Frank Wright

[Dave Payn]

I can't remember if I've asked this before (and can't be bothered to check!) but, purely out of curiosity (something easily aroused!), I've noticed, amongst Frank Wright's arranging credits, that he 'arranged' Arthur Bliss's Belmont Variations. My researches can't come up with a source that it was arranged from. Did Frank Wright not so much 'arrange' from another musical medium, but score (or perhaps just edit) the work for Bliss?

Also, regarding 'Diadem of Gold' composed by a 'G. Bailey', it was, in fact an arrangement of (I believe) a wind band piece by the French composer Guillaume Balay, and originally entitled 'Ouverture Caracteristique'. If my info is correct, does anyone know how to get a copy or set of parts of the original?

Kind regards

 

[Straightmute]

My understanding is that FW assisted Bliss with the orchestration of the work for band, in much the same way that Geehl worked with Elgar on the Severn Suite. But I don't have my books to hand to confirm this!

But I do remember reading that the famous/notorious triple cadenza was not a part of Bliss' original score but inserted to make it harder for contest purposes.

D

 

[Dave Payn]

My understanding is that FW assisted Bliss with the orchestration of the work for band, in much the same way that Geehl worked with Elgar on the Severn Suite. But I don't have my books to hand to confirm this!

But I do remember reading that the famous/notorious triple cadenza was not a part of Bliss' original score but inserted to make it harder for contest purposes.

D

Sounds like a Frank Wright trick!

What puzzles me is that if FW assisted Bliss with the scoring of Belmont, did Bliss get any assistance with Kenilworth? I know the two pieces were written some 17 years apart, (Kenilworth first) so I suppose Bliss may have felt in need of a 'refresher course' in brass band scoring!

Thanks for your info, D.

Cheers

 

[nickjones]

Belmont / Diadem of Gold

For Diadem of Gold...It might be worth asking Walter Ainscough at the Doyen Archive , Am sure there is a link with Fodens and Fred Mortimer going to france on tour ( 1920's - 30's ), hearing a french wind band playing it and finding out 20 or so years later it been used at the British Open ( could be wrong am sure I have read it in either a Harry Mortimer autobigoraphy or Elgar Howarths book On Brass )

 

[Dave Payn]

Re: Belmont / Diadem of Gold

For Diadem of Gold...It might be worth asking Walter Ainscough at the Doyen Archive , Am sure there is a link with Fodens and Fred Mortimer going to france on tour ( 1920's - 30's ), hearing a french wind band playing it and finding out 20 or so years later it been used at the British Open ( could be wrong am sure I have read it in either a Harry Mortimer autobigoraphy or Elgar Howarths book On Brass )

Thank you (again) Nick! I'll follow that lead.

Cheers

DP

 

[Barking Baritone!]

I remember playing Belmont Variations in Pontins a few years ago. The adjudicator was David Read. In his pre-results speach, he outlined the history of the piece, saying that Bliss wrote it in short score due to time restrictions, and that Frank Wright merely expanded it, and inserted the cadenza section.
I also seem to recall that Mr. Read said that he was in possesion of the composer's original manuscript (or at least a copy of it), so you might want to try contacting him.
Hope this helps!

 

[Dave Payn]

Cheers! Thanks for this info too.

The 'expansion' is what is generally believed to be the case with regard to Henry Geehl's involvement of the Severn Suite. However, discoveries in the last few years have led to some doubt being cast on Geehl's alleged contribution (namely, a full BB score using treble and bass clefs, but all in Bb pitch, in Elgar's own handwriting). Something that interests us here at PRS! Watch this space!

 

[Brian Bowen]

The 'expansion' is what is generally believed to be the case with regard to Henry Geehl's involvement of the Severn Suite. However, discoveries in the last few years have led to some doubt being cast on Geehl's alleged contribution (namely, a full BB score using treble and bass clefs, but all in Bb pitch, in Elgar's own handwriting). Something that interests us here at PRS! Watch this space!

Didn't Philip Maund (sp?) write an extensive article on this subject in the British Bandsmen some years ago?

 

[Dave Payn]

The 'expansion' is what is generally believed to be the case with regard to Henry Geehl's involvement of the Severn Suite. However, discoveries in the last few years have led to some doubt being cast on Geehl's alleged contribution (namely, a full BB score using treble and bass clefs, but all in Bb pitch, in Elgar's own handwriting). Something that interests us here at PRS! Watch this space!

Didn't Philip Mound (sp?) write an extensive article on this subject in the British Bandsmen some years ago?

He (Maund) did, Brian. It's that which interests us! ;-)