The New England Brass Band's newest compact disc recording, THE LIGHT OF THE WORLD features sacred music for brass band by a wide variety of composers. The notes below, by NEBB Music Director Douglas Yeo, are an elaboration of the notes found in the recording's six page booklet.

Old Hundredth is one of the most readily recognized melodies in the world. The tune is over 500 years old, appearing first in the Geneva Psalter of 1511. The tune's name, "Old Hundredth" comes from the fact that it became associated with a setting of the text of Psalm 100. The Psalms have always been an important part of singing in churches and, of course, in synagogues. The translation of the entire book of Psalms into a metrical format allowed all of the Psalms to be put to music. When translated into English, the Psalms, which made up the "Scottish Psalter," all appeared in the same meter with each line of the text requiring eight syllables (seen in hymnals at 8.8.8.8). As such, a variety of tunes were composed which could be used interchangeably with each Psalm although certain tunes became so closely associated with a particular Psalm that they cannot be separated, as is the case with "Old Hundredth."

The tune "Old Hundredth," perhaps because it was so well known, became appropriated as one of the tunes for the "Doxology" which is sung in many churches. The arrangement recorded here comes from the Salvation Army Tune Book of 1928 which is used by the New England Brass Band at the beginning of every rehearsal as part of the band's warmup. No arrangers are credited in the 1928 Salvation Army tune book although many of the Army's finest arrangers and composers worked on the project including Eric Ball.

The text to "Old Hundredth" and the "Doxology" follows:

The great 16th century church reformer, Martin Luther, was both a theologian and a musician. It was Luther's belief that music was a great gift from God and subsequently Luther composed many tunes and texts for use in church services.

William Gordon's Fortress is a dramatic presentation of Luther's tune, "Ein' feste Burg ist unser Gott" ("A Mighty Fortress is Our God"). The tune and text were composed in 1511; the tune was subsequently modified by Johann Sebastian Bach who smoothed out some of the original tune's rhythmical irregularities. William Gordon's dramatic setting of the tune takes the form of an introduction, fugue and chorale. In the fugue section, Luther's tune is heard in bits and pieces, often in a rhythm close to the tune's original version. The dramatic chorale at the end of the piece takes Bach's version of the tune and has the band sing the final verse in a powerful voice.

"Fortress" was the closing work at the New England Brass Band's winning performance at the North American Brass Band Association's National Championship in 2004.

The text to Luther's "A Mighty Fortress Is Our God" follows:

Sir John Dean Goffin was one of New Zealand's first prolific Salvation Army composers who composed not only music for the Army but for non-Army bands as well (such as his "Rhapsody in Brass" which is part of the New England Brass Band's repertoire). His The Light of the World takes its inspiration from the famous painting of the same name by William Holman Hunt.

A reproduction of William Holman Hunt's painting, "The Light of the World" appears on the cover of the CD. Hunt (1827-1910) was one of the Victorian era's most beloved artists. Hunt, along with fellow artists Dante Gabriel Rosetti and John Everett Millais founded the Pre-Rephaelite School of painting in 1848 in reaction to what they felt were disturbing trends in art away from realism and truth in nature. Hunt's paintings were almost exclusively religious in nature and none was more famous than his "The Light of the World", begun in 1851. The painting shows an image of Christ, lantern in hand, knocking at a door. Significantly, the door has no handle on the outside, illustrating the words of Jesus in Revelation 3:20: "Behold, I stand at the door and knock; if anyone hears My voice and opens the door, I will come in to him and will dine with him, and he with Me." Completed in 1853, Hunt's painting was wildly popular in Victorian England. The original hangs in Keble College, Oxford, but demand for the painting was so great that a second version was painted in 1900-1904. That copy toured the United Kingdom and many other parts of the then British Empire and the United States. Upon its return it was donated to St. Paul's Cathedral (London) where it hangs today.

Dean Goffin's musical meditation on Hunt's painting uses two well-known hymns from the Salvation Army Tune Book to tell the story of Christ knocking at the door. The first, played by the cornet section, "O Jesus Thou Art Standing Outside the Fast Closed Door" uses the tune ("Aurelia") which is also the tune for the well known hymn "The Church's One Foundation" and tells the story from the point of view of one inside the house, on the side of the door opposite the knocking Christ. The second tune, the chorus section from "Behold Me Standing at the Door", played poignantly by the horn section, utilizes words of Christ. A two note "knocking" motif begins the piece and is heard throughout.

Hunt's painting and Goffin's musical composition are stunning companion pieces. By taking a familiar passage from the Bible, both have given the words on the printed page vibrant life. While not everyone can visit Keble College or St. Paul's Cathedral, we hope the inclusion of Hunt's painting on the cover of "The Light of the World" will enhance the listening experience of those who enjoy our recording.

