I was glad

[Radegund]

I contacted Professor Dibble about the 1953 'vivats', and he thinks that they are probably by Gordon Jacob who, I've subsequently found out, arranged the anthem for the occasion.

In the course of preparing a performance of I was glad a few years back I compared the Novello hire library's full score of the 'Gordon Jacob orchestration' (for 1953) quite closely with the Parry autograph RCM MS 4255 which has been already referred to, and as far as I can tell the only alteration which GJ made was indeed to alter the Vivats to fit the new names, so it's not really orchestrated by him at all.

[Pabmusic]

In the course of preparing a performance of I was glad a few years back I compared the Novello hire library's full score of the 'Gordon Jacob orchestration' (for 1953) quite closely with the Parry autograph RCM MS 4255 which has been already referred to, and as far as I can tell the only alteration which GJ made was indeed to alter the Vivats to fit the new names, so it's not really orchestrated by him at all.

How interesting. The question that occurs immediately one reads "Gordon Jacob orchestration" is: why did he bother? Parry orchestrated it himself, and it was used at three coronations before 1953. I suspect that Jacob was simply producing a new, clean copy that incorporated new 'vivats'.

There's a similar situation - though for different reasons - with the orchestration of Jerusalem. Parry's original (1916) was for organ and unison voices. He then orchestrated in for a Women's Suffrage concert in 1918. That version is for full orchestra (double wind, four horns and trombones) and was published by Novello. Then in 1922, Elgar orchestrated it for very large forces (triple wind, full brass with tuba, percussion, harps and organ) for use at the Leeds Festival. Elgar's was very much a 'one-off' occasion, and when Malcolm Sargent introduced Jerusalem in the Last Night programme (in the 1950s, for the first time) he always used Parry's orchestration. Since Sargent died, Elgar's version has taken over - which is perhaps unobjectionable, as the large forces are always present - though Parry's own version has rather faded, which is sad. I have conducted amateur orchestras who, wanting to do a 'Last Night' programme, have produced a version of Jerusalem orchestrated by some former member - and they've been very surprised to find that Parry did it himself and that it's been easily available since 1918!

It's a bit sad, really, since is helps to preserve the myth that Parry was a poor orchestrator (and thus others had to orchestrate his music), which is far from the truth.

[Wolsey]

In the course of preparing a performance of I was glad a few years back I compared the Novello hire library's full score of the 'Gordon Jacob orchestration' (for 1953) quite closely with the Parry autograph RCM MS 4255 which has been already referred to, and as far as I can tell the only alteration which GJ made was indeed to alter the Vivats to fit the new names, so it's not really orchestrated by him at all.

If the full score from the hire library says 'Gordon Jacob orchestration', that would seem at first sight careless labelling on the publisher's part. All other references I've seen have always said an arrangement; there seems little point in [re-]orchestrating an orchestration. However, a comparison of the full score on the RCM site and the instrumentation shown in the current Novello hire catalogue shows Jacobs' addition of a contrabassoon and the use of eight, not six trumpets, so perhaps the term 'orchestration' might well be warranted...

[Pabmusic]

...a comparison of the full score on the RCM site and the instrumentation shown in the current Novello hire catalogue shows Jacobs' addition of a contrabassoon and the use of eight, not six trumpets, so perhaps the term 'orchestration' might well be warranted...

Parry's score has a contrabassoon - it's added (in Parry's hand) right at the bottom. It has only six trumpets, though.

[Radegund]

If the full score from the hire library says 'Gordon Jacob orchestration', that would seem at first sight careless labelling on the publisher's part. All other references I've seen have always said an arrangement; there seems little point in [re-]orchestrating an orchestration. However, a comparison of the full score on the RCM site and the instrumentation shown in the current Novello hire catalogue shows Jacobs' addition of a contrabassoon and the use of eight, not six trumpets, so perhaps the term 'orchestration' might well be warranted...

Yes, I agree, careless labelling. But it meant that for instance in the fine 1991 recording by David Hill with Winchester CC/Wayneflete Singers/BSO on Argo the myth was perpetuated on the CD inlay card.

Re the trumpets: in the MS score there are six until page 19, where a further 12 (!) are introduced at letter K ('Plenteousness'). They're at the bottom of the score. However there are only two real parts, hence the eight trumpets quoted in the Novello catalogue.

[Pabmusic]

...Re the trumpets: in the MS score there are six until page 19, where a further 12 (!) are introduced at letter K ('Plenteousness'). They're at the bottom of the score. However there are only two real parts, hence the eight trumpets quoted in the Novello catalogue.

I'd not noticed that!

[BBMmk2]

I never knew that! Gosh! I have Blackl Dyke Bnad plus organ playing it. Its really quite an arrangment!

[Wolsey]

Thanks, Pabmusic, for spotting the contrabassoon in the manuscript, and to Radegund for ploughing nobly through the score and spotting the phalanx of trumpets. The manuscript was not an easy read late at night. But why introduce a dozen trumpets for the closing bars? Could they have been the ceremonial trumpets (2 lots of six) adding 'welly' on the dominant pedal?