Cat No. JM73366
Price £23.00
Material: Salvation Army
Category: SALVATIONIST MUSIC

The Salvation Army Brass Band Journal - General Series.

This purchase is a compilation of five works for brass band as follows :

01. IMMANUEL by Steven Ponsford
02. Chorus Arrangement - KING OF KINGS by Stephen Smith
03. TAKE TIME.... by Kenneth Downie
04. cornet Solo - CANDLELIGHT CAROL arr. Andrew Wainwright
05. Choral Preluse - FRENCH by Wilfred Heaton

2040 Immanuel!
Comments by Bandsman STEVEN PONSFQRD

After a slow, mysterious beginning, a strong funk rhythm is set for the rest of the piece in the Bass Trombone, Basses and Percussion. Good, clean semiquavcrs are essential throughout. At letter E, it is important that the melody in the Flugel Horn, lst and 2nd Comets is clearly heard and not overpowered by contrasting pattems elsewhere. A steady crescendo is called for through letter F. When this section is repeated, allow the Soprano to dominate in the first two bars Care and attention is needed to make a smooth transition back to the original funk style‘ ln bar 81 good attack is required on the trilled notes in the Flugel Hom, Solo Hom and Euphoniumand ensure the figure in the same instruments, two bars later, is balanced.

2041 Chorus Arrangement - King ofkings
Comments by Assistant Territorial Music Director ANDREW BLYTH

It is always a pleasure for the Music Ministries Unit to welcome a new contributor to the journals Major Stephen Smith is at present the Divisional Secretary for Programme in the Southern California Division, USA, The work under review presents a lively setting of the chorus King ofK/ngs. T he composer offers the following technical commenhs: ‘An interplay between a primary theme (the chorus King of kings) and a secondary derivation, this arrangement utilizes both the familiar and the unfamiliar in the proclamation of a single messages Those familiar with the Chorus will recognise the prominent role tempo plays in
this arrangement. Additionally, several modulations maintain interest and promote forward motion. The conductor should pay attention to the tempo markings throughout, ensuring it increases gradually and consistently, saving the fastest for last. The fanfare at the beginning and the end serves to announce the kingship of our Lorri as we celebrate his majesty and splendour. We proclaim Cltrist, King of kings and Lord oflordsl’

Programme note
Tins lively and exciting workfealures the popular chrirus, ‘King of Kings 1 The chorus originates from an old Hebrew folk song‘

2042(1) Take Time”.
Comments by Retired Bandmaster KENNETH DOWNIE

While on holiday in Sherlngham recently, the song In/re lime to be holy (S..»*\»Stl3 458) was used ill the Sunday morning meeting at the vibrant Army corps there. l was reminded again of what a lovely song it is and just how apt William l.tOllgStt1iTS words still are l found Ihe experienee ofsinging it to be very moving and helpful to worship. anti I was challenged to consider again the crucial balance between action and reflection in my life. At the same lime, l knew that a good friend was going through a particularly trying experience. with few opportunities to ‘take time‘, so l wrote this short pieoe by means ofencouragement In performance, the music needs time to breathe and so allow the various harmonic coloiirations to
register with the listener. Restraint and subtlety will be the key to 2i successful performance.
.

2042(2) Cornet Solo — Candlelight Carol
Comments by Bondsman ANDREW WAINWRIGHT

John Rutter’s Candlelight Carol has become one of the most popular, modern Christmas carols. The vocal qualities of the music have been transferred to the voice of the Comet and this lyrical ethos should not be forgotten at any time during performance, Care should be taken with intonation at the very start of the piece, and triggers should be used on the bottom Dso particularly given that the comets are muted at this point. It is important that the angular nature of some of the accompanying figures, notably the Solo Horn and lst Baritone lines at letter A, should not distract from the solo line. The mezzoforte-pianos at letter C and three bars before F are an allusion to the sound of bells, and it is important that apiano is maintained to allow the solo figures in the Euphonium and
Flugel Horn full prominence. Erisure an equal ballancec is achieved in the Trombone trio at D and that there is a conceivable difference in dynamic at the repeat of the phrase five bars later. The semi-qtiavers at bar 4 of letter E in the Comets should be played with a soft tongue, maintaining a feeling of legato throughout, Also, make sure that full length is given to the falling sealic figure one bar before F and that this hroadness is maintained throughout the fortissimo section.


2043 Chorale Prelude - French
Comments by PAUL HINDMARSH

A few weeks before the onset of his final illness, l received an unexpected telephone coll from Wilfred Heaton_ Did I think that The Salvation Anny would be interested in ll few old things that he had been working on" Some years previously he had received a letter from, what was then, the International Music Editorial Department enquiring whether he had any works he might like to be published, but had indicated that he had nothing. However, completing the drnfi score of Variations seemed to have given him renewed energy to look at a few old projects. One was a meditation on the hymn tune French (TB. 88). This had been composed many years previously and rejected for publication, as Donald Osgood’s much-loved treatment of the same tune was relatively new then. The score was subsequently lost or destroyed. All the sketch material of what he now called his Clmmle Prelude ~ French had survived his periodic clear-outs and he had begun to reconstruct the full score. Work stopped alter a few pages and I have continued the process using the pencil sketch, a Comet and liuphonium part (written out as ‘a bit of self-indulgence that won’t impose on anyone‘) and a number of alternative harrnonisations of the tune as references.

French is o curious stylistic hybrid which, given a reference to the New Tune Bonk ofrhe Salvation Army on the sketch, was probably asseniblecl for the first time in the l960s. The introduction and the two linking episodes were composed many years earlier for an incomplete hymn tone setting based on the tune Chalvey. The treatments of the new insened lune, French, are in a simple chordal style ~ more English Hymnal than Salvation Army Tune Book perhaps - but
they offer some interesting textures, alternating treble and bass for the first two verses. In the third verse, Heaion turns to the minor key as the Trombones intone the melody like a chant. After a more romantic sounding interlude, the final verse employs a fauxbourdon technique with the tune given to the alto instruments. Ileaton composed two alternative endings: a short, full-textured climactic one and a well-judged reflective reprise of the stun. This quiet ending seems to have caused him some ditliculty, There are at number ofaltematives sketched out. I have chosen the one which seems to provide the most appropriate formal balance.

Programme note
Wilfred Healon (I918 — 21700) composed this thoughtful medmzlion on the tune ‘French" probably in the 1960's. The score was lust and the composer did not look at it again until the last weeks ofhis life He passed away before completing the new version, which has been realised by the surviving sketch material by Paul Hindmarsh.