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RES10179 John Distin (1798-1863) Giacomo Meyerbeer (1791-1864) The Celebrated Distin Family arr. Anneke Scott arr. Richard Fomison Distin’s Military Quadrilles 1. Coronation March from Le Prophète [3:29] Music for Ensemble 10. Le Pantalon [1:45] 11. L’Été [1:02] Hector Berlioz (1803-1869) arr. Anneke Scott 12. La Poule [1:33] 13. La Trenise [La Trénis] [1:39] 2. Chante Sacré [5:00] The Prince Regent’s Band George Frederick Handel (1685-1759) Benoit Constant Fauconnier (1816-1898) arr. Anneke Scott arr. (1814-1894) 14. Let the Bright Seraphim from Samson [5:04] Richard Fomison soprano in E flat, cornet in B flat, contralto saxhorn in B flat 3. Quatuor sur un Thème d’un Sextuor pour , deux Violons, Violoncelle, Flûte Richard Thomas in E flat, cornet in B flat, contralto saxhorn in B flat, tenor saxhorn in E flat James Kent (1700-1776) et Contrabasse [2:58] Anneke Scott tenor saxhorn in E flat, ventil in E flat arr. Anneke Scott 15. Blessed be Thou Lord God of Israel [5:08] Phil Dale baritone saxhorn in B flat Gaetano Donizetti (1797-1848) Je ff Miller saxhorn in E flat arr. Adolphe Sax (1816-1894) 4. Trio (’Ah! O sole, più ratto’) from Thomas Arne (1710-1778) arr. Henry Leslie (1822-1896) arr. Anneke Scott Lucia da Lammermoor [1:03] 16. Rule Britannia from Alfred [1:34] André Grétry (1741-1813) 5. Trio (’Une fièvre brûlante’) from Traditional arr. Theodore Distin (1823-1893) arr. Phil Dale Richard Cœur de Lion [1:23] 17. The Last Rose of Summer [2:20] Giuseppe Verdi (1813-1901) Theodore Distin arr. Jean-Baptiste Arban (1825-1889) arr. Richard Thomas arr. Anneke Scott Fragments mélodiques sur 18. Victory [3:21] ‘Messe de Requiem’ de Verdi Giuseppe Verdi 6. Ingemisco [3:30] arr. Phil Dale 7. Confutatis [3:34] 19. Sinfonia from Nabucco [4:54] 8. Agnus Dei [3:18]

Henry(?) Distin (1819-1903) arr. Phil Dale Total playing time [55:40] 9. Distin’s Polka [2:52] The Celebrated Distin Family: “natural” instruments and keyed instruments Music for Saxhorn Ensemble to the new designs of valved . The Distin family was of seminal importance with regard These artists use their splendid instruments to this shift in brass playing in the nineteenth (the ) with a most remarkable century; their performances on the newly superiority; and I feel bound to testify that their invented saxhorns, as well as their own execution really leaves nothing to be desired. An ensemble so perfect has never been heard. endeavours in manufacturing instruments These five artists play as if they were but one and publishing music and tutors for these man. To say how great, how profound was the new instruments, not to mention their impression which they produced upon the involvement with amateur music making public, is an impossibility; during their entire the length and breadth of the British Isles, concert, nothing like the slightest idea of did much to promote brass music and to criticism could enter the minds of their audience. cultivate the growing movement. Heinrich Marschner quoted in The Musical Gazette (vol. I, no. 14, p. 107, Boston, August 3rd, 1846) The literal and metaphorical “father” of the ensemble was John Distin (1798–1863). Never have I heard wind instruments played with Famed as a slide- and keyed so much splendour, purity and precision; to add player, his career started as a member of the to this, that nothing equals the grandeur of their Grenadier Guards Band with whom, in 1815, style – the astonishing ensemble which pervades just after the Battle of Waterloo, he had their execution, is only to say, that the brilliant reception which they have met with has been travelled to Paris. In 1820 John was appointed more than justified by talent so truly remarkable. to the prestigious Household Band of King Giacomo Meyerbeer quoted in The George IV (the ensemble previously known Musical Gazette (ibid.) as The Prince Regent’s Band) and also to the King’s Private Band. In 1830, after the During the mid-nineteenth century the dismissal of the bands as a result of George Distin Family Quintet/Quartet blazed a trail IV’s death, John was appointed bandmaster across Europe and Northern America. This at Taymouth Castle in Scotland, the seat industrious ensemble performed countless of John Campbell, the second Marquis concerts between its inception in Scotland of Breadalbane. It was during his time in 1835 and founder John Distin’s retirement in Scotland that the first outings of the in 1857. This was a period during which brass formative Distin Family ensemble occurred. “The Distin Family” by John William Gear, published in the late 1830s by I. Willis & Co, Royal Musical Repository, London, Grosvenor Street playing and technology shifted from valveless Left to right: George, Ann Matilda, Henry, John, Theodore, William (Collection Arnold Myers) Ann Matilda Loder