Category: TEST PIECES (Major Works) Composer / arranger: Andrew Jackman
NOTE The New Buckenham Suite was commissioned to celebrate the centenary (1887-1987) of the New Buckenham Silver Band and was first performed by them and the GUS band on 20th June 1987, conducted by the composer. Each of the four movements suggests a place or character associated with the village. (For the uninitiated it should be mentioned that ‘New’ Buckenham was established in the twelfth century!)
1 THE CASTLE (March) The fanfare-like march theme is underpinned by ominous tramping chords, conjuring up the grim history of a castle built in the reign of King Stephen when ‘Christ and His saints slept’. The music has its lighter moments, but the prevailing mood is one of darkness and oppression.
2 JOHN ELDRED, MERCHANT ADVENTURER (Fugue and Variations) Probably New Buckenham’s most famous son, John Eldred (1552-1632) left the village as a young man, and went to London to make his fortune. Like many prosperous merchants in the time of Queen Elizabeth I, he travelled to exotic shores, sending back fleets of ships laden with spices. His wealth greatly increased, and with the profits he built a large house at Great Saxham in Suffolk, which the local people nicknamed ‘Nutmeg Hall’. He lived on into the reign of Charles I and was buried in Great Saxham church, where you may see a striking bust and a memorial tablet recounting some of his exploits. The music begins with a short fugue suggesting the character of the young Eldred. The variations ‘embark’ on a sea voyage, with, later, a hint of Baghdad, an important trading centre for Eldred. A tempest rages, and when the storm finally blows itself out, the penultimate variation reflects the dignity of the Master of ‘Nutmeg Hall’. The final variation returns briefly to the opening music and serves as an epitaph to the merchant adventurer.
3 MARKET DAY (Rondo alla Burlesca) The Market House is still a feature of New Buckenham and here, without regard for authenticity, the music portrays a thriving market- day of yester-year. The two-part rondo theme, a perky rune and a hustle-bustle rhythm is varied on each appearance. Sandwiched between are three sections depicting market-day animals. They go in pairs — ducks and horses, sheep and cows, pigs and poultry. The listener is invited to spot the animals, and even wait for the hen to lay an egg! After the loudest statement of the hustle-bustle rhythm, we take quiet leave of the marketeers.
4 ST MARTIN’S CHURCH (Night Aria) As a contrast to the activity of the previous movement, the beautiful church of St Martin is here imagined on a moonlit night, long past waking hours. The simple melody is repeated with varied instrumentation and the work ends with a short coda. The piece is performable by a band carrying only one second cornet and one third cornet, but it is essential to have four solo comets and two each of euphonium, El’ bass and BI’. bass. The bass trombone part can be played by a third tenor trombone, playing the small notes where necessary (a separate part is provided in the set). In this case, the E I’ basses must play the cue from four bars before figure 2 in The Castle. If absolutely necessary the piece can be performed with only one percussion player, in which case the first percussion part must be used, playing the small-note cues where necessary, Three timpani are scored for, but two may be used, following the small-note alternatives, The Castle can be performed without timpani. Any of the four movements is performable as a separate item. There are two workable alternatives for a three-movement suite: numbers 2, 3 and 4, as written; and numbers 1, 2 and 3, using the alternative ending for number 3. Both these combinations would last about 15 minutes. There are three workable two-movement combinations: numbers 1 and 2 (9 mins); numbers I and 3 (9½ minutes); and numbers 2 and 3 (12 minutes).
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