the speed when quite sure of it. The bar which follows is difficult only for Solo Comet, but even this is scalic and will quickly become easy to negotiate.
Section C - This resembles the first subject, and is on similar lines, but possesses new features, Tenor Trombones and Euphonium having the melody previously played by the 1st Comet and Flugel Horn. Imitation figures for Trombone and Cornet are prominent features from bar five onwards. The Horn and Euphonium link in the last bar is also important.
Section B - Novel and interesting treatment is given to a Salvation Army ‘old favourite’ theme, the words of which are: Praise, oh praise Him! Swell the song that’s rung throughout the ages; Praise, oh praise Him! The Lamb once slain! Oh, sing the grand old song again, How the precious flow washes white as snow! Oh, sing the grand old song again, Of the fountain that was opened at the cross.
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