PERFORMANCE PORTFOLIO

LYNDON BRETT BAKER

DMA 2014
 Performance Portfolio

LYNDON BRETT BAKER

SCHOOL OF ARTS AND MEDIA

SALFORD MUSIC RESEARCH

UNIVERSITY OF SALFORD
SALFORD, UK

Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of

Musical Arts, June 2014
 Table of Contents

Performance Portfolio Author Acknowledgements ix

Author Declarations x

Abstract xi

Recording projects undertaken whilst researching the DMA xii

Composers’ works premiered whilst researching for the DMA xii

Aims & Overall Purpose xiii

Introduction 1

Methodology 1

Premieres performed for the project 3

Compilation of Folio 4

Project 1:

Novus Vox: Sacred Compositions for Trombone & Band, Enfield Citadel 5

Description and Summary 6

Context 7

Process 11

Critical Commentary 11

Programme Notes for Novus Vox 14

Project 2A:

Salute to Sousa: and Other Forgotten Trombone Solos 30

Influences of classical & American Wind Band Music 31

Critical Commentary 31

Methodology & Process 33

Programme notes for Salute to Sousa 38

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Context of Salute to Sousa with other recordings 53

Project 2B:

Slide Projections: Contemporary Concertos for Trombone & Wind Band 54

Influence of Contemporary Wind Band Solos 55

Critical Commentary 56

Methodology and Process 57

Explanation of the CD project by M D Jonathan Crowhurst 57-60

Programme Notes for slide Projections 60

Project 3:

Premiere of Significant Works 64

Choice of commissions for the DMA 65

Project 3A: 66

Premiere of Gregson Trombone Concerto with Brass Band 66

Premiere Recording of the Gregson Concerto Methodology and process 67-69

Additional email from Edward Gregson 69

Summary 72

External Review by Jeremy West of the Gregson Concerto Premiere 73-75

Project 3B:

Premiere of Peter Graham’s Commission Radio City 76

Context 76

Peter Graham 77

Methodology and process for Radio City 77

Summary 80

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External Review of Premiere Radio City by Jeremy West 82-85

Project 4:

A Presentation of significant solos for trombone and brass band 86

Public Lecture Recital Notes – Significant Solos for 87-103

Trombone and Brass Band

Programme Notes for Rob Wiffin Trombone Concerto Premiere 104

Bibliography 106-107

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Project resources:

Appendices:

Appendix I: Novus Vox project 1 (Song of Joy): 108

CD Cover & Disc 108

Track List 109

CD Booklet & Template 110-112

Personal emails from organisers and Composers 113-114

Unsolicited review by Peter Bale for 4barsrest.com 115-116

Unsolicited review by Becky Syratt for the Trombonist 116

Solicited review from Don Jenkins for Glissando 117-118

Programme from launch concert for the CD Project 119-122

Appendix II: Salute to Sousa and other forgotten trombone solos

Project 2: 123
CD Cover, Booklet & Disc 123
Track List 124
CD Booklet & Template 125-127
Unsolicited review by Andrew Justice for Trombonist 128
Unsolicited review by Scott Shelsta Retired SGM 129-130
Unsolicited review by Chris Thomas for BBW 130-131
Unsolicited review by Peter Bale for 4barsrest.com 131-132
Unsolicited review by Don Jenkins for the Trombonist 133-134
Unsolicited review by Ron Holz for Brass Herald 134-135

Appendix III: Slide Projections project 2B:

CD Cover & Disc 136

Track List 136

CD Booklet 137-140

Unsolicited review from A Justice for Trombonist 141-143

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 Unsolicited review from R Newton for Bandsman 143-144

Unsolicited review from Peter Bale 145-146

Solicited personal email from Scott Shelsta 147

Appendix IV: Gregson Concerto Premiere Project 3A: 148

Concert Programme from Newbury Festival 148-149

CD & Track Listing 150

Solicited testimony of recording by Paul Hindmarsh 151

Unsolicited Review of Premiere by Jonathan Corry 151-152

Review of Symphony CD by Iwan Fox 4barsrest.com 153-154

Full Brass Band Score to Concerto for Trombone 155-226

Appendix V: Peter Graham Radio City Premiere Project 3B: 227

Live recording of CD at Festival of Brass 227

Unsolicited email from Dr Robert Childs 228

Unsolicited email from composer Prof Peter Graham 228

Unsolicited email from Editor of the Bandsman

Magazine Kenny Crookson 229

Unsolicited Review by Iwan Fox 4barsrest.com 230-231

Studio Recording of Electra & track listing 232

Score to Radio City revised February 2013 233-285

Appendix VI: Public Performance lecture recital Project 4: 286

Lecture Recital Programme 286-293

Appendix VII: Lyndon Brett Baker Curriculum Vitae 294-300

Appendix VIII: Discography 301-314

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Appendix IX: Commissions 315-318

Appendix X: Summary of Professional Activity 319-324

Appendix XI: Other CD projects between 2012-2014 325

CD & Booklet for Freeh Spirit 326

Track listing 325

Unsolicited Review by Dave Lea for the Trombonist 327

CD & Booklet for World of the Trombone 328

Tracking Listing 329

Unsolicited review by Peter Bale for 4barsrest.com 330-331

CD & Booklet for Brett Baker & Friends 332

Track listing 333-334

Unsolicited review by Malcom Wood 4barsrest.com 335

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List of Figures and Tables:
Figure 1 Strategy diagram 2

Figure 2 Compilation of Folio 4

Figures 3, 4 & 5 CD covers Eternal Quest, Bakers Dozen and Credo 7

Figures 6 & 7 CD covers for Boscombe & Foden’s Live & Faith Encounter 8

Figure 8 Picture of myself Jonathan Corry and Richard Scott 10

Figure 9 Excerpt of Solo Rejoice 14

Figure 10 Excerpt from Solo Song of Joy 15

Figure 11 Excerpt from Solo Song of Joy 16

Figure 12 Excerpt from Solo Song of Joy 17

Figure 13 Excerpt from Solo Beneath the cross of Jesus 21

Figure 14 Excerpt from Solo His Provision 22

Figure 15 Excerpt from Solo the Follower 23

Figure 16 Excerpt from 1st Cadenza for Solo the Follower 24

Figure 17 Excerpt from 2nd Cadenza for Solo the Follower 24

Figure 18 Excerpt from Solo Sweet Hour of Prayer 25

Figure 19 Excerpt from Solo He Gave me Joy 27

Figure 20 Excerpt from Quartet Soul Origin 28

Figure 21 Brett Baker & John Wilson at Salute to Sousa recording 36

Figure 22 Excerpt from Solo La Hieronyma 38

Figure 23 Excerpt from Solo Meyer Concertino 40

Figure 24 Excerpt from Solo Novakovsky Concertino 40

Figure 25 Excerpt from Solo Sea Shells Waltz 42

Figure 26 Excerpt from Solo Sweetest Story 42

Figure 27 Excerpt from Solo Harbour Lights 44

Figure 28 Excerpt from Solo Leona Polka 44

Figure 29 Excerpt from Solo Priscilla Valse Caprice 45

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Figure 30 2nd Excerpt from Solo Priscilla Valse Caprice 45

Figure 31 Excerpt from Solo Devotion 46

Figure 32 Excerpt from Solo Salute to Sousa 47

Figure 33 Excerpt from Solo My Heaven of Love 48

Figure 34 Excerpt from Solo The Hyperion Polka 50

Figure 35Excerpt from Solo A Vous 50

Figure 36 Excerpt from Solo Beautiful Colorado 51

Figure 37 Salute to Sousa CD Cover 52

Figure 38 Slide Projections CD Cover 54

Figure 39 Excerpt from Rob Wiffin Trombone Concerto 61

Figure 40 Picture of Edward Gregson 66

Figure 41 Edward Gregson’s errata notes 67

Figure 42 Edward Gregson’s email errata 68

Figure 43 Gregson Symphony CD Cover 70

Figure 44 Symphony CD Track Listing 70

Figure 45 Picture of Edward Gregson & myself at the recording 71

Figure 46 Bob Childs & myself at the recording of the Gregson Concerto 72

Figure 47 Picture of Peter Graham 76

Figure 48 Excerpt from original Solo part of Radio City 3rd movement 78

Figure 49 Excerpt from intermediate Solo part of Radio City 79

Figure 50 Excerpt from final solo part of Radio city 81

Figure 51 CD Cover Boneman Walking 105

Figure 52 CD Cover Slide projections 105

Figure 53 Picture of Rob Wiffin 105

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Performance Portfolio Author Acknowledgements:

I would like to thank the following people for their help, inspiration and guidance
during this research programme.

Robin Dewhurst, Peter Graham and Howard Evans; for their help and
encouragement on this DMA, they have all been a massive source of enthusiasm
and inspiration.

Nicholas and Robert Childs; for their input and advice on many aspects of the
portfolio. This includes solo performances with Black Dyke Band.

Richard Scott; for his excellent recording and editing skills in the recordings used as
part of this project.

Richard Rock and Duncan Winfield; for all their help regarding venues, also Richard
for his arrangements and compositions over this period.

Jonathan Corry; for his assistance and flexibility as Conductor of the Novus Vox CD
project.

My performance and recording projects would not have been possible without the
composers; Andrew Mackereth, Andrew Wainwright, Dorothy Gates, Roger Trigg,
Martin Cordner, Philip Wilby and Kenneth Downie; for their compositions for Part 1 of
this portfolio the Novus Vox recording.

Peter Graham and Edward Gregson; for providing stunning compositions for part
three of this portfolio.

The Black Dyke Band and the Enfield Citadel Band; for their excellent accompanying
in various projects.

Ruth Webb and John Wilson; for their excellent accompaniment of trombone solos,
on recordings and the final lecture recital.

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Author Declarations
During the period of registered study in which this portfolio was prepared, the author
has not been registered for any other academic award or qualification.

The material included in this portfolio has not been submitted, wholly, or in part for
any academic award or qualification other than that of which it is now submitted.

Lyndon Brett Baker

School of Music, Media and Performance

June 2014

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 Abstract

This DMA portfolio contains materials and a written critical commentary of over
10,000 words relating to the work I have completed towards a Doctor of Musical Arts
in Performance, at the University of Salford. My doctoral programme consists of four
performance projects and a public performance in the form of a lecture recital.

The study consists of an exploration and contextualisation of compositions, written

for the virtuoso trombone player in differing genres and an analysis on how these
genres have influenced music, written for the brass band trombone soloist in the 21 st
Century.

The work explores historical repertoire that has not been represented either in live
performance or by recording in the last one hundred years along with newly
commissioned compositions by leading and new composers. Works were discovered
by visiting libraries, band-rooms and archives around the world.

The evidence is achieved through several CD releases including Novus Vox (Song of
Joy): Music of the Salvation Army, Salute to Sousa and Slide Projections which
explore the trombone in solo with wind bands both in an historical and contemporary
frame. The large scale premieres of compositions by Peter Graham and Edward
Gregson are the stated commissions and finally a public performance lecture recital
provides evidence on how the genres influence my performances.

In addition the portfolio compilation contains:

A) Copies of excerpts of parts and featured pieces.

B) Published reviews and critical evaluations of the performances on premieres.
C) The public lecture recital programme and live recording.
D) Supporting material showing my international standing, significant past and
current activity as a performing artist in my field.

This submission adds significant new works and forgotten repertoire to the limited
number of compositions for the solo trombonist and explores new ground and
collaborations. This is represented through the CD projects and the premiere
performances. Seen as a whole, the project illustrates my various facets across this

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submission, which illustrates how I am an ambassador of the trombone through
chamber, brass band and wind band genres. I have been involved in the projects on
various levels, not just as a solo performer but also as a recording artist, an arranger,
executive producer, editor, and in writing programme notes and hand-outs.

Recording Projects undertaken whilst researching for the

DMA: 2012-2014

World of the Trombone Volume 3 QPRZ 028D recorded February 2012 released
October 2012

Freeh Spirit – The Music of Mark Freeh WR12-05 Recorded February 2012
released November 2012

Slide Projections – WR12-06 Three contemporary concertos for Trombone and

Wind Band recorded July 2012 released November 2012

Salute to Sousa WR12-07 recorded September 2012 released January 2013

Brett Baker & Friends WR13-09 Recorded January 2013 released May 2013 a
double CD.

Novus Vox (Song of Joy) WR13-10 Recorded May 2013 released October 2013

Composers’ works premiered whilst researching for the

DMA July 2012-July 2014:
With Piano: Ray Steadman Allen (Faith Encounter), Rodney Newton (Dick Turpins
Ride to York), Kenneth Downie (Abide With Me), Andrea Price (Nightfall in Joao
Passoa, and Café Life), Jonathan Bates (Peregrines Flight), Gareth Churcher,
(Klavji), Martin Ellerby (Sonata), Rob Wiffin (Concerto).

With Brass Ensemble: Richard Rock (The Crack’d Mirror).

Composers Works Premiered with Band: Edward Gregson’s Concerto, Paul Lovatt
Cooper’s Slipstream, Philip Sparke’s Capriccio (UK Premiere), Johan Demeij’s
Trombone Concerto (UK Premiere).

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Aims & Overall Purpose:

This portfolio aims to give a critical evaluation of the compact disc recordings and
premieres of compositions that I have been involved in from July 2012 – June 2014.
It is a presentation of music types and an analysis of the influences of various genres
that occur in this study. I will discuss these genres in each chapter and highlight the
issues and challenges arising from each project. It will also discuss the perceptive
and imaginative interpretations involved in my performance of these works and the
collaboration that occurred with each composer. I will demonstrate the versatility of
the tenor trombone as a solo instrument and its ability to play in different genres as
well as appealing to different audiences.

Gaining ideas from previous performances and recitals over the years, the objective
was to create fresh, exciting and accessible music for the brass band trombone
player through commissions. I was also to advance the repertoire for this solo
instrument looking to other genres in which the trombone is present. My research
from band-rooms, libraries, archives and specialists in their field around the world led
to the discovery of a number of unknown pieces for the instrument. Each individual
project sought to cast the instrument in a new light and to illustrate the influence of a
variety of genres.

For the two significant premieres I asked a leading Teacher and Performer Jeremy
West to produce a critical commentary of the performances and I have included the
Premiere studio recordings of each work which took place shortly after the live
events. Additional evidence can be found in the appendices.

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Introduction

Tenor Trombone World Premieres - Research, Collaboration & Performance

This portfolio submission contains; three commercially produced CD recordings, two

commissioned works with critical evaluations, a public performance lecture recital,
and a summary of my professional activity, completed for the award of Doctor of
Musical Arts. This is a culmination of researching and discovering previously
forgotten repertoire and from efforts in encouraging new and leading composers to
write for the trombone.

This submission contains evidence of major performance-based projects, shown in

figure 2. The studio recordings of projects 1 and 2 represent performances of
perceptive and imaginative musical interpretations which demonstrate artistic stature
and excellence. Critical reviews and testimonial evidence contained within these
projects support this claim. Recordings of the commissions in projects 3 and 4 are
also presented in this portfolio, representing significant repertoire for the instrument
and demonstrate artistic stature and imaginative excellence.

Methodology

To understand how I could organise the four required projects for this award I created
a diagram, seen below in figure 1, which illustrates the various genres that have
influenced my playing and that of most brass band trombone players of my
generation.

The diagram allowed me to understand how to structure, frame and approach this
DMA which appeared at first to be a challenge logistically and practically. I began
the research on this project in 2011 knowing that I would need the time to present a
proposal for the DMA in February 2012, and allowing time for the pre-research that
was necessary to finalise a research title.

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In categorising the areas of music that influence the brass band trombonist I
produced the following strategy diagram.

Figure 1: Strategy Diagram

I discovered that the main genres influencing my music making were:

a) The Jazz, Swing and Big Band genre,

b) Classical compositions (explored during my M.A. studies at Salford University),
c) Music of the Salvation Army,
d) Wind Band / Concert Band compositions.

In terms of pieces that I wanted to premiere, I thought about composers that

challenged me from a performance point of view and pieces that I would enjoy
playing in a non-brass band context, crossing the divide from a brass band context. I
also wanted to work with the best possible composers and arrangers alive today and
was very fortunate that they were all happy to work on the projects suggested.

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I listed all the composers that I had worked with and which ones would be flexible
and be prepared to collaborate with me on realising new works for the trombone.

Composers such as Kenneth Downie and Dudley Bright, Roger Trigg and Mark
Freeh have contributed compositions that had been played previously, but that had
not received sufficient exposure.

Premieres performed for the DMA for Project 1 were:

Brand new compositions from Andrew Mackereth, Martin Cordner, Andrew

Wainwright and Dorothy Gates for the Novus Vox project.

Major premieres that took place during the DMA for Project 3 were:

The Gregson Trombone Concerto (1979), transcribed for brass band by the
composer, premiered at Newbury Festival May 2013.

“Radio City”, a new work by Peter Graham, influenced by Jazz and Swing bands of
New York, premiered at the Festival of Brass in Manchester in January 2013.

Other premieres included Martin Ellerby’s Sonata for Trombone and Piano,
premiered at the International Trombone festival in Paris in July 2012; Paul Lovatt-
Cooper’s Slipstream, premiered in Cardiff St David’s Hall in March 2013, and Alan
Fernie’s composition Brave, which was premiered in Switzerland in September 2013.

The table in figure 2 below shows the outline of the projects that I organised for the
DMA.

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 Figure 2: Compilation of folio for DMA – Summary of components:
September 2012
Candidate: L Brett Baker

Course Evidence Evidence Title / description

requirement required provided
PROJECT 1 Explore new Two STUDIO / LIVE Recording of brand
repertoire, testimonial RECORDING new works for
preferably s / reviews Trombone and Enfield
premieres of large Brass Band ‘Novus
scale works Vox’

PROJECT 2 Explore new Two STUDIO / LIVE Recording of

repertoire, testimonial RECORDING Historically Significant
preferably s / reviews solos rarely heard and
premieres of large never recorded in last
scale works newly 100 years and never
discovered performed in the UK,
Including Novakovsky
Concertino and Meyer
Concertino; released
March 2013

PROJECT 3A Premiere of large Two STUDIO Gregson Concerto

scale work by a testimonial RECORDING Newbury Festival 11th
major composer in s / reviews May 2013
the field
PROJECT 3B Premiere of large Two LIVE Peter Graham
scale work by a testimonial RECORDING Concerto (2013) FOB
major composer in s / reviews 25th
the field (possibly January 2013
by postgrad /
member of faculty
of University)
PUBLIC Presented at UoS May include one piece that Lecture recital on
PERFORMAN during year of exists already as a recorded significant rarely
CE submission performance elsewhere in the heard works for
folio trombone and brass
band, including
Premiere of Wiffin
Concerto November
2013

CRITICAL EVALUATION – 10,000 words total for write up of all projects, reviews etc.

SUPPORTING MATERIAL – listing of career since 2010 – major recitals, commissions,

performances as soloist & chamber music, recordings, broadcasts, examining, teaching,
performances with Black Dyke Band UK & abroad

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 Project 1:

Novus Vox

(Song of Joy)

Sacred Compositions for Trombone & Band

Enfield Citadel Brass Band

Bandmaster Jonathan Corry

5
 Project 1: Description and Summary
Music of the Salvation Army: Novus Vox (New Voice)

Project one; a recording celebrating brand new compositions and arrangements for
solo trombone from composers in and connected with, the Salvation Army.

Influences of Salvation Army Music:

It would be difficult for a contemporary trombone soloist in the brass band genre not
to be influenced by the music of the Salvation Army, due to the numerous talented
composers that have written excellent music for the instrument over the years, but
also the fact that many Salvationists have been part of the very fabric of brass
banding. The most obvious example of this is Eric Ball, the father of modern brass
band scoring. There has been a certain bias towards the trombone, which may be, in
part, due to some excellent pioneers of the instrument who have played for leading
orchestras, such as Maisie Ringham and Dudley Bright, who both had their musical
roots in the Salvation Army. Also, composers such as Ray Steadman-Allen, a giant in
Salvation Army music over the past 60 years, is himself a trombone player, which is
likely to be a factor in his composing and arranging many solos for the trombone.

Many of the current writers for Salvation Army bands, as well as, for instance Robert
Redhead, Ivor Bosanko and Norman Bearcroft, have written solos for the instrument.
In some instances trombone players have adapted compositions and arrangements
written for other instruments, by these composers. For example, Ivor Bosanko’s
arrangement of Joy Webb’s Share my Yoke for cornet has been played by almost
every brass instrument, and in many settings within the wider brass community,
rather than just in Salvation Army brass bands and was originally a choral work.

Composers such as Peter Graham, Paul Lovatt Cooper, Robert Redhead, Kenneth
Downie, Bramwell Tovey, Edward Gregson and Ray Steadman-Allen all started their
careers in the Salvation Army and have all written test-pieces for contesting bands
and many are also prolific composers in other genres. Downie, Gregson, and
Steadman-Allen are considered to be some of the leading composers of brass music

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in the 21st century. This, therefore, has greatly influenced the music making of the
brass band trombonist.
Context:

I was first exposed to the music of the Salvation Army when visiting Star Lake Music
Camp. This is a summer camp for the Salvation Army music department in New
Jersey, USA. Many Salvationist players, as well as composers, have joined the ranks
of contesting bands over the years and therefore my introduction to Salvation Army
music goes back to my association with the ‘Peacock’ family in Fairey’s Band who
introduced me to Salvation Army bands in Canada and the USA in the early 1990’s,
also whilst at the Flowers Band the ‘Jenkins family’ introduced me to the wider
Salvation Army family in the UK in the late 1990’s.

I built contacts that led to several recordings of Salvation Army repertoire. For
instance I met Jonathan Corry whilst he studied at the RNCM and also worked with
him at Star Lake Music Camp where we came up with the idea of the Fuoco Brass
project in 2001. I premiered a composition by Dorothy Gates entitled Come into our
World. In 2002/3 I was introduced to the music of Leslie Condon by recording his
Song of Exuberance with the Mississauga Temple Band in Canada on a CD entitled
Credo.

Whilst in a second project, this time with a Salvation Army Band, Boscombe from the
UK, entitled Faith Encounter the title track of the album which I premiered Ray
Steadman-Allen’s significant work for the instrument, which I commissioned
Steadman-Allen to write in 2006.

Figure 3 Figure 4 Figure 5

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The Star Lake association also introduced me to the work entitled The Eternal Quest,
one of the Salvation Army’s most significant works for trombone, again composed by
Ray Steadman–Allen. I recorded this on an album with the same name in 2001 with
the Black Dyke Band. I had also previously recorded another well-known Salvation
Army piece, Erik Leidzen’s Concertino for Trombone & Brass Band, with Flowers
Brass Band on a CD entitled Bakers Dozen. Both of these well-known pieces of
music were written and published in the 1950s.

Figure 6 Figure 7

Being introduced to these pieces inspired me to further investigate Salvation Army

writing and contemporary composers.

Previous leading directors of brass bands with strong associations with the University
of Salford, such as Professor David King and Dr. Howard Evans, have showcased
the nature of Salvation Army writing to a general brass band public. This includes
from the YBS Band and Professor David King the Essays for Brass series in the
1990s and The Music of Ray Steadman-Allen in 2005. In addition, for his DMA, Dr.
Howard Evans produced a CD called Sanctuary which featured the music of Ray
Steadman-Allen from 2005-2008.

This Novus Vox CD project is the first time a non-Salvationist brass player has
championed music of contemporary Salvationist composers, in this case for
trombone and band, including some un-recorded older manuscript works that were
never made available for general performance. Although I have previously recorded

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some early Salvation Army repertoire for Trombone and piano on a CD recording
entitled Fly me to the Moon.

The only other solo album of purely Salvation Army trombone solos was recorded by
Andrew Justice and the International Staff Band in 1998/99. However, that album
consisted of established traditional Salvation Army repertoire, whereas my project
focuses on music composed within the past 20 years. Therefore, the Novus Vox
project is unique in its presentation of works.

All the featured composers have an association with the Salvation Army and have in
common a deep spiritual belief, which is very much evident in the nature of their
writing. The only exception is Philip Wilby who is very much associated with the
Church of England (his wife is a C. of E. Minister).

All the pieces on this recording are World Premières, with the exception of Roger
Trigg’s Rejoice, which was first played and recorded in Australia in 2009. This version
will be the second UK recording, as it has already been recently recorded by Andrew
Justice and Enfield Band in 2011.

The reason I thought it necessary to champion this music is not only its deep
religious nature but also the fact that the music in its own right is very emotional,
stimulating, beautiful and rewarding to play. Also, it is apparent that trombone players
of the Salvation Army show a great deal of virtuosity as extremely difficult trombone
pieces have been written since the 1950’s, facilitated by their technical prowess.

The opening up of Salvation Army music and their compositions took place on 1st
March 1992 (Salvationist Newspaper, 25th January 1992), which meant that Salvation
Army music could be played by contesting bands from this point onwards. Three of
the works on this CD project are arrangements for trombone that did not exist
previously. A new arrangement by Mark Freeh of The Conquest, by Scholes, that
was previously only available with piano accompaniment has unfortunately not been
included on the CD, as well as a piece entitled The Priceless Gift by J. N. Adoire,
(No. 1116 in the General series) and The Bellringer (No. 1283 in the general series,

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copyright 1947) by W V Wallace as it would have made the project well over 80
minutes in duration.

The ecclesiastical nature and influence of all these works made it appropriate to use
a Salvation Army Band to record the works with. The Enfield Citadel Band is one of
the leading church bands of the Salvation Army. The solos from the Salvation Army
repertoire selected for this project had not been recorded previously and were a
mixture of new compositions and arrangements from within the past three years. The
exceptions are He gave me joy and The Light has come, as these have only just
been made available personally to me in manuscript form and as such have not been
recorded on a commercial disc until now.

I was keen to present solos from the Salvation Army using my stature as a leading
voice for the Trombone and therefore become the first non-Salvationist to record and
promote this music.

Figure 8

Richard Scott (Engineer), Brett Baker (Soloist) and Jonathan Corry (Bandmaster ECB)

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Process:

Many of the pieces were written for me and so collaboration took place to make sure
the writing would work for me as a soloist. I also asked Steef Klepke, a renowned
researcher in Salvation Army circles, to suggest pieces that have never been
recorded and Mark Freeh, from the USA, to suggest pieces that would be possible
and not previously highlighted.

Collaboration between Andrew Mackereth, Martin Cordner, Andrew Wainwright and

Dorothy Gates (Gates and Mackereth are also trombone players) was necessary so
that they could be informed about my strengths and weaknesses when writing solos
for me. I also sent these composers previous CDs such as ’Shout’ and ‘Faith
Encounter’ to aid inspiration and see what I have performed previously musically and
technically.

The Kenneth Downie work had not been recorded previously, due to discrepancies
between the manuscript score and parts. It was originally a euphonium duet,
according to Andrew Blyth the Assistant Territorial Music Director of the Salvation
Army, and then changed to a trombone solo and premiered in Japan by the
International Staff Band of the Salvation Army (ISB) and trombonist Andrew Justice.
Sorting out the parts took a considerable amount of editing but allowed this unknown
piece by a leading composer to be showcased. The composer could not remember
much about the piece, but Andrew Justice who premiered the work, and Andrew
Blyth who played in the first performance were useful contacts to advise on putting
the piece together.

Critical Commentary:

The pieces chosen were actually very challenging technically and musically and I
wanted to use a Salvation Army brass band to present authentic recordings. Due to
the difficulty of the repertoire some of the pieces posed technical challenges and the
engineer needed to rebalance the band to reduce tuning problems that occurred
whilst in session.

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I achieved the objectives of presenting various genres and their influences on the
brass band trombonist by presenting these new works that were commissioned by
me, performing works that were rarely performed, along with researching and
discovering existing pieces that needed re-working to be performed. I provided new
exciting repertoire and showcased other works that had not received any limelight
such as the works by Bright, Downie and Redhead.

Many of the Salvation Army works from the likes of Eric Ball and Steadman-Allen
have influenced other composers such as those commissioned later in this portfolio
(Peter Graham and Edward Gregson) and likewise the composers featured in project
1 were clearly influenced by others such as Leslie Condon and Steadman-Allen,
when analysing Mackereth’s Song of Joy the title track, for instance.

In terms of interpreting the works I took guidance from leading Salvationist

Trombonists such as Andrew Justice who was playing in the Enfield band section for
the recording and has been principal trombone for the International Staff band for
nearly 30 years, and also Don Jenkins a well-known conductor and soloist from the
Salvation Army genre who was present at rehearsals and the recordings.

I also requested Kevin Lea a Salvationist in his early years and player now in Jaguar
Landrover band to also advise me on the recording. Furthermore where possible I
listened to live recordings of works but as most were new commissions, this was
difficult to achieve and so many discussions with the selected composers took place.

This CD contributes new repertoire to the Trombonist and Salvation Army genre and
will impact on the world of the trombonist in general in opening up such repertoire to
a wider trombone audience. Research on works by Redhead, Downie, Heaton and
Bright was fairly easy as these composers are well known within Salvation Army
circles so material was straight forward.

I also discovered works by Scholes, Adoire and Wallace, they were not included on
this particular project due to exceeding the recommended CD playing time, but
demonstrates perceptive and imaginative accounts of the compositions chosen.

12
The reviews found in the appendices demonstrate that the interpretations and
performance of the pieces were to a high standard. The repertoire for this CD was
somewhat challenging and serious; feedback that took place from critics, shown in
the appendices indicated that it was a demanding but impressive CD.

13
 Programme Notes from Novus Vox CD with added comments:

Rejoice – Trombone Solo

This trombone solo (with band accompaniment) was written for the Melbourne Staff
Band’s Deputy Bandmaster, Paul Smith in 2007. This lively trombone solo is based
around the traditional Fijian melody with the associated words, “This is the day that
the Lord has made. We will rejoice and be glad in it”.

The solo is set in a Latin-jazz style and includes some references to music from
Bernstein’s West Side Story. I was privileged to play this solo with the Melbourne
Staff Band in 2010 and have been a friend of Roger Trigg’s since meeting him in
New York, back in 1999. Roger sent me the Sibelius file so that I could make any
necessary changes, but the piece worked really well in its entirety without any
alternations. The whole piece is based around the opening statement shown in figure
9.

Figure 9

14
Song of Joy by Andrew Mackereth

Andrew’s earliest musical training was gained through the Salvation Army. By the
time he had learnt to play the trombone at around 14, he was already keenly
interested in every aspect of music, including composition. The trombone solos
Andrew was raised on were the staples of that time, which for him included: Concert
Piece: Alexandre Guilmant transcribed by Ray Steadman-Allen, Song of Exuberance:
Leslie Condon and the Eternal Quest by Ray Steadman-Allen. Through his classical
trombone studies Andrew was introduced to the popular works of the time,
principally; Hommage à Bach by Bozza, the Rimsky-Korsakov Trombone Concerto
and a number of works by Jacques Ed Barat. The opening statement of the solo can
be seen in figure 10.

Figure 10

“When I look at Song of Joy now, you can see the influence of Barat in the slow
movement with the lush harmonies incorporating parallel sevenths and ninths and
unexpected harmonic progressions” (Andrew Mackereth).

15
During Mackereth’s music degree he developed a particular appreciation of the
music of Stravinsky and Shostakovich and whilst he had not intended that such
composers should influence this composition in any way, when looking at the off-beat
basses at letter G and again at I, it is apparent that they may have influenced him
subconsciously shown below in figure 11.

