Richard Lambert: Music for Brass and Organ
Richard Lambert, born in Bath in the English West Country in 1951, grew up with the sounds of organ and brass among his earliest musical experiences: he played cornet and trumpet as a boy and was soon taking organ lessons in Bath Abbey. His own compositions for brass and organ – many of them written to mark special occasions in the lives of friends and acquaintances – range in mood from the tender and intimate to the bold and heraldic, in a language downstream from Walton and Poulenc.
Chester Concordia Brass Ensemble
Richard Lambert, director
Philip Rushforth and Robert Marsh, organ of the Chester Cathedral
Listen To This Recording:
Partita for brass quintet (2015)
- I. Proclamation (1:08)
- II. Sennet and Tucket Antiphon (2:09)
- III. Clarion Call – (1:04)
- IV. Anfar
Music for Organ, Volume Two (17:54)
- I. March in F (2008) (2:14)
- II. Elegy (2009) (4:26)
- III. Caledonian March (2012) (2:22)
- IV. Pastorale in F (2008) (4:06)
- V. Preludio burlesco (2017) (1:55)
- VI. March in C (2008) (2:51)
…the festival trumpet sounds for trumpet and organ (5:55)
- I. Voluntary in B-Flat (2009) (2:17)
- II. Elaboration on Thornbury (2009) (1:35)
- III. Elaboration on Hyfrydol (1974) (2:03)
Little Suite No. 2 for two trumpets (2016)
- II. Signal (1:09)
- III. Alarum (0:50)
- Gloria, laus et honor: Toccata for organ (2015) (4:05)
Little Suite No. 3 for three trumpets (2016) (6:40)
- I. Flourish (0:55)
- II. Cortège (2:31)
- III. Solitude (1:38)
- IV. Skipping the Beat (1:36)
Music for Organ, Volume 1 (22:58)
- I. Intrada (1978, rev. 2008) (2:36)
- II. In memoriam (2008) (4:44)
- III. March in D (2008) (2:14)
- IV. Paraphrase on Rockingham (2015) (2:53)
- V. Passacaglia brevis (2011) (3:45)
- VI. Intermezzo (2009) (3:20)
- VII. Recessional March in G (2008) (3:26)
- …mov’d with concord of sweet sounds for brass septet (2011) (8:32)
First Recordings
Fanfare Magazine :
‘The music is tonal without being outdated in that regard. There are small touches of perhaps Britten, Williamson, Vaughan Williams, and Poston to be found here, but the stylistic characteristics of the music never really sound like anyone else, and Lambert certainly has his own “voice” on this evidence. […]
All of the performances heard on this recording are outstanding. The choral singing is exemplary, and the small instrumental contributions also very fine. The audio quality is first-rate throughout. It seems that the Accordare Choir is quite a new group, and it and its director, Karolina Csáthy, are absolutely a team to watch out for. On this evidence they are right up there with the best, and this is an outstanding release.’
—William Kempster, Fanfare Magazine, July/Aug 2024