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Review by Bandmaster Kenneth Downie of Winchester
LISTENING to Govan Band’s recording, ‘Song Of The Eternal’ -
released to coincide with its tour of Canada and the USA - I had no difficulty imagining an enthusiastic response to its version of the traditional Scots ‘Highland Cathedral’, complete with bagpipes. The band is to be congratulated on its imaginative programming. This track is sure to be a big hit with listeners on both sides of the Atlantic.
The choice of repertoire featured on the CD is a large plus for me. With so many bands more than adequately covering up-tempo, if not positively glitzy, items it is refreshing to be offered music of a more substantial nature. At the same time, though, the CD is not lacking in variety including short pieces as well as the major one by Leslie Condon which provides the disc with its title. Another advantage in entering this ‘lollipop-free zone’ is that the music provides scope for the conductor to do his job and actually shape performances. Bandmaster Allan Ramsay does this to good effect and to the benefit of the message behind the notes. A good example is Dean Goffin’s ‘The Light Of The World’, which is played with breadth and sensitivity in a very musical manner. Such a performance would traditionally have enhanced a Sunday night worship service. I was left wondering whether enough meeting leaders of today would find a place for music like this. The two soloists featured, in addition to bagpiper Dougie Pincock, are Jamie Hood (cornet) and Luke Williams (trombone). Both give excellent accounts of their very different items - ‘Glorious Ventures’ and ‘The Word Of Grace’. The inclusion of a band song, ‘Marching On’, provides pleasant contrast, while the two marches ‘Rousseau’ and ‘Salvation’s Song’ are performed with panache. Although both originating in North America, from the pens of Ray Ogg and Bill Gordon respectively, they are poles apart idiomatically and act as a foil to each other. Repertoire of a more reflective nature includes ‘Knowing You’, ‘Deep Harmony’ and ‘The Father’s Blessing’, while the two major works are ‘Faith Reborn’ and ‘Song Of The Eternal’. It is interesting that both of these were written by Leslie Condon who - in common with most Salvation Army composers, such as Eric Ball, Erik Leidzén and George Marshall - suffered some degree of neglect, by programme makers, in the years after his death. If this marks a revival of interest in Les Condon’s music then I for one am very glad. I wonder whether the example set by some of our finest contesting bands has had an influence here. Surely those Army bands which can play this kind of repertoire should do so, and thus encourage intelligent listening from our audiences. This would be so worthwhile for conductors, players and listeners alike. The playing on this CD is not faultless but is an example of an excellent corps band probably operating at the edge of its collective ability and producing something very rewarding - a good example for others to follow. The final amen comes from Sullivan’s ‘The Lost Chord’ in which the band is joined by organ to produce a noble climax.
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