Figure 11

16
The work is reminiscent of Spring Rounds from The Rite of Spring and a strong hint
of Shostakovich Festival Overture in bars 161-165!” shown below in figure 12.

Figure 12

Thematic Material

Andrew wanted to mirror the choice of thematic material of Song of Exuberance. ‘He
loves me Too’ is a long-since forgotten melody and lyric, more familiar to church
goers of a bygone era. It has the same pentatonic and repetitive nature of the
Trusting Jesus Now which features in the former.

Lyrics:
God sees the little sparrow fall, It meets His tender view; If God so loves the little
birds, I know He loves me, too.
He loves me, too, He loves me, too, I know He loves me, too!

17
Because He loves the little things, I know He loves me, too.
He paints the lilies in the field, Adds perfume to each bell; If He so loves the little
flowers, I know He loves me well.
God made the little birds and flowers, And all things big and small; He'll not forget His
little ones, I know He loves us all.
Words: Maria Straub Music: S.W. Straub 1874

Form and Structure of Song of Joy:

Andrew states,
“This piece was written as a close relative of Leslie Condon’s Song of
Exuberance, a piece recorded and admired by Brett. This informed the choice
of chorus, minor key and strongly contrasted middle section. Like Song of
Exuberance, unusual rhythmic/harmonic twists are prominent.”

Hope: arranged by Andrew Wainwright

On the 11th June 2010 a nation stood united celebrating a dream come true at the
official opening of the FIFA 2010 Soccer World Cup. However, amongst many was
emptiness, mourning the death of South Africa’s greatest tenor Siphiwo Ntsehebe.

Ntsehebe was due to lead the opening anthem with his song called ‘Hope’ with words
of Nelson Mandela. The Tenor had already recorded the song before he fell critically
ill with bacterial meningitis.
He passed away in a hospital in Port Elizabeth, his hometown. Millions of spectators
heard the song at the launch of the games, which not only touched the heart of all
South Africans united, but the whole world. For the lyrics of ‘Hope’ touch one’s heart
and give you a new perspective on life itself.

Your prayer sounds more beautiful than your name

you bring the voice of hope to me again
and when you rise to find your dream
I will be your wings

18
 see your journey through.
When you find peace in your heart
When we are one beneath the stars
When your spirit wonders on the wind
I’m your sanctuary
In your soul you’ll come
Spread thou word indeed.
You’ll need hope
There is always hope
when you have a dream …….. Nelson Mandela

The Light has come by Kenneth Downie

In researching this piece Andrew Blyth states it was originally a euphonium duet that
was then altered to become a trombone solo in the early 1990s.

Kenneth Downie States:

“The noble tune, main theme is called The Light has come. I felt that this title
had a quality which suggested trombone to me. The work is built primarily on a
modern hymn by Chick Yuill (not modern in musical language!), a Scotsman,
who was a Salvation Army Officer when he wrote it. He is now a freelance
preacher and writer, in the Manchester area.”

The opening statement, in a rather declamatory style, comes from the start of Chick's
theme. I thought it summoned up the sound of a trombone in my mind. These are the
words of his first verse, based on Isaiah 9:6,7:

Wonderful counsellor, Mighty God among us;

Everlasting Father, Prince who rules in peace.
To us a Child is born, To us a Son is giv'n.
To those who walked in darkness The light has come.

19
In contrast with that, in the slow, quieter music, I use a little Army chorus, whose
origins are unknown to me, but one that I remember singing many years ago. They
are based on 2 Corinthians 4:6
God hath shined in our hearts,
God hath shined in our hearts,
To bring the light of the glory of the knowledge of God,
In the face of Jesus Christ.

I think it is a beautiful chorus, from a lovely bible verse and I felt it could benefit from
being more widely known.

Beneath the Cross of Jesus by Clephane, Maker / Ray Starling arranged by

Mark Freeh (tune: St. Christopher)

Beneath the Cross of Jesus was a poem written by Elizabeth Cecilia Clephane in
1868 and published posthumously in the Family Treasury, a Scottish Presbyterian
magazine, in 1872 just one year before she died at age 39.

The magazine’s editor wrote:

“These lines express the experiences, the hopes and the longings of a young
Christian. Written on the very edge of life, with the better land fully in view of
faith, they seem to us footsteps printed on the sands of time, where these
sands touch the ocean of Eternity.”

Elizabeth Clephane was born in Edinburgh, Scotland, but lived most of her life in the
village of Melrose. The music was written by Frederick C. Maker, and published in
the Bristol Tune Book in 1881 as St. Christopher. The solo part is technically very
challenging for a slow melody and this can be seen in figure 13.

The words.....
Beneath the cross of Jesus I fain would take my stand,
The shadow of a mighty rock within a weary land;

20
 A home within the wilderness, a rest upon the way,
From the burning of the noontide heat, and the burden of the day.
O safe and happy shelter, O refuge tried and sweet,
O trysting place where Heaven’s love and Heaven’s justice meet!
As to the holy patriarch that wondrous dream was giv’n,
So seems my Savior’s cross to me, a ladder up to Heav’n.
There lies beneath its shadow but on the further side
The darkness of an awful grave that gapes both deep and wide;
And there between us stands the cross two arms outstretched to save
A watchman set to guard the way from that eternal grave.
Upon that cross of Jesus mine eye at times can see
The very dying form of One who suffered there for me;
And from my stricken heart with tears two wonders I confess;
The wonders of redeeming love and my unworthiness.
I take, O cross, thy shadow for my abiding place;
I ask no other sunshine than the sunshine of His face;
Content to let the world go by, to know no gain or loss,
My sinful self my only shame, my glory all the cross.

Figure 13

21
His Provision by Ivor Bosanko arranged by Dorothy Gates

His Provision is a beautiful song written by Ivor Bosanko. It is well known in

Salvation Army circles as a sacred song. It was arranged for trombone solo with
piano accompaniment at the request of Gerard Klaucke for his brother Henk in
memory of the passing of Henk’s wife, Herma van Dalen, who died aged 64 in 2010.
She had translated many songs from English to Dutch and vice versa in the 1980s,
including works by Eric Ball and this composition. Herma was the daughter of SA
officers and the name van Dalen is well known in the Salvation Army in the
Netherlands. This arrangement has a Latin flavour and a slightly faster pace than the
original. Figure 14 shows the thematic material taken up by the flugel horn and the
soprano before the soloist enters.

Figure 14

22
The Follower by Martin Cordner

The Follower is inspired by the story of Christian songwriter and poet John Newton.
His conversion is captured in what is perhaps the most famous of his writings, the
song Amazing Grace - a poem originally entitled Faith's review and expectation. The
song is a personal testimony to how, in his own words, Newton once considered
himself a 'wretch' but was then, by God's grace, gloriously saved:
“Amazing grace! How sweet the sound, That saved a wretch like me,
I once was lost, but now am found; Was blind but now I see”.
John Newton (1725-1807).
Figure 15 shows the opening statement in the new work.

Figure 15

The composer states “It was tempting to use as source material the common tune
'New Britain' (simply called 'Amazing Grace' in the SA tune book), but instead the
composer has built the work on a newer melody by Canadian Salvationist Rhonda
Venables. In four movements the work explores stages of Newton's life. The first

23
movement (shown in figure 15) features an original melody, noble in style and
attempts to capture John Newton as a young man, proudly following in his father's
footsteps which leads to the Cadenza shown in figure 16.

Figure 16

The second is a lively scherzo - depicting the wayward adolescent part of Newton's
life. The third movement highlights Newton's conversion, the central tune is heard in
its entirety for the first time. This section builds to a cadenza (figure 17) which leads
to the final celebratory movement where all the aforementioned themes are drawn
upon and the central tune sings high and loud.

Figure 17

A recapitulation of the initial 'noble' theme develops into an exciting finale, drawing
the piece to a brisk and energetic conclusion.

Still Small Voices (Repton) Arranged by Philip Wilby

This trombone trio uses the well-known tune Repton, used by the composer Philip
Wilby at the request and commissioning by Gerard Klaucke from GK Graphic Design
when Black Dyke Band came over to the Netherlands for a series of concerts. The
original melody, composed by C. Hubert H. Parry uses the words from the
hymn "Dear Lord and Father of Mankind”, words taken from a longer poem, The
Brewing of Soma by American Quaker poet John Greenleaf Whittier. In the United
Kingdom, the hymn is usually sung to this tune written by C. Hubert H. Parry. In the
US, the prevalent tune is Rest by Frederick Charles Maker.

24
Sweet Hour of Prayer by Wilfred Heaton arranged by Paul Hindmarsh

Figure 18

This arrangement for brass band by Paul Hindmarsh was originally for trombone and
piano. The opening statement and solo line can be seen in figure 18. It was a much
loved devotional song on both sides of the Atlantic during the 19 th and 20th centuries.
The words were dictated in 1845 to Thomas Salmon, an American during a visit to
the blind Congregational Minister William Walford (1772-1850), who was then
resident in Coleshill, Warwickshire. Salmon published them in the New York
Observer, September 13th 1845. The tune is the work of William B. Bradbury (1816-
1868), a celebrated New England hymn-tune writer, among whose familiar melodies
are He leadeth me and Jesus Loves me. Sweet Hour appeared in Bradbury’s final
publication Bright Jewels (New York, 1869). Wilfred Heaton made this sensitive and

25
touching arrangement for his son-in-law, Bryan Stobart. This version for brass band
was completed in 2005.

He Gave Me Joy by Robert Redhead:

Robert Redhead was asked by Maisie Wiggins (nee Ringham) to write this solo for
her to play as a 'tone' solo in the Salvation Army Royal Albert Hall Annual
Bandmasters Councils Festival, in 1974 with the composer as piano accompanist. It
was rehearsed and rehearsed, to get every little nuance out of the piece. Redhead
had never rehearsed so much with one artist. It was amazing and a great lesson in
preparing for a performance (Klepke, S. 2014).

Professionally she was the Principal Trombonist in the Halle Orchestra in Manchester
of the 1950s, a great orchestra with a fine conductor - Sir John Barbirolli. She was
also a fine Salvationist, Songster Leader at Wealdstone in North London for many
years. But, in those days was not allowed to play in a 'good' band, as they only
allowed men!

Robert Redhead later arranged it for brass band and recorded it with the legendary
trombone soloist Robert Merritt and the Canadian Staff Band. The opening statement
can be seen in figure 19.

This is a meditative solo based on the concept that there is a depth of joy in Christ
which can only be known by the one who has first experienced sorrow for sin. The
one who claims Salvation knows a joy beyond anything the world can offer is
expressed in this solo He Gave Me Joy based on the words:

'He Gave me Joy where once was woe,

He healed my soul and bade me go,
My bondage never more to know,
My Jesus, My Saviour.'

26
Figure 19 He Gave me Joy

27
Soul Origin by Dorothy Gates

This is a work for trombone quartet and brass band. It was written at the request of
the Enfield Band of The Salvation Army specifically for a joint concert featuring guest
soloists the trombone quartet Bones Apart in October 2009. Some of the thematic
material is derived from the name Bones Apart itself.

However, the main inspiration for the piece is found in scripture, 1 Corinthians 12:13:

"For we were all baptised by one Spirit so as to form one body - whether Jews or
Gentiles, slave or free - and we were all given the one Spirit to drink."

Soul Origin explores what is meant by the words ‘one body within the realm of
multiple soloists and brass band. The lead trombone part can be seen in figure 20
below.

Figure 20

28
Life’s Command by Dudley Bright

Life’s Command is based on the chorus;

Follow, follow, I will follow Jesus,
Anywhere, everywhere, I will follow on;
Follow, follow, I will follow Jesus,
Everywhere he leads me, I will follow on

Such is the importance of these superficially simple words that the melody never
appears in its original form. With the demand for such wholehearted commitment, the
theme is transformed, even from the beginning, into music with more gravity.
The soloist’s original theme remains detached from the band’s entreaties, for a while
the band takes on and develops the soloist’s theme, and the solo voice avoids any
reference to the chorus.
The two themes can easily be identified in various guises and developments, by
motivic use of their first few notes. After a period in which the band and soloist
compete for attention, the opening music returns and leads to a point where the
soloist is left alone in reflection.
The words Jesus spoke the night before his crucifixion are recalled; ‘If you love me,
you will keep my commands.’ (John:14:15) and the melody associated with the
words:

O, I love him, yes I love him

Since for me he bled and died!
O’ I love him, yes I love him
More than all the world beside!

Finally the soloist and band share in genuinely joyous transformations of that old
chorus resolved to ‘follow Jesus, anywhere, everywhere’.

29
 Project 2A:

Salute to Sousa:

and Other Forgotten Trombone Solos

Accompanied by John Wilson, Piano

30
 Project 2A:
Salute to Sousa: and other forgotten trombone Solos.

Project two involved research into forgotten trombone solos from the origins of writing
for the trombone up to the 1930s and the solos of American Wind Bands.

Influences of Classical and American Wind Band Music:

The German and Austrian solos of the 17th and 18th Century have been a strong
influence to me a brass band trombonist, as have the American compositions and
performances of the 19th and early 20th century. The classical composers will have
influenced the writing of most modern day brass band composers in some way as so
influenced also the players of modern day compositions.

Up until 1913, brass band test-pieces were orchestral transcriptions so the

movement was and is heavily influenced by the classical music trends. After 1913 we
see original works being composed for brass bands by classically trained composers,
the movement becomes a genre in its own right and eventually solos are composed
or arranged for trombone and brass band. As material was short on supply in the
early years it was necessary to borrow compositions from Wind Bands, Orchestras
and arrange the popular songs of the period for instrumentalists. Therefore the solos
from the ‘golden era’ of Concert Bands in the USA 100 years ago became a huge
resource for trombone soloists in the brass band genre.

Original brass band works today contain many quotes and references to classical
compositions, taking examples from leading composers in the brass band genre such
as Graham, Wilby and Sparke. I thought it important to look at what might have
influenced Arthur Pryor in his writing for the trombone and other important performers
and composers of his era. Was there influence from the German Polkas of centuries
before, or was it the foxtrots and dances of his era, or both? Was Pryor influenced by
the virtuosi performers and compositions of the 16th -18th century or just writing based
on his own experiences of playing?

31
Arthur Pryor was the most prolific soloist with the Sousa Band from 1892-1903 before
setting up his own band where he continued to play and compose solos up to the
1940s. His output has been a major influence on many current trombone soloists due
to the sheer number of solo compositions but more importantly his passion for
recording his compositions which took place from the 1890s to the 1930s. Many
other soloists did not get their solos recorded and often they played from memory so
the solo parts did not exist. Until my research many of these other pieces had been
forgotten about and never recorded. That said works by Pryor and others virtuosi
trombone soloists such as Zimmerman, Mantia, Clarke, Innes, are still played in
concerts around the world due to their entertainment value and sheer virtuosity. This
is partly due to my own performance practice of showcasing such material with bands
around the world in New Zealand, America and Australia and Europe, as well as at
International Trombone Festivals in for instance Paris, Las Vegas and New Orleans.

My chosen project was to investigate solos that have been forgotten and
overshadowed due to the dominance of Arthur Pryor. There has been very much a
trend to record the Pryor works at the expense of other similar composers of the era,
as well as virtuosi from earlier periods that have therefore been ignored.

Critical Commentary:

To put the Salute to Sousa project into context it is necessary to explain that the
trombone has not always been seen as a solo instrument and much of the more
recent change in attitude towards the instrument came about with the introduction of
solo recordings by Christian Lindberg in the late 1980s and early 1990s. However not
so well known is that the trombone has been a popular solo instrument at several
other times in history. Other such periods are explored in this project.

The trombone was used extensively during the 1600s in Italy and Germanic
countries, but usually as a chamber instrument rather than for solo work. However,
some solos do exist, that were written for the virtuosi players of the day and hence
the inclusion on this CD of the Cesare La Hieronyma (1621) composition and the St
Thomas Sonata (1660s). The dexterity required for these pieces is quite astounding

32
and demonstrates the impressive abilities of the players during that time on what
would have been difficult instruments to perform on, based on my experience of
playing copies of the original instruments, that are small bore and using
uncomfortable mouthpieces.

Trombone use then declined significantly in Europe during the 17 th and 18th
Centuries, except in Austria, where its popularity and importance grew significantly.
Solos began to emerge from composers such as Leopold Mozart, Georg Christoph
Wagenseil, Michael Haydn and Johann Albrechtsberger in the form of concertos. The
inspiration for many of these composers was no doubt the virtuosic playing of
Thomas Gschladt, who worked in the court orchestra at Salzburg, and the renowned
trombonists Leopold Christian Senior and Junior (New World Encyclopaedia 2011 /
Wigness C.R.1978 P.34). The above pieces written for alto trombone have been
performed and recorded extensively in the classical genre and therefore I have
chosen to disregard this period for the purposes of this research and subsequent
recording.

Following Thomas Gschladt’s decline we see Leipzig and Germany rise to become a
centre of trombone pedagogy, during the beginnings of the Romantic period. For
instance the trombone began to be taught at the new Musikhochschule in Leipzig
founded by Felix Mendelssohn.

It appears that Frederick Belke and Karl Traugott Queisser who both played in the
Gewandhaus Orchestra in Leipzig in the 1840’s were the influence for many
composers to write for trombone as a solo instrument. The Ferdinand David (1810-
1873) Concertino op. 4 has been a staple solo for many years and is believed to
have been written for Queisser, and was premiered at the Gewandhaus in 1837.
David was the leader of the Gewandhaus Orchestra and a virtuosi soloist himself.

I have recorded Carl Heinrich Meyer’s Concertino for Bass Trombone (1815), which
is very high for today’s bass trombone players. Little is known about Meyer other
than the piece was premiered by Frederick Belke in 1815 again by the Leipzig
Gewandhaus Orchestra. Secondly I recorded Josef Novakovsky’s Concertino for
trombone and piano (1840), which was written shortly after the Ferdinand David

33
Concertino. Novakovsky was a famous Polish piano virtuoso, who played trombone
in his student days. Queisser, during the period 1815-1840 almost single-handedly
helped to re-establish the reputation of the trombone in Germany and began a
tradition in trombone playing that is still practised there today (W. W. Wells; 2005
p.34).

It is worth noting that the more famous Freidebald Grafe Concertino (1897) and
Ferdinand David Concertino (1837) have been played, and recorded with brass band
accompaniment by the likes of Andrew Berryman, Principal Trombone of the Halle
Orchestra (1988- 2008), with both Wingates Brass Band, the GUS Band. However in
contrast Berlioz’s Funeral Oration has never been performed with brass band and
maybe is considered not virtuosic enough. The Ferdinand David Concertino was in
fact arranged by Leslie Condon for Salvation Army brass bands in the 1980s. As only
the second and third movements had been arranged for brass band, Bryan Hurdley
arranged a version of the first movement for me in 1994.

In England 200 years ago, few of the English composers in the 18 th and 19th
Centuries wrote solos for the instrument. This may have been composers’ lack of
understanding, but more likely would have been the lack of availability of
instrumentalists (Guion D.M. 1998. p.6). This may be why this period did not
influence greatly the soloists in the brass band movement 100 years later as very
little solo material existed to influence the brass band genre. Although Gustav Holst
wrote a test piece for brass band and was making a living as a professional
trombonist in the early part of his musical career, his Duet for Trombone and Organ
written in 1894. It has never been transcribed for Trombone and brass band, and
once again is not a virtuosic solo when compared to the works of Arthur Pryor.

The next period when the trombone was in focus again as a solo instrument was in
the USA, from 1880 to 1940, with the emergence of professional wind bands after the
American Civil War and beginnings of professional orchestras. This was the popular
music of the era and lead to several virtuosi players such as Frederick Innes (1854-
1926), Frank Holton (1858-1942) and Arthur Pryor (1870-1942) becoming the pop
idols of their day.

34
Frederick Innes was the trombonist in the Patrick Gilmore Band (1829-1892) which
was in many ways the pre-cursor to the famous Sousa Band. Innes then set up his
own band on the West Coast and many of the later trombone soloists were trained in
the Innes Band such as Ernest Clarke (1865-1947), brother of the more famous
Herbert, and Leo Zimmerman (1866-1935) who later joined the Sousa Band as its
soloist after playing with several of the famous band’s including Pryor’s Band
(Herbert T. 2006 P.148).

Frank Holton was Pryor’s predecessor in the Sousa Band, playing previously for
Barnum and Baileys Circus, but on the appointment of Arthur Pryor he was
overshadowed and became more famous for Trombone Manufacturing. Many
immigrants went to the USA from Europe and immediately became virtuoso players,
such as Simone Mantia (1873-1951). Mantia was Euphonium Soloist with the Sousa
band and then assistant conductor with the Arthur Pryor Band, and importantly a
trombonist with the Metropolitan Opera. Another example is Charles Cusimano
(dates unknown) as Soloist with Sousa in the 1920s, and was also a soloist in the
Pryor Band, and played again in the Metropolitan Opera Orchestra, as 1st assistant
to Mantia. Others include Fred Jewel (1875-1936) who played with the Ringlng
Brothers Circus Band, as well as Barnum and Baileys Circus Band before becoming
a conductor and composer. Clay Smith (1878-1930) who was a multi-instrumentalist
that soloed on trombone again for the famous circus bands before setting up a
publishing company. Manuel Yingling (1872-1925) was another soloist with the
Sousa band in the 1920s, and conducted the Hyperion Band. Finally there was
Joseph de Luca (dates unknown), who was proficient on Euphonium and trombone
and again played for Sousa’s Band. He played in the band from 1921 to 1928 soloing
on all the Sousa Tours in that period. Many virtuoso players would play solos written
for valve instruments on a slide trombone with ease during this period, partly
because many were also valve players (Frye J.W. 2007).

Arthur Pryor immediately comes to mind when you consider virtuoso soloists and is
far more well-known due to his enthusiasm to record his own repertoire. In fact many
bands and soloists frowned upon recording as opposed to live performance during
that era including Sousa himself who described it as “canned music”. The
popularisation of jazz and big bands in the 1950s led to the emergence of stars such

35
as Tommy Dorsey and Glenn Miller, which again has been widely documented and
the decline in popularity of the Wind and Concert Bands.

In summary, for this CD I have resurrected pieces that have been forgotten through
the mists of time in the Baroque, Romantic and post American Civil War period.

Methodology & Process:

Finding material for this project has been easier than I thought as a result of trips to
Australia, New Zealand and the USA from the period 2008-2012. This allowed me to
uncover many solos in band-rooms and libraries all over the world. Some of the initial
works found I recorded on several other recording projects such as Phenomenal
Polka (written in the 1880s, published in 1942 by Chart Music as a cornet solo) by
Frederick Innes (1854-1926) recorded with the Reg Vardy Band on the Freeh Spirit
project and also with piano on the recording World of the Trombone Volume Three.

Figure 21

John Wilson accompanist and Brett Baker Soloist at Peel Hall after the Salute to Sousa recording

36
Phenomenal Polka (1942) was discovered as a cornet solo in Wanganui Band in
New Zealand and had been rarely played for over 100 years. Valse Moderne (in
process to be published) by Gardell Simons (1878-1945) discovered in manuscript by
Steve Dillon in 2010. Steve Dillon is owner of Dillon Music in New Jersey, USA, and a
speaker and writer on Arthur Pryor and other trombonists from the American Civil war
period. Mr Dillon often gets sent material that people believe will be of interest as he
is a leading authority on Pryor and discussions with him led to the discovery of Valse
Moderne and another solo in manuscript solo called Salute to Sousa (publication in
process) by Frank Burnell, the title track of the CD project.

Researching for these forgotten solos led to me reading a paper by ‘Frye’ detailing
research on the solos played by trombone soloists in the Sousa Band (Frye J.W.
2007). I spent the next twelve months trying to locate as many of the pieces
mentioned in his thesis as possible. Over two hundred and fifty new solos were
unearthed so the CD project is a small fraction of the works that I managed to
uncover. Since selecting and recording these solos others have come to light.

As well as researching band-rooms across the world, Steve Dillon managed to find
several other manuscripts of previously unperformed solos such as Hyperion Polka
which was found from an old cinema library archive in the USA. Many of the pieces
needed to be reformatted as they were very difficult to read. Fortunately some pieces
had library recordings, and these were available online and were used to determine
note queries on some of these works for instance with Leona Polka (1903) by Leo
Zimmerman (Zimmerman L. Internet Archive 2014).

I decided to record these works to give them a much needed focus and attention
within the world of the trombone. Previous recordings only exist on 78’s or not at all,
and the music was very difficult to acquire. Such a project had not taken place for
100 years on music from the American Civil War period and also music from the
1840s. I thought therefore this project would readdress the balance and allow this
music to be showcased and brought to the forefront. As many scholars were
unaware of much of this material, it contributes to the ever expanding repertoire for
the instrument in a forgotten genre that has until now been ignored.

37
Programme Notes: Salute to Sousa, with added comments:
La Hieronyma (1621) Giovanni Martino Cesare

Giovanni Martino Cesare (c.1590-16-67) was born in Udine, but worked outside Italy
for most of his life. He was a cornettist at the court of the Margrave of Burgau at
Günzburg, near Augsburg. He became connected to Duke Maximilian of Bavaria and
played in the chapel in Munich in 1612; in 1615 he entered Maximilian’s service. His
canzona La Hieronyma (1621) is remarkable in that it was the first piece of music
written and published for solo trombone in Italy. Cesare wrote a collection of 28
pieces, written for a combination of instruments; the cornet – Cesare’s instrument -
the violin, the trombone, the viola da gamba and the organ as a continuo instrument.
Some pieces also feature vocalists. The collection also contains La Bavara for four
trombones. Cesare was obviously held in high regard in Bavaria and his music was
included in important publications of the time in Munich. Figure 22 shows the more
recent Robert King publication.

Figure 22

38
St. Thomas Sonata (1660s) Anon

The St. Thomas Sonata was written around 1660-1670 and is so called because it
was kept in the library of the Saint Thomas Augustinian Monastery, in the Czech
Republic and is believed to have been written by a monk. It was discovered by
Lubomir Klucar, a highly respected Moravian trombonist and teacher, but brought to
the general public’s attention by his former student Jaroslav Kummer in the late
1970s. This piece is important as it is the first piece intended solely for trombone and
basso continuo, as opposed to being a trombone solo within a collection of other
chamber works. This work has been published twice in recent years (1978 and again
in 1999 as the Saint Thomas Sonata).

Concertino (1820) Carl Heinrich Meyer

Little is known of the composer Carl Heinrich Meyer. His Concertino for bass
trombone was premiered on April 6th 1815 by Freidrich August Belke and the Leipzig
Gewandhaus Orchestra. Seven further performances with the Gewandhaus
Orchestra took place with the soloist Karl T. Queisser and a set of parts was
published in 1831. The piece contains a lively theme and variations, after a stately
introduction.

Figure 23 overleaf shows the Meyer piece first page and that it clearly states it was
for bass trombone.

39
Figure 23 Meyer Concertino Figure 24 Novakovsky Concertino

Concertino for Trombone and Piano (1840) Joseph Novakovsky (1805-1865)

Novakovsky was a famous Polish piano virtuoso, who had played trombone in his
student days. This work was published posthumously by Fischer as both Theme and
Variations and Concertino. The piece was probably also influenced by virtuosi
trombonist Queisser. Figure 24 shows the first page of the work and birth and death
years.
This piece appears to have disappeared from recital programmes and therefore I
thought it important to play it on this recording. According to historian John Wallace,
the trombone’s popularity in Leipzig waned after Queisser’s death (Herbert T. 2007).
This piece has variations similar to the more famous Gräfe Concerto and also Arthur
Pryor solos that would appear later. Also, there is some similarity of the slow variation
in this piece with the middle section of the David Concertino, being written only three
years after the Ferdinand David composition.

40
Sea Shells Waltz (1880s) Frederick Neil Innes

It has been said that Innes did for the trombone what the great Paganini did for the
violin. As the latter created a school of violinists, Innes did likewise for trombone
players; his trombone exercises and various tutors became the panacea for all
budding trombonists. Innes was born in London, England, on October 28 th 1854. As
a young man he believed that the trombone should take a more prominent place as a
solo instrument. He was always an innovator, even in his later advent into the
musical society of America, where he arrived in 1874 to Boston. From 1875-1879,
Innes toured Europe playing with various bands and orchestras, before returning to
Paris, where he resumed playing at the Folies Bergère.

In 1879, Jules Levy was at his peak as a cornet soloist and was being featured with
Gilmore’s Band at Manhattan Beach. Pat Gilmore was slightly jealous of the attention
Levy was getting, so he sailed for Europe in the autumn of 1879, in quest of
someone to “trim the sails” of the high-flying Levy. When he arrived in Paris, he was
told of a young trombonist who was playing at the Folies Bergère. Quoting a written
account

“Gilmore went to the Folies Bergère to hear Innes play, and was astonished by this
young man’s virtuosity…As Gilmore was very convincing, it wasn’t long before Innes
came to America to become trombone soloist of Gilmore’s Band.”

Innes arrived in New York, during the summer of 1880, going directly to Manhattan
Beach, where Gilmore’s band was engaged in summer concerts. The following day
Innes was programmed as soloist, following Jules Levy’s playing of his own
Whirlwind Polka, after which Innes rose to play the same identical solo, much to the
astonishment of the audience, and to the genuine embarrassment of Mr. Levy. In
fact, he was furious! For one whole week, Innes continued playing, if humanly
possible, any number that Levy might play. The entire New York music scene was
talking about the battle of the “Blasters” out at Coney Island. Similar to the
competitions Beethoven would host with his peers on improvising variations. The
front page of Sea Shells waltz can be seen in figure 25.

41
It was during this period that Levy played a new solo written by Aronson, entitled the
Sweet Sixteen Waltz, in which Levy injected his own extemporaneous cadenza made
up of everything he could do on the cornet. lnnes had been tipped off that Levy was
going to do this. When his turn came to play, he also had something up his sleeve.
Innes had written a new solo for the trombone, entitled Sea Shells Waltz, with a
cadenza that lasted a minute and a half. Some of Levy’s followers had complained to
the management about this rivalry. Mr. Gilmore decided that Innes could play
anything he wished, including Levy’s solos, but it was to be played on separate
programs from Levy. Unlike Arthur Pryor, few of Fred Innes’ solos were published
and when they were published it was often as a cornet solo, such as Phenomenal
Polka. Eventually, Innes set up his own band on the West Coast and many prolific
soloists played in the Innes band before making names as soloists, including Leo
Zimmerman, Simone Mantia, Ernest Clarke (brother of Herbert) and Chas Randall.

Figure 25 Sea Shells Waltz Figure 26 The Sweetest Story Ever Told

42
The Sweetest Story Ever Told (1894) R M Stults

The ornate covers for such printed songs can be seen in figure 26. This song from
the 1880s also became popular with trombone soloists. Charles Stacey was a soloist
with the Long Beach Band, who, unfortunately, is famous for dropping dead whilst
playing this melody in 1926 (Herbert, T. 2006 p.148).

Harbor Lights (1914) Clay Smith

Clay Smith’s first documented musical activity involved playing E-flat cornet solos for
exhibits at the 1893 Chicago World's Fair. At some point he became proficient on the
saxophone and trombone, which seems to have been his primary instrument for most
of his career. His teachers included Alfred F. Weldon (1862-1914), Gardell Simons
(1878-1945) and Hale A. VanderCook (1864-1949). He performed with several
famous bands, such as the bands of Hi Henry's Minstrels, Wallace Brothers Circus,
the Barnum and Bailey Circus and the Ringling Brothers Circus. He was also a
featured trombone soloist at the 1904 St. Louis World's Fair with Phinney's Band
(Barnhouse Website 2014).