The text to "O Jesus, Thou art standing: and "Behold Me Standing at the Door" follow:

Marches are part of the heart of any band's repertoire. Composers affiliated with the Salvation Army have written hundreds of marches based on hymn tunes. Dean Goffin's march, Crusaders is one of the finest (and longest) of the genre. Taking the tune "Ascalon" (composed in 1677) which is also known as the "Crusader's Hymn" and used for the beloved hymn "Fairest Lord Jesus," Goffin opens the march with an immediate presentation of the beginning of the tune. The entire tune is not heard until midway through the march after which point the trio follows and then a da capo (repeat) of the beginning of the march through the presentation of the tune. Filled with fanfares and beautiful lyrical passages, "Crusaders" is an immensely rewarding march to play despite its taxing length and difficulty.

The text to "Fairest Lord Jesus" and "O Happy, Happy Day" (which is the text for "Ascalon" found in the Salvation Army Tune Book), follow:

James Curnow's arrangement of the beloved hymn Be Thou My Vision was made for Philip Smith, Principal trumpeter of the New York Philharmonic Orchestra. It was originally written for trumpet and piano and subsequently transcribed by James Curnow for cornet and brass band at Phil Smith's request. Curnow's notes to the arrangement include the following:

The song is filled with various references for God. The word vision is used to indicate not only what we focus on but also what we strive for. As we strive for a goal, we gain a long-range perspective that helps us see today's disappointments as trivial when compared to the heavenly vision.

The text to "Be Thou My Vision" follows:

Every now and then a piece of music comes along that has a profound impact on you. Such is the case with Stephen Bulla's Images For Brass. I first heard the piece on a live recording by the Lexington Brass Band conducted by Ronald Holz; subsequently I heard it performed by two bands at the North American Brass Band Association's National Championship in Little Rock, Arkansas in 2003. It is a strong piece, filled with emotion and power. When the New England Brass Band first started rehearsing it, we knew we had a piece that suited us very well in every way. "Images for Brass" was also part of the NEBB's winning performance at the 1004 NABBA Championship and as we prepared for the contest, we invited Stephen Bulla to come work with the band for a day in which he listened, critiqued and conducted the band. At our performance at the NABBA contest in 2004, Stephen Bulla led the audience in a standing ovation after our performance, a gesture which was especially meaningful to the members of the NEBB.

In the introduction to the score, Stephen Bulla speaks about his piece:

This music was written to commemorate the fiftieth anniversary of the battle of Iwo Jima, a significant event in the history of the United States Marine Corps. It received its first performance by the brass choir of the U.S. marine Band at the National Cathedral in Washington D.C.

The music is divided into four programmatic sections portraying the quiet anticipation before conflict ("Prologue"), the arduous journey to the scene of the battle ("Approach By Sea"), a time of introspection and prayer [the hymn tune "Melita" is featured] ("Chorale Prayer") and finally the hostile confrontation ("Engagement").

There are frequent reference to the Marine's Hymn and the National Anthem, particularly in the closing bars, depicting the Marines raising the American flag on the island, signifying the historic conclusion to the conflict.

The text to the Navy Hymn, "Eternal Father, Strong to Save" which uses the hymn tune "Melita" follows:

Many hymnals have Holy, Holy, Holy as hymn number one. And for good reason. It is a hymn of joyous praise, echoing the hymn that Revelation 4:8 says will be sung throughout heaven, "They rest not day and night, saying "Holy, Holy, Holy, Lord God Almighty." James Curnow's arrangement of this favorite hymn provides three contrasting verses, setting verses 1, 2 and 4.

Andrew Mackereth, bandmaster at Nuneaton (England) Citadel of the Salvation Army, sent his arrangement of Swing Low to me and I immediately could see it would be great fun to play. The slow unaccompanied introduction for the solo bass trombone gives way to the gradual emergence of other partners in song, first the BB flat bass, then solo horn, then solo cornet. The quartet, however, steps aside as the entire band then joins in at an up tempo, adding real "swing" to "Swing Low."

The solo was originally composed for the Amsterdam Staff Band of the Salvation Army and has rapidly become a favorite of New England Brass Band audiences who often join in clapping with the band as they accompany the soloist in a lengthy cadenza. The composer admits that "Swing Low" contains his "most fiendish trombone writing" but the challenge has been great fun.

