The Virtuosi Brass Band of Great Britain

Conductors:
Eric Ball, James Scott, Harry Mortimer, Maurice Handford and Stanley Boddington

Volume I - KRCD 1020 - 60.00
Volume II - KRCD1021 - 65.47
Volume III - KRCD 1022 - 61.38

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In the 1970s the decision was taken to put together a band of contesting size, initially under the direction of Eric Ball, to take advantage of the improvements in the quality of recording equipment and domestic audio systems to record some of the foremost brass band repertoire of the time.

The band was formed from the leading players of the day, which would be necessary due to the limited time they would have together. The result was the now legendary Virtuosi Brass Band of Great Britain. In the recent 4barsrest articles on recording, it was suggested that a three hour session is likely to yield about 20 - 25 minutes of music: the Virtuosi Brass Band of Great Britain completed each record in a single day of two three-hour sessions, and that included rehearsal time, with a number of new works and arrangements. This was also why it was decided to add a fifth solo cornet player to share the load. It was some achievement – perhaps only made possible only due to the quality of the personnel on display.

The content of the original nine LP's that were released has been transferred to CD, together with a number of items recorded but not previously released, and ten tracks from the groups only live appearance, a concert held in Portsmouth Guildhall. There are seven volumes in all, six and seven coming as a two-disc set, and this review addresses volumes one to three. Details are included as to the personnel playing on each track, together with the conductors, comprising, in addition to Eric Ball, James Scott, Harry Mortimer, Maurice Handford and Stanley Boddington. The programme for each CD has been selected from across the range of the LP's and each disc comprises a couple of marches, an overture, solo or ensemble features and other band items, including at least one major work.

The comprehensive booklets explain that one of the aims of the recording was to place the listener nearer to the performers than had previously been the case, and the sound still comes across very clearly - some may think a little too clearly at times with the percussion, which are occasionally more prominent than usual.

The players blend well and there is a uniformity of approach that is remarkable when one considers the way they were brought together. There are occasional blips and blobs to be heard, but that is not surprising given the short timescale available for retakes and the limitations of the editing processes available at the time. These, however, do not prevent the quality of the playing coming across, particularly the warmth of the sound and the lyrical melodic lines. There were fourteen players who appeared on all nine recordings, including Peter Roberts, who explains in his recent autobiography how he talked his way into the band, where he plays mostly Bb cornet, doubling on soprano where required. Other players include such familiar names as Brian Evans, James Shepherd, Gordon Higginbottom, Trevor Groom, John Clough and Colin Aspinall.

The marches which top and tail each disc are played very stylishly, with a particularly fine performance of Kenneth Alford's "Standard of St George" (Vol. III), although one wishes they had used a third percussionist at times to give that extra lift. As will be seen from the track listings, the overtures include some which are familiar and others which are less so. The two Weber pieces were both played from William Halliwell's manuscript copies, whilst George Thompson's transcription of Mendelssohn's "Fingal's Cave" (Vol. II) works well.

With such an array of star names a number of the solo items are outstanding. "Rusalka's Song To The Moon"(Vol. I) is quite often heard as a cornet solo, but here Brian Evans presents it beautifully on soprano, in an arrangement by Stephen Corbett made especially for the recording, and which also tests the band with some intricate figures and runs. Also on Volume I is an attractive "Rondoletto for Two Euphoniums" by Frank Bryce, featuring Trevor Groom and John Clough, who balance each other perfectly. Thirdly comes Gordon Higginbottom with the premier performance of Eric Ball's "September Fantasy", whose tone (somewhat lighter than some of today's players) seems ideally suited to the work. His is an expansive reading, taking about a minute longer than Lesley Howie in her equally recent fine version with Black Dyke. The notes inform us he was the work's dedicatee, and that the track was Gordon's actual first performance, recorded in one take with no subsequent editing.

Volume II includes "Scherzophrenia", a soprano cornet duet by Frank Bryce, with Brian Evans and Peter Roberts as the two lively soloists, negotiating the rather quirky twists and turns of the melodic lines. Again, in his book "Legend in his own Lifetime" Peter Roberts tells how he met Brian Evans in
1967 when Faireys and Grimethorpe were taking part in a joint concert, and that they hit it off straight away, beginning a life long friendship. This is definitely one of the highlights of the discs, and is closely followed by Colin Aspinall's rendition of "Four Preludes for Tuba and Brass Band", written for and dedicated to Bram Tovey, now better known in the banding world for his thought-provoking interpretations conducting Fodens.

James Shepherd was voted the best cornet player of all time in the 4barsrest survey, and in Volume III he plays Ronald Binge's "The Watermill", originally for oboe and strings, but sounding in these hands as if it was always intended to be played on cornet. He also has the chance to shine "in trumpet mode" in a fine arrangement of Hoagy Carmichael's "Stardust"(Vol. II). John Golland is not perhaps the first name that springs to mind when it comes to solo or ensemble pieces, but in "Relay", a double trio for cornets and trombones, he produced a challenging work, with some particularly effective cascading figures, which tests both soloists and band.

Of the major works included in thee first three volumes, two are by Holst - "A Moorside Suite"(Vol. I) and the "Second Suite in F Major" (Vol. III). In the safe hands of James Scott and Maurice Handford respectively, they benefit from being taken at a steady pace, giving the music room to breathe, with the "Fantasia on the Dargason", which can sometimes become an untidy scramble, gaining a great deal in this respect. "Lorenzo"(Vol. II), conducted by Eric Ball, makes for interesting comparison with the historical Fodens performance ("Fabulous Fodens" and also included on "Centenary Brass") with the cornet fanfares and scales from the trombones sounding particularly clear. Harry Mortimer directs "Kenilworth"(Vol. III), with the melodic figures coming across with poignancy. Although there are occasional splits and some un-tunefulness at the climax these do not distract unduly from the overall effectiveness of the reading.

As for the other items, each listener is likely to have their own favourites, either newly-discovered, or emerging like memories from the past, maybe heard on the bandstand in former days, such as Luigini's "Ballet Egyptien"(Vol. I), or Carl Robrecht's "Samum"(Vol. III).

All in all, a very worthwhile exercise, making interesting comparison with the bands of today. The sound may have changed somewhat, and playing and recording techniques may have advanced, but these stylish interpretations are a reminder of the sound and music of an earlier generation, and will bring much enjoyment.

Peter Bale

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