This is an interesting and imaginative concept, a mix of celebrated and
little known and/or forgotten pieces composed for 20
th century
coronations. The mix shows commendable variety too in that the ear does not
tire from an overindulgence of pomp.
The newly formed London Symphonic Concert Band of some fifty musicians has
been assembled from leading symphony orchestras and concert and armed
services bands. This is its first recording. All pieces except the Sousa
March have been arranged for wind band.
The brief
Imperial Edward March, composed by the American John
Philip Sousa, was written for the new but yet uncrowned King Edward VI for
performance when Sousa was invited to the Royal Sandringham estate - in
Norfolk, England. It is a swaggering quick march full of thrust and
energetic youthfulness. Saint-Saëns’s Coronation March is appreciably
longer, noble and more contemplative and a tad liturgical in character.
The remainder of the programme is given over to works by British
composers.
Sir Alexander Mackenzie was Principal at London’s Royal Academy of Music
when it was in Tenterden Street. His quick march has an outdoor breezy
flavour. I somehow associated it with either the Royal Navy or the Royal Air
Force — more with the latter. Eric Coates was welcomed into the Academy by
Mackenzie and indeed, I felt I could detect a Mackenzie influence on Coates’
own marches.
Percy Godfrey’s Coronation March was a winning entry in a public
competition for ceremonial works. Godfrey was music master at King’s School
Canterbury. This march’s opening anticipates Walton’s
Orb and
Sceptre. Its trio section is softer, quieter and more intimate and
might be thought of as suitable for weddings.
Considering the tenuous links of some of these pieces with Edward VII’s
coronation but granted that Elgar contributed nothing to Edward VII’s
Coronation Service, one might query why Elgar’s
Pomp and Circumstance
March No. 1 was not included. After all its theme was utilised in the
grand final movement of the composer’s
Coronation Ode and the King,
himself had suggested adding words to Elgar’s majestic music. There would
have been time to include a wind band arrangement. Nevertheless, two Elgar
items are included here. His 1911 Coronation March is muted and solemn in
character and Tom Higgins’ arrangement seems to have over-accentuated that
solemnity in its opening pages.
The Crown of India march here is
not the popular ‘March of the Mogul Emperors’ but a somewhat less memorable
piece - a sort of sub-Pomp and Circumstance work but with a more appealing
trio section.
Sir Edward German, so famous for his light operas
Tom Jones and
Merrie England, created a much more joyful and optimistic
Coronation March with a lot more brio. Incidentally again I believe I detect
a pre-echo of Eric Coates who was known to admire German’s music.
Walton’s two celebrated Coronation Marches come off well with
Crown
Imperial, for the most part, having plenty of vigour and thrust; and
Orb and Sceptre having a little cheeky syncopation and interesting
jazzy inflections in this arrangement.
Arnold Bax, ever the escapist romantic dreamer of isolated Celtic
locations rich in legend and prey to wild stormy seas, was never comfortable
writing ceremonial music. This march demonstrates this discomfort – he even
uses heroic music he originally wrote for the film
Malta GC for
this Coronation March, his final orchestral piece. He died in County Cork in
the October of Elizabeth II’s coronation year. By contrast, Sir Arthur
Bliss’s
Welcome the Queen, celebrating Her Majesty’s Commonwealth
tour soon after her Coronation, is much more enthusiastic; it’s thrilling
and majestic.
A most interesting and adventurous collection.
Ian Lace
