DOCTOR OF MUSICAL ARTS PERFORMANCE PORTFOLIO ...

The Eley Recording Project- David B. Diggs
ý the editing process begins on the
istoric recording of the music of the first
Regimental Band of the Coldstream
Guards, it is interesting to reflect on both
the performance and the types of music
present. ý11 %- -I-Y P-1111116 sx-ýsý- --
speculated how the original band might
have sounded. Was it loud, soft, harsh,
brassy? Certainly we knew the sounds of
oboes, clarinets and bassoons together.
And we were fairly certain of the timbres
of natural horns and trumpets. But we
ývere unprepared to have the genius of
Christopher Eley revealed to us in
[he manner that transpired.
When Eley came to England in
1785, he created a new and
possibly audacious sound for
military bands. Nothing existed like
it on the Continent and certainly he
I, as creating something of lasting
ivorth at the request of the Duke of
York. What Eley created was a band
of enormous power, yet capable of
great subtlety in tonal color and
dynamic shading; a band requii iii. -
first-rate performers and yet an
ensemble to inspire emuladon.
The use of the clarinet as the
principal melodic instrument (in
this case in pairs) and the
introduction of the serpent to
England were perhaps radical ideas
at the time. The size of the band
itself with twelve players increased
the "standard" size of eight. The
addition of the trumpet made possible
strong reinforcement of the underlying
harmonic material and the serpent
extended the depth of the bass line.
Whe Duke of York's new band had some
Christopher Eley's great musicianship and
the strength of his compositions and
arrangements. What is heard in the
recordings is an amazing sound and
timbre, as well as a wide range of musical
:. t) 1, '.
Although the repertoire of this early band
is some two hundred years old, it closely
resembles that which audiences today are
accustomed to hearing at a concert:
marches, show tunes, ballads and
extended works. This span of musical
literature indicates that Eley was in touch
The Regimental Band of H. M. Coldstream Guards,
2004.
serious public relation issues to overcome.
The English press at the time was not
pleased that a group of German musicians
was coming to replace the English civilian
band. Note these two newspaper article
excerpts from May 1785.
Prince Frederic ... has succeeded in the
anti-British requisition of having the poor
Frighsh musicians of that regiment
discharged and has accordingly engaged a
German band in their stead!
in all probability we never shall again
hear a regimental band equal to that
-. vhich is dismissed; they have for many
years been a high treat to those persons
who have attended the Court Yard at St.
James's and we sincerely hope, after so
long and faithful service, they will, at last,
De intitled to half-pay during the
remainder of their lives.
To overcome the public sentiments of
dislike and to become an ensemble
revered and emulated speaks of
with the desires of his audiences to hear
i
cighteenth centurý had to offer.
(76)
in these new recordings can be heard the
important theatre composers of the period.
Reeve, Arnold, Shield and Storace are all
represented and some of the arrangements
scores. As such, these arrangements give a
fair representation of that music.
Concluding A Set of Militaty Pieces is a
wind band version of the celebrated duet
sung by Mr. Michael Kelly 0 762-1826)
and Mrs. Anna Crouch (1763-1805). This
duet, "0 thou wert born to please
me" is based on V Martin y Soler's
aria "Pace caro, mio Sposo" from the
opera Una cosa rara and was a
"signature" duet for the pair. Eley in
his markings has tried to duplicate
the singing inflections, giving us not
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the popular melodies of the day, played by
an accomplished band. And yet, the
ceremonial duties are covered in the
published works as well. There are
marches (fast and slow), troops and
funeral marches to provide sufficient
music for the duties of the band.
One thing that is so striking about the
music is the presence of music from the
London theatres. In the latter part of the
eighteenth century, the London theatres
were a thriving concern. Drury Lane,
Covent Garden and the King's Theatre in
Haymarket each had full schedules of
productions with new works. London also
had one of the most active Italian opera
centres in Europe, perhaps being the most
active of any city in Europe. Eley was very
much a part of this theatre scene, being as
he was the first -violoncellist at Covent
Garden. He lived just across the street
from the Drury Lane Theatre and would
have known first-hand the latest and most
valuable of the London musical
productions. Although these shows are
seldom performed today, the shows that
Eley chose to make arrangements from
have come down to our present era as the
very best that London of the late
manner of its performance in his
day
During this time it was not unusual
for English theatre composers to
incorporate music by foreign
composers into their works, acting at
times more like compilers than
composers. Stephen Storace used
the aria "La Rachelina" from the
Paisiello opera La molinara (Naples,
1788, also known as Earnore
contrastato) in his The Haunted
ToWer (Drury Lane, 1789). The
Storace aria, which appears as No. 6
"Andante" in the second set, is
entitled "Whither my love? " It was sung by
his sister Signora Nancy Storace and
marked her debut on the English stage. In
the wind band arrangement, Eley has
copied the melody exactly from the piano
score and changed a few of the underlying
accompanying figures
Eley has captured the full spectrum of
London musical life by including
arrangements of works by foreign
composers who found great popularity and
exposure in late eighteenth century
London. Ignace Pleyel (1757-1831)
enjoyed enormous success with the
concert audiences of that time. Pleyel
visited London in 1791-92 to conduct the
Professional Concert, where his concerts
were well attended and his symphonie
concertantes and string quartets highly
praised in the press. The three works in
the A Set of Military Pieces are taken from
string quartets, which Eley would have
come to know as a cellist.
These recordings are a tribute to
Christopher Eley and the Duke of York's
band, and to the modem listener display
the beginnings of a tradition of excellence
that continues today in the Band of HM
Coldstream Guards.
Thom Wass Herald Ortnhmr 2004 51