A strong tensile connection between two of the most inventive brass band compositional voices of their generation formed the focal points of this visit to the heart of London by Tredegar Band.
Edward Gregson’s ‘Concerto for French Horn and Brass Band’ was written in 1971 for Ifor James and premiered alongside the Black Dyke Band under the baton of Geoffrey Brand.
Rather fittingly the conductor’s son, Michael was in attendance to hear a performance of lucid brilliance by soloist Ben Goldscheider, an artist also regarded as one of the most exciting as well as explorative in the classical music world.
Vibrant creativity
It is early Gregson of vibrant creativity; echoes of Hindemith, Bartok and Walton seeping through transparent scoring that saw Tredegar provide cultured accompaniment that never drowned the solo voice in what was a generous acoustic.
Goldscheider’s command of the spacious writing was complete; a Germanic weight of confidence to open, balanced by the mysterious lyricism in the central section and a joyful rondo that bubbled with jauntiness to close.
Goldscheider’s command of the spacious writing was complete; a Germanic weight of confidence to open, balanced by the mysterious lyricism in the central section and a joyful rondo that bubbled with jauntiness to close.
In early 2024 he will give the world premiere with the National Orchestra of Wales of a new concerto written for him by Gavin Higgins, and it was his magnificent ‘So Spoke Albion’ that closed a first half of musical authority.
As with the Gregson, the development of thematic material linked to inventive rhythmic detours, cipher appreciations, sound motifs and lyrical beauty made for engrossing listening – the playing virtuosic but never needless. You were left breathless in admiration of both the scope and delivery of a work of imposing substance.
As with the Gregson, the development of thematic material linked to inventive rhythmic detours, cipher appreciations, sound motifs and lyrical beauty made for engrossing listening – the playing virtuosic but never needless.
Musical scope
The second half on a sweltering evening give the audience an intriguing glimpse of the musical scope of the elite level brass band.
Earlier Ian Porthouse opened with Strauss and his ‘Vienna Philharmonic Fanfare’ – now they spanned high school wind band to stadium heavy metal - from Saucedo to Slipknot.
Fine solos contributions from Dewi Griffiths (cornet) and Sion Jones (euphonium) and the subtle tonal control in works by Lauridsen and Esenvalds led to the excitement of the Salvationist choral inspired ‘Shine as the Light’ and the tenderest beauty of ‘Ar Lan y Mor’ to close a notable concert of high quality musicianship.
Ceri Harrison