had been born into a daughter Louise Rose (1831–1908), whose Méhul. British composers of the time were instruments: famous family of musicians and dancers. In singing prompted the Aberdeen Herald to also popular with many works by the English The Performers are the father and four sons, 1816, separated from her first husband, the comment that she ‘also gives much promise composer Sir Henry Bishop and the Irish with Mrs Distin at the piano. Their instruments dancer Thomas Ridgeway, with whom she of future excellence [...] her pronunciation composer Michael Balfe. Composers who are the , -a-pistons, tenor had five children, she began to style herself being remarkably distinct’ (reported in today would be associated with “early corno, French horns, and bass horn or . Mrs Distin. However it was only on the The Musical World, vol. VI, no. LXVI, pg. 14, music” were included, especially those With these instruments, in different combinations, death of Ridgeway in 1829 that she and John June 16th, 1837). with a British connection such as Handel, the Distins produce various striking and pleasing were free to marry. The Distin boys, George Arne and Kent, as were a number of harmonies from instruments which [are] rarely heard played with the same amount of ability. Frederick (1817–1848), Henry John (1819– We perceive by the Inverness Courier that Mr. madrigals. “Classics” by Mozart, Haydn Distin, with his wife, four sons, and infant daughter, The Observer, October 14th 1843. 1903), William Alfred (1822–1879), and have been making a very successful professional and Beethoven were also frequently Theodore (1823–1893), were all trained tour through Aberdeen, Banff, Elgin, Forres, and performed. Amongst their collection of instruments were as brass musicians and joined their parents Inverness. Although remarkably clever performers marvellous creations such as the “walking stick on stage as “The Celebrated Distin Family”. on the horn and trumpet, when we heard them The Distins often included folk songs or cornetto” and the “Royal Hibernian bass horn” (we allude to the little boys) they must have national tunes appropriate to the location (also known as the “Hibernicon”). All of the Distin boys started on the natural attained to a rare proficiency, when we find it of their concerts – a Grand Fantasia on stated in the above paper: “we may repeat what horn; it is most likely that their father would certainly the first musician of the north remarked American National Airs, a Prelude on In 1844 the Distins travelled to Paris, where have been their teacher, though Henry and upon the occasion – ‘taking into consideration the Caledonian Airs or an Introduction and they had been engaged by a M. Chaudesaigues William studied at the Royal Academy of sort of instruments here used, this performance Medley on Irish melodies were typical of to perform for a month at “the Paris theatre” Music for a short spell in 1834. Whilst is certainly the greatest musical treat I ever their penchant for crafting repertoire (Henry Distin, ‘Our Portrait Gallery’ The British Henry, William and Theodore continued on witness, though I have been present at all kinds around their audiences’ tastes. Similarly, Bandsman, p. 133, March 1889). The Distins of concerts’”. this instrument, the eldest son, George, they collaborated with both the local returned from France with a new invention, The Musical World (vol, VI, no. LXXII, p. 106, changed to trombone, thus providing a musicians and fellow travelling musicians July 28th, 1837) a family of valved brass instruments made by bass instrument for the fledgling family who they met on their tours. A typical the Belgian Adolphe Sax (1814–1894) which ensemble, with John Distin taking the The Distin Family were adventurous and concert would have included smaller the Distins called “saxhorns”. melody on or keyed bugle. flexible in their choice both of repertoire and ensemble pieces, duets, trios and so on, The earliest performances by the family instruments. Reviews and advertisements for and given the pianistic talents of Mrs Distin The Distin family [...] have been, for the last six months in Paris and Germany, during which time ensemble at Edinburgh’s Adelphi Theatre their concerts suggest a wide range of as well as the vocal skills of the Distin they have lost no opportunity of improving in 1835 were given to critical acclaim. Many repertoire that reflected the tastes of the boys (Theodore Distin went on to be themselves or their instruments. The latter, now reviews of these performances made much times. Contemporary opera melodies and an opera singer), all sorts of combinations used by them, are silver and were presented to of John Distin’s pedigree as a famous scenes were fashionable, especially those of instruments and voices were possible. them by Louis Philippe, in consequence of the trumpet and bugle player, as well as the by composers associated with Italian and pleasure he received from their performance prodigious virtuosity of the children, French grand opera such as Rossini, Donizetti, Part of the spectacle of their concerts was during the late Exposition. Their instruments, termed “Sax Horns”, were originally invented including the youngest child and sole Bellini, Meyerbeer, Halévy, Auber, Herold and the diversity and inventive combinations of by M. Sax, but have been greatly improved by