With Guy E. Holmes, Smith formed the Apollo Concert Company, which toured on a
vaudeville circuit. Around 1914, he set up the Smith, Spring and Holmes Concert
Company, which made several recordings.

Smith was an accomplished and virtuoso trombone soloist. Many of his works reflect
a need for technical and lyrical proficiency. Unlike Arthur Pryor, Leo Zimmerman and
other contemporaries who “headlined” as soloists with the major touring concert
bands of the day, Smith spent most of his career on the Chautauqua and theatre
circuits. The piano accompaniment can be seen in figure 27 with the opening theme.

43
Figure 27 Harbor Lights Figure 28 Leona Polka / Waltz

Leona Waltz (1915) Leo Zimmerman

This piece was also known as Leona Polka as shown in figure 28 above. Leo
Zimmerman was the trombone soloist with John Philip Sousa's Band after Arthur
Pryor left the group. Zimmerman served as Sousa's first chair and trombone soloist
from 1904-07 and also returned to the band for a brief stint in 1930-31. He had also
played in the Innes band. One interesting fact about Leo Zimmerman is that he
played with no vibrato (Zimmerman L. Internet Archive), which would have been in
stark contrast to the trombone playing of Pryor (Crystal Records CD451). On losing
such a prolific soloist as Pryor, Sousa was determined to find a headline soloist.

Zimmerman’s two most popular solos were Leona (also known as Leona Polka and
Leona Waltz) and American Beauty (also known as American Beauties), both of
which were performed repeatedly on Sousa Band tours. Unlike Arthur Pryor,
Zimmerman’s compositional output appears to be limited solely to the genre of the
trombone solo. Leo Zimmerman did not publish either of the above trombone solos
and few are commercially available today, other than the more well-known Autumn

44
Dreams. Others solos that he composed but have not been found include Patriotic
Melody, Waltz Caprice, Pride of the West and Aereo (Frye J. W. 2007).

Priscilla Polka (1921) by Simone Mantia

Although more well-known today for his euphonium solos, Mantia was a very fine
trombone player, having played in the Metropolitan Orchestra in New York and as
trombone soloist, filling in for Pryor when he conducted the Sousa band in the
absence of Sousa himself. Pryor invited Mantia to become his assistant conductor in
1903 at his newly formed “Pryor Band”. This rarely played trombone solo was a
tribute to Sousa’s daughter, named Priscilla. Figure 29 shows the front cover of the
solo that was for cornet and Euphonium and trombone, whilst figure 30 shows the
main theme at letter A.

Figure 29 Figure 30

45
Devotion (1934) by Ernest Clarke

Ernest Clarke played trombone in the Gilmore band and encouraged his more
famous brother, Herbert, to join the band when a vacancy arose. In 1892, the
Gilmore Band disbanded and Herbert joined the famous Sousa band, whilst still
making appearances in both the Innes and newly reformed Gilmore band, under
Victor Herbert. It appears that Ernest joined Innes’ band when the Gilmore band
disbanded and he is most famous for his books of studies now rather than his
trombone solos. This simple melody is a very different piece to the polkas of the day.
Figure 31 shows the tune present in this solo which is very simple.

Figure 31

46
Salute to Sousa (1930s) Frank Burnell

Frank Burnell played in Professor E. L. Weinn’s Orchestra, which in 1904 was a 10-
piece group. He also played in the Sousa band on 2nd trombone after this period. The
piece is very reminiscent of an Arthur Pryor solo and difficult to say the least. It was
discovered as a manuscript on the desk of Steve Dillon, of Dillon Music, in New
Jersey in 2011 and may not have been performed until this recording. The
manuscript first page can be seen in figure 32.

Figure 32

47
My Heaven of Love (1933) by Edwin Franko Goldman

For more than 90 years the Goldman Band has been recognised as a vital part of
America’s concert life. It has served not only to thrill and entertain the public, but also
to promulgate the traditions and repertoire nurtured by two centuries of American
bands. Eminent composer-conductor Edwin Franko Goldman founded the band in
1911 and the present band still retains the Goldman name under the current
designation the Goldman Memorial Band. The print in figure 33 shows it was played
by cornet soloist Del Staigers.

Figure 33

48
Goldman was born in Louisville Kentucky on January 1st 1878. He began early
studies on cornet with the eminent cornet soloist Jules Levy. He received a
scholarship to the National Conservatory of music that was under the directorship of
Anton Dvorak. At age 22, he had established himself as a virtuoso cornettist and
performed with the Metropolitan Opera Orchestra for 9 years. In addition, he was a
writer for the Carl Fischer Music Company and had a very lucrative teaching practice
with 90 students per week. During his tenure with the Met he had the opportunity to
play under some great conductors including Walter Damrosch, Gustav Mahler and
Arturo Toscanini.

For its first season as the Goldman Band, in 1920, he began to present a vast array
of soloists, including Del Staigers who played this version of the slow melody written
by Goldman.

Hyperion Polka (1934) by Manuel Yingling

Manuel “Manny” Yingling was born in Newcornerstown, Ohio on October 24 th 1872.

He became a career musician, going through the school system in Newcornerstown.
After leaving Ohio, Yingling pursued music studies at both Oberlin College of Music
and Boston Conservatory. He was associated with several bands and orchestras
throughout his distinguished career, includin Sousa’s Band, in 1920. In nearly all of
the bands that Yingling was associated, he was the featured trombone soloist.

In addition to his performing career, Manuel Yingling was also a conductor, composer
and musical entrepreneur. As various performing engagements led him throughout
the United States, he maintained a home in Newcornerstown, Ohio, and for many
years served as the conductor of the Hyperion Band. Yingling was also a composer
of band music. The majority of his compositional output is limited to marches and
two-steps, although he did compose a solo for trombone entitled Hyperion Polka,
which was named after the band that he conducted in Newcornerstown. The music
was discovered in a library of silent film live music and was then arranged as a solo
with piano, with help from Steve Dillon from New Jersey. The only solo part I could
find was that of the cues shown on the 1st violin part as shown in figure 34.

49
Figure 34 Figure 35

A Vous (To You) (1937) by Al Pinard

John Schueler (1892-1964), another trombone soloist with the Sousa band, did not
compose any of his own solo works, instead choosing to champion the compositions
of others. Schueler’s favourite technical solos were those composed by Al Pinard
(1880-1943), the first famous trombonist to endorse the King brand trombone
manufactured by the H.N. White Company, and he was also a trombone soloist with
the Pryor Band. Al Pinard also wrote some simple slow melodies such as this one, A
Vous that I included on the recording and which is rarely heard. The melody of the
work can be found in figure 35.

Beautiful Colorado (1940) by Joseph De Luca

Born in Rome, Italy, in March of 1890, Joseph De Luca became one of the best
known euphonium soloists in the United States. He was a graduate of the Perugia

50
Conservatory of Music in Italy and was an accomplished musician in his home
country, having played with many bands and orchestras before immigrating to the
United States. He joined the Sousa Band in 1921, replacing John J. Perfetto as first
chair euphonium and soloist; Perfetto had replaced Mantia in 1904 when Mantia
joined Pryor’s Band. In addition to being a fine euphonium player, De Luca was also
a proficient trombonist. Although he played with the Sousa Band for many years, De
Luca was also a member of Victor Herbert’s Orchestra and the bands of Giuseppe
Creatore, Patrick Conway and Frederick Innes. Figure 36 shows the introduction to
the work.

Figure 36

51
De Luca played with the Sousa Band until 1928, and during this time exhibited his
skills on trombone, as well as euphonium. He appeared as a trombone soloist during
the 1925 Willow Grove Park engagement, performing John Philip Sousa’s
composition The Fighting Race. His most well recognised composition is the
euphonium solo Beautiful Colorado, hence its inclusion on this CD.

Figure 37 The Front Cover of the Salute to Sousa CD

52
Context of Salute to Sousa with other recordings:

As well as this CD of forgotten solos I also explored several other works that would
be described as belong to this era of virtuosi playing they are:

Phenomenal Polka by Frederick Innes recorded with Brass Band on the Freeh Spirit
CD WR12-05 2012 with piano on The World of the Trombone Volume 3 QPRZ 028D

Concerto for Alto Trombone by Wagenseil recorded with piano on World of the
Trombone Volume 3 QPRZ 028D 2012

La Valse Moderne by Gardell Simons recorded with piano on The World of the
Trombone Volume 3 QPRZ 028D 2012

Atlantic Zephyrs by Gardell Simons recorded with brass band on the T-Bone
Concerto CD WR-12-02 2012 and with piano on Boneman Walking WR12-03 2012.

All these works were discovered by me whilst I was touring from 2010-2012 and
other than the Wagenseil these works have not been previously recorded on
trombone since they were recorded onto wax cylinder in the early 1900s.

53
 Project 2B:
Slide Projections:
Contemporary Concertos for Trombone & Wind Band

Figure 38 CD Front Cover of Slide Projections

54
 Influence of Contemporary Wind Band Solos

I researched the Solos performed by trombone and wind band as opposed to

trombone and brass band and how the wind band repertoire has influenced the brass
band trombone player. I decided to choose contemporary trombone solos by
composers well known to the brass band soloist, to try and further influence the
repertoire played in the brass band genre. I wanted to choose pieces that were not
yet known in the brass band arena, so that the pieces I selected could add to the
small number of existing works in the genre that are substantial in length.
Researching all brass band recordings with a trombone solo you shall see in project
4 the lecture recital that only a small number of solos exist in the genre that are more
than 10 minutes in duration. I wanted to change this and add more substantial pieces
to the genre and so introduce them to the brass band audience by performing them
with wind band.

Philip Sparke (born 1951) and Johan de Meij (born 1953) have both written many
successful compositions including test pieces. Philip Sparke, born in London, studied
at the Royal College of Music and is a prolific arranger and writer of brass band test
pieces along with wind band works. Johan de Meij from the Netherlands is a
trombone player studying conducting and trombone at the Conservatoire in The
Hague. A prolific writer for wind bands he came to prominence in the brass band
movement when writing the test piece for the European Brass Band Championships
in 2005 with a piece called Extreme Makeover. The third composer Rob Wiffin (born
1954) has become a popular adjudicator and is a professor at Kneller Hall for the
British Army. He was previously a Director of Music for the Royal Air Force for 21
years.

It is interesting that Sparke has yet to arrange the whole of his trombone concerto for
Brass Band, whilst Johan de Meij was reluctant to arrange his piece for brass band, I
eventually persuaded Johan to allow a colleague of mine to arrange it for a project
with Kew Band in Melbourne. The Rob Wiffin piece however has been made
available for wind band, piano and brass band and is also to be the centre piece of
the lecture recital for this DMA.

55
It is rare to see a trombone solo with brass band accompaniment lasting more than
10 minutes in duration and this will be the subject of my lecture recital. This could be
the reason why more compositions have not been transcribed for brass band from a
wind band format.

Critical Commentary:

The purpose of this recording was to highlight significant works for trombone with
Wind Band, and to introduce these pieces to a wider audience, as trombone solos
with Wind Band are not a common occurrence. All the pieces were composed by
contemporary composers and as well as featuring leading composers of the 21 st
century, they also highlight the virtuosity of the trombone as a solo instrument.

In selecting the music, myself and Musical Director Jonathan Crowhurst wanted to
not only showcase these composers but also illustrate the talents of the Maidstone
Symphonic Wind Band so chose pieces that were more challenging than the norm.
Also I had worked closely and collaboratively with all three composers over the
years; for instance Johan de Meij from recording his concerto with brass band in the
summer of 2011; Philip Sparke from composing Prelude and Scherzo (1995) and
Capriccio (2011). Also Rob Wiffin who had written his concerto at my request in 2010
and a work called Shout in 2007. All of the above pieces were in manuscript format
before the recordings and were published afterwards.

It is the case that until this project a practising brass band soloist had not recorded
works with a symphonic wind band. Indeed many Orchestral players such as Joseph
Alessi Principal Trombone with the New York Philharmonic, and Christian Lindberg a
Swedish Trombone Soloist, with an international standing in the classical genre have
worked with Wind Bands on many of their solo CD projects. Some Jazz artists such
as American Trombone player James Pugh has done the same in a cross over
project of Jazz / Classical fusion. However never has there been a cross-over of
Brass Band genres to that of Wind Band. I thought it would be ground breaking to be
the first to do a CD of major Trombone Concertos by leading European composers. I

56
hope it will influence the brass band and other trombonists to look more closely at
such repertoire when considering music for recitals and concerts and make this
repertoire more widely known and therefore available. I very much wanted to
encourage my genre to move into a new direction and set up new trends.

Methodology and Process:

As all three of the composers were still alive with respect to the concertos chosen for
this recording, I was able to liaise with all three of them on the performance of these
works. Looking at the Johan De Meij Concerto I asked Australian Darren Cole to
arrange for Brass Band on the T-Bone Concerto recording project so previously had
a good understanding of this work, I collaborated with Rob Wiffin on the production of
his concerto and the Sparke I was fortunate to be able to use a previous recording by
Olaf Ott as well as discussing details of the work with the composer. The process of
the project is explained below by the Conductor of the Wind Symphony Jonathan
Crowhurst.

Solicited notes on the CD project by M D Jonathan Crowhurst:

“To explain the significance of this recording to Maidstone Wind Symphony, one has
to go back two and a half years. When I took over the wind orchestra in March 2010,
the ensemble had 13 members (predominantly woodwind players), no assets – that is
to say no percussion of its own, a relatively small library, performed, at most, three
concerts a year and rehearsed every other week. Today, MWS has a membership of
over 40 players; connections and relations with many wonderful people, including
composers, musicians, organisations and fellow bands and are now releasing their
first recording ‘Slide Projections’ with acclaimed trombonist of the world famous Black
Dyke Band,

Brett Baker:

One can feel nothing but pride at this achievement, which has been made in such a
short space of time and much credit has to go to the orchestra itself and its committee
for having the courage to take on this and many other ambitious projects in the last
two years. Brett first came to play with Maidstone Wind Symphony in May 2011 – my
first full season with the orchestra - and we performed, amongst other things, Johan
de Meij’s wonderful T-Bone Concerto. Brett must have been sufficiently impressed
with the performance to suggest we do a recording and so we discussed this future
project with the T-Bone Concerto agreed as the centrepiece of the programme.

57
Now to discuss the remaining works of the disc - Brett had just commissioned Rob
Wiffin to compose a new “Concerto for Trombone” having worked with Rob on
“Shout!” It was therefore agreed that this piece would be a great addition to the
programme. This would also maintain the fact that all the pieces on the disc would be
UK or World Premiere Recordings. If I recall, I naively suggested “Philip Sparke’s
Trombone Concerto” thinking this would be a great challenge musically for all
concerned and knowing Philip’s pedigree as a composer for the symphonic band
medium it seemed a very logical choice, it is however notoriously difficult for the
soloist! This being Maidstone Wind Symphony’s first recording, I also wanted a ‘solo’
item for the ensemble, something the players themselves on their own could
celebrate – MWS is of course a Kent group, so we thought of pieces which could be
identified with us and finally we settled on Jan Van der Roost’s “Canterbury Chorale.
“Canterbury Chorale” is written to sound like the majestic organ in Canterbury
Cathedral and this was certainly the sound we aimed for which I think one can hear
on the disc.

After months of organising venues, players, engineers, music et al. and after
cancelling one session in early January, we all finally got together at our rehearsal
venue, Invicta Grammar School, for two very hot days in July. Our engineers for the
two days were Richard Scott and Phil Hardman. As a virtual novice to recording, I had
not heard of Richard before this project began, but Brett assured me that he was one
of the best in the business – he was not wrong. In the lead up to the recording I just
happened to be going through a couple of my brass band CDs (as you do) and
noticed Richard’s name on one of them, then two, then three, till it became apparent
that he was on the vast majority of these excellent recordings!

It was clear that this project was on the right path; we had a top soloist, top engineers,
great music by great composers but this made it all slightly nerve-wracking for the
ensemble and I so as well as excitement there was also some scepticism going into
the sessions and being our first recording together there was always going to be an
element of the unknown about it all. The pieces themselves presented the soloist and
orchestra with significant and distinct challenges – the general one for most wind
orchestras is rhythmic precision and unanimity as well as tuning, which on two hot
days would be a challenge. I think the orchestra were as prepared as they could have
been for this undertaking but were now having to take their performance to a whole
new level.

The sessions themselves went pretty smoothly, though we had to do without our
principal horn for the first session as he got caught up in heavy traffic. However, the
orchestra’s sound was wonderful; full of energy but with the colour and texture one
could hope for in a live performance. After a couple of early takes the orchestra
began to settle, the confidence grew and everyone played to the best of their ability
and really started to enjoy themselves.

The two days were split with the De Meij and the Sparke on the first day with the
Wiffin and the Van der Roost on the second. In hindsight, we may have swapped the
Johan de Meij and the Wiffin simply because of the length of the two pieces – the
Wiffin being significantly shorter and therefore with more possibility of focused
scrutiny. That being said, everyone went home happy after the two days and the
orchestra went on holiday thoroughly satisfied with their work. However, neither my

58
work nor Richard or Brett’s was done as the editing process began. This as any
director will tell you, can be a very frustrating time. As Music Director, knowing the
ensemble and music so well, you hear every nuance in the performance both good
and bad and there are so many things you wish you had maybe done differently – I
am certain I am not alone in this. I was very happy with the overall sound of the
orchestra but a stray note here, a bit of dodgy tuning there, just makes you question
how you did not hear it in the sessions themselves. Showing my inexperience I sent
Richard a very long list of edits…….I am sure they were gratefully received! Richard
was very understanding though and after four rounds of edits we came to the end of
the process with works we were all happy with.

During all of this, in the background we were busy with the company Split Design
designing the CD cover and sleeve notes and coming up with an album title. Many
puns came to mind; amongst my favourites were On the Slide, A Side of Slide, A
Walk on the Wild Slide, we could go on! However, designer Oliver Bentley I think
finally suggested Slide Projections, which was agreed by all parties, it also gave
potential to a number of strong images for the cover. In the months leading up to its
release we got a number of encouraging messages from the composers on the disc,
in particular Johan de Meij and composer Nigel Clarke whose endorsements are
featured in the sleeve notes.

Ultimately whatever the discs successes or failings are the ensemble can look back
and be proud of its achievement. We put something into the world that celebrated
new music by living composers, performing with a top professional soloist and
recording with a top engineer. My personal aim for this disc was to create recordings
that, although may not be note perfect, are effective enough to give the overall shape
of the piece and take the listener on a journey. I sincerely hope this is what we have
achieved, there are some wonderful individual performances by members of the
orchestra and I hope we have made good, if not great, music.

I would like to thank Brett, Richard and all those who helped make this project a
possibility. The orchestra had a fantastic time and we are certainly looking forward to
our next recording project.”

Jonathan Crowhurst

Programme Notes from CD Sleeve:

The Music: Slide Projections by Maidstone Symphonic Winds

Concerto for Trombone (Rob Wiffin) Studio Music

59
Rob Wiffin’s Trombone Concerto was commissioned by Brett Baker following an
earlier piece that was written for him called “Shout! “It was composed in Spain in the
summer of 2010. Rob states:
“Once I started writing I realised that this concerto was inevitably going to draw on my
own experiences as a trombone player. The first movement was really a matter of
getting the right thematic ideas and balancing the tutti and solo passages, so, for
formal structure I studied the “Gordon Jacob Trombone Concerto”. There is a lyrical
section preceding the first Allegro that owes much in spirit to “The Eternal Quest”,
Ray Steadman-Allen’s Salvation Army solo. The slow movement seemed
determined to come out in the vein of a Richard Strauss song. I wanted to write
something ineluctably ‘cantabile’ as we trombone players rarely get a chance to play
the melody. There is a brief allusion to that wonderful moment when the trombone
gets to sing above the orchestra in Sibelius’ seventh symphony. Arthur Wilson, that
great exponent of the singing style of trombone-playing, and my teacher at college,
died in the summer of 2010, so it seemed appropriate to dedicate this movement to
him. The last movement is the lightest of the three in style and is slightly jazz-
inflected, hopefully providing some fun for the soloist. While wanting to test the
instrument I did not set out with the intention of making the concerto difficult but there
are undoubtedly challenges of technique, range and style to be met by the soloist.”

Figure 39 below shows the opening statement of the work with piano accompaniment
and its similarity to the construction of the opening of the Trombone Concerto by
Gordon Jacob.

Figure 39 Opening of the Rob Wiffin Trombone Concerto

60
T-Bone Concerto (Johan de Meij) Amstel Music

In his concerto for trombone, the three movements are about how a T-bone steak is
prepared! Rare, Medium and Well-Done! There is an element of increasing difficulty
for the soloist as you go through the movements. The first movement is a "warm-up"
compared to the all-out finale! Johan de Meij uses his own experience as a
trombonist to construct the piece, demonstrating the trombone's ability to sing
sonorously and the technical virtuosity required of the soloist.

Johan de Meij also creatively uses the accompanying band as he scores the first two
movements in a neo-baroque style and the third like a chamber ensemble with
harpsichord. The finale of this concerto must be one of the most triumphant musical
moments ever written.

Johan de Meij states: The ‘T-Bone Concerto’ is my very first composition for solo
instrument and symphonic band. This work was commissioned by The Kentucky
Music Educator Association (KMEA) and was written between August 1995 and
January 1996. The first movement was performed at the annual KMEA-conference in
Louisville, Kentucky (February 1996), Jeffrey Thomas being the soloist. The world
premiere of the complete work was performed by Jacques Mauger and the Band of
the Royal Dutch Marines, conducted by Maurice Hamers, at the Concertgebouw
Amsterdam on March 1st 1996.

Trombone Concerto (Philip Sparke) Anglo Music

Philip Sparkes concerto was commissioned by the Deutsche Blaserphilharmonie for

a recording of Sparkes Music in October 2006. The concerto was written for, and is
dedicated to Olaf Ott, principal trombone with the Berlin Philharmonic.
The concerto is in traditional three-movement form and the whole work could be seen
as a dramatic soliloquy for the soloist, who starts in earnest and agitated mood, but
as the concerto progresses, is able to take a more optimistic tone until he ends the
work with a symphonic samba.

61
The first movement starts darkly and although the soloist introduces a more positive
mood over a lightly scored accompaniment, the band introduces a faster, troubled
central section, which overpowers any feeling of optimism, and the movement closes
over a sombre drum ostinato.

The second movement opens with a heart-felt plea from the band which is echoed by
the soloist. He then plays a simple chorale melody which introduces a delicate
central section featuring a chant like tune. This is taken up by the trombone and
leads to a joyous climax which heralds a return of the opening material.

The third movement casts aside the troubled feel of the preceding ones and is a
joyful samba. A jazz-influenced central tune explores the higher ranges of the
trombone before the samba rhythms set up a contest between the soloist and the
bands trombone section. The soloist is the eventual ‘winner’ and he celebrates by
reintroducing the samba melody before bring the work to a virtuosic close.

62
 Project 3:

Premiere of Significant works:

Accompanied by Black Dyke Band Directed by

Dr. Robert Childs

63
 Choice of commissions for the DMA:

Due to a number of commissions being set by me during the period of my DMA

studies, it was difficult to know whether to choose the Rob Wiffin Concerto with brass
band, Martin Ellerbys Sonata, Peter Grahams Radio City or Edward Gregson’s
Trombone Concerto for this part of the portfolio.

I have spent some considerable effort getting Orchestral Concertos transcribed for
brass band over the years and so thought the works of Edward Gregson would be
apt considering his links to classical music and Salvation Army music joining together
two of the influences on the brass band trombonist. The piece is a substantial wok for
trombone by a leading brass band composer hence its inclusion.

Peter Graham needs no introduction to the University of Salford and his Radio City
was very much a cross-over of genres taking much influence from the Jazz idioms of
times gone by. I have always been a fan of Professor Graham’s music and once
more his association with the Salvation Army and the links with the first project in this
DMA made Peters piece the natural choice to select for performance and comment

As the wind band version of the Rob Wiffin was also premiered during this time frame
of the DMA you will find notes of this work also in the appendices.

64
 Project 3A

Premiere of Gregson Trombone Concerto with Brass Band

The Edward Gregson Trombone Concerto was written for Michael Hext in 1979.

Edward Gregson was born in 1945 and is a composer of international standing. He

studied composition with Alan Bush and piano at the Royal Academy of Music. Since
then he has worked solely to commission and has written, orchestral, chamber,
instrumental and choral music and music for theatre, film, and television as well as
brass band and wind band compositions.

His Concerto for Trombone was commissioned by the Bedfordshire Education

service (with funds provided by the Arts Council of Great Britain), especially for
Michael Hext who won the inaugural BBC Television “Young Musician of the Year”
competition in 1978. It was first performed in 1979 at the Royal College of Music by
Michael Hext, with the Bedfordshire County Youth Orchestra, conducted by Michael
Rose.

“The work falls into three main sections played without a break, but conforming
to the traditional pattern of concerto structure. After a slow introduction,
containing most of the motivic and rhythmic ideas used in the work, there
follows the main fast section which is itself divided into three parts and
concludes with a fierce climax (timpani and gong). The slow and rather intense
middle section is linked to a cadenza for the soloist, at first unaccompanied
but leading to accompanied references to earlier material. The final section is
a scherzo which ends dramatically with a re-statement of the opening slow
introduction. A brisk coda concludes the work. The interval of a fourth (and its
augmented form) provides melodic and harmonic unity for the work, whilst the
tonal juxtaposition between E minor and B flat major throughout the concerto
is an important element of the structure. The writing for trombone is virtuosic,
encompassing the whole range of the instrument, but it also exploits the rather
beautiful lyrical sound of which this instrument is capable. (Gregson E. 2012).

65
Figure 40

Edward Gregson

The newly revised version for trombone and brass band was then premiered at the
Newbury Spring Festival on 11th May 2013. As I was unable to have the live
performance recorded at the festival I asked Jeremy West a professional musician,
and expert in early music and a tutor at the Royal College of Music to do a review of
the performance, as he also has an interest in brass bands being a tenor horn player.

66
 Premiere Recording of the Gregson Concerto
Methodology and Process:

As well as Premiering the work live I was fortunate to be able to include a commercial
recording of the CD with Black Dyke Band. Even though this piece was a
transcription by the composer himself it still took a huge amount of collaboration to
get the piece to where the composer, interpreter, publisher and Musical Director were
all happy. The errata sheet from Edward Gregson from the first run through in April
2013 can be seen below in figure 41. The errata points out many note changes that
the composer wanted to revise once he heard the piece played in a rehearsal.

Figure 41

67
The composer also sent an email to myself, Paul Hindmarsh and Nick Childs which
can be found below as figure 42.

Figure 42 - Edward Gregson’s email concerning changes:

Dear Nick/Paul/Brett

It was very useful to have the recording of the run through of the Trombone Concerto
from the other evening. I have now re-checked the score and corrected some
mistakes. Here is the list, plus an attached list of m/s changes. As there are very
changes (fortunately) I suggest that, as with Of Distant Memories, the players and/or
Librarian add the changes to the score and parts. Paul: I suggest you make the
changes to the computer set score and parts, sending me a score only for checking. I
then suggest you hang on to send the final version to Howard until we have the
recording session at the end of May (in case there are any further changes, unlikely
though that is).
Here is the list:
P2 b9-10 Solo Ct see scanned ms page
P4 b21 E flat tuba add sharp to G
P12-13 b64, 66, 68 3rd Ct (upper) Bs not Cs
B69 Cts 2&3 add open sign (as in previous
bars)
P16&17 b88-90 1st Bt see scanned ms page
B88&89 B flat tuba D naturals, not D sharps
B103 Hns & 1st Bt add ‘ff’ to entries
B105 Perc 1 add ‘ff’
P21 b112-115 Flugel delete (ie solo ct only)
Ditto solo ct ‘f’ not ‘mf’
B116 sop ‘f’ not ‘mf’
P24-25 BTbn see scanned ms page
Solo tbn part b153: should be a G not A
P32 b170 Euphs add flat to F on 4th beat of bar
Fig 14 BTbn add ‘st.mute’ then ‘mute out’ on
b192
B37 b205 E flat tuba add sharp to F
P38 b210 1st Bt add sharp to C
Fig17 Euphs add ‘st.mutes’
Fig17 Tbns 1&2 see scanned ms page
P45 b239 BTbn add ‘mute out’
B242 Hns, 1st Bt, Euphs add ‘mutes out’
P47 b253-54 Timps add two more bars of E rolls
(tied to previous bar), and add hairpin dim in b254
P49 b276 E flat and B flat Tubas add sharps to all notes on first
beat of bar
P51 b292-5 Euphs see scanned ms page
P58 & 59 Tbns, Bts, Euphs see scanned ms page
P69 b434 Euphs first note of bar should be A
not C

68
Editing Note for Paul: from p41 of score onwards, nomenclature of 1st Ct changes to
Rep Ct...please change back to 1st Ct for rest of score.
Note for Brett: did you get a ‘new’ solo part i.e. in the treble clef? If so, can you check
it against the published solo part for any discrepancies? If you don’t have one I’ll
arrange to have one sent so please let me know......

Rehearsal note: I took the first allegro (i.e. fig 2) a little too fast – it should be a little
steadier and ‘deliberate’ in its rhythms. Otherwise the tempi were about right. I think
we took the final scherzo at about the right tempo (i.e. dotted minim = 84) – it should
sound virtuoso in any case, as it certainly does and will do with you Brett! Well done
on the read through...I’m happy with the new scoring – I think it works okay.

That is all for now. I’ll try to get to the premiere, but I think it will be a bit difficult. In
any case I shall be there for the recording session on 23 May.

Regards,

Eddie

Certainly even after the recording in May 2013, Professor Gregson found further
mistakes in the parts within the cornet line that he then wanted to be re-recorded on
a separate session which took place several weeks later.

Additional email from Professor Edward Gregson

Dear Nick and Bob

Many thanks for Thursday evening – a most rewarding, if a little hectic, experience! If
you had said to me that it would be possible to get that much music down in a 2.5 hr
session, I would have said you must be mad! However, apart from a few moments
when I would have liked a little more time to consider things (one such moment
below) it went very well, and I think that when it’s edited up it will be a great CD! Well
done Brett for having lips of steel and for playing so musically! and to you both for
your professionalism and musicality.

69
Figure 43
CD Sleeve to Symphony

CD Cover of Symphony, the Music of Edward Gregson Volume 5

Figure 44

Track listing evidence of Gregson Premiere on CD

70
Figure 45

Myself with Edward Gregson at the recording of his Concerto, Morley Town Hall

71
Figure 46

Myself and Conductor Dr. Robert Childs at the recording in Morley Town Hall

Summary

The commissioning of this piece and subsequent recording is important as it is one of

the few major trombone concertos (over 15 minutes in duration) rearranged for brass
band (by the composer) and therefore contributes a significant work for the
instrument to an otherwise limited number of trombone concertos in the genre.

72
External Review by Jeremy West of the Gregson Concerto Premiere

“Newbury Spring Festival 11th May 2013

Trombone Concerto by Edward Gregson (2013 new version) (1979 originally) with
Black Dyke Band (First performance in version for soloist and brass band)

The new composition:

This is a newly orchestrated version of the trombone concerto (1979) in a setting for
soloist with brass band

Black Dyke Band

Once again Brett Baker is fortunate to have the Black Dyke Band for his backing and
he uses the platform that they give him to great effect, enjoying their ‘cushioning’
support whilst projecting the solo line well (more discussion of this follows below).

