Cat No. JM41021
Price £59.95
Composer / arranger: Peter Graham
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC

Salvation Army Tone Poem

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Comments by Divisional Bandmaster Michael Kenyon

The title itself is arresting and the word in this context means ‘to proclaim’. John Milton’s hymn Let us with a gladsome mind has for its second verse the opening line, Let us blaze his name abroad. Such fine words deserve a tune of similar stature, therefore Handel’s Theodora provides an ideal setting of this poem.

This major work was written for the International Staff Band Centenary in 1991 and embraces a set of variations on the above tune. The quality of the music demands the best in technique, musicianship and commitment.

INTRODUCTION and THEME - Consisting of recognisable fragments of the main tune the music begins in brilliant style. There is so much detail to be observed and conductors will need to exercise firm rhythmic control. Bar 34 brings quite a severe application of ‘musical brakes’ in order to achieve the required lento in preparation for the presentation of Theodora. In this bar synchronisation of quavers is essential.

Var. I ENERGIA - Clear definition and control of various rhythmic figures should be one of the prime concerns here. Beginning in bar 62 the two-part passage for Baritones is just the first of a number of examples where correct balance is vital. The correct piano level at the opening will aid the subsequent gradations of volume. The directives Energia and later Brioso describe the character of the music. Note the mezzo piano subito at bar 115.

Var. IL REVERIE - Held-over Trombone notes provide a link from the first variation. A sense of continuous rhythmic movement pervades this variation. Satisfactory dove-tailing of parts is an important requirement, and in this respect, two Solo Comet players will feature. There are also important entries for Euphonium, Solo Horn and 1st.Baritone.

Var. III RITMICO - Again there is a link to this variation. The music bristles with rhythmic interest and, as elsewhere in the work, the Percussion section is an important part of the structure. Musical quotations from personalities associated with the ISB can be heard.

Var. IV ELEGY - Important melodic entries are self-evident and it follows that accompanying lines must be supportive without being obtrusive. This music is a tribute to the past.

Var. V FINALE - Preparation of speed and style begins at bar 245 whereas the variation proper begins at bar 263. In referring to a song of praise, Paean (words by Phillip Coutts) the composer looks to the future. Various changes of time-signiture will keep conductors and players alert. The music maintains a sense of excitement throughout and a meticulous regard for detail together with correct balance of parts will be worthwhile for players and listeners.