Product Description
Fairest Lord Jesus
Arranger: Ray Steadman-Allen and Harold Burgmayer
Produced by The Salvation Army - Central Territory
Score Sample
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Score Notes
Notes:
Program Note:
The hymn setting Fairest Lord Jesus is a three-verse setting of a Silesian folk song most often known as the Crusader��s Hymn. The first verse setting is drawn from the opening of Ray Steadman-Allen��s piece Daystar. The subsequent second and third verse settings are reorchestrations initially featuring isolated sections of the band, but essentially based on Steadman-Allen��s harmonies. The tune is most often associated with the well-loved lyrics of Fairest Lord Jesus.
Note to the Conductor:
This three-verse hymn setting of a Silesian folk song known as Crusader��s Hymn (or Ascalon) was originally conceived as a rehearsal warmup but proves useful as a prelude or offertory for worship.
Beginning to bar 22:
The initial first verse setting uses verbatim the harmonies and orchestration of the opening to Ray Steadman-Allen��s piece Daystar. There is something quite extraordinary about the voicings and staid simplicity of this setting.
Bars 23-37:
This rendition of the hymn tune might have sufficed as a warmup, but the arranger opted to revoice the same harmonies, commencing in the minor and moving through the various sections of the band, allowing opportunity for tuning within each section of the band. Bar 23 commences with a trombone quartet (note the 2nd baritone cue); moving to horns, baritones, and euphoniums (bar 25); then to the cornets and trombones (bar 27); all of the mellow instruments (bar 31); trombones and backrow cornets (bar 33); finishing with solo cornets and soprano doubling the melody at the octave (bar 35), transitioning to a key a fourth higher at bar 38.
Bars 38-54:The third verse setting calls for a sonorous full tutti. Tuning of the octave doublings is essential to achieving a rich organ-like resonance of sound. At bar 46 the trombones take the lead, accompanied by the baritones, basses, and a florid euphonium line reminiscent of the opening. The horns, flugel and then cornets reinforce the melody, both up the octave.
Bar 55 to end:
Bring out the repeat of the first phrase of the tune in horns, 1st baritone and euphonium at bar 55, which leads to a quiet conclusion.
Program Note:
This colorful selection uses three songs of contrasting idiom to portray a progression of the human condition from despair to triumph:
Although this is a more extended work (approximate duration: 9:00), the inclusion of optional introductions and endings provides added usefulness of presenting singular performances of these three songs as follows:
Sometimes I feel like a motherless child: Beginning to optional ending at bars 39-40.
Reach out and touch: Bar 42 to optional ending at bars 110-113.
Storm the forts of darkness: Begin with snare drum roll (can be a pause) one beat before 117. Play to end as written.
Program Note:
This beautiful setting for solo trombones and band of the folk song O Waly, O Waly is often associated with the words of Isaac Watts:Note to the Conductor:
We are pleased to present this sensitive setting as it was initially conceived for solo trombone. Written for the Amsterdam Staff Band's 2005 tour of the United Kingdom, it was later adapted as a feature for trombone ensemble, at the request of Salvationist Publishing & Supplies, where it appears in 2009 as General Series 2059.
We are grateful to SP&S for kindly giving permission to publish this solo version in the American Festival Series. Of this work, the arranger, Olaf Ritman writes: "I consider this song my personal testimony."
Beginning to bar 12: The accompaniment, particularly at the opening and closing of the piece, is atmospheric, with suspended muted chords supporting the rubato trombone solo. The judicious use of percussion (chimes, bass drum and suspended cymbal) will add to the color and mood. Be sure to cue the chimes at bars 3 and 6.
at bar 4, a clear downbeat cure for the bass drum will help clarify tempo following the soloist's pause. Also give attention to the muted sforzando in cornets and trombones in bar 8.
Bars 13-52: Following the ritardando at bar 12, it is essential for the conductor to establish the correct tempo at bar 13, allowing the soloist lyrical freedom and the ability to sustain long phrases as the tune begins at bar 16. The descending scale gesture at bar 39 should be measured, yet not overstated.
Bars 53-74: There is a slight slowing of tempo as soprano, flugel and horns take the theme while cornets, trombones and euphonium adding countermelody.
Bars 75 to end: Returning to the opening tempo, it will again be helpful to give clear cues for the chimes, bass drum and triangle from bars 75 to the end.
[Note: This solo can be heard on the Chicago Staff Band recording,Kurios, performed by Brett Tolcher]
Program Note:
The tune Randolph, by preeminent English composer Ralph Vaughan Williams was first published in 1906 as a setting of Jeremiah Rankin's hymn, of which the first verse reads:
Note to the Conductor:
William Gordon's stunning four verse setting of Randolph progresses from the quiet simplicity of unison cornets and with each succeeding verse builds to a magnificent organ-like finale.
Gratitude is expressed to the publisher and copyright holder, Oxford University Press, for granting permission to publish this brass setting in the American Festival Series.
Beginning to bar 9: A ceremonial snare drum roll is the sole accompaniment to the cornets opening unison rendering of the tune.
Bar 10-17: The mellow instruments (flugel, horns, baritones and euphoniums) provide a beautiful change of color here with 2nd horn, baritones and euphonium seamlessly adding harmony.
Bars 18-26: A two beat snare and bass drum roll signals the entrance of the cornets and trombones in a more brilliant third verse setting. Here the bass trombone is essential (cued in Eb bass). Bring out the rising soprano cornet line from bar 22.
Bar 27 to end: A dramatic percussion roll precedes the "open pipes" organ like sounds of the final verse at bar 27. Be sure to observe the swell in bar 30, followed by a dramatic decrescendo before building to the final climatic chords. Avoid any tendency to overblow while striving for the full sonorities of this majestic finale.
[Note: this setting is especially effective when performed as a benediction "in the round" with players grouped by sections surrounding the audience.]