PhD in Performance
As in my assessment of Brett Baker’s performance at the Royal Northern College of
Music (first performance of Peter Graham’s Radio City) I decided to assess this
performance on a purely professional level. I therefore make no allowances for the
fact that the soloist is actually a student, holding, as he does, a principal seat in what
may well be the world’s most famous brass band.

The Concerto is arranged in four movements

- lento e molto tranquillo
- allegro giusto
- andante e cantabile
- allegro

As with the performance of Radio City in Manchester it is worth pointing out that the
soloist needs a very high level of ‘fitness’ as well as technical ability to tackle this
concerto. By ‘fitness’ here I mean the strength and stamina to play the piece from
beginning to end. Just as a marathon runner needs to go into special training for the

73
big event, so too does a brass player, and the stamina required to get through a
concerto as demanding as this is an issue frequently (usually) overlooked by the non-
specialist listener. This concerto covers a range virtually of 4 octaves from pedal F#
to top E - both exceedingly low and high for a tenor instrument - and demands a
great deal of flexibility and stamina from the performer.

The Performance
Again, as with Radio City in Manchester, it should be noted that, in keeping with
brass band tradition, the soloist in this concerto was obliged to play the entire (very
demanding) evening’s programme in addition to the concerto itself. As conductor Dr
Robert Childs rightly pointed out in his verbal introduction, were this to have been a
performance in the version for symphony orchestra, Brett Baker would have had the
‘luxury’ of concentrating exclusively on the concerto with no need to worry about the
remainder of the programme.

This concerto is clearly well written for the instrument; whilst taking the performer to
the extremes of range, velocity and dynamics the soloist’s lines appear to be, for the
most part, well placed under the trombone slide. Brett Baker took the above-
mentioned extremes (range from high to low; tempi from very fast to rather slow;
dynamics from powerful and strident to soft and mellifluous) well in his stride as he
characterised the movements of the concerto individually to good effect.

Two thoughts of mine may be a little controversial - and I am happy to stand

corrected if these are inappropriate or even misguided: the first looks to build on the
word (above) “mellifluous” and the second (also above) on balance and projection...
First I did wonder whether Brett Baker could be more vocal in his approach to some
of the passages. For example the section that begins at bar 238 where a steady,
lilting, one in a bar gives the opportunity for true vocal phrasing, a song without
words. Although perfectly adequately played with absolute accuracy and good
phrasing, I did not feel that Brett was truly ‘singing’ through the instrument at this
stage of the performance, perhaps more (if I may be so bold) marking time through a
section that is technically straightforward and undemanding. To me there is no sound
in the world like that of a brass instrument being played vocally and I did think that
this was an expressive opportunity overlooked.

74
Second, the trombone is a directional instrument. Brett is tall and he plays with the
music stand at a low setting relative to his height. His default gait whilst playing
therefore is somewhat stooped with the bell of the trombone pointing down at circa
45 degrees. He also plays quite markedly across the front of the audience rather than
directly out towards it in his desire to retain good contact with the conductor. This is a
pity because, although (as said above) balance with the Black Dyke was good,
projection was not always of such a high standard. (I differentiate here between
‘balance’ with the backing group and ‘projection’ of the solo line). I would like to see
him change his default manner of delivery by turning out towards the audience
(sacrificing some contact with the conductor along the way) and by lifting the bell
closer to 80 degrees. In my opinion these adjustments (and they are not easy to
achieve either physically or psychologically) would make a big difference to Brett’s
performances.

Conclusion:
Brett Baker’s Doctorate in performance makes available a portfolio of excellent new
material to the advanced trombone player and it is, I suggest, to be applauded for
that alone. The Gregson Trombone Concerto, in this new version for brass band, is a
good example of this and I hope that it will become popular with high-level brass
bands and their audiences. This was an excellent and most enjoyable performance.”

Jeremy West May 2013

75
 Project 3B:

Premiere of Peter Graham’s Commission Radio City

Context:

This extended work follows on from long line of commissions Premiered by Black
Dyke Band including concertos by Ray Steadman-Allen (born 1922), Wilfred Heaton
(1918-2000), Philip Harper (born 1972), Paul Lovatt-Cooper (1976) and Marc Owen
(1956). Peter Graham (born 1958) wrote a piece commissioned by the Black Dyke
Band that was premiered at the Festival of Brass at the Royal Northern College of
Music in January 2013.
I considered Peter Graham to be the composer of choice in the DMA portfolio due to
his strong links within the brass band genre as a prolific composer of test pieces, and
due to his origins in Salvation Army circles, as well as his tendency to use influences
from other genres. His choice of using the sounds of the New York Jazz scene was
something that linked nicely to my research studies, when looking at influences of
Jazz and Swing on the brass band movement.

Figure 47 Peter Graham

76
 Peter Graham

Born in 1958 in Lanarkshire Scotland, Peter is one of the leading composers for
brass band. Interestingly he took postgraduate studies with Edward Gregson at
Goldsmiths College, University of London, and during this period of study he wrote
his test piece “Montage”. This influence and relationship links him to my other choice
of commission for this portfolio, Edward Gregson and the Gregson Trombone
Concerto discussed earlier.

From 1983-1986 Peter was resident in New York City, where the inspiration of this
commission comes from. Since his return to the UK, he worked for the Salvation
Army in London. He has worked regularly as an arranger for BBC Television and
Radio and has specialized in composition for the British style brass band.

He joined the University of Salford in 1992, and progressed to Chair of Composition

at the University before retiring in February 2014. Peter has held posts as Music
associate with Black Dyke Band 1997-2004, and as composer in residence with Her
Majesty’s Coldstream Guards Band.

Methodology and Process for Radio City:

I was fortunate to be able to collaborate closely with Peter Graham on this brand new
work for trombone, and with Dr. Robert Childs who conducted the first performance. I
met Peter at his house back in December 2012, to hear the first draft via a Sibelius
recording and I played through a number of sequences which Peter took down before
producing the final version. The first draft was found to be near impossible to play in
the third movement of this work, due to the speed of the movement and the number
of notes. Dr. Robert Childs made a recording in the band room of the pieces for Peter
to listen to.

In collaboration with Peter about the piece, several changes were then made to the
third movement as a result of the band-room recording, in order to get a more
convincing end result. I also discussed this with the conductor and then changes

77
were made to the band parts and the differences can be seen in the two scores
below figure 48 and figure 49, which became the working progress versions of the
movement.
Figure 48

78
Figure 49

79
Professor Peter Grahams email:

“Hi both - recording sounds very good and stylish - adding the "music theatre"
element I think will make the whole thing great fun. Dale I think is clear regarding his
role - only the CD to be checked now I think (passed that and recording scores for
you Brett courtesy Bob).

Here is the final section revision which should hopefully make it more practical and
give more scope for performance (and the bugle-call style fits with the Derby call to
arms too).
Brett - once you have tried this out let me know if requires any more tweaking. Once
you are happy I will send on tweaked Solo Cornet and Euphonium parts (basically
just making letter I to J match your solo line from A). Solo dynamics may need
occasional checking too.
Midi also attached for reference.
Couple of other minor points:
Mvt 1 - remove last pause in bar two - I think it needs to flow once the trombone
starts (Bob, tutti could maybe have a quaver rest break rather than the marked pause
crotchet)
Brett - B nat in bar 5, sounded like Bb in recording.
Mvt 2 - Bob, at your discretion smattering of applause from the band as last chord
dies (fine if it gets the audience started)
Mvt 3 - at your discretion the wood block could start at some point during the
narration to wind it up.
Many thanks - it will be great!

Regards

Peter”
Summary

The commissioning of this work was significant in that few original works for
trombone and brass band exist that are more than ten minutes in duration. That a
narrator was integrated into the performance, the use of electronics with the sounds
and props such as a radio, as well as the narrator being dressed in period clothing,
transforms the piece into a unique work. Peter Graham, Dr. Robert Childs and I
discussed at length how we could make the performance unique and very different to
other works for trombone. Although only recently published the work was featured by
Ryan Watkins on the BBC Radio 2 Young Brass Soloist competition (March 2014).
Both the BBC and the soloist sought advice about the piece and its performance from
myself. The work has immediately had an impact on the genre and is seen as a
desirable and popular piece of music to play. My subsequent recording after the
Premiere at the RNCM has gained impressive reviews which can be found in the
appendices.

80
After a final collaboration the end result of the final movement was figure 50 seen
below.

Figure 50

81
 External Review of Premiere Radio City by Jeremy West
Royal Northern College of Music 25th January 2013
Radio City by Peter Graham (2013)
With Black Dyke Band
(First performance)

“The new composition:

Having hugely enjoyed such pieces as Gaelforce, The Essence of Time, On the
Shoulder of Giants, A Time for Peace, one has come to expect a lot from Peter
Graham and the new work for tenor trombone and brass band, Radio City, is no
disappointment. The use of a narrator is an inspired move which sets the three
movements neatly in their context, conveying the spirit of 1940’s America. (Graham
also uses a narrator in his Music inspired by 44 Scotland Street. Here, wind band and
narration overlap with one another (Peter and the Wolf - style), whilst for Radio City
the narration is used purely for scene-setting.)

Composer’s Note on Radio City

As youngsters growing up on the west coast of Scotland, my brother and I fell heir to
an old valved radiogram which provided us with our first experiences of radio
broadcasts. On the short wave signal, and through the static, we could pick up a
whole range of programmes from across the Atlantic. I particularly recall the baseball
games, the American accents of the announcers providing a window to an evocative
world far removed from our small Ayrshire town. These memories form the basis of
Radio City.

The work is set in three movements, each introduced by a pastiche radio announcer
narrative written by Philip Coutts. The first, City Noir, is a nod towards Raymond
Chandler's eponymous private eye Philip Marlow and the dark cityscape of 1940s
California. Movement two, Cafe Rouge, takes its title from the main restaurant in New
York's famous Hotel Pennsylvania. Two of the most famous band leaders of the
1940s, trombonists Glenn Miller and Tommy Dorsey, broadcast live from the cafe on

82
numerous occasions and the movement echoes with a collage of imagined sounds
from the period. The finale, Two-Minute Mile, derives from an event dubbed in the
USA as "the most exciting two minutes in sport", namely the Kentucky Derby. The
virtuoso soloist figurations have their roots in Kentucky bluegrass fiddle music, with
the galloping bluegrass clogdancing rhythms providing the backdrop.

Peter Graham, Cheshire, January 2013

Black Dyke Band

Size, it is often said, is not everything, (although it certainly can help). I commented
to some of the musicians in the Band after the concert about the wonderful sound
that the Black Dyke makes. Interestingly I had the same response from everyone:
“yes, it’s really huge isn’t it?” Or words to that effect. Well, yes, it IS a big sound; a
glorious big sound. But it’s a whole world more than that: the sound is golden and
warm, rounded (not brittle or harsh, never edgy), perfectly blended and balanced,
and it brings a huge smile to the face as it did to mine from the very beginning of the
Britten Fanfare at the start of the concert. At the end of what had, for me, been a
rather tedious grey sort of a day, I had a beam on my face from bar one of this
performance (I do not exaggerate) and I put that down purely to the sound. This is an
‘expensive’ sound in as much as it has cost a lot of time and hard work to produce,
both individually and as a group. Brett Baker is fortunate to have the Black Dyke
Band for his backing and he puts the platform that they give him to perfect use.

DMA in Performance

In the absence of such defining goalposts I decided to assess this performance on a

purely professional level, making no allowances whatsoever for (for example) that
fact that the soloist is also a student.

The Performance

I should point out to any reader who has no experience of brass playing that, in order
to play this piece, the soloist has to have a really high level of ‘fitness’ as well as
technical ability. By ‘fitness’ in this context I mean the strength and stamina to play

83
the piece from beginning to end with the added pressure of live audience and
microphones. For brass players, this sort of a problem is rather like that of a
marathon runner: can I make it?! And for most players Radio City would be out of
reach both technically and in terms of the stamina required simply to get through.

Noteworthy in this concert is the fact that the flugelhorn soloist in Philip Wilby’s One
Star - sailing west had a substitute player until her solo came round in the
programme. Hence she could walk onto stage fresh, having taken no part in Britten’s
Fanfare and McMillan’s Canite Tuba. Brett Baker had no such luxury as he was
obliged to play every piece up to his own solo - the penultimate piece in the
programme. This programme was a huge blow by any standards; far from an ideal
way to embark on a world’s first performance of a demanding solo piece to a Festival
audience comprised almost entirely of experts. Brett Baker was apparently unfazed
by the above and was able to play seemingly ‘as fresh as a daisy’. I feel that I must
stress (again to any reader without brass playing experience) how impressive this is.

Radio City is fiendishly demanding on the soloist and Brett Baker pulled off its first
performance with tremendous panache, style and virtuosity, coupled with a golden
sound fitting to the Black Dyke Band (as described above) and Glenn Miller (2nd
movement). I think it was the Brazilian jazz trombonist Raul de Souza who learned to
play the trombone whilst listening to his older sister practising the violin. As a child
nobody told him that the violin is capable of greater virtuosity than just about any
other instrument, and so he learned to play trombone in a florid manner from a very
young age, asking no questions, and in imitation of his sister. This is precisely the
approach needed for the 3rd movement, the 2-minute mile. Fiddle music Kentucky
style is called for and Brett Baker delivered it to perfection. This movement was a
display of virtuosity on a level which would have made a violinist proud. I confess to
being a touch nervous, before the solo started, that Baker would play with an
incessant vibrato, the staple and default sound of so many brass bandsmen and
women today and, in my opinion, so inappropriate. (Vibrato, I suggest, should be an
affect and absolutely not habitual). But the Black Dyke clearly do not adhere to this
strange wherever-did-it-come-from-and-why style of delivery; and Brett Baker is of
the same school. Of course I need never have been concerned. Nearly all the vibrato
which the soloist used - most notably in the musical nod to Glenn Miller - was added

84
with the slide and not on the breath or with the jaw. This was, for me, a great relief as
well as a joy to hear.
The performance was sprinkled with delights both technical (playing violinistic music,
perfectly controlled lip trills (terribly difficult to bring off under control (or even at all))
and musical (golden sound throughout, vocal / lyrical style of playing).

Conclusion:
Radio City is a great asset to the (advanced!) trombonist’s library of available
repertoire and I hope that it will be seen and heard many-a-time in the future. For
Brett Baker, soloist and student: sensational performance, glorious sound with
virtuosity to match; stamina, energy, commitment, musicality - an absolute triumph. I
was delighted to be there. Top marks - no allowances necessary”.

Jeremy West February 2013

85
 Project 4:

A presentation of significant solos for trombone

and brass band

Accompanied by Black Dyke Band Directed by Dr.

Nicholas J. Childs

86
 Project 4:

Public Lecture Recital Notes– Significant Solos for Trombone &

Brass Band

The lecture recital took place on 28th November 2013 at Peel Hall with Ruth Webb
on piano and Black Dyke Band conducted by Dr. Nicholas Childs.

Introduction:

The title of my DMA is as follows: An exploration and contextualisation of rarely

heard compositions, written for the virtuoso trombone player in differing genres; and
an analysis on how these genres have influenced music, written for the brass band
trombone soloist in the 21st Century.

In the lecture recital I will discuss and perform important solos for trombone and
brass band that have been rarely played in the 21st Century.

To begin, it is necessary to explain that the number of original larger works for
trombone and brass band is surprisingly small up until the 1980s. Christian
Lindberg’s influence on orchestral and wind band works may have played a
significant part in works for the instrument becoming longer in duration and more
serious in nature. Due to the nature of brass band concerts, however, the inclusion of
a trombone solo in a concert is almost unusual, and for the solo to be over 10
minutes in duration is a special event; for a solo to be over twenty minutes is very
much a rarity. The Festival of Brass series, directed by Paul Hindmarsh, has
flourished since the early 1990s, and has played a large part in the introduction of
larger works for trombone and brass band over the past twenty years, this has had a
significant impact on works for the instrument within the brass band genre.

The first ever known work for trombone and brass band is The Death of
Nelson, composed in 1859. There is evidence that this piece was played on
trombone in the 1880s and was hugely popular in concerts (Brass Band News 1880-

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1886). It was published by Wright & Round in 1880 and played regularly as a
trombone solo, due to it being a popular song of the time (Brass Band News 1880-
1886). It was performed at Salford Universities Adelphi Building in January 2010
during a lecture by Dr. Ron Holz of Astbury College in the USA. Brass bands have
often played popular music of the era and this solo would have been no exception.

Another piece written around 1884 that was played in concerts regularly I discovered
again in the newspaper Brass Band News it is entitled Trombone Polka, composed
by Alfred Boulcourt (Brass Band News 1884). It was not published however much
later in 1938 and was arranged at this time by Dr. Denis Wright. This piece has not
been recorded but appears to be present in many band libraries, including Black
Dyke, Besses O’ the Barn, and Faireys, and in New Zealand Invercargill, New
Plymouth and Whangerai band libraries. No doubt influenced by the German Polkas
of an earlier era, now popular in Britain and the ex-colonies of the old British Empire.

Play Trombone Polka by Alfred Boulcourt (1884), with band

Contests became an important part of the brass band culture, becoming

commonplace from the 1840s. There is, however, evidence which suggests that
there was a contest in Sheffield as early as 1818 (Taylor, A. R. 1979p.32). As well as
band contests, solo contests were also becoming popular, sometimes as part of a
band contest festival or as separate events.

The next significant work for trombone published for the brass band genre but with
piano accompaniment for solo contests was Premier Polka by Henry Round (1886)
and Crystal Palace by J. Ord Hume, published in 1905. The solo St Crispin by
William Rimmer, is not dated but would have appeared around the same period and
may never have been performed, due to its difficulty and rare inclusion of triple
tonguing at that time.

Play St Crispin, with piano

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It is important to realise that Columbia records (established 1887) and other
recording companies began to record brass bands from the 1880s, however no
record of a trombone solo has been found in any archive until the 1930s.
Research took place of vinyl recordings and CDs via the brass band archive listing in
Wigan and the Salford University archive, as well as online research. It shows an
apparent lack of trombone solos in physical concert programmes and recordings.
When such solos did occur they consisted of five popular pieces all less than 10
minutes in duration. I will now discuss these works.

The first to appear was A Never Failing Friend (1932), a famous solo by Erik Leidzen
composed in 1932 and recorded in 1934 by Arthur Brown and the Salvationist
Publishing and Supplies Band.

Secondly, the solo Melodie Caprice (1937) (Copyright Control) was a popular piece
in concerts and on recordings in the 1960s and 1970s. Melodie Caprice would have
been influenced by the Arthur Pryor type solos being performed in the USA and by
other soloists such as by Clay Smith, Leo Zimmerman and Herbert Clarke, as many
cornet solos were adapted for trombone due to the lack of repertoire.

The third solo was Loves Enchantment (1970) which would have been a direct result
of the recordings of Pryor. Another popular piece in concerts in the UK in the 1970s
and 1980s was the arrangement of Berceuse de Jocelyn or Angels Guard Thee by
Benjamin Godard (there are now three separate arrangements of this work).

I mentioned the soloist Leo Zimmerman previously in Project 2 Salute to Sousa and
his influence one of the few trombonists other than Pryor to record solos in the
1900s. He was the trombone soloist with John Philip Sousa's Band after Arthur Pryor
left the group, but was composing solos around the time Pryor was playing in
Sousa’s in Band. Zimmerman served as Sousa's first chair and trombone soloist
from 1904-07 and also returned to the band for a brief stint in 1930-31. He had
previously played in the Frederick Innes concert band on the West Coast of America.
Unlike Arthur Pryor, Zimmerman’s compositional output appears to be limited solely
to that of trombone solos.

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Play Leona Polka by Zimmerman (1903) (Have Recording)

The glissando solos were popular from the 1920s – 1980s; for instance, pieces such
as The Acrobat (1935) and The Jester (1936) (pub Wright & Round). Greenwood’s
The Acrobat (Pub Wright & Round) was in fact the fifth solo found to be played
throughout this era and has remained popular ever since. J. A. Greenwood was a
prolific composer for brass bands as well as successful conductor. He wrote original
overtures as well as arrangements of classic overtures (Newsome R. 1998 p.157).
Other composers followed suit, such as Harold Moss with The Firefly (1927) and also
The Joker (1929) (Pub. Boosey & Hawkes). Moss was better known for the cornet
solo The Nightingale (1929), and less well known The Redcap (1928) (Pub. Wright &
Round).

Few people are aware of the first trombone solo recorded with a contesting band,
entitled the Switchback (1923) (Pub Boosey & Hawkes) by Edward Sutton, who
wrote several glissando solos before the compositions of Greenwood and Moss. He
wrote Quicksilver in the 1920s, The Jigsaw, (1932), The Joy Wheel (1923), The
Favourite (1925) and later The Clyde Slider (1935) (pub. Wright & Round).

Edward Sutton from South Wales was born in 1868 and succeeded Rimmer at the
age of 20 as principal cornet of Southport Rifles Band, he then moved to Scotland in
1898 (Newsome R. 1998 p.159). Mr Sutton is known for cornet / euphonium solos
such as The Paragon and The Cavalier (pub. Wright & Round). His glissandi solos
were practical in that they could be recorded on the Shellac 78’s that had a maximum
of 4 minutes play duration.

These solos would have been influenced by the polkas and ragtime pieces popular in
America in the period. Interestingly, the equivalent glissandi solos by Henry Filmore
(1881-1956), from the USA known as the Trombone Family of solos (pub. J W
Pepper); composed from 1908-1929 and this may well have influenced English
writers of the 1920s and 1930s in brass bands. Filmore born in Cincinnati wrote over
250 compositions and worked as a circus bandmaster for most of his career.

Play the Switchback Edward Sutton (1923), with piano

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As previously stated Melodie Caprice was the first significant work for trombone
played by contesting bands that is not a popular arrangement, written by George
Hespe and was published in 1937. The Second World War would have disrupted
many concerts and contests so we do not see evidence of its popularity as a solo in
concerts and on recordings until the 1950s and onwards. At this time the trombone
was becoming popular as a solo instrument in the genre, evidenced by trombone
solos being featured in concert programmes. This also filtered into test pieces, for
instance Tintagel, written in 1928 by Denis Wright (pub. R Smith & Co.) with the
lovely 2nd movement Elaine featuring trombone, was used in the 1957 Spring Belle
Vue Contest.

Recording Play Melodie Caprice (1937) played by Alex English & Foden’s Band,
conducted by James Scott

A similar piece to Melodie Caprice (1937) arranged for brass band by an American
composer is the Tromboneer by W. Gerrard, (copyright control) whose real name
was Jerry Bilik (In Shining Armour 2003). This piece was written for bands around the
1950s and appears to be the first triple tongue solo for trombone and brass band, as
opposed to solos with piano accompaniment such as St Crispin (1905) (pub R. Smith
& Co.).

Another popular solo through the 1960s through to the 1980s was Recitative and
Romance (G&M Brand undated) by Reginald Heath. This was a favourite of Frank
Berry’s at Black Dyke Band and was recorded in 1971 with their conductor Roy
Newsome. Little is known about this composer, but his is better known for his trio:
Frolic for Trombones. This remained a popular piece until the larger works were
composed, such as Rhapsody for Trombone (pub. Chandos 1975) written by Gordon
Langford. The inspiration for this piece would certainly have been the Operatic solos
of the classical genre.

Play Recitative and Romance by Reginald Heath, with piano

In Salvation Army Band circles at this point, still very much separate to that of
contesting bands, there were many performances of Eternal Quest (pub 1952, SP&S

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Festival Series 188) by Ray Steadman-Allen, Concertino for Brass Band &
Trombone by Erik Leidzen (Pub. 1955 SP&S Festival Series 211) and “Song of
Exuberance” (pub. 1967 SP&S Festival Series 320) by Leslie Condon, being
performed throughout the 1960s- 1980s. It is amazing to think that the Leidzen
Concertino and Steadman-Allen’s Eternal Quest were written and published in the
1950s, they could easily be mistaken for being only 20 rather than 60 years old!
Leidzen’s A Never Failing Friend, (Pub. 1934 SP&S Festival Series 92) also
continues to be played very much in the 21st Century with Salvation Army and non-
Salvation Army bands.

We also start to see pieces dedicated to and written for brass band trombone players
from the 1970s onwards. An early example of this is Maisie Ringham, who had many
Salvation Army works written for her; the most famous being Leidzen’s Concertino.
Maisie’s influence in introducing SA music to the general public, once when she had
joined the Halle Orchestra in the 1950s, should not be underestimated. She was one
of the first women to join the brass section of an Orchestra in the UK and now in her
90’s is seen as one of the pioneers of women brass players and being instrumental in
getting literature written for the trombone.

In contesting bands at this time Alex English had Romanza (1967 pub. Midland
Music) dedicated to him by composer Henry Geehl.

“Alex English was an Irish Man, he played with Agnus Street Templemore
band, came over to England to audition for the CWS Manchester band. He
was a very good Euphonium player - some of the brass men in his time said
he was a better Euphonium player than a trombonist. At the time there were
two good Euphonium players in the Co-o-p Band: Dennis Holmes and Russell
Buckley and the trombone section was full. He ended up on 2nd trombone at
Foden’s. The solo was dedicated to him by Henry Geehl. Romanza is a
beautiful solo, can be played on trombone or euphonium, and it was thought
that Henry Geehl heard Alex play Euph and trombone many times and was so
impressed with his style of playing he dedicated the solo to him” (Buckley D.
W. 2012).

Henry Geehl (1881-1961) studied in London and Vienna, and was a piano soloist
from the age of 8. He forged his career travelling as a theatrical conductor and wrote

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several test pieces, such as Oliver Cromwell, (1923) and frequently adjudicated
brass bands (Newsome R. 1998 p.187).

Play Romanza (1967) Henry Geehl, with band

Historically in Austria and Germany, during the classical and Romantic period, then in
the USA throughout the period of the Sousa Band, 1892-1940, composers wrote
pieces for solo trombone when they had the virtuoso players and encouragement to
do so. In the 1960s, many of the brass band trombone players began to play solos
from the likes of Arthur Pryor, but interestingly none of the European works such as
the classical German, Austrian or French pieces were chosen, apart from some
relatively short Italian arias that were adapted for trombone as arrangements. Brass
band compositions of substantial length can be attributed to two very influential
characters, namely Don Lusher (1923-2006) and Denis Wick (1931) particularly in
the late 1970s and 1980s.

Don Lusher has been a towering soloist in the world of the Trombone, coming from a
Salvation Army background, he served as a gunner signaller in the 2 nd world war and
after the war joined the Ted Heath Big Band and took part in several coast to coast
tours of the USA. He was much in demand as a soloist in brass bands, big bands,
wind bands and jazz ensembles, and so led the way as a solo artist that could cross-
over into various playing genres, he was President of the British Trombone Society
on two separate occasions and has several awards named after him in brass band
and British Trombone Society competitions (Lusher D. 2014).

Denis Wick considered Britain's most influential orchestral trombonist of the 20th
century. He is also an internationally respected brass teacher and designer of brass
mutes and mouthpieces. On retirement in 1989 he was awarded the International
Trombone Association's annual award; he served as their president 2004-2006. Wick
joined the Bournemouth Symphony Orchestra in 1950, then the CBSO, before joining
the London Symphony Orchestra where he served as Principal trombone from 1957-
1988. He has been a pioneer of instrument, mouthpiece and mute design and served
as President of the International Trombone Association from 2004-2006.

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Examples of how these gentlemen were influential can be illustrated for instance with
the Concerto for Trombone (1971) by Buxton Orr (pub Novello & Co.), performed by
Harold Nash, and accompanied by Brighouse and Rastrick Band in 1976 on a
recording after the work was published in 1971; this was originally written for Denis
Wick to play with band.

The Concerto for Trombone (1955) by Gordon Jacob (pub. Stainer & Bell) also
written for Denis Wick, was only performed as a complete work once with brass band
in the early 1992, from an arrangement by Roy Newsome and performed by Warwick
Tyrell for the BBC Festival of Brass in the BBC Manchester. A version of the first
movement was actually written by Jacob himself and published by Denis Wick
Publishing after Denis had asked Jacob to score it for him in the 1960s.

Don Lusher also played a significant role in the establishment of trombone solos for
brass band, such as Rhapsody for Trombone, (1975) recorded in 1975 and
performed at the Royal Albert Hall in 1977. He made a further recording called The
Lusher side of Brighouse where he performed lighter works like Concert Variations
(R. Smith & Co, dated unpublished) Harlem Nocturne by Earle Hagan, (pub. 2011
Warwick Music) are both still very popular as solos. Also dedicated to Don Lusher is
Dance Sequence, written by Gareth Wood in 1980, this was not recorded until 1990,
by Nicholas Hudson and the Britannia Building Society Band. Around this period was
the commissioning and recording of Roy Newsome’s Concerto Olympic (1984) and
Langford’s Sonata Serenade and Scherzo, (1984) for Swiss trombonist Dany Bonvin,
in a recording called Trombone Festival (released on CD in 1994) was released on
vinyl in 1986. Dany Bonvin received these pieces as a birthday present from his
parents aged 20. Since 1982 he has been Trombone Soloist with the Munich
Philharmonic Orchestra.

Gareth Wood was born in South Wales in 1950 and studied Double Bass and
composition with Dr. Frederick Durrant and Paul Patterson at the Royal Academy of
Music. In 1972 he left the Academy and joined the Royal Philharmonic Orchestra as
a double bass player. In 1975, his overture, Tombstone Arizona for brass band was
performed and recorded at the Royal Albert Hall Brass Band Championships in

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October that year, no doubt Lusher being present at the same concert to play
“Rhapsody” led to “Dance Sequence” being composed five years later.

Play Dance Sequence (1980), last movement

There is little evidence of the solos by Innes, Pryor or Zimmerman which would have
been written in the USA from the 1880s – 1940s seem to have been recorded or
performed in concerts by brass bands until the 1960s and even then it was
overwhelmingly Loves Enchantment by Arthur Pryor (1903 published for band in
1970). Then, at the beginning of the 1980s, Thoughts of Love by Arthur Pryor (written
1898 published for band 1981) was recorded by Stephen Walkley and the Fairey
Band in 1988. This remains a popular trombone solo, being present on many band
and solo recordings in the 21st Century.

It is also interesting that none of the larger orchestral works for trombone were
arranged for band until the 1970s. Morceau Symphonique was arranged and
published as Concert Piece by Ray Steadman-Allen in 1977 (SP&S Festival Series
383). The David Concertino was arranged by Leslie Condon in 1980, though these
were still not available to mainstream bands until the 1992. Although they were
significant works for trombone in classical circles, solos containing variations such as
the Grafe Concerto (1860), Meyer Concertino (1820), Sache Concertino (1866) did
not get arranged for brass band until after 2000, and the same is true for Classical
works such as the Wagenseil (c.1750) and Albrechtsberger (1769), both arranged as
late as 2012 (Baker B. 2012).

Even on most of the “Trombone Solo CDs” available from the 1990s, significant
works for trombone have actually been avoided. On the Virtuosic Virtuoso CD by Ian
Bousfield from 1992, the first trombone solo CD with brass band accompaniment, the
longest track is Rhapsody for Trombone by Langford, at about 12.5 minutes.