The text of "Swing Low", which is an old American spiritual, follows:

The name Erik Leidzén is associated with fine composing and arranging by those familiar with brass bands and concert bands. Long time staff arranger for The Goldman Band in New York City, Leidzén's arrangements of classical works for concert band are well known and are among the finest for that kind of ensemble. As a Salvationist, Leidzén wrote many original compositions and arrangements for brass bands of the Salvation Army. His arrangement of Sweet Hour of Prayer is a beautiful example of his craft. Beginning with a warm presentation of the tune from the low instruments of the band (baritones, euphoniums and basses) with some inspired writing for trombones to make the harmony interesting, the second half of the tune moves along with muted cornets and trombones. Toward the end of the piece one can hear echoes of harmony inspired by Richard Wagner and a single bass drum roll which has a riveting effect on the listener. Not one to shy away from challenging players, Leidzén calls for the soprano cornet player to make a dangerous entrance in the final few bars. Leidzén's "Post-Bellum Rhapsody," an arrangement of melodies well known at the time of America's Civil War, has been a part of the NEBB's concerts for many years and all of the band's concerts begin with his arrangement of the "Star Spangled Banner." "Sweet Hour of Prayer" shows Leidzén's most poetic side while finding him at the top of his craft as an inventive composer.

The text of "Sweet Hour of Prayer" follows:

Philip Catelinet may be best known to brass players as the tubist who premiered Ralph Vaughan Williams' "Tuba Concerto" with the London Symphony Orchestra, but as a Salvation Army officer, Catelinet and his wife wrote a great deal of vocal and instrumental music for the Army including the song "Hallelujah To The Lamb." In 1947 Catelinet arranged the song he and his wife wrote (Philip Catelinet wrote the music while his wife, Rosalind, wrote the lyrics) for cornet trio which is surely one of the most demanding and exciting of its type. Because it is so taxing on the players, it is usually performed with several cuts but the NEBB recording is complete with all repeats and every note Catelinet wrote.

The text of the song "Hallelujah to the Lamb!" on which "The Heralds" is based follows:

In 1930, the Salvation Army celebrated its 50th anniversary of ministry in the United States. Evangeline Booth, the daughter of William Booth (founder of the Salvation Army) asked John Philip Sousa to compose a march especially for the occasion. The premiere was on May 16, 1930 with a massed band ensemble conducted by the composer.

The Salvation Army is not one of Sousa's better known marches although it has Sousa's distinctive sound and feel. In the march, Sousa included a full presentation of the Salvation Army unofficial anthem, "O Boundless Salvation" which was composed by William Booth. At the premiere this took the audience, which burst into spontaneous applause, by surprise. The brass band version by Ray Steadman-Allen is mostly faithful to Sousa's original with the addition of a significant part for bells.

The text of "O Boundless Salvation" follows:

The tune In Dulci Jubilo has been set to a variety of texts over the years but the most common and beloved text is that for the Christmas carol, "Good Christian Men, Rejoice." Christmas carols are not easy things to arrange as they seem to have been done so many times in so many ways. Terry Everson (whose beautiful cornet playing is featured on "Be Thou My Vision"), however, has come up with a fresh treatment of this beloved carol melody, mixing meters (alternating bars of 6/8 and 4/4 time) with lush harmonies and soaring lines.

The text to "Good Christian Men, Rejoice" follows:

The New England Brass Band's recording "The Light of the World" began with a simple setting of "Old Hundredth" which was composed for the singing of Psalm 100. As the recording nears its conclusion, a bookend is put on the end with another great hymn tune based on Psalm 100, "Praise, My Soul, the King of Heaven." The text of the hymn (by Henry F. Lyte) has been set to several tunes but James Curnow has chosen the tune by John Goss (titled "Lauda Anima") for the seed which grows in A Psalm of Praise.

"A Psalm of Praise" begins with a burst of energy after which small bits of the hymn tune are heard, never for very long, but just enough for the listener to make a brief reference to the melody. A poignant slow section follows before the energy returns as the piece leads to a dramatic presentation of the full tune for the first time. "A Psalm of Praise" is one of the most difficult works in the NEBB's repertoire and it is always an exciting moment when the band plays it. At the end of the first take of the end of the piece during our recording session for "The Light of the World," the reverberation in Boston's Symphony Hall was truly stunning and we're very happy to bring this dramatic piece to our audiences on our recording.

The text of "Praise, My Soul, the King of Heaven" follows:

The New England Brass Band gives many concerts in churches and some of those concerts are, by request, entirely made up of sacred music such as you hear on "The Light of the World." It has become the band's tradition to end such concerts with the benediction, "God Be With You" using the tune composed by the great English composer, Ralph Vaughan Williams. His tune, "Randolph," differs from the tune that has become associated with the hymn text in the United States but as a brass band "In the British Tradition," we are pleased to bring this beautiful English tune to our audiences. William Gordon, whose "Fortress" appears earlier on the album, has made a strikingly dramatic arrangement of the tune, beginning with a barely audible snare drum in the distance, followed by unison cornets with cup mutes, the horn section and finally the whole band. The final bars, which include a strong suspension which many conductors prefer to remove, is performed as the composer wished, resolving in a blaze of cymbals on the final bar.

The text to "God Be With You" follows: