Comments by Lieut-Colonel Dr Ray Steadman-Allen This work maintains a strongly lyrical style, and whilst the variation element is a fundamental feature, the close adherence to thematic material and recapitulative ‘echoes’ create a cohesive whole, making the conception satisfyingly unified.
The theme is that of an old song: So we’ll roll the old chariot along, And we won’t drag on behind.
As far as the end of section A the music takes on the form of a long opening statement, introducing thematic fragments and phrases rather than being an ‘introduction’. Noteworthy motives are the opening figure for the soloist with its four-semiquaver rise to a frequently encountered pattern, best identified by its associated words ‘chariot along’, and the three opening notes of the tune (solo comet bars 6 and 7) from which a good deal of the subsequent music springs. Section B — There are interesting touches in the accompaniment to this plain establishment of the theme; for instance, the flugel horn augmentation appearing from bar 7 which linics the end of the theme to repeated fragments of it for full band. Section C — This episodic section is robust, its rhythmic nature offering contrast to the comparative simplicity of the theme presentation. Keep everything well-controlled; such episodes can sometimes be allowed to degenerate into a careless blare. The episode is very much part of the action and is marked only forte. Sections D and E — It may be found helpful, in rehearsal, to establish the accompaniment independently of the soloist. It will be noticed that the ostinato figure is derived from the three opening notes (with which the soloist begins the lyrical variation). In design the variation falls into three sections, the middle section having the melodic line allocated to the part for full band while the soloist plays a florid obbligato. Section F — Just prior to this section the basses begin to create another ostinato by repeating a figure developed from the 14th bar of B. When the soloist commences at F there will be some conflict of pattern but the basses should be well enough established for there to be no problem. Obviously a degree of flexibility will be required from the soloist; the passage is one of warm emotion but beware of maudlin sentiment! Some care will be needed in working out the cadenza but the notation of the music is clear. Sections G and II— These sections continue the long sweep of melodic utterance, the soloist part becoming more complex. At all times ensure the clarity of thematic fragments such as the motifs in the first four bars of G.
