GRAINGER (1882-1961) Lincolnshire Posy - Music for Band
The Duke of Marlborough Fanfare (1939) [2:26]
Lincolnshire Posy (1937 version) [17:12]
The Merry King (1936-39 version) [5:02]
Children’s March (1916-18) [7:03] *
Colonial Song (1911-13) [6:09]
Mock Morris (1910) [3:38]
The Gum-Suckers March (1942 version) [3:44]
Molly on the Shore (1920 version) [4:06]
Spoon River (1919, orchestrated 1929; this 1967 version by Glenn Cliffe Bainum)
After-Word (1910-11 revised 1957) [5:16] *
Lads of Wamphray (1905) [7:51]
Irish Tune from County Derry (1918-20) [4:45]
Shepherd’s Hey (1918 version) [2:02]
The Arts District Chorale * Dallas Wind Symphony/Jerry Junkin
rec. Meyerson Symphony Centre, Dallas, Texas, August 2008 REFERENCE
RECORDINGS RR-117 [73:43]
The band settings recorded here largely fall into one
of two of Grainger’s categories; either the British Folk
Music or Room-Music Tidbits, though we do also have things
such as Spoon River,
one of his American Folk Settings - of Anglo-Scottish
ancestry. They’re all played with appropriate gusto but
also, where required, delicacy of spirit by the Dallas
Wind Symphony under Jerry Junkin.
One notices the sheer depth of tone, from top to bottom,
cultivated by the Dallas players in The
Duke of Marlborough Fanfare where
they give lip to its rip-roaring vitality. It’s a winning
curtain raiser and not as well known a piece as its disc
companions. We can hear some noble gravity in Horkstow
Grange, the second of the Lincolnshire Posy collection. There’s some truly vibrant percussion in Lord
Melbourne, jaw jutting in the extreme and a fine, dramatic conclusion in the shape
of The Lost Lady Found. There’s limpid
piano writing encased in The Merry King, a song Grainger collected in Wimbledon from folk singer Alfred Hurt in
1905. This band version, as with so many others, followed
many years later. In this case Grainger first set it,
as one might expect, for piano and expanded it between
1936-39 for wind band based on sketches he’s made for
a choral version in 1906. Long gestation.
There are two occasions where the wind band is augmented
by The Arts District Chorale – the Children’s
March and After-Word. The
former is warmly genial, whilst the latter is more incisive
and expertly dished up by the forces. I should add that
Grainger instructed the band members to sing the wordless
chorus in the Children’s March though it’s
probably a wise precaution to employ the Chorale instead.
Song is affectingly done and offers moments for
instrumental soliloquies before its jaunty tempo change.
There’s more dynamism and loquacious joie de vivre in The
Gum Suckers March.
of Wamphray is
a long and echt-Graingerian setting though for once it’s
not based on an original folk tune – it was the first
wind band work of his to be performed, which it was back
in 1905. The disc ends with imaginative and sensitive
performances of – what else? – the Irish
Tune from County Derry and Shepherd’s Hey.
The excellent sound quality – it’s a Prof. Johnson
24-bit special – is augmented by fine detail regarding
the band versions recorded.
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