Post-World War Two, The Salvation Army music scene had an air of optimism. Whilst some United Kingdom corps had benefitted from nearby service camps, most had suffered depletion. Getting back to normality must have been even more difficult in occupied countries. So, by and large, there was a renaissance which led a heady time for many bands. In Britain, radio was allocating generous time to brass banding which included The Salvation Army. Recordings recommenced, and improved travel made tour possibilities at home and overseas more widespread. Audiences were open to new ideas and band programmes were popular.
From a repertoire viewpoint, the Festival Series recommenced with new composers appearing on programmes and sheet music. Established names like George Marshall, Bramwell Coles and many others continued to produce, although at the start of the 1950s Erik Leidzén and Eric Ball were not contributing. The International Staff Bandmaster at the time, Major Bernard Adams, enthusiastically encouraged new writers. On the crest of renewal, the 1950s amassed a large store of 'immediate' music, much of which was capable of survival. During thet decade, both Eric Ball and Erik Leidzén returned with works like Sanctuary and Concertino for Band and Trombone respectively. Eric Ball's ground-breaking symphonic variations The Old Wells was followed by Ray Steadman-Allen's Go down, Moses. The eminent composer Ralph Vaughan Williams had penned Prelude on Three Welsh Hymn Tunes. These are just the tip of the iceberg!
Dr. Stephen Cobb's problem of choice for this disc has been more of what to omit rather than what to include but he has come up with a good representation.
To purchase individual tracks from this album, please select your desired file type.