Whilst investigating John
McCabe’s brass band piece, Northern Lights, I discovered Philip Wilby’s
remarkable Lowry Sketchbook. This was composed in 1992 for the Britannia
Building Society Band (now Foden’s Band). It has become a popular test piece
and a highly regarded concert work.
In 1993 the composer explained that he “wrote this piece when I was ‘composer in residence’ with the Britannia Band, and the pictures I’ve chosen are all on display in the Salford Art Gallery, so it’s my ‘Manchester’ piece.” Since that time, the Lowry Collection has been established at Salford Quays and many of the paintings relocated there.
No introduction is needed to L.S. (Laurence Stephen) Lowry (1887-1976). He remains one of best known and loved British artists of all time. Much of his life was spent in his native Salford, a city that is often wrongly subsumed into neighbouring Manchester. His trademark “matchstick men” in industrial surroundings overwhelms his other major achievements as a fine and innovative portrait painter. He also produced several amazing seascapes.
“The first is called City Scape
and, in typical Lowry style, contrasts the fragile nature of humanity -
individual figures, all different from each other - against the great,
throbbing energy of the industrial landscape in which we live.”
The second [movement] is a
tribute to the family, though I have in mind more universal family elements, a
cross-generation thing, so it’s a sentimental melody rather old fashioned, but
I’m rather fond of it.
The last one is a depiction of
Peel Park - a subject Lowry painted several times - The Bandstand as seen from
the window of the Art Gallery itself. A huge crowd of Mancunians, or
Salfordians, dances to the music of a brass band. What sort of music would it
be playing? In my case something arranged from the classics. To say any more
would give the game’ away.”
During the first movement, I can
imagine railway locomotives shunting wagons at Salford Docks or clattering
machinery in one of the Lancashire countless mills. It is also quite scary.
Clearly the Salford of Lowry’s imagination was a grim and menacing place to
work and live. It is a frenetic
piece.
The second movement puts a human
face on much that is faceless. The magic of Lowry’s artistic style is that each
one of the “matchstick” men, women and children have a unique personality.
Wilby has chosen to celebrate the family life, which was hard for all
concerned. Yet there were compensations. Music-making was important:
performances of Messiah were ubiquitous in Lancashire. Brass bands and
choral societies vied with sport and the public house for people’s interest,
and often overlapped. This music, which is sentimental at times, brings a touch
of humour and humanity to what must have often been grinding poverty in Lowry’s
day. It is dark hued, but just occasionally a shaft of sunlight breaks thorough
the house, factory and railway engine smoke. It is music to bring a tear to the
eye.
The finale is rip-roaring. Do the
extrovert fanfares and represent high-days and holidays in Peel Park, Salford? Certainly,
Lowry painted the band stand in the park on several occasions. It is satisfying
to note that Peel Park is still intact in all its glory. The air will certainly
be a lot cleaner than it was back in the artist’s day. The composer has
indicated that the tune quoted here is based on Bach’s Partita in E. There is
an almost Charles Ives-ian effect here of several pieces of music being heard
at the same time. This ‘toccata’ ends with a powerful and exciting peroration.
A good live recording of Philip Wilby’s Lowry Sketchbook has been uploaded to YouTube. The work has been issued on CD. (DOYCD053) played by the Black Dyke Mills Band.
No comments:
Post a Comment