the Distins. [...] We really advise all who have not at once by the remarkable purity and sweetness heard them to take an early opportunity of doing of tone of the new instrument. ‘Oh! That don’t so. amount to anything,’ replied the interpreter. ‘It The Illustrated London News (p. 365, is some new fangled thing gotten up by a little December 7th, 1844) manufacturer whom I have not thought worthy The Distins are at present the only performers on of introducing to your notice.’ ‘Yes! Well, we will the Sax Horns, which unites the powers of the go to him early to-morrow morning; the first and those of the cornet-à-piston, thing.’ ordered Distin. When he saw Mr. Sax he but is infinitely superior to both, for it combines found that that ‘little manufacturer,’ who has the mellowness and sweetness of the former, since achieved such world-wide celebrity as to with all the brilliancy and power of the latter. overshadow all who were then his rivals, had The pieces which the Distins perform are of only completed three instruments as models – their own arrangement, and do credit to their a soprano E [flat], contralto B flat and an alto E musical skill. flat – and had not yet any for sale. Henry Distin The Illustrated London News (p. 384, made an arrangement for the loan of the three December 14th, 1844) instruments, and when they were tried by his family at their hotel the combined tone awoke Accounts vary as to exactly how the Distins a sort of enthusiasm. Mr Sax readily agreed to first acquired their saxhorns. In the accounts complete the necessary instruments on the by the Distins it was they who, on hearing same principle for the quintet, and as soon as “a French artist” (or three, as it is likely that sufficient practice in their use had been attained the Distins heard François Dauverné, they were brought out in public. Jean-Baptiste Arban and Jean–Louis ‘The Famed Distin Family’, New York Times (August 7th, 1881) Dufresne at the concert at Salle Herz on the February 3rd, 1844, described below) But another, less flattering version appears perform on the new saxhorn (incorrectly in Oscar Comettant’s Histoire d’un inventeur termed in the following report) au dix-neuvième siècle, (Paris, 1860, p. 53) and insisted on seeking out the “little in which it is Sax who saves the day when manufacturer” who had designed this the Distins, described as “poor people”, with instrument: their “detestable style” were desperately After the engagement at the theatre was over trying to get a foothold in Paris. In this the quintet played one night at a grand concert account, Sax charitably gives them each a given by a famous singer, upon which occasion new instrument of his own design, tutors they heard for the same time a new instrument them individually and (somewhat miraculously) called the ‘saxaphone’ [sic] played by a French turns everything around. John Distin Picture of upward-facing (left) and forward-facing (right) saxhorns from Alexandre Charles Fessy’s artist. ‘What is that?’ demanded Henry, struck declaimed “we are saved!”. Comettant was Méthode complète de Saxhorn ou Cornet à Pistons (Paris, c. 1850). (Photography Anneke Scott, source British Library Music Collection h.2227) 2 5 3 13

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Photography: John Croft See index on p. 18 very pro-Sax and perhaps his anti-Distin out of fashion. A major change to their sentiments may have been influenced by repertoire occurred in 1848 with the untimely the success of the Distin business in first death of the eldest son George, eight months promoting the Sax design of instrument and before the Distins set sail for a tour of the then capitalising on its success by producing USA. Given this pragmatic and flexible rival instruments and designs of their own. approach that the Distins themselves had to their repertoire, the Prince Regent’s Band The new saxhorns were eventually to be have set out to recreate the type of repertoire made either with forward-facing or upward- that we believe the Distins may have facing bells and could range from the soprano performed in the same spirit. saxhorn in E flat through to the contrabass saxhorn in E flat. To make matters more The works presented on this recording are confusing the nomenclature of these representative of those documented in