View from the Box - David Hirst on Gregson's Partita
Adjudicator, David Hirst, shares with Brass Band World his thoughts on Edward Gregson's Partita ahead of its use as the Section 4 set work at the 2025 National Finals in Cheltenham.
PARTITA – EDWARD GREGSON
I - INTRADA
Partita is an excellent choice by the test piece panel, and, in my opinion, one of the finest lower section pieces written. The work is an example of Edward Gregson's style and his ability to craft a work that has all the hallmarks of quality.
The work is in three movements using the plainsong, Dies Irae as its thematic material.
The first movement is entitled 'Intrada’ and conductors should note the stylistic definition of molto maestoso and this should be conveyed in the music.
The opening should have a good quality of sound, well balanced, in tune with an awareness of the dissonances but not over emphasised. The forte should be firm but not fortissimo. Try to keep the music flowing with a sense of forward motion with the tempo being around c. 100 as directed.
Fig. 1 has a change of dynamic to piano and this should be well contrasted. The bass duet should enable both parts to be heard equally, played precisely and in tune. Further dynamic changes will require good control and contrast.
The melody at fig. 2 and fig. 3 should be very smooth with attention to the dynamic shapes. The material moves through to the end as before but note the subito fortissimo after fig. 5 which should have breadth but not forced.
II – CHORALE AND VARIATIONS
Movement II is a Chorale and Variations and the 'affetuoso' should be just that. Treatment of the opening should have a gentleness, balanced, with a good quality sound. Take care not to make the 'piano' insecure but firm so that the notes speak clearly. Dynamic shapes again are important but there is scope for additional nuances with subtle crescendo and diminuendo and rubato.
Fig. 7 has the lovely cornet solo that needs to sing clearly with confidence and musicality. Again, added nuances are at the discretion of the MD and soloist.
Fig. 8 sees the fragmentation of the opening material and cornet solo, and all the imitative parts should be heard, complimenting the ensemble as a whole.
Rhythmic precision will be required in the ensemble at Fig. 10 but the quaver passages should be subservient to the main theme in Baritones. The tempo should be around c.144 as indicated. At Fig. 11 the Euphonium has scope to continue the 'affetuoso' style and accompaniments should be sympathetic and not dominate. The shapes in bar 5 are important but need subtle shading. Please keep tempo flowing otherwise it becomes a dirge.
III MARCH
Ensemble precision is so important in this movement, and rehearsals should be aimed at maintaining an even tempo to secure the syncopated passages effectively.
Fig. 17 should feel as 2 in the bar as indicated, with the main melody giving an expansive feel to contrast the interjections from the cornet section. Please don't neglect the little counter melody in Euphoniums - we'll be listening.
Again, there is scope to add more shape to the main melody to bring it to life. There is a reprise of the opening before Fig. 19, and there should be good ensemble precision. After Fig. 21 the accel needs to be graduated to reach the piu mosso and bands should note the variety of dynamic changes that follow to a dramatic and fulfilling finale.
The Percussion writing throughout is excellent and extremely important to the whole performance and should always be integrated into rehearsals. The bands who figure in the prizes will demonstrate a thorough knowledge of the work and conductors should spend time on the quality of sound, ensemble precision, tuning/intonation and balance.
Added value will come from a greater sense of musicality, confident solo lines and the ability of the MD to shape and control the music.
Good luck to all the competing bands.
