Test Piece Preview: Introduction, Elegy and Caprice by Morley Calvert

Exploring the Musical Elements of Morley Calvert’s Contrasting Work for Brass Band

Introduction, Elegy and Caprice for brass band is an atmospheric work of made up of three contrasting movements written by Canadian composer, Morley Calvert in the 1970s. From its mysterious and foreboding opening to its light-footed final movement, it’s a work that is filled with a range of moods and rhythmic challenges. 

Who was Morley Calvert?

Morley Calvert (1928-1991) was a conductor, bandmaster, educator and composer from Ontario, Canada. From 1950, Calvert had a 22-year career as an instrumental and choral teacher in schools within the Montreal area, alongside leading the Montreal Citadel Band of the Salvation Army from 1960 to 1970. Throughout his career, Calvert has written and arranged a variety of works for choir, brass quartet, wind and brass bands. 

When was Introduction, Elegy and Caprice by Morley Calvert Written?

Calvert’s Introduction, Elegy and Caprice was written especially for the first European Brass Band Championships held at the Royal Albert Hall  in 1978. It was the Black Dyke Mills Band that took the trophy that year under the baton of the legendary Peter Parkes. It hasn’t seen much of an outing on the UK contest circuit, with its last selection as a set work being for the Second Section of the National Mineworkers contest in 1982 and its last selection as an own-choice in 1993 by the Rogerstone Band for the Second Section of the West Midlands BBA Contest. 

Exploring Introduction, Elegy and Caprice by Morley Calvert

As you can tell by the title, the work is split into three movements. The first, a slow and quite sinister-sounding Introduction, followed by the pensive ‘Elegy’ that features an exposed, unaccompanied solo for euphonium and finished with a lighthearted and spritely, Caprice.

Introduction

A rush of tam-tam and Devil and the Deep Blue Sea-esque dramatic, but dark chords open the work before dipping in dynamic within an ominous ebb and flow section. It’s like the incidental music for an old horror movie, such as Dracula. We then move into a more driven, one-in-a-bar section that builds into a full-bodied ensemble moment. This section is built upon little melodic snippets and solo moments that bounce in from around the stand. There is a brief melodic segment in a major tonality that builds up to a general pause, before a rattle of military snare drum and a tentative three beat chordal motif from the middle band introduces the theme from the driven section at the beginning of the movement. The ending is thinly scored and playful to the point of almost cheeky with a final twinkle of soprano cornet to finish. 

Elegy

An ‘elegy’ is a poem that tends to be reflective or lamenting in nature and this movement captures this with a plaintive, sombre mood, wistful melodies and thin ensemble textures. The solo euphonium opens the movement with a morose theme that is then passed around the stand. We do enter into a brief segment with a more major tonality before it builds through the ensemble into a pleading, bordering on despairing, crescendo. There is another brief pause before an entry for soprano cornet that is so high, so exposed and so long, it is a test of nerves, as much as it is tuning and breath control - my sincerest admiration to all players who have to tackle this! The piece ends as it begins with a single euphonium melody line. 

From what I can see (or hear, rather) the entire movement is a test of musicality and nerve for the soloists, as well as ensemble tuning, especially in the quiter dynamics and intonation and finding the vertical line, particularly in the unison sections in the cornets. 

Caprice

The caprice is a vivacious and playful ending that is a complete contrast to the dark and mysterious moods of the previous movements. It reminds me of a fun, lively piece from a ballet with a bouncing energy and rhythmic character. Although it’s high-spirited, it takes precision within the timing of the ensemble and percussion lines to ensure they meet up exactly in rhythm without spilling over the bar line. It’s a blink-and-you-miss-it whirlwind of a final movement and there isn’t a gap for complacency anywhere. It sounds relatively easy, but the rhythmic accuracy required to make this piece come to life isn’t simple at all. 

In short, this is a work of contrasting ideas and moods, but its main contrast is how light and straightforward it sounds to the listener, despite the many pitfalls and challenges it poses to the player.