Langford’s Rhapsody is in fact the most popular work over 10 minutes long that has
been recorded by almost every trombone soloist who has brought out a solo album
with brass band accompaniment. Only a handful of recordings exist today of pieces
for trombone over 10 minutes duration with brass band accompaniment. These

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include the Wilfred Heaton (1918-2000) Trombone Concerto (1992, Heaton Trust),
the Concerto for Trombone and Brass Band (1974, pub. Novello) by Elgar Howarth
(Born 1935, pub. Chester Music), and the Trombone Concerto composed by Buxton
Orr (1924-1997 pub. Novello).

The first significant work for trombone that is over 10 minutes in duration is from
1974, written by Elgar Howarth as a trombone concerto for his brother. This was not
recorded until the 1986, by Christian Lindberg with the BBC Welsh National
Orchestra. It was first performed with brass band by Stan Priestley and Grimethorpe
Colliery Band in a live performance at the Festival Hall in the early 1980s. This
version was then not recorded commercially with brass band until 1997 with Ian
Bousfield and the Eikanger Band from Norway (Doyen CD066), and in the UK in
2006, with me and Yorkshire Imperial Urquhart Travel Band (Amadeus CD 101).

The first solo recording on LP with brass band accompaniment on vinyl appears to
be Harry Mortimer and Jack Macintosh playing cornet solos in the 1960s. Then Philip
McCann’s The World’s Most Beautiful Melodies on cornet, recorded in the late 1970s
and early 1980s with the Black Dyke Band, would have been the first albums.

From the early 1990s the Childs Brothers (Nicholas & Robert) and Steven Mead
began recording solo CDs, whilst the first tenor trombone recording with brass band
is Ian Bousfield’s the Virtuosic Virtuoso accompanied by Yorkshire Imperial Band in
1992. On this, Ian plays Bolivar and Rhapsody for trombone amongst others. Both
were popular pieces from the 1970s when Ian would have been playing in brass
bands. It should also be mentioned that trombone soloist Chris Jeans produced a
solo CD with piano accompaniment as early as 1989 and this included the Langford
Rhapsody (1975) and the Launy Grondahl Concerto (1974).

The turning point in writing lengthy works for trombone and brass band was the
premiere of the Bourgeois Trombone Concerto in 1989 as part of a British Trombone
Society day at Eton College, played by Christian Lindberg and accompanied by the
Sunlife Band.

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Until 1989 only five extended works existed for trombone and brass band, and were
rarely performed. These were the Concertino for Trombone by Ferdinand David in
1980, the Concerto for Trombone and Brass Band by Elgar Howarth in 1974 (though
not widely available until the 1990s) Immortal Theme by Ray Steadman-Allen
(Manuscript 1962 written for Principal Trombone of the International Staff Band of the
Salvation Army, Arthur Rolls), Sonata, Serenade and Scherzo by Gordon Langford
(1986) and the Trombone Concerto by Buxton Orr (1971). These works are equal to
or longer than 15 minutes and only the Gordon Langford would have been readily
available to players, the other works being restricted by publishers for rent only or
only available within Salvation Army circles.

The Bourgeois 20 minute concerto became widely played throughout the world by
wind bands and orchestras, particularly in the USA but also in Asia and Australasia.
The widespread popularity of this extended work probably inspired other composers
to write more extended works for the instrument in the late 1990s. The concerto was
recorded with brass band in 1993, with Jacques Maugar and Foden’s Band, on a CD
entitled Showcase for Trombone (Doyen CD027), and then Ian Bousfield with Sunlife
Band on a CD entitled Bourgeois (STA005) in 1994. The influence that this
composition has had on the trombone being more universally accepted as a solo
instrument should not be underestimated.

Jacques Mauger started his career as principal trombone in the Nice Philharmonic
Orchestra, and then became a trombone soloist in the Orchestra of the National
Opera of Paris. Since 1990 he has focused on working as a concert artist, frequently
promoting French music abroad (Maugar J. 2014).

Ian Bousfield has been a trombone soloist for a quarter of a century. In 1979, at the
age of 15, Ian won the Shell London Symphony Orchestra scholarship. He joined the
European Youth Orchestra aged 16 under Claudio Abbado and made a brief stop at
the Guildhall School of Music and Drama in London before becoming Principal
Trombone in the Halle Orchestra in 1983. After five years with the Halle, Ian replaced
one of his life-long mentors, Denis Wick, as Principal Trombone of the London
Symphony Orchestra in 1988, where he enjoyed a 12 year career. In 2000, following
a successful audition in Vienna, Ian became Principal Trombone of the Vienna

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Philharmonic/Vienna State Opera. This appointment was followed shortly afterwards
by his membership of the Vienna Hofkapelle Orchestra.

The Heaton Concerto (1952 revised for trombone and band 1992) was written
originally for oboe and orchestra and later transcribed for trombone and brass band
by the composer. It is seen as a substantial work for the instrument with a duration of
26 minutes. This version was premiered by Nick Hudson and the Foden’s Band in
1992 at the BBC Festival of Brass, it was then recorded by Brett Baker and the Black
Dyke Band in 2006 on a CD entitled Heaton Collection Volume 3 by SP&S.

Christian Lindberg further transformed expectations of the trombone as a solo

instrument, commissioning over 100 trombone concertos, though he has yet to do a
CD with brass band. The classical genre therefore has made a significant impact on
the larger works performed on trombone. Lindberg has also had an effect on how
brass band players now stylistically play as trombone players, which tends to be far
more orchestral sounding, due to conservatoire training, than would have been the
case in the 1960s through to the 1980s.

Two pioneers that further progressed the efforts of Denis Wick and Don Lusher in the
brass band movement are Joseph Alessi and Ian Bousfield in the 1990’s. They have
almost singlehandedly championed works for trombone and brass band over the past
20 years, even as players not regularly playing in the genre.

Joseph Alessi was appointed Principal Trombone of the New York Philharmonic in
the spring of 1985. He began musical studies in his native California with his father,
Joseph Alessi, Sr. As a high school student in San Rafael, California, and was a
soloist with the San Francisco Symphony before continuing his musical training at
Philadelphia’s Curtis Institute of Music. Prior to joining the Philharmonic, Mr. Alessi
was second trombone of The Philadelphia Orchestra for four seasons, and principal
trombone of LÃ-Orchestre symphonique de Montreal for one season. In addition, he
has performed as guest principal trombonist with the London Symphony Orchestra in
Carnegie Hall led by Pierre Boulez.

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The popularity of the Bourgeois Concerto with orchestra and wind band led to
American trombone player Don Lucas commissioning Bourgeois to write a Sonata for
Trombone in 1998, which was premiered in 2003 in its band version and sadly rarely
played since, although it was scored for wind band and recorded by Brett Baker and
the Band of the Light Division in 2004.

Don Lucas, is a past President of the International Trombone Association and

received his education as a Fulbright Scholar to London’s Guildhall School of Music
(Premiere Prix & Advanced Solo Studies Diplomas), Texas Tech University (B.M.,
M.M.), North Texas State University, Berklee College of Music, The University of
Houston (Doctoral) and Middle Tennessee State University.

Derek Bourgeois was born in Kingston upon Thames in 1941 and was educated
at the University of Cambridge, he then spent two years at the Royal College of
Music studying composition with Herbert Howells and conducting with Sir Adrian
Boult. From 1970 to 1984 he was a lecturer in music at Bristol University and then
Director of the National Youth Orchestra. He was appointed Director of Music at St
Paul's Girls School, London, in 1994. He has also conducted various orchestras. He
retired to Majorca in 2002 and moved to New York in 2008. He returned to the UK in
2009.

Play Bourgeois Sonata last movement (1998), with piano

Another 20 minute concerto that has been rarely played since its recording in 1999
by the Hawthorn Band from Australia is Graham Lloyds Trombone Concerto. A fine
solo, this concerto has had no exposure in the UK brass band scene at all. At the
turn of the last century orchestral trombone players became more involved in the
brass band movement; Joseph Alessi recorded Bram Tovey’s Veritas in 2007, and
his performance of the Leidzen Concertino”(1953) and Bruce Broughton’s My Refuge
(1980) were also recorded and released in 2007, no doubt encouraging other
professional trombonists to look at the genre of brass bands and the Salvation Army
repertoire. Lindberg and Alessi’s stature in the trombone world and in professional
circles has no doubt encouraged other trombone players to look at solo recordings
such as Andrew Justice and Nicholas Hudson at the start of the century and later

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Simon Johnson (BBC Scottish Orchestra), Chris Thomas (Cory Band), John Barber
(Fodens Band) and Stephen Sykes (Tredegar Band). Whilst in New Zealand, David
Bremner (principal trombone with New Zealand Symphony Orchestra) produced a
solo CD, as has Hakan Bjorkman (principal trombone of the Swedish Radio
Symphony Orchestra (both released 2008). Bremner is still active in brass bands
and has given the medium more exposure in a wider context, for example, his
recording of the extended work Clouds in 2008 on his solo CD. Lindberg’s “Mandrake
in the Corner” for band played by Hakan Bjorkman with Stockholm brass band (2008)
illustrates that trombone solos with brass band have finally crossed genres and
continents. Dudley Bright of the LSO with his Salvation Army connections composed
and performed Life’s Command with the International Staff Band of the Salvation
Army (2007). This also has recently been recorded by Brett Baker and the Enfield
Citadel Band as part of the Novus Vox CD project in 2013 (WR13-09).

Other artists such as Andrew Berryman, previously of the Halle Orchestra, led to the
commissioning of the Andy Duncan Trombone Concerto (1993, pub. The Music
Company), and Robert Holliday is responsible for the commissioning of “Ivor
Hodgson’s Concerto” (1999, pub Eden Music). Chris Thomas commissioned the
Gareth Wood “Trombone Concerto” (2006, pub. R Smith & Co.), and Paul Hindmarsh
commissioned Simon Dobson’s Trombone Concerto (2011, pub. Faber Music),
premiered by Peter Moore. More trombone concertos have been commissioned and
premiered with brass bands in the last 20 years than at any time in brass bands’ brief
history of 160 years.

At the time of writing Peter Moore has just been appointed the Co-Principal
Trombone of the London Symphony orchestra after studying at Chethams School of
Music and becoming Young Musician of the year at the age of 12 in 2008.

I have been involved in commissioning 10 concertos (listed below) within the last 14
years, and I have pushed for composers to be more willing to write for the instrument
and genre than previously. This is evidenced below in a list of commissions by
myself.

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  Paul Lovatt Coopers Earth’s Fury (1999)
 Martin Ellerby’s Concerto (2000) Studio Music
 Mark Owen’s Monument (2003) Manuscript
 Mark Owen’s Mask (2004) Manuscript
 Freaks by Gavin Higgins (2007) Faber Music
 Carl Vincent’s Concerto (2007) Kirklees Music
 Andy Duncan’s Rathamataz (2008) The Music Company
 Rob Wiffin’s Concerto (2010) Studio Music
 Darrol Barry’s Concerto (2010) Studio Music
 Mark Owen’s Excursions for Trombone & Band (2010) Manuscript

Rob states:
“Once I started writing I realised that this concerto was inevitably going to draw
on my own experiences as a trombone player. The first movement was really
a matter of getting the right thematic ideas and balancing the tutti and solo
passages, so, for formal structure I studied the Gordon Jacob Trombone
Concerto. There is a lyrical section preceding the first Allegro that owes much
in spirit to The Eternal Quest, Ray Steadman-Allen’s Salvation Army solo. The
slow movement seemed determined to come out in the vein of a Richard
Strauss song. I wanted to write something ineluctably ‘cantabile’ as we
trombone players rarely get a chance to play the melody. There is a brief
allusion to that wonderful moment when the trombone gets to sing above the
orchestra in Sibelius’ seventh symphony. Arthur Wilson, that great exponent
of the singing style of trombone-playing, and my teacher at college, died in the
summer of 2010, so it seemed appropriate to dedicate this movement to
him. The last movement is the lightest of the three in style and is slightly jazz-
inflected, hopefully providing some fun for the soloist. While wanting to test
the instrument I did not set out with the intention of making the concerto
difficult but there are undoubtedly challenges of technique, range and style to
be met by the soloist.”

Rob Wiffin began his musical career as a trombonist, playing in the National Youth
Orchestra of Great Britain before entering the Royal College of Music. On completion
of his studies he joined the Royal Air Force Music Services and became the principal
trombone of the Central Band. After seven years as a player he decided to
concentrate his energies on conducting and became a Director of Music for the RAF.
He has directed the Band of the RAF Regiment, the Western Band of the RAF and
the Central Band of the RAF. His promotion to Principal Director of Music, Royal Air
Force, in January 1998, made him the twelfth in a line of distinguished musicians

101
who have held this prestigious post and, on appointment, the youngest since Sir
George Dyson in 1919. He was awarded the OBE for services to Royal Air Force
Music in 2002.

Away from the Royal Air Force he has built his reputation by conducting orchestras,
wind ensembles and many of the country’s finest brass bands. He has made a large
number of commercial recordings and television and radio broadcasts and has
premiered new works in concert and at international conferences. On leaving the
RAF in 2003 he relocated to Spain where he spent much of his time composing and
arranging music and playing the trombone. While maintaining his Iberian links, he is
now spending most of his time in England. He is presently Professor of Conducting at
the Royal Military School of Music, Kneller Hall and teaches postgraduate
conducting, composition and arranging at the London College of Music.

Play Rob Wiffin (2010) Premiere

Peter Graham’s Radio City, (2013, pub. Gramercy Music) has been premiered this
year, as well as Gregson’s transcribed “Concerto for trombone and brass band”, as
part of my DMA project. However, many other pieces, including the Philip Sparke
“Concerto”, still remain unavailable for the brass band genre. The likes of the
trombone concertos by composers such as Serocki, Shilkrit, Rouse, Tomasi and
“Creston” have yet to be performed by trombone and brass band, though have been
notable performances with trombone and orchestra. It is important to point out that
even a trombone concerto with orchestra is still a rare occurrence.

In summary, for this lecture recital my DMA has been an exploration and
contextualisation of compositions written for the virtuoso trombone player in differing
genres; and an analysis on how these genres have influenced music written for the
brass band trombone soloist in the 21st Century. There is no doubt, when looking at
21st century brass band concert programmes that, the swing band, wind band and
orchestral genres continue to have an influence on the solos played by virtuoso
trombonists in this genre. Also, the input of Salvation Army composers on non-
Salvationists and Salvationists alike should not be under-estimated, without doubt

102
due to the cross-over made all those years ago by the great Eric Ball, who wrote a
trombone solo many years ago entitled Legend.

Significant Solos for Brass band trombone player pieces performed:

1. Trombone Polka (1884) by Alfred Boulcourt with band

2. St Crispin (c.1905) by William Rimmer with piano

3. Leona Polka (1903) by Leo Zimmerman (rec of Zimmerman with Edison

Concert Band)

4. The Switchback (1923) by Edward Sutton with piano

6. Recitative and Romance by Reginald Heath with piano

7. Romanza (1967) by Henry Geehl with band

8. Dance Sequence (1979) by Gareth Wood last movement with band

9. Sonata for Trombone (1998) by Derek Bourgeois last movement with piano

10. Concerto for Trombone (2010) by Rob Wiffin - Premiere Performance with
band

As part of the lecture recital the premiere of the Rob Wiffin Concerto for brass band
took place

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Programme Notes for Rob Wiffin Trombone Concerto Premiere

Rob Wiffin’s Trombone Concerto was commissioned by Brett Baker following an

earlier piece that was written for him called Shout! It was composed in Spain in the
summer of 2010. Rob states:

“Once I started writing I realised that this concerto was inevitably going to
draw on my own experiences as a trombone player. The first movement was
really a matter of getting the right thematic ideas and balancing the tutti and
solo passages, so, for formal structure I studied the Gordon Jacob Trombone
Concerto’. There is a lyrical section preceding the first Allegro that owes
much in spirit to The Eternal Quest, Ray Steadman-Allen’s Salvation
Army solo. The slow movement seemed determined to come out in the vein of
a Richard Strauss song. I wanted to write something ineluctably ‘cantabile’ as
we trombone players rarely get a chance to play the melody. There is a brief
allusion to that wonderful moment when the trombone gets to sing above the
orchestra in Sibelius’ seventh symphony. Arthur Wilson, that great exponent of
the singing style of trombone-playing, and my teacher at college, died in the
summer of 2010, so it seemed appropriate to dedicate this movement to him.
The last movement is the lightest of the three in style and is slightly jazz-
inflected, hopefully providing some fun for the soloist. While wanting to test
the instrument I did not set out with the intention of making the concerto
difficult but there are undoubtedly challenges of technique, range and style to
be met by the soloist.”

The piano score was finished first and recorded on the CD Boneman Walking (2012,
WR12-03) which was released under my own label in early 2012. However, the wind
Band version was not recorded until July 2012 and the start of my DMA. The brass
band version of this piece was then premiered in my lecture recital with the Black
Dyke Band in November 2013.

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Figure 51 Figure 52

Figure 53

Rob Wiffin

105
 Bibliography:
Book Sources:

Guion, D.M. (1998). The trombone, its history and music. Gordon and Breach Canada

Newsome, R. (2006). The Modern Brass Band from the 1930s to the Millennium Aldershot
Ashgate Publishing Limited

Newsome, R. (1998). Brass Roots 100 years of Brass Bands and their music 1836-1936
Aldershot Ashgate Publishing Limited

Taylor, A. R. (1979). Brass Bands published Hart Davis Macgibbon

Wigness, C. R. (1978). Soloistic Use of the Trombone In Eighteenth-Century Vienna.

Editions Bim

Web Sources

Baker, B. (2012). Repertoire http://www.brettbaker.co.uk/practice-studio/academic-articles

accessed 22/05/2014

Bassano, P. (2001). “Gods Trombones”, Current Articles, retrieved 23rd September 2011,
from http://www.trombone-society.org.uk/index.php/current-articles/gods-trombones.html

Belke, F. (2011). Editions Bim, retrieved 23rd September 2011 from www.editions-
bim.com/composers/belcke-friedrich-august

Frye, J. W. (2006). “A biographical study of the trombone soloists of the John Philip Sousa
Band: 1892-1931” retrieved 23rd September 2011 from
http://etd.lib.fsu.edu/theses/available/etd-01112008-82959/unrestricted/FryeJSpring2008.pdf

Gregson, E. (2012). www.edwardgregson.com retrieved 18th September 2012

“The Trombone”, (2011) Britannica Encyclopaedia, retrieved 9th September 2011 from
http://www.britannica.com/EBchecked/topic/606395/trombone

Guion, D. M. (2004). A Short History of the Trombone

The Solo and Chamber Traditions, Online Trombone Journal retrieved 23rd September 2011
from http://www.trombone.org/articles/library/sh6-solochamber.asp

Herbert, T. (2006). The Trombone, T. J. International, Padstow.

International Trombone Association journal 15, no. 3 (Summer 1987): 35,

106
Kimball, W. (2011). Trombone History Timeline, retrieved 9th September 2011, 12th
September 2011 from http://www.kimballtrombone.com/trombone-history-timeline/trombone-
history-15th-century/

Krause, S. (2000). Der Posaunengott

http://www.ipvnews.de/fileadmin/TextePDF/Der_Posaunengott.pdf

Lusher, D. (2014). www.donlusher.com accessed 26th May 2014

Maugar, J. (2014). retrieved 26/05/2014 from http://www.trombone.net/about/bio.cfm?id=103

New World Encyclopaedia (2011) retrieved 9th September 2011 from

http://www.newworldencyclopedia.org/entry/Trombone

Smith, C. (2014). http://www.barnhouse.com/composers.php?id=-104 accessed 22/05/2014

Syncrat.com (2005). History of the trombone retrieved 20th January 2011, from
www.syncrat.com

Wells, W. W. (2005). Music for the trombone and voice from the Hapsburg Empire. An
historical view with tenor trombone transcriptions. retrieved 26th September 2011 from

http://drum.lib.umd.edu/bitstream/1903/2867/1/umi-umd-2567.pdf

Wikipedia.com (2011) retrieved 26th September 2011 from en.wikipedia.org/wiki/Trombone

Sound recordings

Wolfgang H. (1990) Romantic Trombone Concertos, Corona Classic Collection, p3.

Mowat, C. (1996). Trombone concerti, Northern Sinfonia, Soloist Alain Trudel Naxos Label

Pursglove, G. (2007). Sonatas Fontana Ensemble Sonnerie, Vinyl Sleeve 1995, CD released
2007.

Trove (2011) National Library of Australia digital music resource retrieved 11th November
2011 http://trove.nla.gov.au/

Zimmerman, L. (1903). Internet Archive retrieved 22nd May 2014 from

https://archive.org/details/LeoZimmerman-LeonaPolka1903

Sheet Music

Peters, C. F. (1993). Meyer Concertino, Prefatory Note

Shifren, K. (1999). St Thomas Sonata, Programme Notes

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Appendix I: Novus Vox Project 1 (Song of Joy)

CD Cover and Disc

108
Track List of pieces on Novus Vox:

Rejoice by Roger Trigg 5.16

Song of Joy by Andrew Mackereth * 6.46

Hope by Russ Ballard & Chris Winter arr. Andrew Wainwright * 3.44

The Light has come by Kenneth Downie * 12.02

His Provision by Ivor Bosanko arranged Dorothy Gates * 3.47

The Follower by Martin Cordner * 7.12

Beneath the cross of Jesus by 3.32

Still small voices by Philip Wilby * 6.14

Sweet Hour of Prayer by Wilfred Heaton arr. by Paul Hindmarsh 3.48

He gave me joy by Robert Redhead * 5.27

Soul Origin for trombones & Band by Dorothy Gates 9.02

Life’s Command by Dudley Bright 11.58

Total 79.49

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CD Booklet:

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CD Template

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Personal emails from organisers and composers:

Stuart Horton Secretary of the Enfield Citadel Band

Brett,
Just a quick note to say thank you for last weekend - it was great to work with you.
You clearly had put in much preparation which was so evident in your interpretation
of the music.
As usual, everything was technically superb but to maintain such sound quality over
such a period of non-stop playing was absolutely incredible. Unbelievable stamina -
don't know how you do it!
I hope the CD is as good as your efforts deserve. I'm sure it will be.
Pleasure working with you and look forward to hearing the finished article.
Regards, Stuart

Email from composer Kenneth Downie

Email from composer Roger Trigg

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Facebook Message from Composer Andrew Wainwright (Now lives in the USA)

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Unsolicited Review by Peter Bale of 4barsrest.com
14th November 2013

Brett Baker is accompanied by the Enfield Citadel Band on a release that includes
many new compositions and arrangements.

Several of the composers represented are noted trombonists themselves, ensuring

the music, whilst placing considerable demands on the soloist at times, is idiomatic.

It gets off to a lively start with Roger Trigg’s ‘Rejoice’, showing that both Brett and the
band are more than capable of adapting to the jazzy style required.

Contrasting works

There are two contrasting ensemble works: Philip Wilby’s ‘Still Small Voices’, for
trombone trio, is based on the tune ‘Repton’ - this being the first recording with band
accompaniment.

The second, ‘Soul Origin for Trombones and Band’, was written for Bones Apart
when they were Enfield’s guests in 1999. Dorothy Gates’ music can be
uncompromising, a challenge both to players and listeners, but she always has
something worthwhile to put across, and so it is with this work.

Latin-American reworking

Her other contribution may surprise listeners who know ‘His Provision’ in its choral
version though. Dorothy has set this in Latin-American style, and it works remarkably
well, a totally different concept, but one which is most effective.

There are two extended works; ‘Life’s Command’ and 'The Light has Come’. Dudley
Bright’s solo draws on the chorus ‘Follow, follow, I will follow Jesus’, also referring to
Christ’s sacrifice and the joyful affirmation of following Jesus ‘anywhere, everywhere’.

The tune ‘The Light has Come’ may be familiar from Peter Graham’s ‘Shine as the
Light’, but Kenneth Downie has taken it as a starting point for a rhapsodic solo that
originally started off as a duet for euphoniums.

Technical challenges in abundance

‘Song of Joy’ is modelled on Leslie Condon’s ‘Song of Exuberance’, using thematic

material from an old children’s chorus, ‘He Loves Me Too’.

The composer cites Stravinsky and Shostakovich amongst his influences, but the
lively solo he has produced here reveals his own unique voice.

‘The Follower’ has references to the popular hymn-writer and one-time slave ship
captain John Newton, using a recent melody by Canadian Rhonda Venables to

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depict stages of the writer’s life, with the full appearance of the tune heralding an
extended cadenza.

Aspiration and reflection

The song ‘Hope’ was written for the opening of the 2010 World Cup in South Africa,
with words by Nelson Mandela, but the tenor Siphiwo Ntshebe, who had already
recorded the song, succumbed to meningitis just before the event. Arranged by
Andrew Wainwright, it makes for a moving, life-affirming anthem.

‘Beneath the Cross of Jesus’ receives a sensitive treatment from Mark Freeh, whilst
‘Sweet Hour of Prayer’ by Wilfred Heaton has been idiomatically arranged by Paul
Hindmarsh.

Also originating as a piece for trombone and piano is ‘He Gave Me Joy’. Written as a
duet for Maisie Wiggins and the composer, Robert Redhead later arranged it for
band, recording it with Robert Merritt and the Canadian Staff Band.

Brett makes the most of this soulful and reflective music.

This is a well-produced (and well-filled!) recording, with music in a variety of styles

played by performers on top of their game.

Peter Bale

Unsolicited Review by Becky Rumens-Syratt for the Trombonist magazine

This latest release from Brett Baker really allows listeners to immerse themselves in
his silky smooth sound. There are many displays of fabulously controlled legato,
especially in the slower numbers, such as Sweet Hour of Prayer, a beautiful
arrangement from Paul Hindmarsh. The soloist floats effortlessly on a sympathetic
and controlled performance from the Enfield Citadel Band.

High notes really shine in The Follower, which does sparkle amongst the more
relaxed repertoire in this collection. There is great energy in the interplay between
soloist and band, in which there is some fine playing from the cornet section.

Generally, the CD lacks louder contrasts and those that are present end up feeling a
bit forced. Indeed, throughout the CD the greatest moments are those that are
thinnest in their scoring, allowing the soloist(s) to shine. This is especially evident in
the trombone quartet, Soul Origin, where the quartet really leads the sound and style
with some lovely ensemble playing. Another gem is the trombone trio, Still Small
Voices, with beautiful harmonies based on the hymn Dear Lord and Father of
Mankind, balanced well across the soloists.

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The Follower, The Light Has Come and Life’s Command (which contains some of the
tightest technical playing from both band and soloist) all contain skilfully crafted
cadenzas that grab the listener and draw them in. Impressive register leaps never
sound unnatural or forced. It is the ‘Vox’ or ‘Songs’ part of the title that really feels
apt.

As a whole, it doesn't quite leave the listener feeling triumphantly joyful right until the
end but is spiritually and musically touching. Some intonation slips from the band and
a narrowness of dynamic and expressive contrast hinder this collection from being a
truly beautiful gem of new Salvationist music. However, a well-chosen repertoire that
is definitely worth a listen, if only for the beautiful solo moments.

Solicited Review by Don Jenkins for Glissando Magazine

“Novus Vox” Brett Baker and Enfield Citadel Band with Conductor Jonathan Corry

This CD of Brett Baker’s is, I feel, a follow on from the Salute to Sousa recording
featuring seldom heard solos from the Sackbut and Arthur Pryor era.

The choice of rarely heard or premier recordings is unique, some because of their
recent publication, others because of their extreme demands on virtuosity. The
dexterity with which Brett changes style of trombone playing is impressive as is his
tone across the range.

At Jonathan’s request, I was asked to conduct one of the first rehearsals on this
project, and Enfield Bands commitment and enthusiasm was impressive to this
project, as can be heard in the very fine and sensitive accompaniment to every track

The first two tracks are from trombonists themselves ‘Rejoice’ is a Latin-Jazz solo by
Roger Trigg, who I first met when the New York Staff Band, did a tour of the
Netherlands and he was a member of the trombone section. The piece was written
for the Deputy Bandmaster of the Melbourne Staff Band Paul Smith.

The second is by Andrew Mackereth who says that he wrote it as a ‘close relative’ to
‘Song of Exuberance’ composed by Leslie Condon. This latter piece was written for
Mac Carter after hearing him using the piece ‘Bolivar’ as a warm up before I.S.B.
rehearsals.

The consistent quality of the concert pitch super F played several times during both
rehearsals and in the recording was impressive.

Andrew Wainwright who was editor of the Salvationist bandsman, set a poem by
Nelson Mandela, the marriage of melody and words is inspirational with a fine
arrangement for Brett by Andrew.

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The consummate skill in the art of arranging is again prominent in this piece ‘The
Light has come’ by Dr. Kenneth Downie. The demands on the soloist are also
extensive. The next track is again by a trombone player. Dorothy Gates is principal
trombone of the New York Staff Band. To give a sacred song (in Salvation Army
Circles) a ‘Count Basie’ style treatment shows great initiative, again another change
of style for the soloist.

‘The Follower’ from the pen of Martin Cordner is a four movement work build on the
hymn by John Newton. The traditional ‘Amazing Grace’ tune ‘New Britain’ is coupled
with a new one and main theme by Rhona Venables. The work demands skill from
the player over the range of the instrument.

Mark Freeh can be depended on to make an arrangement to fascinate the listener.

The tone colours he produces to support the hymn ‘Beneath the Cross’ by Elizabeth
Celia Clephane are captivating. The trombone line is ‘Urbie Green’ in style and this
illustrates another facet of Brett’s playing.

As in track five, we have to thank Gerard Klaucke for commissioning this trombone
trio by Dr. Philip Wilby. The blend of the three players, Brett, Ben Horton and Stuart
Horton is quite something given the time span for rehearsal. Based on ‘Repton’, Dr.
Wilby uses the texture of his scoring to enhance the hymn.

Bryan Stobart, the trombone playing son-in-law of Wilfred Heaton, had this
arrangement made for him with piano accompaniment. ‘Sweet hour of Prayer’ has
been beautifully scored from this version by Paul Hindmarsh.

Masie Wiggins is an iconic figure to many of us in the trombone fraternity. At her

request Robert Redhead made this arrangement of ‘He gave me Joy’ for trombone
and piano. Later he scored this for Robert Merritt to record with the Canadian Staff
Band.

The penultimate track again by Dorothy Gates, is a work for Trombone Quartet with
Andrew Justice joining the aforementioned players. ‘Bones Apart’ were the
inspiration to commission this work by Dorothy in 2009.

Finally from the pen of one of the country’s finest trombone players, Dudley Bright,
who is the Principal Trombonist of the LSO. This demanding work highlights the
expertise of the soloist as well as the competence of the Enfield Band and conductor
Jonathan Corry.

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Programme from launch concert for the CD Project

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 Appendix II:
Salute to Sousa (and other forgotten trombone solos) Project 2

CD Booklet and recording

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Salute to Sousa Track list

1 La Hieronyma (1621) Giovanni Martino Cesare 2.43

2 St Thomas Sonata (1660s) Anon 3.25

Movement I 0.55

Movement II 0.52

Movement III 0.49

Movement IV 0.39

3 Concertino (1820) Carl Heinrich Meyer 11.19

4 Concertino for Trombone & Piano (1840)Josef Novakovsky 10.30

5 Sea Shells Waltz (1880) Frederick Neil Innes 8.30

6 The Sweetest Story Ever Told (1894) R M Stults 1.55

7 Harbor Lights (1914) Clay Smith 6.00

8 Leona Waltz (1915) Leo Zimmerman 5.57

9 Priscilla Polka (1921) Simone Mantia 4.00

10 Devotion (1934) Ernest Clarke 2.07

11 Salute to Sousa (1930s) Frank Burnell 6.55

12 The Heaven of Love (1933) Edwin Franko Goldman 3.10

13 Hyperion Polka (1934) Manual Yingling 3.33

14 A Vous (To You) (1937) Al Pinard 2.31

15 Beautiful Colorado (1940) Joseph de Luca 5.20

Total: 78.53

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CD Booklet

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Unsolicited Review by Andrew Justice for the Trombonist Magazine September 2013

Salute to Sousa

128
 Unsolicited Review
Brett Baker Salute to Sousa CD Review
By retired SGM Scott Shelsta USA
When an artist is applying for an accolade, award, recognition or review; this by itself
can easily lean towards speculation and false justification. Only a handful of artists
throughout the world deserve what Brett Baker alone stands for: honesty, integrity,
and perfection. Wait, a lot of people have these traits. So what high standard sets
Mr. Baker apart? Attention to detail and Dedication are quite common among artists.
So this isn’t good enough. Every single artistic attribute of fellow mainline
instrumental solo artists Brett also owns. This isn’t good enough.

One of a Kind from many instrumental generations is the key quality of Brett Baker.
From his CD Jacket’s extensive and informative text to the choice of rare literature for
his chosen instrument, is a monumental task. Yes, we all know the trombone is not a
first line solo instrument; however, music history of the 1890’s Americana simply
comes alive with Brett’s playing. All his pitch and tone centers are spot on. He has
to create every single pitch and tone as nothing is guaranteed on trombone. This is
so rare that only two players in the present world can do this flawlessly.

But there is something rarer with Brett’s craft. All solo instrumentalists can move a
key/trigger or lip trill on easy combinations of notes. To have the ability to lip trill in
the lower medium range of notes with SPEED…this is what is totally rare and
unheard of since the 1890’s. This is a rare gift Brett has that no trombonist portrays-
lip trills. When you listen to his work, you will immediately understand. In the time
period from 1955-1972 there was another player with this skill and it was the late
SGM Larry Wiehe of the USAF Band in Washington DC. Yes played on a smaller
bore trombone. Yes I’ve researched and listened carefully. Brett Baker is the REAL
DEAL. These solos were designed for him alone. This is the period of Americana
solo style that only Brett can perform with honesty, integrity, and perfection. His
Attention to detail now comes into focus because of this hidden skill. Perhaps
instrumentalists from this period could do certain trills within solos because of the
extreme small equipment used. Brett uses the modern larger orchestral type of
equipment which has the sound, projection, and quality but always lacks the speed of
required lip trills until Brett Baker appeared.

Then there is his Projection of Sound. Yes, this is quite common among modern
trombonists with a twist. Brett Baker has the soloist’s touch. We all know being a
soloist is a whole different bag of tricks and this is routinely proved by various
principal trombonists in orchestras throughout the world. There is always something
missing. Yes, they all are great players, but something is missing. Brett has studied
this Americana style and lays it out for all to enjoy.

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Most rare?

In our lifetimes we have a chance to listen to a live re-enactment of the past through
Brett Baker. Granted he is not an American, but has studied in a successful effort to
sound exactly like a soloist from this period of American music history. We can either
enjoy now or wait for years to pass and this CD will outlive us all in quality,
resourcefulness, historic fanfare, and oh yes; ATTENTION TO DETAIL.

It is my personal luck to have lived to witness historic greatness by a fellow trombone

soloist who happens to be: the most underrated trombone soloist in the world.

Unsolicited review by Chris Thomas for Brass Band World

Reviews: BBW April 2013 – This was awarded CD of the month by the BBW
magazine

It could be said that Brett Baker's new solo CD is not quite what it seems at first
glance. The title of Salute to Sousa immediately jumps out from the impeccably
designed DVD-style case, yet it is the small print underneath 'And other forgotten
trombone solos' that lends a real clue to what the disk is all about.

The repertoire is the culmination of an extended period of study by the soloist into
original and long-forgotten music for the trombone that takes us on a journey from
Giovanni Martino Cesare's 'La Hieronya' of 1621, complete with Harpsichord
accompaniment, via 19th century concertinos by Meyer and Novokovsky, to a range
of light-hearted American from the late 19th and early 20th centuries.

It has to be said that not all of the music is of entirely consistent melodic interest, but
of Brett Baker's performance and advocacy, there are no such doubts. Without
exception, his playing demonstrates a consummate ability to traverse the stylistic
genres that the music inhabits, with plaintive simplicity in the increasingly elaborate
Gabrieli-like tones of the Cesare, to the high spirits and daunting high-wire demands
of Frank Burnell's 'Salute to Sousa' a piece that only came to light two years ago.

The soloist's tone quality throughout the instrument's register is never less than
fulsome, whilst his articulation in pieces such as De Luca's 'Beautiful
Colorado' speaks with crystalline clarity, aided by first-class accompaniment from

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John Wilson. With so many brass band CDs these days being cheaply and in some
cases slovenly put together in presentation terms, this is quite simply the most
superbly packaged disc to appear in a long time. From the gatefold case to the clever
artwork and detailed programme notes by Brett, its a highly polished and slick piece
of work that finely compliments the quality playing.

Brett Baker's catalogue of solo CDs conjures to grow at an impressive rate, but in
terms of both its painstaking historical research and performance standards, this is
undoubtedly his most important yet.

Chris Thomas BBW April 2013

Unsolicited Review by Peter Bale for 4barsrest.com

It’s rather appropriate that this latest release comes with the added strap line, ‘...and
other forgotten trombone solos’, as Brett Baker certainly unearths some long lost
gems (and a number are really from the mists of time).

Polished

The polished production includes substantial sleeve notes covering the trombone’s
history as well as the music recorded, bringing the scholarship behind the project to
life for the ordinary listener. A closer look at some of the dates in the running order
reveals periods when the art of trombone playing almost faded into obscurity, and
indeed, both Handel and Haydn had to send to Germany for players when including
parts in their oratorios.

Singing qualities

The earliest pieces are played on a reproduction of a Baroque sackbut with a lovely
harpsichord accompaniment from John Wilson. Brett Baker amply illustrates the
singing qualities for which the instrument of the period was prized; with gentle attack
and smoothly flowing lines. The works by Meyer and Novakovsky are both attractive
and elegant; the former being described as being written for the bass trombone but

131
still exhibiting a surprisingly wide ambit. The virtuoso Karl T. Queisser was
associated with both pieces, and after his death the trombone largely fell out of use
as a solo instrument. The variations in the latter work certainly bear similarities with
those by Gräfe and David.

Gifted

From recording catalogues around the start of the 20th century, it would appear that
both cornet and trombone solos were very much in demand for the gifted
practitioners; many of whom wrote their own pieces to showcase their skills. Works
by the noted ace Arthur Pryor are not included (the best have probably received
sufficient exposure), but many other lesser known players from the heyday of the
concert band are represented.

Rivals

Keen rivalries of the time are deliciously reignited. Frederick Neil Innes, for example,
having been recruited by the Gilmore Band with its noted cornet star Jules Levy,
would stand up and play the same solo on his trombone. The competition became so
intense the pair would eventually only be featured on alternate programmes. The
fearsome musical challenges remain; with Brett tackling them with tasteful aplomb,
well-supported by his sympathetic accompanist.

Charming

However, it is some of the charming ballads that seem to create a more lasting
impression: Ernest Clarke’s ‘Devotion’ offers a welcome respite from all the note-
spinning. In contrast, the title track, ‘Salute to Sousa’, discovered in manuscript form
as recently as 2011 is particularly testing, with echoes of Arthur Pryor’s writing and
stylistic nuance. Many of the works here deserve to be much better known, and can
certainly hold their own alongside more established repertoire.

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Relish
As to why they have been neglected remains a mystery – although many performers
would reserve the pieces for their own exclusive use rather than have them
published. You suspect several have simply been put away in a dusty library and
forgotten. As a result, Brett Baker has done a great service in unearthing them once
more – and in presenting them with such obvious relish and affection.

Unsolicited Review by Don Jenkins for the Trombonist

Brett Baker – Trombone – John Wilson Pianoforte

This CD has engrossed the listener since I was given the album to review. For me it
is quite unique. The span of the solos covers four centuries 1621-1940, so the range
of styles is of immense interest. To perform these pieces require what Dr Trevor
Herbert says in the last paragraph of his book ‘The Trombone’, “If it is based on
integrity, it will be worthy of the name period performance”. I feel that Brett does this
exactly.

The first two solos “La Hieronyma” (1621) by Giovanni Martino Cesare and the “St
Thomas Sonata” (1660) Anon played on a copy of the Anton Drewelwelz Baroque
Sackbut (1595) make for fascinating listening. The virtuosity of the soloists of that
period, the inspiration of the composers plus the skill of the instrument makers of the
day leave me breathless and I would like to compliment Brett on this undertaking.

Next the 1800’s and different sound and style (Rath R4). Mayers “Concertino” (1820)
“Concertino for Trombone and Piano” (1840) by Josef Novakovsky, Frederick Innes
“Sea Shell Waltz” (1880) gives us an insight into what a very fine player he was. R.M.
Stultz lovely melody transcribed for trombone “The Sweetest Story Ever Told” (1894).
Leo Zimmerman was first chair in the John Philip Sousa’s band after Arthur Pryor left;
hence we have his “Leona Waltz” (1915). “Priscilla Polka” (1921), a rarely heard solo
named after Sousa’s daughter. Then we have Ernest Clarke (brother of the famous
Herbert) “Devotion” (1934).

Frank Burnell was 2nd trombone in Sousa’s band and this manuscript was found on
Steve Dillon’s desk – so this is a unique recording “Salute to Sousa” (1930). The
famous Goldman Band of the 1920’s featured the cornetist Del Staigers playing this
lovely melody “Heaven of Love written by Goldman (1933). “Hyperion Polka” (1934)
by Manuel Yingling was discovered in a library of silent film live music and arranged
for trombone and piano by James Kasik. “A Vous (To You)” (1937) is a simple slow
melody written by Al Pinard trombonist with the Pryor Band. Finally “Beautiful
Colorado” by Joseph De Luca, a fine Euphonium and trombone Soloist, concludes
this disc because it is his most recognised composition.

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The research into the compositions, composers and soloists is fascinating and Brett
with his helpers Steve Dillon and my good friend Dr. Ronald Holz are to be warmly
congratulated on this.

Gerard Klaucke can always be relied upon to produce an attractive CD cover, but he
has excelled himself with this one, it’s terrific.

All trombone students would be wise to have this CD on their list for all the reasons I
have mentioned and the rest of us have it to marvel at the skills of our predecessors.
To quote Dr. Herbert again “this is a book about the phases in the history of music
told from the perspective of one instrument and its players”. I think this is a CD that
helps to do this.

Lastly, John Wilson, wow, another superb example of someone that is expert at their
particular art. Thank you.

Unsolicited Review by Ron Holz for the Brass Herald Magazine

While the hook for this album is the obscure title piece by a former Souza Band
member, Frank Burnell, what Brett Baker provides in this engaging, nearly 80-minute
recital, is a broad overview of trombone solo literature from the early Baroque (c.
1620) to the end of what has been called the Golden Age of wind band music
(1930s). Brett Baker has made a solid reputation as an outstanding exponent of
trombone solos with brass and wind band accompaniment, especially from that
Golden Age. Here he branches out, and both the unknown (or as the disc notes put it
- 'forgotten') and the more familiar come together for a unique well-played concert.
Whether other trombonists revive some of these lesser-known pieces remains to be
seen. Thanks to Baker they are at least given another moment in the sun! I had the
joy of steering Brett in certain directions during his research into this repertoire. As a
result, I found that some pieces did come to life once again and deserve a second
chance. One example of this is Frederick Innes' delightful Sea Shells Waltz dating
from 1880. Written by a 'Paganini of the trombone' it maintains its charm. Innes was
British, moving to America in the 1870s just as the wind band scene took off, so to
speak. Eventually he returned to Europe as a featured soloist, and so the piece
seems symbolic of this whole project, soloist and music. Other favourites for me

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included not only the virtuosic pieces, rather the lyrical, slow melody items, especially
Edwin Franko Goldman's elegantly sentimental Heaven of Love, from 1933.
I was pleased to hear Baker tackle early trombone literature. The first two pieces
listed are accompanied by Harpsichord, rather than piano. On these Baker provides
a more restrained, less 'Romantic' sound, but not without good emotive content. The
ornaments he shares are not overdone and to the point. The two early 19th-century
works by Meyer and Novakovsky were unknown to me - and I am sure to many
others, but they will probably get some future attention as a result of Baker's
readings. The bulk of the recital fits Baker's strengths - warm rich sound, incredibly
flexible, easy sounding technique and joyful interpretation. In the bulk of the
programme he pays hommage to a series of great trombone and low brass soloists
of the Golden Age in remarkably fine style. Frederick Innes, Clay Smith, Leo
Zimmerman, Simone Mantia, Ernest Clarke (trombonist and brother to famous
cornetist, Herbert) and Joseph de Luca were among the better-known of their day.
The overall production is excellent, including an excellent booklet with extensive
notes on the music by Baker himself. While this disc will particularly appeal to
trombonists, low brass players and students of band music, I believe it will also
appeal to the widest range of listeners. Enjoy this unique collection so well played by
Baker and his fine accompanist John Wilson.

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 Appendix III: Project 2B
Contemporary Concertos for Trombone & Wind Band

Track Listing:

Rob Wiffin Concerto for trombone

Johan De Meij Concerto for trombone

Philip Sparke Concerto for trombone

Jan Van der Roost Canterbury Chorale

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CD Booklet

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 Unsolicited CD Review by Andrew Justice (Principal Trombone,
ISB) for the Trombonist Magazine
Wind ensembles are a growing phenomenon that started originally in the Royal
Courts of Europe in the 18th – century, but in their modern form in the US in the
1950s (Frederick Fennell’s Eastman Wind Ensemble being regarded as the fore-
runner of the contemporary US model). They have spread across the world from
Japan to Norway, Australia to Canada. Now often formed from school, military, brass
band, or orchestral wind players, all with different styles and approaches, the
standard of performance and blend of sounds being achieved is unrecognizable from
the earliest days of the court ensembles, and regularly attract leading composers to
write for the genre, as well as adapting orchestral or brass-only compositions for the
expanded wind format.

It is against this background that the Maidstone Wind Symphony (formerly Maidstone
Winds) was founded by Brendon Le Page in 1998. The orchestra originally and
primarily consisted of former members of Maidstone Youth Music Society and Kent
Youth Wind Orchestra. Jonathan Crowhurst was appointed as the orchestra’s third
Musical Director in 2010 following Brendon Le Page and Jeremy Cooper. The
orchestra changed its name to Maidstone Wind Symphony and made its first
appearance at the Exchange Studio in June 2010. Since that time they have
performed regularly with leading brass, woodwind, and percussion soloists, and have
now produced their first CD featuring Brett Baker, the renowned trombonist who is
among the most recorded brass artists in the world.

Brett himself has performed and recorded with wind ensembles before, his first such
recording ‘Mask’ being in 2004 with the Band of The Light Division. He has toured
extensively around the world and performed on over 100 CDs as a soloist or
ensemble performer with many of the world’s leading brass and wind bands. He is
currently Principal Trombone with the world-famous Black Dyke Band in Yorkshire.

The repertoire for this CD includes 3 major works for Trombone and Wind ensemble,
all being in Concerto format of 3 movements in varying degrees of complexity and
designed to fully explore and exploit the range, moods, and sensitivity of the

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trombone. Although in similar format, each Concerto is richly varied, which means we
are really listening to nine individual pieces linked within 3 concerto ‘ envelopes’, and
as such the CD offers a great listening experience for anyone interested in brass and
wind playing of the highest calibre.

Rob Wiffin is a former Director of Music with the RAF, a trombonist himself, and
currently writing, arranging, and teaching at Kneller Hall Military School of Music. His
Concerto for Trombone (written in 2010) includes a particularly moving slow
movement, which pays tribute to the memory of the renowned Arthur Wilson,
orchestral trombonist and teacher. I also particularly enjoyed the references to
established works such as Ray Steadman-Allan’s ‘The Eternal Quest’ and Gordon
Jacob’s own Trombone Concerto, two other composers who know well the
possibilities of the trombone.

The second work is the T-Bone Concerto, completed in 1996. This slightly tongue-in-
cheek (in more ways than one!) title belies the extraordinary level of skill and stamina
required to perform this work, written by Dutch composer and trombonist Johan de
Meij. It is true to say that Brett displays a RARE skill and level of musicianship in this
particular MEDIUM, and deserves a loud WELL DONE for his dedication to the art
and technique of trombone performance!

The third Concerto is by Philip Sparke written in 2006 and first performed by Olaf Ott,
Principal Trombone of the Berlin Philharmonic Orchestra. I particularly enjoyed the
samba idiom of the final movement, underlining the variety of musical ideas on
display in this CD.

The Maidstone Wind Symphony adds a track of their own to those accompanying
Brett Baker, and chose to feature Canterbury Chorale, a piece written by Dutch
composer Jan Van der Roost as a musical response to their own county landmark of
Canterbury Cathedral. Its’ soaring architecture is well reflected in this sonorous piece
which is a popular brass and wind composition around the world as a result of its
representation of an inspired and inspiring cultural pinnacle.

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These words also come to mind in summarizing MWS’ landmark first recording and
their achievement in showcasing one of the world’s great trombone recording artists,
an inspiring recording with a musician at the pinnacle of his career.

Andrew Justice
December 2012

CD Review by Rodney Newton for British Bandsman

It was a particular pleasure to receive this recording, since all the composers are
known to me personally and the soloist is someone with whom I have had a
friendship for nearly 20 years and for whom I have written concertante pieces myself.

The three concerti represented here are all relatively unfamiliar, the Rob Wiffin
having been commission by Brett Baker. All adopt the classic three-movement form
and all give the soloist an opportunity to demonstrate his skills in a variety of
techniques, including multi-phonics.

The Wiffin is the most recent of these pieces, having been written in 2010. It consists
of a sturdy first movement with an obvious American influence in its use of quartal
harmony. The second movement is lyrical and is dedicated to the memory of Arthur
Wilson, Dr. Wiffin’s teacher and former principal trombone of the New Philharmonia
and Royal Opera orchestras and someone I also had the pleasure knowing during
my years as an orchestral player. This movement has a reference to the great
trombone theme from Sibelius’s Seventh Symphony, of which Arthur Wilson was a
noted exponent. The final movement is stolid and strong, bringing the work to a
convincing conclusion, Brett Baker tackling the whole concerto with conviction.

Despite it’s rather facetious movement and overall titles, Johan de Meij’s T-Bone
Concerto (written in 1995) is in fact quite a serious, substantial piece and offers
challenges of increasing difficulty to the soloist which Brett Baker meets fearlessly
and with aplomb.

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Philip Sparke’s concerto dates from 2006 and was written for the eminent Olaf Ott,
principal trombone of the Berlin Philharmonic. It displays a variety of moods, from
nervousness and aggression to joyous abandon and displays jazz and Latin America
influences. In the final movement, soloist and band engage in a kind of contest, in
which the trombonist turns out to be the winner. Brett Baker brings out all the
nuances in this kaleidoscopic work and is ably supported by Jonathan Crowhurst and
Maidstone Wind Symphony.

The final item on the CD is for band alone and is Jan Van der Roost’s
impressive Canterbury Chorale, which is given a suitably sonorous reading. The
band’s contribution is secure and sensitive throughout, the players and their
conductor showing themselves to be excellent accompanists. My one criticism,
however, is the quality of the recording. Which constantly favours the soloist at the
expense of the band (I would imagine Brett to have employed his usual technique of
attaching a small microphone to the bell of his instrument). Every note he plays is
faithfully caught, but some of the sections of the band (the saxophones in the first
movement of the Wiffin for example) are recessed too much, preventing a real
dialogue between soloist and band from taking place. However, that is a relatively
minor complaint and one must be grateful to Brett Baker, Jonathan Crowhurst and
Maidstone Wind Symphony for bringing these attractive concerti to life in such a
confident manner.

Rodney Newton, East Barnet, 15th December 2012

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 Unsolicited CD Review by Peter Bale of 4barsrest.com

Under the direction of Jonathan Crowhurst, the Maidstone Wind Symphony has
grown from a group of a dozen or so players in 1998 into a full sized wind orchestra.

To have done that in such a relatively short space of time is quite an achievement –
especially as the quality of their musical development is equally as impressive as
show by acquitting themselves splendidly on this release in accompanying Brett
Baker in three substantial works, as well as their own solo item.

Brett is one of the most widely recorded trombone soloists, with a constantly growing
discography, but it is particularly good to hear him tackle some major works as
opposed to lighter fare – especially against the backdrop of a more colourful, textured
accompaniment.

New commission

Rob Wiffin, currently working at Kneller Hall following his retirement from the RAF, is
a trombonist himself, and Brett commissioned his ‘Concerto for Trombone’ following
the success of his earlier composition ‘Shout’.

The three contrasting movements encompass a range of styles; from the

declamatory opening and middle section, dedicated to Rob’s teacher Arthur Wilson
and in the style of a Richard Strauss song, to the jazz inflections of the finale.

Along the way there is a nod to ‘Eternal Quest’, and an impressive cadenza,
complete with multi-phonics and a sequence of progressively higher falls – executed
with customary Baker flair.

Musical feast

Johan de Meij’s ‘T-Bone Concerto’ is equally accessible - the titles of each of the
three movements having a witty bovine culinary link – ‘Rare’, ‘Medium’ and ‘Well
Done’. The soloist’s articulation is exemplary, whilst also catching the wistful nature
of the slower music beautifully. Lyricism is to the fore in the middle movement,
including a lilting waltz section, and in the finale the soloist barely has time for a
breather. The climax finds Brett in his element, exploring the upper echelons of the
instrument’s register in a thrilling finish.

Challenging work

The name Philip Sparke is a sure-fire guarantee of quality, inventiveness and

craftsmanship, and his ‘Trombone Concerto’ is no exception. Commissioned for an
all-Sparke recording by the Deutsche Blaserphilharmonie, it is dedicated to Olaf Ott
of the Berlin Philharmonic Orchestra. The music progresses from agitation to calm
and finally optimism, with the hymn-like second movement giving the soloist ample
opportunity to display his renowned smooth, sustained playing technique. A lively
samba launches the finale, with effective interplay with the ensemble’s well balanced
trombone section: It is toe-tapping stuff to really raise the spirits.

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Cathedral of sound

The ensemble is in fine form themselves too. Jonathan Crowhurst wanted to include
a solo item and the choice of ‘Canterbury Chorale’ fits the bill very well. There is
much to admire in the effective organ-like sound, and the control shown in the
contrasting dynamic elements. It brings to a close a most enjoyable recording, with
the textures of the wind ensemble ensuring that the soloist is not swamped - as can
be the case with a brass band accompaniment.

Add

The informative sleeve note includes testimonials from composers Johan de Meij and
Nigel Clarke, as well as helpful background to both the music and performers. On
this form, it is to be hoped that it will not be long before they are able to add to their
discography.

Peter Bale 18th February 2013

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Solicited response from Scott Shelsta Pershing’s Own Band USA
retired.
Brett,

I listened and studied Slide Projections and am in constant awe of your abilities in
putting this project together. BRAVO to you and your company. The Maidstone
Wind Symphony plays with exceptionally good taste. Philip Sparke is such a master
of timing and phrasing through you the as soloist Brett.

After listening twice to your CD, I read the notes and now the music comes alive
renewed. What a command of our (your) language you possess. You must spend
20 hours daily working on these notes and you’re playing ability. The Jan Van der
Roost Wind piece was a welcome addition to this CD too. Would it be fair to say
Winds is an American invention while the British Brass Band is yours? This Wind
Ensemble is spot on throughout the recording Brett.

But the piece I keep coming back to is the Rob Wiffin “Concerto for
Trombone.” What a moving piece of music and each listen is fresh and clean to my
ears.

In the history of trombone playing there was only one other trombone performer who
could do what you do with the speed of lip trills and that was the late SGM Larry
Wiehe of the US Air Force Band Bolling AFB Washington DC. This speed you
demonstrate is a GIFT Brett. Those fast twitching muscles is God given and NO
amount of practice makes this happen in anyone trombonist’s lifetime. Cherish this
gift Brett.

Scott Shelsta

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 Appendix IV:
Gregson Concerto Premiere Project
Concert Programme for premiere performance of Gregson Concerto
at Newbury Festival

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CD: Commercial recording of Gregson Concerto

Track Listing:

Of Distant Memories

Trombone Concerto – Soloist Brett Baker

Rococo Variations

Symphony in two movements

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 Solicited Testimony of the recording by Paul Hindmarsh

On Thursday 16 May 2013, I was invited by the composer Edward Gregson to attend a
recording session during which two of his works were recorded by Black Dyke Band,
conducted by Dr. Nicholas Childs - Symphony in two movements, which is dedicated to me,
and a new version of Trombone Concerto, commissioned by soloist Brett Baker and the
band. Both received their first recordings in brass band versions.

I was impressed with the speed and efficiency with which the band members coped with the
pressure of a very fast and focused recording schedule. Brett Baker's professionalism
approach under pressure and his stamina were especially creditable, since he was principal
trombone in the Symphony and soloist in the Concerto. Brett is at the peak of his powers as
a technician and artist at the moment. I have rarely heard him play better than he has in the
past 18 months and his performance here confirmed his stature within the band community
internationally.

Paul Hindmarsh May 2013

UNSOLICTED REVIEW OF PREMIERE BY JONATHAN CORRY

11TH MAY IN NEWBURY CORN EXCHANGE

Published 7th June 2013 in 4barsrest.com website

DYKE KICK OFF NEWBURY FESTIVAL

An exceptional concert given by the Black Dyke Band kicked off the Annual Spring Festival
at Newbury Corn Exchange. A capacity audience were given an entertaining and varied
programme by this fine ensemble, conducted this evening by Dr Robert Childs.

The programme made an immediate impact with Black Dyke's signature march 'Queensbury'
featuring star Principal cornet Richard Marshall. A lesser known Overture from the pen
of von Suppé was presented by Dyke. Suppé was often referred to as ‘the Viennese
Offenbach’, and in fact he was responsible for introducing many of Offenbach’s operettas to
the Austrian capital. The Beautiful Galatea was among his first efforts in the style of
Offenbach, Suppé here taking on the French composer’s La Belle Hélène.

A major solo work for trombone and band was featured utilising the skill and virtuosity of the
band's world class Principal Trombonist, Brett Baker. Edward Gregson is well known within
banding circles for his quality output within our movement, however; this piece did not
originate for band. Originally this trombone concerto was written to be played by trombonist
Michael Hext with full Orchestra accompaniment and was only recently adapted for brass
band (by the composer himself). This premiere performance of this fantastic work was

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delivered with panache by Brett and the difficult exposed passages which you could imagine
being played in the orchestra worked very well within the band. It would be interesting to hear
more writing for bands from mainstream composers such as Gregson.

Classical music has always been an important part of band programmes, in fact its part of
our DNA! Dyke continued with two movements from Norwegian composer Edvard Greig's 'In
the Hall of the Mountain King' before the band displayed their second soloist for the evening,
Sheona White. Well known within the brass world, Sheona dazzled the audience with her
performance of Bellstedt's 'Capriccio Brilliante' before Dr Child's presented the final piece of
the first half, Rodney Newton's fun three movement work, 'Echoes of the East'.

Paul Lovatt Cooper's writing is well known and loved by audiences for its cinematic ideas -
'When Thunder calls' was a great way to start up the second half before introducing the
band's soprano cornet player Paul Duffy. Duffy 'wowed' the audience in his own New Orleans
style version of 'Oh when the saints' displaying great range, flexibility and stylistic
nuances. Katrina Marzella then showed off her 'creamy sound' on the baritone in Paul Lovatt
Cooper's 'Donegal Bay', before the band's principal euphonium Gary Curtin gave a superb
performance of 'Herdmaiden Dance'. The audience were left spell-bound by his playing and
swagger on stage - such a showman!
In stark contrast, Black Dyke changed the mood with a beautiful interpretation of the well-
known hymn tune 'Abide with Me' by Monk, arranged by Karl Jenkins.

A Black Dyke 'Spooktacular' then followed. I was a little intrigued by this and was really
impressed at the creativity of the arrangers and the Band management for creating such an
engaging and relevant section to their programme. This featured narration by Dr Childs
linking together lots of spooky movie themes such as Jaws, The Omen, Casper and The
Addams family.

The band's final piece for the evening was the epic Finale from Saint Saens Organ
Symphony arranged by Philip Wilby. This showed off the fantastic 'mattress of sound' (as
described by Dr Childs) of the Black Dyke bass section.

The capacity audience and indeed the festival organisers were left in no doubt whatsoever
about the quality of music they had experienced this evening. Black Dyke and Dr Childs were
superb ambassadors for brass bands.

Jonathan Corry

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 REVIEW OF SYMPHONY CD BY IWAN FOX FOR 4barsrest.com

The recent major brass band compositions of Edward Gregson are amongst the most
significant of his long and versatile career.

‘Rococo Variations’, ‘Of Distant Memories’ (Music in an Olden Style), and especially,
‘Symphony in Two Movements’ form a deeply personal, mature canon of intellectual
musicality.

Dickensian brilliance

The adroit craftsmanship is formidable; forensically detailed and unequivocal in construction,

yet embodied by a lucid sense of characterisation that is almost Dickensian in its brilliance.

The strands of inspiration link towards the past, yet the musical outlook is one that moves
resolutely forward.

Allusions and ciphers

That is certainly heard in ‘Of Distant Memories’, which pays homage, without ever resorting
to pastiche, to the glories of the so called ‘Golden Age’ of brass band repertoire. The ‘distant
memories’ are just that - allusions and ciphers of acknowledgment written with a generosity
of transparent spirit; a nostalgic rhetoric that in turn explores modern avenues of lyrical
inspiration.

It is a composition that lifts the tonal heart, especially when delivered through an
interpretation of such considered expression by Dr Nicholas Childs.

Direct tribute

Meanwhile, a more direct personal tribute is paid in ‘Rococo Variations’. The compositional
motifs of Ball, McCabe, Steadman-Allen, Howarth, Heaton and Wilby are readily identifiable,
but it is the way in which they are subtly woven into the counter balancing architecture of a
series of variations that makes it the complete sum of its parts.

The added flourish of a truly demonic fugue adds a wonderfully stylistic cupola of brilliance.

Unfortunately, the performance itself comes from an earlier 2009 recording, and despite its
excellence, sits a little uneasily as a musical reference point amid the immediacy of its
surroundings: It does sound like a very different band is performing it.

Commanding lead

The brass band version of Gregson’s 1979 ‘Trombone Concerto’ sees Brett Baker as a

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commanding lead in a work expertly reconfigured in its new form.

Each movement is a masterful example of compact virtuosity - at various times dramatic,

languid and jaunty – all brought together with a climax of resolute finality.
Crowning glory

There is no denying the crowning glory of ‘Symphony in Two Movements’ (although written
before ‘Distant Memories’) - a work that is the culmination of all that has gone before in his
brass band compositional career.

The refined writing is constructed with such fundamental rigour that the abstract strands of
artistic nuance are seemingly made of symphonic steel.

The chameleon like ‘Toccata’, disguised in four variants on a thematic cell leads into a
glorious exploration of a further quartet of ‘Variations’, ending in unshakable glory.
It is a seminal work for brass band, performed gloriously by Black Dyke under Dr Nicholas
Childs.

Engaging

Paul Hindmarsh’s excellent sleeve notes also add extra depth and understanding to the
extended conversation with the composer - one in which he reveals himself to be a deeply
thoughtful and engaging interviewee.

One of the great compositional brass band voices of the last 40 years or more has been
admirably served with this outstanding recording.

Iwan Fox

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Full Brass Band Score

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Appendix V: Peter Graham Radio City Premiere Project 3B:
Live recording of CD at Festival of Brass January 2013

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Unsolicited Email from Dr Robert Childs:

Hi Brett

I'm in New Zealand now but still wanted to say how impressed I was by your
performance of Radio City last weekend.
I've conducted many premiere performances but never felt so at one with the soloist
and comfortable on stage as I did with you at the Royal Northern College of Music.

I was also impressed by the way you collaborated with the composer and ensured
that the concerto really works. I think the final version will become extremely popular
when it is published. This is due in no small part to your tireless efforts working with
Peter and keeping me in the loop.

The performance was also enhanced by your idea to use props in the narration.
Once again congratulations.
Yours sincerely

Dr Robert Childs

Associate Director of Music

Black Dyke Band 1855

Unsolicited Email from Professor Peter Graham:

Dear Brett,

A belated thank you for the terrific premiere and equally impressive studio recording
of Radio City which I recently attended. Time has flown since we met up at Christmas
to develop the work and it amazes me now how much was achieved in such a short
space of time. Thanks for your input - and in particular your willingness to share your
ideas to ensure that the finale would be playable by human beings! I suspect the
piece will develop further as you perform in differing contexts - and one day you
might even take on the role of narrator yourself!

I will very soon start to assemble the various edits into one publishable document
and send you a complete set of parts at that point. If you need something sooner (for
a scheduled performance etc.) let me know.

Also for your info, I have the outline of a piano accompaniment done and at some
point will complete it and forward to you to give you further performance opportunities
if you wish.

Peter

Professor Peter Graham

Chair of Composition | School of Arts and Media
AP 104, Adelphi Building, University of Salford,
Salford M3 6EQ
t: +44 (0) 161 295 6116

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Solicited Email from Editor of the Bandsman Magazine Kenneth Crookson:

As a regular at brass band events throughout Europe, I am often confronted with

attempts from performers at all levels to present some a little bit 'different'. As one
would imagine, these have varying degrees of success, both from artistic and
technical points of view, but with brass banding being a predominately amateur
pursuit it is important to appreciate that the efforts of the composer/arrangers and
performers are generally well-intentioned, whatever the result.

What a joy it was, then, to be present at the Royal Northern College of Music Festival
of Brass on Friday 25 January for the opening concert by Black Dyke Band,
conducted by Dr. Nicholas Childs, in which Radio City - Concerto for Trombone and
Band promised to be one of the more 'interesting' performances of the weekend.

Peter Graham's work for brass band is always well conceived, and in Radio City the
listener was taken back to the USA in the 1950s, with an announcer in the film noir
style providing an introduction to each of the three movements.

The 'Be-Bop' first movement allowed soloist Brett Baker to show his rhythmic vitality
to its best, while the Tommy Dorsey-inspired slow movement found both band and
soloist comfortable with both the style and technicalities requested by the composer.
In terms of inspiration, the blue-grass finale was arguably the weakest of the three
movements, but the slickness of technique and dynamics demonstrated by the
performers certainly contributed to a performance that was savoured by the capacity
audience in the RNCM Concert Hall.

As a musical experience Radio City achieved everything that the composer and
soloist/commissioner intended, with the radio plays of Raymond Chandler very much
at the forefront of the listener's mid during the entire performance. Like a number of
performances by Black Dyke Band at this event over the years, it verged upon
'musical theatre' - something of a rarity for brass bands, but an aspect of their
repertoire that is certainly worth further exploration.

In Radio City - Concerto for Trombone and Band we found musical vernacular of a
different kind - the strongly characterised sound of the American big band that Brett
Baker had commissioned from Peter Graham, complete with American radio
announcer impersonator. This proved an entertaining take on the Raymond Chandler
atmosphere that is deep in the psyche of the 1950s radio listener and cinemagoer on
both sides of the Atlantic.

The first movement will be in ‘Be Bop’ style, there’s a Tommy Dorsey/Glenn Miller-
style section in the middle and a Blue Grass finale,

Kenneth Crookson

The British Bandsman

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Unsolicited Review by Iwan Fox for 4barsrest.com

23rd June 2013

A fascinating quintet of mature compositions, performed with perceptive

understanding makes this a truly distinctive release from Black Dyke.

Scope

The scope of the musical language expressed by Martin Ellerby, Philip Wilby, James
Macmillan, Peter Graham and Alexander Comitas (Ed de Boer) may not encompass
the extremes of brass band repertoire, yet there is little doubt it pushes towards its
boundaries.
These though are master-craftsmen; with the skill to combine intuitive musicality and
demanding technique without losing the sense of single minded purpose to their
essentially melodic constructions.

Informed

Both conductors are equally informed interpreters – the result of which sees
performances of exceptional quality; from the intense drama of ‘Electra’ and elegant
melancholia of ‘Vita Aeterna Variations’, to the feral passion of ‘Canite Tuba’,
evocative textures of ‘One Star: Sailing West’ and film noir delights of ‘Radio City’.

Demanding

The featured soloists deliver malleable renditions of demanding works: Brett Baker
expertly conjuring up the image of a down at heel Sam Spade picking his way
through the sleazy mean-streets, clubs and race tracks of 1940’s America.

All this with the echo of a pastiche Raymond Chandler first person narrative, lazily
drawled by Dale Gerrard, floating in his mind.
Meanwhile, Zoe Hancock’s tasteful appreciation of timbre and melodic line enables
her to subtly layer the solo voice of Philip Wilby’s tranquil sailing trip that quickly
becomes engulfed by a threatening, virtuosic squall.

The calm, reflective sense of relief found in safe harbour is beautifully evoked –
although the disturbing anxieties remain in the undercurrent echoes of the digital
delay.

Superb

The main ensemble works are superbly realised.

Martin Ellerby’s ‘Electra’ is full to the brim with obsessive angular menace.

Wickedly malevolent, it is an engrossing portrait of a schizoid sibling hell bent on

230
murderous revenge, yet ravaged by feelings of remorse and loss. It is performed with
wonderfully dark intent.

Reflective

A more reflective, if equally personal sense of deep seated bereavement is to be

found in Ed de Boer’s ‘Vita Aeterna Variations’; although in this case it is nature
rather than nurture that claimed the life of a loved one.
However, this death stirs feeling of redemption rather than retaliation as the
composer seeks a deeper understanding to his questioning theme of ‘eternal life’.

Written with a tender Edwardian restraint, it still sounds remarkably modern despite
its obvious ‘retro’ feel, in what is a burnished, elegant interpretation by the MD and
band.

Affirming

In contrast, James MacMillan’s ‘Canite Tuba’ is a life affirming celebration; from the
assertive energy of the Vesper antiphons and lilting miasma of the opening
movement and central interlude, to the raw tribal chants of football terrace adoration
to close.
Bold, breathless and beautiful in equal measure, it is given a performance of
remarkable substance – and one that rather sums up the quality of this release as a
whole.

Iwan Fox

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Studio Recording of Radio City

Track Listing

232
Score for Radio City revised February 2013

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Appendix VI: Public Performance Lecture Recital
Programme 28th November 2013
Live Audio Recording CD

286
DVD of Lecture Recital

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Appendix VII: CURRICULUM VITAE: LYNDON BRETT
BAKER
Summary:
Brett Baker has performed with celebrated singers such as Alison Goldfrapp and
Hayley Westenra, as well as other world-renowned trombone soloists such Ian
Bousfield, Wycliffe Gordon, Christian Lindberg and Joseph Alessi. He is currently the
most recorded trombone soloist in his genre, and as well as making numerous
broadcasts and TV appearances, by the age of 24 he had won every major brass
band competition in the UK. He is also a former Trombone Solo Champion of Great
Britain and an Associate of the Royal College of Music, London.

Education:
2010 – 2014 University of Salford - Masters in Performance leading to
Doctor in Musical Arts
2005 – 2007 Liverpool John Moores University - PGCE in ICT (11-16)
2000 - 2001 RNCM Manchester - Postgraduate Diploma in Music
1995 - 1996 University of Salford - Adv. Certificate in Management
1992 - 1995 University of Salford - Business Economics BSc. (Hons)
1991 - 1992 Project 92 (Industry Year) - German Language / I.T. Training
1989 - 1992 Royal Forest of Dean College, Gloucestershire
A Levels: Economics (A), Geography (C), English (C), Music (D),
General Studies (D), GCSE: Mathematics (A).
1985 - 1989 Whitecross School, Lydney, Gloucestershire
GCSE’s:English Language (B), Science I (A), Science II (A),
English Literature (A), Mathematics (C), Geography (A),
Information Technology (A), Music (A), Humanities (B).

Work Experience Music:

2000-2014: I became an International Soloist and private teacher, with around 30
students. I perform to audiences every weekend with the Black Dyke
Band and as a soloist perform at around 20 concerts and recitals per
year. In addition I lead on average around 8-10 workshops a year.

294
 From 2005-2010 I was Chairman of the British Trombone Society
becoming President in 2010. In September 2010 I became trombone
tutor at Salford University. In 2012 I became a lecturer at the University
of Salford.

Other Work Experience:

2010-2012: As well as completing my Masters in performance at Salford University,
I visit schools, colleges and universities around the world as an
ambassador for the trombone, the British Trombone Society, the
International Trombone Association and Raths Brass Musical
Instruments.
2009-2010: Subject leader of ICT and Teacher of Music at Queens Park High
School, Chester.
2007-2009: Subject Leader of ICT and Teacher of Music at Cheshire Oaks High
School, Ellesmere Port.
2005- 2007: Studying for a Postgraduate Certificate in Education and gaining work
experience at Christleton High School near Chester, Neston High
School on the Wirral and Cheshire Oaks High School in Ellesmere
Port. I have taught A Level, GCSE, DIDA, KS3 and KS2 ICT and KS3
Music.
2000-2005: Head of Low Brass at Kingsway High School near Stockport.
Whilst also working as Business Development Manager for KMP
Associates in Stockport. This involved securing new business via
telesales and networking. It involved consolidating partnerships for a
company that specialises in web development, design and consultancy
including brand development.
1997 - 2000: Sales Manager: Heading the Sales Department of Watts Industrial
Tyres, as the Original Equipment Accounts Manager. My role was to
manage existing accounts and generate new business.
1996: Project Manager: My role was to supervise the implementation and
instalment of a Human Resource Database at Cerestar UK, including
involvement in the decision on which software to purchase.
1993 -1996: Trombone Tutor at the University of Salford.

295
Other Information:
Member of Salford University Teaching & Learning Committee 1993-95.
Principal Trombone of the Black Dyke Band since 2000
Founder of White River Brass ensemble in 2000
President of the British Trombone Society 2010-2012
Chairman of the British Trombone Society 2006-2010
Secretary of the International Trombone Association 2006-2008
Founder of White River Evocations recording label from 2008
Chair of the International Trombone Association Awards Committee 2008-Present
Trombone Tutor National Children’s Brass Band of Great Britain 2003 – Present
Trombone Tutor of Yorkshire Youth Brass Band 2006-present
Trombone Tutor of the International Brass Band Summer School 2005
Trombone Tutor of the Northern Brass Band Trust 1992, Present
Course Director of the Northern Brass Band Trust, 2000-Present
Guest conductor for the RNCM Brass Band
Guest Conductor for Salford University Brass Band

Guest lecturer / Clinician / Conductor at the following: 1998-2014

Washington, UK, December, 1998
Langbaurgh, Redcar, UK, February, 1999
DeBazuin, The Netherlands, February, 1999
NABBA, Chicago, Illinois, USA, April 1999
Harlepool, UK, October, 1999
Melbourne, Australia, October 1999
Christchurch, St Kildas, Dunedin, Invercargill, Wellington New Zealand, Nov 1999
Norwich Citadel, Norwich, UK, February 2000
National Arts Centre New York, USA, Gramercy Brass Institute, April, 2000
Houghton feast, Durham, UK, October 2000
Arklow Silver Band, Arklow, near Dublin, August, 2001
Star Lake Music Camp, New Jersey USA, August, 2001
Douglas, Isle of Mann, September, 2001
University of Leeds, UK, November 2001
Atlantic City, USA, February, 2002

296
Bermuda Festival, Bermuda, February, 2002
Berne, Switzerland February, 2002
University of Toronto, Canada, March, 2002
Northern Brass Band Trust, Durham, April 2002
Northop Festival of Music, North Wales, UK, April 2002
Towcester Studio, Northamptonshire, UK, May 2002
University of Akron, Akron, Ohio, USA, May, 2002
St Louis, Missouri, USA, May 2002
Oxted, Surrey, UK, June 2002
Harhill Festival, Durham, UK, July, 2002
Esch Conservatoire, Luxembourg, August, 2002
University of Leeds, UK, November, 2002
Geneva, Switzerland, December, 2002
Illinois Brass band Chicago, March, 2003
Swiss Youth Band, near Fribourg, Switzerland, June / July 2003
Malta Wind Band Festival, Malta, July 2003
Thundersley, UK, September, 2003
Bermuda Festival, Bermuda, February 2004
Tewit Yorkshire, UK, February, 2002
University of Christchurch, New Zealand, March, 2004
University of Brisbane, Australia, March 2004
Starlake, New Jersey, USA, August, 2004
Houghton Feast, Durham, UK, October, 2004
Zurich, Switzerland, December, 2004
Durham, UK, January, 2005
Adelaide, Australia Brass Festival, March, 2005
Durham, UK, Northern Brass Band trust, April, 2005
Detriot, Michigan, USA, 20 high schools & colleges, Motor City, May 2005
New Orleans ITA Festival, USA, May 2005
Martlesham near Ipswich UK, July 2005
Melbourne & Eaglehawk, Bendigo, Australia, July, 2005
Starlake, New Jersey, USA, August, 2005
Gwent Youth Band, Bryn Glas, Wales, UK, January, 2006
DeWaldsang, The Netherlands, January 2006

297
Alcester, Victoria, UK, February, 2006
Amsterdam, The Netherlands, February, 2006
Brazilian Trombone Festival, Joao Passoa, Brazil, February, 2006
Northern Brass Band Trust, Durham, April 2006
Liss, Hampshire, UK, June 2006
Tokyo, Japan, June 2006
Sydney Australia, various colleges and conservatoriums, July 2006
Dunedin, New Zealand, Brass Festival, July 2006
ITA Festival, Birmingham UK, July, 2006
Wellington University, Canterbury, Christchurch, New Zealand, August 2006
Glory of Wales Festival, St Asaph, August 2006
Ascombe. Cumbria, November, 2006
Brussels, Belgium, November, 2006
New York Staff Band, Memorial Temple, New York, USA, January, 2007
Detroit, Michigan, USA, with White River Brass, April 2007
Cleveland ,Ohio, USA, May 2007
Las Vegas ITA Festival, USA, May 2007
Tokyo, Japan, Black Colt, various schools & colleges, June, 2007
Esch Conservatoire, Luxembourg, December, 2007
Straban, Northern Ireland, February 2008
Cuives Concordia de Mervelier, Switzerland, April 2008
Salt Lake City, Utah, ITA Festival, May 2008
International Brass Summer School, Swansea, Wales, August 2008
Milan, Italy, October 2008
Luxembourg, January 2009
Martlesham, Ipswich, UK February 2009
Gillingham, UK, April, 2009
Royal Northern College of Music brass Day June 2009
International Brass Summer School, Swansea, Wales, August 2009
Sidmouth, Devon, UK, August 2009
Aberdeen University, Aberdeen, Scotland, UK August 2009
Northern Brass Band trust, Durham, UK, November, 2009
Esch Conservatorium, Luxembourg, December, 2009
Hobart, Tasmania, Australian Brass Festival, April, 2010

298
MMI Music workshop, Oxfordshire, UK, April, 2010
Bromley, Kent, UK BTS Festival, June, 2010
Royal Northern College of Music brass Day June 2010
Guernsey, Concert & Workshop, July, 2010
International Brass Summer School, Swansea, Wales, August 2010
Amsterdam, The Netherlands, August, 2010
Beijing, China, September, 2010
Wollongong Conservatorium, Australia, October, 2010
Sydney, Brisbane, Melbourne, Australia, October, 2010
University of Western Australia, Perth, Australia October, 2010
FABB Festival, near Brisbane, Australia, October 2011
Christchurch and Marlborough, New Zealand, November, 2010
Wellington and Dunedin, New Zealand, November, 2010
Aberdeen University, Aberdeen, December, 2010
Bergan, Norway, February 2011
Eastern Trombone Workshop, Washington DC, USA, March, 2011
Trinity College London workshop, London, UK, March 2011
Northern brass Band Trust, Durham, UK, April, 2011
Australian Brass Festival, Adelaide, Australia, April 2011
Watchet, Devon, UK, April, 2011
Brazilian Trombone Festival, Natal, Brazil, May, 2011
BDB Festival, Leeds July 2011
Conset, Durham, UK, July 2011
Enfield, UK, July, 2011
Sydney conservatorium, Australia, August, 2011
FABB Festival, near Brisbane, Australia, October 2011
Christchurch, New Zealand, August, 2011
International Brass Summer School, Swansea, Wales, August 2011
Porthywaen, BTS Festival, UK, September, 2011
Auckland, Marlborough, Nelson, New Zealand, November, 2011
Christchurch, Wanganui, New Zealand, November 2011
New Plymouth, Napier, Wellington, November, 2011
Osaka, Japan, November 2011
Regent Hall Festival, London, UK, October 2011

299
Lexington, Columbus, Virginia, USA, April 2012
Cincinnati, College of music, USA, April 2012.
Test Valley, Hampshire, UK, May 2012
British Trombone Society National event, Cardiff, Wales, UK May 2012
ITF Paris, Premiere Martin Ellerby Sonata & Wiffin Concerto July, 2012
International Brass Summer School, Swansea, Wales, August 2012
Sidmouth, Devon, UK, August 2012
Porthywaen, BTS Festival, UK, September, 2012
Stannington, Sheffield, UK, October, 2012
Academy London, UK BTS Day, October, 2012
Isle of Mann, Trombone Festival, November 2012
Basel Switzerland, Festival, November 2012
BTS Event Crewe, Forgotten trombone solos UK, December 2012
Isle Verde Bronces Festival Argentina, February 2013
Tewit Youth Band, near Harrogate, UK March 2013
Slide Factory, Rotterdam, March 2013
NYBBGB Easter course March-April 2013
Flookburgh Band, Cumbria, April 2013
Dobcross Band, Saddleworth, April 2013
Workshop at Pangborne College and recital May 2013
Recitals and concerts at the Great American Brass Festival June 2013
Workshops and concert in Luxembourg June 2013
International Brass Summer School, Swansea, Wales, August 2013
CD Launch, Novus Vox, Royal College of Music, Enfield Band, October 2013
Workshops in Switzerland November 2013
BBC Radio Lancashire, Black Dyke Junior Quartet, Accrington, UK December 2013
Workshops and concert, with Camborne Youth Band and Solo contest January 2014
Solos & conducting, Salford Graduation Band, Butlin’s Festival, Skegness, January
2014
Eastern Trombone Workshop, West Virginia and NewYork workshop March 2014
Solos and Black Dyke Quartet, at Kettering SA Hall, March 2014
Droitwich Festival Fundraiser with Jaguar Band Droitwich UK, March 2014
Solo and Black Dyke Quartet concert, for Woodfalls Band April 2014
Youth Championships at Salford University, Adjudicating April 2014

300
Appendix VIII: Discography 2012- 2014:

301
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303
 Discography 2011-2009

Spectacul
ar
Black Dyke
Classics Rimsky Korsakov Trombone Concerto Obrasso 941 2011
Band
Vol. 7

Harlem Nocturne, Over the Rainbow,

Bone Apart, Aubade, Georgia,
Harlem Ratby Co- White River
Capriccio, Green Bee, Londonderry Air. 2011
Nocturne op Band Evocations
Dan Busters, 2nd movement of the
Mendellsohn Violin Concerto

Essential
Black Dyke
Dyke Various Doyen CD 300 2010
Band
Collection

Capriccio, Summon the Rhythm, Song

Summon of India, Concerto by Darrol Barry,
Leyland Polyphonic QPRL
the Someone Cares, 4 miles from Texas, 2010
Band 230D
Rhythm Smile, Sweet Nightingale, Evergreen,
Silver Plate, Excursions

Rathamataz, Annie Laurie, Fantastic

Rathamat Black Dyke Polka, I loves you Porgy, By the time I
Doyen CD 261 2009
az Band get to Phoenix, Arriva Derci Roma,
Nightmare for Trombone, Alfie.

Introit, Cavatine, Serenade, Toccata,

World of Iona Boat Song, Phantasy, Blue Jeans,
Fenella
the Elergy from Mippy II, Nothing but thy
Howarth- Polyphonic 2010
Trombone Blood, Twin Slides, Carmen Fantasy,
Smith
Vol 2 Jazz Silhouettes, Edward Gregson
Concerto

Essential Black Dyke

Fantastic Polka (Pryor) Doyen CD270 2009
Dyke 9 Band

304
Shout! Polysteel Shout, Ballade & Spanish Dance, As if Polyphonic QPRL 2008
Band we ever said goodbye, Everyday Light, 227D
The Last Judgement, Year of the
Dragon Interlude, Tryptych for
Trombone, Dreaming, Fantasia for
Trombone, All I ask of you, Freaks

Boscomb Boscombe Sarah (Broughton), Oration (Snell) SP&S 235 2008

e and Band
Fodens
Live

National Black Dyke DL Blues (Lusher) Doyen CD 240 2008

Brass Band
Band
Champion
ships

Fantastic Polka, Georgia on my mind,

Brass
Ye Banks and Braes, My Refruge,
Band of
Slides Vivaldis Winter from the Four
the BBWRC02 2008
Rule Seasons, Sweet hour of Prayer,
Western
Holiday for Trombones, Come into our
Reserve
World

Music for Black Dyke Sambezi (Sparke) AR022-3 2008

Battle Band
Creek

Fly Me To Piano The Summer Knows, We Shall Win SCRC144 2008

the Moon accompani (duet), Concerto A4 (quartet), Salve
st: Howard Maria, Glorious Fountain (duet), God so
(Joint solo J Evans, Loved the world (quartet), The
album Black Dyke Conqueror, Gospel Time (quartet), Fly
with Paul Trombone Me To the Moon (quartet)
Woodwar Quartet
d

305
120th
New York Faith Encounter (Steadmann-Allen) and
Annviersa NYSB 2007
Staff Band Old Rugged Cross (Leidzen)
ry Concert

The Kew Autumn Leaves, The Southern Cross, Musosmedia 2007

Southern Melbourne All The Way, The Emperor, The
Cross Nightingale, Sarah, Suite for
Trombone, Pokarekare Ana, Rhapsody
for Trombone

The World Piano Piece in Eb Minor, Ballad for Polyphonic QPRZ 2007
of the accompani Trombone, Shout!, four Sketches, 026D
Trombone st: Fenella Legend, Czardas, Aubade,
vol 1 Hawarth- Divertimento, Witches Spell, Ballade
Smith and Spanish Dance, Chaconne,
Sonatine, Sweet Hour of Prayer,
Trombone Sonata

Band of
37th Dance Sequence (Wood), Concerto by
the Black
Annual Rimksy Korsakov, Thoughts of Love USO 849/850 2007
Colt
Concert (Pryor), All I ask of you (Mowat)
(Japan)

Christmas Black Dyke When a Child is Born (Barry) Obrasso CD925 2007
with Black
Dyke

306
 Discography 2006-2004

Title Accompaniment Solo Reference Year

European
Brass Band Black Dyke Band Annie Laurie Doy CD 211 2006
Contest 2006

Martin Ellerby Trombone

Timelines RNCM Wind Band QPRM 151D 2006
Concerto

Sarah, Flourios for

Trombone, Iona Boat
Faith Boscombe Band of Polyphonic
Song, Faith Encounter, 2006
Encounter the SA 223D
Whisper a little Prayer, My
Ship

Sounds of W of B Ensemble Selection of 36 Carols SP&S 214 2006

Christmas CD

A Christmas Black Dyke Band When a Child is born arr D Doyen Doy 2006
Carol Barry CD 220

307
In Shining Yorkshire Imps The Tromboneer, The AMDCD101 2006
Armour Firefly, In Shining Armour
(duet), The Spitfire,
(joint solo Melodie et Caprice,
album with Mercury, Lend Me Your
Paul Aid, Concertino
Woodward) Olympic,Trombone
Concerto (Elgar Howarth),
Trombone concerto
(Buxton Orr)
Crusade DeWaldsang Homelands, Polka Dots, LMP200.001 2006
The Volunteer, Star of East

Spectacular Black Dyke Berceuse De Jocelyn OB CD 906 2006

Classics Five

Homelands Kew (AUS) Homelands (Dewhurst), Musomedia 2005

The Jester (Greenwood)
Londonderry Air (Snell)

Wilfred Black Dyke / ISB Trombone Concerto SP & S 2005

Heaton Vol 3

Mask Light Division Trombone Concerto (Ivor CR Rec 2005

Hodgson), Sonata for
(Solo Album) Trombone & Wind Band
(Derek Bourgeois), "Mask"
Concerto for Trombone &
Wind Band (Marc Owen),
Trombone Concerto

308
 (Gordon Jacob)
Excursions Jackfield Elcock Hodgson, Hartley, Owen, Big E 006 2005
Reisen (UK) Dewhurst new
compositions

Kapitol Brass Various I will follow Him (Trio) Doy CD191 2005

The Golden Black Dyke Trombonology OB 894 2004

Swing of
Black Dyke

Virtuosi Light Division Rhapsody for Trombone, LDCD001 2004

Coming Home

Monument Black Dyke Monument, Dark Eyes, The DOY CD171 2004
Hailstorm, Sonata, Four
(Solo Album) Pieces for Four
Trombones,
Trombonology, The Name,
Thoughts of Love, A
Nightingale Sang in
Berkeley Square, Earth's
Fury
The Essential Black Dyke Thoughts of Love arr DOY CD167 2004
Dyke IV Wilkinson

309
 Discography 2003-1988

Accompaniment Solo Reference Year

Title
Live & Kicking Illinois Brass Titles include Teddy N/A 2003
(USA) Trombone, Over the
Rainbow and
Homelands

Greatest Move Hits Black Dyke Trio: I will Follow OB 890 2003
Band Him arr Richards

Fuoco Brass Fuoco Brass S.A. Titles inc. FB1 2003

(UK) Golden Slippers and
Londonderry Air,
There Will Be God.
Come into my world

Meditation Piano Fantasie, On Wing AMSCD 059 2003

accompanist: of Song, Deux
(Solo Album) Fenella Danses, Vocalise
Haworth-Smith Opus 34 No14,
Meditation, Elegie in
Eb Minor Opus 3
No1, Zwei Aequale,
Nocturne, Liebesleid
(Loves Sorrow),
Two Pieces for
Three Trombones,
Sicilienne,
Hommage a Bach,
Romanze,
Concertino for
Trombone (Larsson)

310
Credo Mississauga S.A. Titles inc. Song MTBCD-2 2003
Temple Band of Exuberance &
Canada Concert Etude,
Now, Swing that
Door, Let the
Beauty.

Black Dyke Plays Black Dyke Something arr OB 887 2003

the Beatles Richards

Evergreen Oxted Band Evergreen DG01 2003

(UK)

Homeward Longridge Bella Mahone & I AMSCD 049 2002

Loves You Porgy arr
Geldard

Call of the Black Dyke The Name arr DOY CD 138 2002
Cossacks Graham
The Eternal Quest Black Dyke The Eternal Quest, QPRL211D 2001
Ballad for
(Solo Album) Trombone., Blue
Bells of Scotland,
Street Scene,
Fantasy for
Trombone, Concerto
for Four Trombones
and Percussion, Ye
Banks and Braes,
Concert Variations,
Trombone Concerto.
The Essential Dyke Black Dyke I'm Getting DOY CD 121 2001
III Sentimental over
you

311
Phenomenon Flowers Band Twister, Love's QPRL 203D 1999
Enchantment,
(Album with Ian Meditation form
Porthouse) Thais, Annie Laure,
Coming Home
(duet), Misty eyes,
Stardust, Dick
Turpin's Ride to
York, The Guardian
Bakers Dozen Flowers Band Capriccio (from QPRL 096D 1998
Blues & Capriccio),
(Solo Album) Take up Thy Cross,
The Haunted
House, Concerto for
Oboe (Telemann),
Feelings, Concertino
(Leidzen),
Phantasm, I'm
Getting Sentimental
Over You, The
Debutante, Bolivar,
Here's That Rainy
Day, Trombone
Concerto
Jazz Williams Fairey White-Knuckle Ride DOY CD 68 1997
P Wilby

312
Bone Idyll Williams Fairey Brasilia, Annie CD4543 1996
Laurie, Cavatine,
(Solo Album) Nobody Know the
Trouble I See, Bone
Idyll, Rhapsody
(Langford),Prelude
& Scherzo, the Wind
Beneath My Wings,
Morceau
Symphonique,
Berceuse de
Jocelyn, Concertino
(David)
Tour of Sweden Williams Fairey Swing Low Sweet N/A 1996
Chariot
18th European Williams Fairey Londonderry Air arr N/A 1995
Brass Band Geldard
Championships

From North to Williams Fairey Thoughts of Love EGON 1994

South arr Wilkinson

Nationals Brass Various Thoughts of Love QPRL71D 1994

Band arr Wilkinson
Championships
1994

313
Triumphant Williams Fairey Taproom Ballade QPRL68D 1994
Rhapsody Vinter

Double Champions Williams Fairey Dance Sequence G QPRL65D 1993

Wood

A Bouquet from Flowers Band Blue Bells of N/A 1991

Flowers Scotland arr
Broadbent

314
Appendix IX: Music Solo Commissions:
This page lists the solo's that have been arranged or composed for me from 2010-2014
Title Composer Arranger Year Recording

Trombone Concertino Paul Mealor 2014 TBA

Richard Huw
TBA 2014 TBA
Cole

Paul Lovatt-
Slipstream 2013 TBA
Cooper

Black Dyke Gold Vol

Brave Alan Fernie 2013
3

Radio City - Suite Peter Graham 2012 Electra

Peregrines Flight Jonathan Bates 2012 BB & Friends

Leona Polka Leo Zimmerman Keith Wilkinson (Premiered IBBSS 2012) 2012 Salute to Sousa

Aint no sunshine Bill Withers Richard Rock 2012 TBA

(Premiered Cardiff National BTS Day

The Crack'd Mirror Richard Rock 2012 BB & Friends
May 2012)

Klavji Gareth Churcher 2012 BB & Friends

Cafe Life Andrea Price 2012 BB & Friends

Ira Ludovic Neurhr 2012 BB & Friends

Suite for Trombone Stephen Watkins 2012 TBA

arr. for BB Premiered in Perth Australia

T-Bone Concerto Johan de Meij 2012 T-Bone Concerto
and JMU, USA

Dreamsville Henry Mancini Mark Freeh 2012 Freeh Spirit

George
Walking the Dog Mark Freeh 2012 Freeh Spirit
Gershwin

Dance Allegra James Burke Mark Freeh 2012 Freeh Spirit

Phenominal Polka Fred Innes Mark Freeh 2012 Freeh Spirit

George
Walking the dog Mark Freeh 2012 Freeh Sprit
Gershwin

Our Love is here to stay G Gershwin Mark Freeh 2012 Freeh Spirit

Nightfall in Joao Passoa Andrea Price 2011 Boneman Walking

His Provision Ivor Bosanko Dorothy Gates 2011 Boneman Walking

O Mio Bambino Caro Pucinni Keith Wilkinson 2011 T-Bone Concerto

(Premiered Eastern Trombone Workshop Brett Baker &

Schizophrenia Tom Davoran 2011
2011) Friends

Concerto for Trombone World Premiere Perth Australia, & Europe

Rob Wiffin 2011 Slide Projections
(2010) ITA Paris

Moonlight in Vermont Billy May Mark Freeh 2010 Freeh Spirit

315
Our Love is here to stay George Gerswin Mark Freeh 2010 Freeh Spirit

Unforgettable Nelson Riddle Mark Freeh 2010 T-Bone Concerto

I Know Why Gray / May Mark Freeh 2010 Freeh Spirit

(Premiered Melbourne Staff Band

Abide with me Kenneth Downie 2010 T-Bone Concerto
October 2010)

Ray Farr (Premiered Melbourne Australia

Close to you Burt Bacherach 2010 T-Bone Concerto
2010)

Concerto Grondahl Howard Lorriman 2010 T-Bone Concerto

Bride of the Waves Herbert Clarke Darren Cole 2010 T-Bone Concerto

Rimsky Classic Spectacular

Concerto Howard Lorriman 2010
Korsakoff Vo1.7

Richard Rock (Premiered Guernsey July

Mr Bojangles Jerry Jeff Walker 2010 TBA
2010)

Dr. Keith Wilkinson (Premiered Ohio May

Atlantic Zephyrs Gardell Simons 2010 T-Bone Concerto
2010)

Violin Concerto 2nd

Mendellsohn Richard Rock 2010 Harlem Nocturne
Mvmt

Rimsky
Song of India Bill Geldard 2010 Summon the Rhythm
Korsakoff

Capriccio Philip Sparke (Premiered IBBSS Swansea 2010) 2010 Summon the Rhythm

Summon the Rhythm Tom Davoran 2010 Summon the Rhythm

Dances in Modern James (Premiered in Consett Durham July Brett Baker &
2010
Times McFadyen 2010) Friends

2004-2009
This page lists the solo's that have been arranged or composed for me from 2004-2009
Title Composer Arranger Year Recording

Salsa Panadero Philip Harper Premiered IBBSS 2010 2009 Boneman Walking

Rathamataz Andrew Duncan 2009 Rathamataz

Tango Gavin Higgins Premiered Halifax 2010 2008 Rathamataz

World of the Trombone

Phantasy Darrol Barry Premiered RNCM 2008 2008
Volume 2

Twin Slides
Bruce Fraser Premiered BTS Leicester 2008 2008 TBA
(Duet)

Fantasia for
Barrie Hingley 2008 Shout!
Trombone

Pattons
Michael Dease 2008 TBA
Penance

316
Quartet for
Darrol Barry 2007 TBA
trombones

The Last
Carl Vincent 2007 Shout!
Judgement

Shout Rob Wiffin Premiered IBBSS 2008 2007 Shout!

Concerto for
Darrol Barry Premiered Las Vegas 2007 2007 Summon the Rhythm
Trombone

Triptych for
Darrol Barry Premiered Dorset 2009 2006 Shout!
Trombone

You only live

Mark Freeh 2006 Freeh Spirit
Twice

Nightmare Derek Bourgeois Premiered RNCM 2008 2006 Rathamataz

4 miles from
Ralph Pearce 2006 Summon the Rhythm
Texas

Faith Encounter /
Sarah Bill Broughton Premiered Bendigo Australia 2006 2005
Southern Cross

Iona Boat Song Trad arr Howard Evans 2005 Faith Encounter

Jimmy Van
All the Way Mark Freeh 2005 The Southern Cross
Heusen

Everyday Light James

Premiered Bury BTS 2005 2005 Shout!
(trio) McFadyen

Trombulation Richard
2005 TBA
(trio) Grantham

Winter Vivaldi Dr. Keith Wilkinson 2005 Slides Rule

Ray Steadmann
Faith Encounter Premiered Boscombe 2005 2005 Faith Encounter
Allen

Rhapsody for
Mike Fitzpatrick 2005 The Southern Cross
trombone

Mask Concerto Marc Owen 2004 Mask

My Ship Kurt Weill Barry Forgie 2004 Faith Encounter

Concerto Earths Paul Lovatt

Premiered Llandogo 2004 2004 Monument
Fury Cooper

Excursions Marc Owen Premiered Telford 2004 2004 Summon the Rhythm

Pokarekare Ana Trad Goff Richards 2004 The Southern Cross

317
1991-2003
This page lists the solo's that have been arranged or composed for me from 1991-2003
Title Composer Arranger Year Recording

Something George Harrison Goff Richards 2003 Dyke Plays The

Beatles
Collosus Concerto Marc Owen 2003 TBA
The Volunteer Gardell Simons Keith Wilkinson 2003 Crusade
Polka Dots and Moonbeams Jimmy Van Hausen Robin Dewhurst 2003 Crusade
Sonata for Wind Band Derek Bourgeois 2003 Mask
Homelands Robin Dewhurst 2003 Live & Kicking /
Crusade
Come into Our World Joy Webb Dorothy Gates 2003 Fuoco Brass
Now Ty Watson 2002 Credo
The Name Peter Graham 2002 Call of the
Cossacks
Concerto No 1 Monument Marc Owen 2001 Monument
Concerto for 4 Trombones Philip Harper 2001 The Eternal Quest
Ye Banks & Braes Traditional Keith Wilkinson 2001 The Eternal Quest
Concerto for trombone Martin Ellerby 2001 The Eternal Quest
Twister Paul Lovatt-Cooper 1999 Phenomenon
Meditation Thais Philip Harper 1999 Phenomenon
Coming Home (duet) Robin Dewhurst 1999 Phenomenon
Annie Laurie Arthur Pryor Keith Wilkinson 1999 Phenomenon
Bone Apart Don Gibson 1999 Harlem Nocturne
Dick Turpin Rodney Newton 1999 Phenomenon
Misty Eyes Derek Broadbent 1998 Phenomenon
Blues & Capriccio Darrol Barry 1998 Phenomenon /
Bakers Dozen
The Haunted House Philip Harper 1998 Bakers Dozen
Concerto for Oboe Teleman Bryan Hurdley 1998 Bakers Dozen
Phantasm Rodney Newton 1998 Bakers Dozen
Prelude & Scherzo Philip Sparke 1996 Bone Idyll
Brasilia Robin Dewhurst 1996 Bone Idyll
Cavatine Saint-Saens James Gourlay 1996 Bone Idyll
Concertino Ferdinand David Bryan Hurdley 1996 Bone Idyll
Blue Bells of Scotland Arthur Pryor Derek Broadbent 1991 The Eternal Quest

318
Appendix X:
Summary of Professional Activity from July 2012- April 2014:
4th-7th July 2012: International Trombone Festival, Paris, France. Premiere Ellerby
Sonata with piano and Wiffin Concerto with wind Band

20th-22nd July 2012: Recording of three concertos with Maidstone symphonic winds.
Maidstone Kent, UK. Philip Sparke, Rob Wiffin and Johan de Meij

22nd-29th July 2012: Tutor of the National Children’s Brass Band in Repton, UK

5th-11th August 2012: Tutor of the International Brass Band Summer School UK
Premier of Frederick Innes Sea Shells Waltz and Boneman Walking by Mike Davis.

17th-18th August 2012: Sidmouth Band, Devon UK, concert and workshop

19th August 2012: workshop at Hays Music, Southampton, UK

1st-2nd September 2012: British Open performance of Martin Ellerby’s Electra and
Symphony Hall Concert Black Dyke Band

8th September 2012: Great Northern Brass Festival, Bridgewater Hall Manchester
Black Dyke Band

9th September 2012: UK premiere of Leona Polka by Leo Zimmerman with brass
band at the BTS workshop day in Porth-y-waen Shropshire

21st-23rd September 2012: Swiss Open Festival in Lucerne at the KKL Concert Hall
with Black Dyke Band

13th October 2012: guest solo appearance with Stannington Band, near Sheffield, UK

15th October 2012: Salford University Brass Band rehearsal as conductor

20th October 2012: Royal Albert Hall, London, UK, performance of Daphnis and Cleo
Ravel arranged Howard Snell with Black Dyke Band

25th October 2012: Concert Skipton with Black Dyke Band

27th October 2012: Northampton Concert with Black Dyke Band

28th October 2012: Recital at the Royal Academy of Music with the Black Dyke
Trombone Quartet

3rd -4th November 2012: Workshops and Concerts in the Isle of Mann for the British
Trombone Society with the Black Dyke Trombone Quartet

9th-12th November 2012: Workshop and two concerts with Zuzgen Band near Basel
Switzerland

319
16th November 2012: Organised and play at the Leeds Met Graduations with the
Black Dyke band five piece ensemble

17th November 2012: Workshop and Concert at the Sage Gateshead with the Black
Dyke Band

24th November 2012: Charity Concert in Kettering

25th November 2012: Adjudicating at the Leicester Association Contest

30th November 2012: Rehearsal with the Black Dyke Youth Quartet

1st December 2012: Workshop, recital and rehearsal at Crewe BTS day with the
Black Dyke Youth Trombone Quartet

6th & 7th December 2012: Concert with Black Dyke Band and Halifax Choral Society

8th December 2012: Concert with Black Dyke Band in Sheffield Town Hall

13th - 16th December 2012: Concerts with Black Dyke Band in Queensbury,
Huddersfield, Leeds and Dewsbury.

21st December 2012: Recording of Martin Ellerby’s trombone Sonata in RNCM

2nd-4th January 2013: Recording of Brett Baker & Friends CD Project in Peel Hall
Salford

5th January 2013: Concert in Rugby with Black Dyke Quartet

6th January 2013: Concert in Hornchurch with Black Dyke Band

12th January 2013: Concert in Morley with Black Dyke Band

13th January 2013: Concert in Cheltenham with Flowers Band

17th January 2013: Recording with Black Dyke Band in Morley Town Hall

19th January 2013: Concert in Butlin’s, Skegness with Woodfalls Band

25th January 2013: Premiere of Peter Graham’s Radio City with Black Dyke band at
the RNCM

26th January 2013: Concert in Huddersfield with Black Dyke band

27th January 2013: Concert in Symphony Hall Birmingham with Black Dyke Band

28th January 2013; inauguration of new Chancellor at Leeds met Uni

31st January 2013: Recital at Bolton Church and recording of Radio City with Black
Dyke band Morley Town Hall

1st -10th February 2013: Festival Isle Verde in Argentina

320
11th February 2013: recording with Black Dyke band Morley Town Hall

14th February 2013: Concert with Black Dyke Band at Halifax Minster and Junior
quartet play first public performance

17th February 2013: Concert with Black Dyke Band at the Sage Gateshead

23rd February 2013: CD launch concert with Maidstone Symphonic Wind Band

3rd March 2013: Yorkshire Area contest at Bradford St George Hall with Black Dyke
Band

8th-10th March 2013: Torquay Adjudicating the South West of England Area
Championships

14th March 2013: Concert in Thornton Church near Bradford with Black Dyke Band

16th March 2013: all day workshop with Tewit Youth Band near Harrogate

23rd March 2013: Conducting Salford University band at the Sonic Fusion event

23rd March 2013: Premiere of Paul Lovatt Cooper Slip Steam Solo at Cardiff St
David’s Hall

28th-31st March 2013: Slide Factory in Rotterdam the Netherlands

31st March- 4th April 2013: Tutor at the NYBB of GB in Taunton School

6th April 2013: Concert in Derby Assembly Rooms with Black Dyke Band

7th April 2013: Trombone Tutor at Yorkshire Youth Band in York

13th April 2013: Guest Soloist with Flookburgh band in Cumbria

14th April 2013: Concert in Crawley with Black Dyke Band

18th April 2013: Concert in Bury Church with Black Dyke Band

20th April 2013: Concert with Junior Trombone Quartet in Dobcross Church

21st April 2013: Concert in Scarborough with Black Dyke Band

27th April 2013: Concert in Middlesbrough with Black Dyke Band

2nd - 5th May 2013: European Championships in Norway with Black Dyke Band

11th May 2013: Newbury Festival premiering the Gregson Concerto for Brass Band

12th May 2013: Pangborne College Master-class and recital

17th-18th May 2013: Recording of Novus Vox CD with Enfield Citadel Band

321
19th May 2013: Leeds Festival workshop and concert with Black Dyke Band

24th May 2013: Whit Fri Marches competition with SHB Band

30th May 2013: recording of the Gregson Concerto with Black Dyke Band

1st June 2013: Concert in York Minster with quartets and Black Dyke Band and
Yorkshire Youth Band

5th-11th June 2013: Great American Brass Band Festival with the Black Dyke Youth
Quartet

14th-17th June 2013: Luxembourg Solo Concert with Wind Band

21st June 2013: Solo recital in Darwin

23rd June 2013: Tiddly Trombone day near Chepstow South Wales

29th June 2013: English Nationals Competition Birmingham UK

2nd July 2013: Birthday Recital at Bristol Cathedral Solo and trombone Ensemble

5th-6th July 2013: White River Ensemble Workshop and Concert and master-class
with Black Dyke Band

7th July 2013: Concert in Shrewsbury with Black Dyke Band

13th June 2013: Concert with British Army Brass Band at Kneller Hall, London

14th June 2013: Workshop in Brunt’s School, Mansfield

15th-19th July 2013: Salford University Graduations at the Lowry Centre Salford
Quays

21st – 27th July 2013: National Children’s Band of GB course in Repton

4th -10th July 2013: International Brass Band Summer School in Swansea

31st August 2013: Concert in Liverpool Cathedral with Black Dyke Band

7th September 2013: British Open Championships Birmingham with Black Dyke Band

8th September 2013: Symphony Hall Birmingham with Black Dyke Band

14th September 2013: Bridgewater Hall with Black Dyke Band

15th September 2013: Blidworth workshop and Concert in Nottinghamshire

21st September 2013: Guest Soloist with Lydbrook Band

22nd September 2013: BTS day workshop in Pimperne Dorset

322
28th-29th September 2013: Lucern Festival Switzerland with Black Dyke Band

1st-6th October 2013: FABB Festival, Brisbane, Australia

11th October 2013: pre-contest festival at Royal College of Music London with Enfield
Citadel Band

25th-27th October 2013: recording of Howard Snell CD with Fodens Band

26th October 2013: Concert at Northampton with Black Dyke Band

2nd November 2013: Mereside Workshop in Manchester

3rd November 2013: Brass Band Northern Trust in Durham

9th November 2013: Ferndale North Yorkshire Moors six piece ensembles Concert

16th November 2013: DVD recording of Radio City at the Sage in Gateshead with
Black Dyke Band

17th November 2013: Brass in Concert with Leyland Band

20th November 2013: Concert with SUBB conducting

22nd-24th November 2013: Scottish Open Brass Band championships Adjudicating

28th November 2013: Lecture Recital Peel Hall Salford

30th November-1st December 2013: Switzerland Workshop weekend

5th-6th December 2013: Halifax Choral Society Concert

7th December 2013: Bradford Grammar School Concert with Black Dyke Band

8th December 2013: Leyland Concert Conducting in Chorley Town Hall

11th December 2013: University of Salford Carol Concert

14th December 2013: Sheffield Philharmonic Chorus in Sheffield City Hall with Black
Dyke Band

15th December 2013: Junior Quartet concert with 2nd Rossendale Scouts Band

15th December 2013: Concert conducting Leyland band in St Marys Church Leyland

19th December 2013: Queensbury Church with Black Dyke Band

20th December 2013: Dewsbury Concert with Skelmanthorpe Make Voice Choir

21st December 2013: Scunthorpe Christmas Concert with Black Dyke Band

22nd December 2013: Huddersfield Town Hall with Black Dyke Band

323
2014:

10th-12th January 2014: Camborne Youth band workshop and concert

17th – 18th January 2014: Butlins Festival with Salford Graduation Band

19th January 2014: Concert in Symphony Hall Birmingham with Black Dyke Band

26th January 2014: Festival of Brass at Bridgewater Hall Manchester with Black Dyke
Band

2nd February 2014: Adjudicating Preston Contest

7th – 8th February 2014: Recording for Croydon SA Band

8th February 2014: Norwich concert with Black Dyke Band

9th February 2014: Bedford Concert with Black Dyke Band

16th February 2014: Sage Gateshead with Black Dyke Band

22nd February 2014: Uppermill Concert with Black Dyke Band

1st March 2014: Yorkshire Area Championships with Black Dyke Band

8th March 2014: Concert with Croydon Citadel band at Regent Hall London

13th – 24th March 2014: USA Tour including Eastern Trombone Workshop
Washington DC

29th March 2014: Concert in Droitwich with Jaguar Landrover Band

30th March 2014:BTS National Day Chethams School of Music Manchester

6th April 2014: Sonic Fusion at Peel hall for University of Salford conducting the
University Brass Band

13th April 2014: Adjudicating the National Youth Brass Band Championships

26th April 2014: Guest Soloist with Oxsted Brass Band in Kent

1st-4th May 2014: European Brass Band Championships in Perth Scotland

6th May 2014: Stage & Screen with Graduation Band for University of Salford

9th May 2014: Guest Soloist in Regent Hall London with University Brass Band

10th May 2014: Guest Soloist and quartet concert with Woodfalls Brass Band in
Wiltshire

17th May 2014: 1st Saturday school for University of Salford in Adelphi Building

324
Appendix XI: Other CD Projects between 2012 &
2014:
Freeh Spirit: Released 2012

325
Track Listing

1 All the Things You Are - Brett Baker (Trombone) with Reg Vardey Band (Kern /
Hammerstein / Korey / Freeh) [2.47]

2 Someone to Watch Over Me - Brett Baker (Trombone) with Reg Vardey Band (Gershwin /
Freeh) [3.14]

3 Air Varie - Brett Baker (Trombone) with Reg Vardey Band (Arthur Pryor / Freeh) [7.47]

4 I Know Why (and so do You) - Brett Baker (Trombone) with Reg Vardey Band (Harry
Warren / Freeh) [2.44]

5 Walking the Dog - Brett Baker (Trombone) with Reg Vardey Band (Gershwin / Freeh)
[3.53]

6 Moonlight in Vermont - Brett Baker (Trombone) with Reg Vardey Band (Karl Suessdorf /
Freeh) [3.22]

7 I’m Getting Sentimental over You - Brett Baker (Trombone) with Reg Vardey Band
(George Bassman / Freeh) [3.47]

8 Dreamsville - Brett Baker (Trombone) with Reg Vardey Band (Mancini / Freeh) [2.48]

9 The Green Bee - Brett Baker (Trombone) with Reg Vardey Band (Billy May / Freeh) [2.28]

10 Unforgettable - Brett Baker (Trombone) with Reg Vardey Band (Nelson Riddle / Freeh)
[3.32]

11 You Only Live Twice - Brett Baker (Trombone) with Reg Vardey Band (Barry / Freeh)
[2.10]

12 Phenomenal Polka - Brett Baker (Trombone) with Reg Vardey Band (Fredrick Innes /
Freeh) [6.10]

13 Stella By Starlight - Brett Baker (Trombone) with Reg Vardey Band (Victor Young /
Freeh) [3.39]

14 Our Love is Here to Stay - Brett Baker (Trombone) with Reg Vardey Band (Gershwin /
Freeh) [4.18]

15 Stardust - Brett Baker (Trombone) with Reg Vardey Band (Hogey Carmichael / Freeh)
[3.32]

16 All the Way - Brett Baker (Trombone) with Reg Vardey Band (Jimmy van Heusen /
Freeh) [3.00]

17 Danza Allegre - Brett Baker (Trombone) with Reg Vardey Band (James Burke / Erik
Leidzen / Freeh) [3.01]

326
 Unsolicited Review by Dave Lea for the Trombonist Magazine:
In line with many other brass musicians, I have always been an admirer of the
arrangements of Mark Freeh and when asked to review this CD, which is devoted
solely to Mark`s arrangements, I eagerly awaited its arrival.

From the very first track, ”All The things You Are”, an arrangement of the 1939
Jerome Kern hit, what is immediately obvious is the high quality solo playing setting
the standard for the rest of the CD which features mainly big band music.

The mood is well captured in the relaxed slower numbers of “Moonlight in Vermont”
and “Dreamsville” in an easy relaxed “Lusher” style.

These are contrasted with the up tempo number,“ The Green Bee” and the classic
solos of Arthur Pryor`s “Air Varie” and Frederick Innes` ” Phenomenal Polka”
clearly demonstrating the soloist`s exceptional skill and dexterity.

The well-known “Stardust” and “Someone to Watch over Me” are given a slightly
different treatments but are as equally enjoyable.

The final track “Danza Allegre” reminds the listener of Brett`s outstanding ability and
his contribution to the world of solo trombone playing.

The Reg Vardy Band should be congratulated in doing a superb accompanying job,
just being in focus with the soloist at all times.

For style, technique and range, this disc will demonstrate what can be achieved by
any aspiring trombonist.

With excellent programme notes, I recommend this CD as an enjoyable addition to

your collection by one of the brass movement`s greatest ambassadors.

327
World of the Trombone Volume 3: Released 2012

328
Track Listing

1 Meditation from Thais - Brett Baker (Massenet / Baker) [4.13]

2 Phenemenal Polka - Brett Baker (Frederick Innes) [7.18]

3 Londonderry Air - Brett Baker (Trad / Geldard) [3.56]

4 The Barber of Seville - Brett Baker (Rossini / Baker) [7.48]

5 Romance - Brett Baker (Carl Maria Von Weber) [7.45]

6 Dick Turpins Ride to York - Brett Baker (Rodney Newton) [2.54]

7 Ave Maria - Brett Baker (Schubert / Baker) [4.29]

8 i Concerto for Alto Trombone - Movement 1 - Brett Baker (Wagenseil) [3.55]

9 ii Movement 2 [4.35]

10 Abide With Me - Brett Baker (Kenneth Downie) [4.29]

11 Dance La Cleve, Three Medieval Dances - Brett Baker (Anon / C Lindberg) [1.35]

12 Softly Awakes My Heart - Brett Baker (Saint Saens / Baker) [5.57]

13 La Valse Moderne - Brett Baker (Gardell Simons) [5.57]

14 Idle Days in Summer - Brett Baker (Trad / Baker) [2.01]

15 Faith Encounter - Brett Baker (Ray Steadman-Allen) [8.36]

329
 Unsolicited review by Peter Bale for 4barsrest.com
Brett Baker has now reached the third volume in his ‘World of the Trombone’ series,
and for this release he is joined by the excellent pianist Fenella Haworth-Head in a
programme designed to illustrate the instruments, as well as the performer’s,
versatility.

It is an eclectic mix, including arrangements of popular classics as well as original

repertoire, with a lovely addition of a couple of the items played on a Michael Rath
baroque trombone.

Early days

The earliest work, the unaccompanied, ‘Dance La Cleve’, dates from medieval times,
and has been arranged by Christian Lindberg for alto trombone - although Brett uses
a tenor here.

There are relatively few concertos for the trombone, and the Wagenseil was at one
time thought to be the earliest, although this attractive two-movement work was only
discovered in Czechoslovakia as recently as 1968.

The Romantic Era

Meanwhile, the Weber, Schubert and Rossini works date from the start of the 19th
century: Weber’s ‘Romance’ is often heard as a cello solo, whilst Schubert’s ‘Ave
Maria’ started out as a setting of words by Sir Walter Scott.

The overture to Rossini’s comic opera ‘The Barber of Seville’ has been arranged for
various combinations of instruments, but despite Brett’s best efforts it does seem a
little extended for use as an instrumental solo, as you miss the variations in timbre
that other instruments would have added.

‘Meditation from Thais’, written for violin, also works well as a solo feature, as does
‘Softly Awakes My Heart’ from ‘Samson and Delilah’.

Brett refers to it as frequently being played on cornet, but it has certainly been
featured as a trombone solo on many a military band programme over the years.

Across the Atlantic

Frederick Innes’s ‘Phenomenal Polka’ was published for cornet in 1942, although the
composer featured it on trombone in the 1880’s.

It is a typical showpiece in the same vein as the Arthur Pryor showcase items that
Brett plays so well, whilst ‘La Valse Moderne’ is somewhat similar; thought to have
been written by Gardell Simons, who is held to be the father figure of American
trombone playing.

330
Traditional

The soloist’s well defined lyricism is heard in Bill Geldard’s ‘Londonderry Air’,
originally made for Don Lusher, and Brett’s own setting of the Welsh melody ‘Idle
days in Summertime’ - possibly more familiar under the title ‘Watching the Wheat’.
Ken Downie has also provided a sensitive take on the familiar hymn ‘Abide with Me’.

Modern times

The programme is completed by two more recent compositions: Rodney Newton’s

‘Dick Turpin’s Ride to York’, which is taken a gallop that would have left Frankel let
alone Black Bess panting, is fun and waspish, whilst Ray Steadman-Allen’s ‘Faith
Encounter’ is a fine companion piece to his much earlier ‘Eternal Quest’.

Featuring the melodies ‘Monk’s Gate’, ‘Hold Thou My Hand’ and ‘It is Well with My
Soul’, the piano version was prepared by Roy Newsome.

Rapport

There is an excellent rapport between soloist and accompanist throughout, and the
piano timbre ensures that the trombone line is never obscured.

The juxtaposition of the various pieces helps maintain the listener’s interest, although
some may prefer to pick and choose particular tracks.

Peter Bale

331
Brett Baker & Friends: Double CD Released 2013

332
Track Listing:
CD 1: Brett Baker & the Black Dyke Quartets

1 PEREGRINE’S FLIGHT by Jonathan Bates

2 AUTUMN LEAVES by Kosma arr. Bill Geldard

3 SCHIZOPHRENIA by Tom Davoren

4 CASTA DIVA by Bellini arr. J C Young

5 IRA by Ludovic Neurohr

6 STARDUST by Hoagy Carmichael arr. Bill Geldard

7 CAFÉ NIGHTS by Andrea Price

8 REFLECTIONS by Donald Gibson

9 KLAVJI by Gareth Churcher

10 O MIO BABBINO CARO by Puccini arr. Keith Wilkinson

11 DUO CONCERTANTE Soloists: Danny Brooks & Stephen Lomas

12 March PRAISE by Wilfred Heaton The Black Dyke Trombone Quartet

13 SCARBOROUGH FAIR Traditional arr. Bill Reichenbach

Black Dyke Junior Trombone Quartet

14 IMMANUEL’S TIDE Abert Orsborn arr. Mark Freeh

Black Dyke Junior Trombone Quartet

15 BY THE TIME I GET TO PHOENIX arr. Ian Jones

Soloist: Garry Reed - Nathan Winn percussion

16 GOSPEL TIME The Black Dyke Youth Trombone Quartet

17 SO GLAD by William Himes Soloist: Paul Woodward - Nathan Winn percussion

18 BOND SUITE The Black Dyke Trombone Quartet

19 CRACK’D MIRROR by Richard Rock The Salford Brass Quintet

333
CD 2: Brett Baker's Friends

1 GALLIPOLI MARCH All parts played by multi-instrumentalist James Stretton

2 BASTA Soloist: Kerry Baldwin

3 NEW YORK STATE OF MIND by Bill Joel Soloist: Adrian Hirst

4 MORCEAU SYMPHONIQUE by Alexander Guilmant Soloist: Dan Eddison

5 WARZONE by Stan Sulzman Soloist: Jonathan Warburton

6 SANG TILL LOTTA Soloist: Ryan Watkins

7 PASTORALE by Eric Ewazen Soloists: Danny Brooks & Stephen Lomas

8 RAINY DAY IN RIO by Goff Richards Soloist: Adam Reed

9 LUCIFER by Simon Wills Soloist: Alastair Burrows

10 LONDONDERRY AIR Traditional arr. Bill Geldard Soloist: Ross Johnson

11 GEORGIA ON MY MIND by Hoagy Carmichael Soloist: Keith Britcliffe

accompanied by White River Brass

12 RUSALKA’S SONG TO THE MOON by Anton Dvorak Soloist: Alex Gibson

accompanied by White River Brass

13 CONCERT ETUDE by Goedecke Soloist: Jonathan Bates accompanied by White

River Brass

14 GRANDFATHER’S CLOCK by Geo. Doughty Soloist: Gary Curtin accompanied

by White River Brass

15 KLEZMORIM by Sandy Smith Soloist: Joseph Cook accompanied by White River

Brass

334
Unsolicited Review by Malcolm Wood for 4barsrest.com

Brett Baker’s latest release has been put together to support an admirable initiative to
help raise funds to buy student trombones for aspiring youngsters wishing to take up
the instrument. With support from manufacturers Michael Rath and John Packer Ltd,
the CD enables Brett to bring to fruition a project he first got his teeth stuck into when
he was President of the British Trombone Society.

34 tracks

Whilst most of us were still enjoying our Christmas holiday, Brett and an army of
friends descended upon Peel Hall in Salford to record this double CD, which contains
no less than 34 tracks. And it’s an impressive line-up of colleagues from Black Dyke
and other bands that provide close on two and half hours of trombone inspired
(although not exclusively) music making.

Quartets

Disc one features Brett with three Black Dyke trombone quartets (as well as a Salford
Brass quintet), whilst disc number two sees his other friends and colleagues take
centre stage. With some excellent understated accompaniment throughout the
various tracks from pianists John Wilson and Ruth Webb along with White River
Brass, all of the performers are allowed to blossom, with a host of première
recordings, established and less well known repertoire featured.

Light work

Brett makes light work of the old standards such as 'Autumn Leaves' and 'Stardust
'whilst Ludovic Neurohr's interesting 'Ira' depicts the various attitudes to anger - be it
from a Catholic or Buddhist perspective. Elsewhere we get everything from ‘James
Bond’ to ‘Georgia on My Mind’, ‘Gospel Train’ to ‘Grandfather’s Clock’ and bags more
in between. There is literally, something for everyone to enjoy and a chance to hear
some unfamiliar soloists too.

Stars

Black Dyke's Director of Music, Dr Nicholas Childs will no doubt be keeping his eye
on the players in the Junior and Youth Quartets, whilst you can hear the sense of
enjoyment with some of the more established stars just pushing themselves a bit in
the show pony stakes. James Stretton takes the award with a bobby dazzler
on ‘Gallipoli March’, whilst there are some intriguing combinations too – with a few
trombone and percussion duets to savour.

Big but accessible

Superbly recorded by Richard Scott and with comprehensive programme notes by

Joanna Cambray-Young, this is a bit of a leviathan in listening terms, but one that is
easily and enjoyably accessible nonetheless. All that and it helps a fine cause too.

Malcolm Wood

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