instruments varies: for example, the British surviving advertising and reviews of Distin “tenor” saxhorn in E flat would be called an concerts. The Prince Regent’s Band have “alto” saxhorn by some French musicians, selected a number of works that we know whilst what the French call a “tenor” were in their repertoire and which represent saxhorn, the British call a “baritone”. the genres they frequently performed: music such as the Coronation March from Today the modern versions of saxhorns are Meyerbeer’s opera Le Prophète, the traditional recognisable as the tenor horns, baritones Irish song The Last Rose of Summer (our and of the brass band world. The setting being based on Theodore Distin’s Prince Regent’s Band has assembled a own version for four part male voices), James collection of original upward-facing saxhorns Kent’s coronation anthem Blessed be Thou, as well as a number of cornets and ventil- O God, and Handel’s Let the Bright Seraphim horns for use in this recording. from the oratorio Samson, a piece made particularly popular during this period There are no remaining sources for the by the slide-trumpet player Thomas ensemble music performed by the Distin Harper (1787– 1853). Family. It is likely that their programming would have been in a constant state of flux Given the French origins of the saxhorns it as new “hits” emerged and as new seems appropriate to include three ensemble instruments were designed and old ones fell pieces from Adolphe Sax’s Méthode complète Distin’s Polka frontispiece (published by Henry Distin, London, in 1850). (Photo Anneke Scott, source British Library Music Collection h.951.(13.)) pour saxhorn (Chez Brandus et cie, Paris, cornet-à-piston player, Jean-Louis Dufresne, perform respected “art music” of their period, appropriate to conclude this disc with an 1847). These are Sax’s own arrangements 1810–1866), clarinet (Leperd), Sax’s improved two sources of Distin “dance music” survive: arrangement for saxhorns and cornets of a for saxhorn quartet of Benoit Constant bass clarinet (Edouard Duprez) and a Distin’s Polka (published by Henry Distin in favourite work in the brass band repertoire – Fauconier’s Piano Quintet, plus two saxhorn saxophone (Sax himself). A review of this 1850 in a version for piano with an ad libitum the Sinfonia to Verdi’s opera Nabucco. trio settings of ‘Ah! O sole, più ratto’ from concert said of the instruments: ‘This brilliant accompaniment for two cornets or saxhorns) Donizetti’s Lucia da Lammermoor and of sonority, the voices of a timbre so varied yet and John Distin’s set of Military Quadrilles In 1868 Henry Distin sold the firm to Boosey ‘Une fièvre brûlante’ from Grétry’s Richard which blend so well, this first astonished then ‘as performed by Mr. Distin and his four sons for a considerable sum only to lose much of Cœur de Lion. delighted the audience’ (Le Ménéstrel, p. 2, on the saxhorns’ (published by Distin and Sons this on various business ventures. He and his February 11th, 1844). Berlioz’s arrangement in 1846 in an arrangement by John Distin for family moved to America in 1876, initially to Hector Berlioz, an obsessive observer and no longer survives; however, The Prince solo piano). These two works felt ripe for us New York where he started making cornets chronicler of instrument developments, was Regent’s Band thought it an appropriate to “expand” back into a plausible version and where his memoirs of the “Famed Distin an early supporter of Adolphe Sax’s saxhorn addition to our saxhorn repertoire and for saxhorn ensemble. The work of a third Family” were reported in the New York Times. family. Berlioz writes for a set of off-stage arranged it solely for saxhorns. Distin is represented by our arrangement In 1882 he moved to Williamsport, saxhorns in and describes the for four-part saxhorn ensemble and obligato Pennsylvania working in partnership which, tone of these instruments as ‘round, pure, As mentioned above, the cornet virtuoso cornet of Theodore Distin’s Victory. This from 1885, traded under his name. The British full and completely even over the whole Jean-Baptiste Arban was one of the performers piece was originally for mixed voices with Bandsman (April, 1889) reported Henry Distin range of their scale’ (Grand Traité who drew the Distin’s attention to the new an ad libitum cornet accompaniment set to to still be playing The Last Rose of Summer on d’Instrumentation et d’Orchestration, instrument. Arban’s compositions are still a words by Edward Oxenford (published by the aged 70. translation Mary Cowden Clarke, p. 234, mainstay of cornet and trumpet players’ J.B. Cramer, c.1880). As the Distins liked to 1855, 2nd edition). Early in the saxhorn’s repertoire; virtuosic and flamboyant works perform both patriotic music and works © 2016 Anneke Scott history Berlioz arranged a vocal work of his, that demand great technical prowess from by Thomas Arne (“The Soldier, tir’d of Chant Sacré, for a performance to be given the performer. Arban’s arrangement of War’s Alarms” from Ataxerxes in particular), at the Salle Herz on February 3rd, 1844, Fragments mélodiques from Verdi’s Requiem a transcription of Henry Leslie’s 1880s which was intended to display a number Mass (’Ingemisco’, ‘Confutatis’, ‘Agnus Dei’) version of Arne’s Rule Britannia from the of Sax’s new instruments: soprano saxhorn for cornet and piano differs in many respects opera Alfred has also been included. in E flat (which, according to a preview to the original work. Given the Distins’ published in Le Ménestrel, January 28th, fondness for the works of the great Italian The Distin family were indefatigable. Henry 1844, was to be played by the Paris dramatic composers, plus their appreciation Distin built up the Distin and Sons family Conservatoire’s trumpet professor, François of musicians such as Arban, this arrangement firm, manufacturing a wide range of Dauverné, 1799–1874), contralto saxhorn of an arrangement seems in keeping with instruments, publishing music and doing in B flat (virtuoso cornet player and, then, the Distins’ ethos. much to support the growing British brass student of Dauverné’s, Jean-Baptiste Arban, band movement. Given the importance of 1825–1889), tenor saxhorn in E flat (celebrated Whilst it appears that the Distins set out to the Distins in the brass band world it felt The Prince Regent’s Band Amsterdam Baroque Orchestra, Armonico Consort, Drottingholm Baroque, Tafelmusik The Prince Regent’s Band was formed to Baroque Orchestra, Le Concert Lorrain, explore the wealth of historic chamber music Dunedin Consort, The Sixteen, The Kings for brass and wind instruments from a period Consort, QuintEssential, The City Musick, roughly defined as between the French Europa Galante, Irish Baroque Orchestra, Revolution of 1785 and the end of First World Concerto Copenhagen, Il Giardino War in 1918. Armonico, Concentus Musicus Wien, Les Musiciens du Louvre and many more. The group takes its name from the early- nineteenth-century elite wind ensemble 2016 sees the release of The Prince Regent’s known as ‘The Prince Regent’s Band’ Band’s debut disc The Celebrated Distin (1811–1820), formerly known as ‘The Prince Family featuring recreations of the repertoire of Wales’ Private Band’ (c. 1795–1811) and of one of the most famous brass ensembles later known as ‘The King’s (i.e. George IV’s) of the nineteenth century, whilst 2017, the Household Band’ (1820–1830). This ensemble centenary of the Russian Revolutions, will was ‘composed entirely of picked skilled see the release of Russian Revolutionaries: musicians, elected without regard for Ewald & Böhme on Resonus Classics. nationality from any source where good wind players were to be found’ (Adam Carse ‘The www.princeregentsband.com Prince Regent’s Band’ Music & Letters , vol. 27, no. 3, July 1946).

Members of the current The Prince Regent’s Band are specialists in the period performance field and perform with regular with internationally renowned specialist ensembles such as the Orchestre Révolutionnaire et Photography: Thomas Bowles Romantique, English Baroque Soloists, Florilegium, Gabrielli Consort and Players, Hanover Band, Ex Cathedra, Academy of Ancient Music, Orchestra of the Age of Enlightenment, Freiburg Baroque Orchestra, More titles from Resonus Classics Index of Instruments Songs of Love, War and Melancholy: 1. Soprano Cornet in E flat 12. Baritone saxhorn in C/B flat Operatic Fantasias by Gallay – Couesnon (94 Rue D’Angouleme Exposition – Couturier (Lyon, c. 1865) PRB. Universelle De Paris 1900) PRB. Lucy Crowe (soprano), Anneke Scott (), 13. Contrabass saxhorn in E flat Steven Devine (piano) 2. Soprano Cornet in E flat – E. Daniel (7167, Marseille, c. 1850) PRB. RES10153 – Henry Distin (Gt. Newport Street, London, . c. 1851-1868). On loan from the Bate Collection, Oxford. A = 452 ‘It beggars belief to hear the music played on a valveless horn from the period of the composer. 3. Cornet in C/B flat Performers and instruments by track – Henry Distin New American Model (9580, Williamsport, [...] flawless and presented with such panache PA, c. 1895) PRB. 1. RF 1, RT 4, AS 8, PD 12, JM 13 and musicianship.’ 2. RF 6, RT 7, AS 8, PD 11, JM 13 Daily Gazette 4. Cornet in B flat/A 3. RT 6, AS 8, PD 11, JM 13 – F. Besson (44292, 96 Rue D’angouleme, Paris c. 1892) PRB. Music for a Prussian Salon: Franz Tausch in Context 4. RT 7, AS 8, JM 13 Boxwood & Brass 5. RT 6, AS 8, JM 13 5. Cornet in B flat/A RES10177 – Couesnon (no makers address or serial number, Paris) PRB. 6. RT 1, RF 3, AS 8, PD 11, JM 13 7. RF 4, RT 5, AS 8, PD 11, JM 13 6. Contralto saxhorn in B flat 8. RF 4, RT 5, AS 8, PD 11, JM 13 – J. Grass (32 Rue des Ponts de Comines, Lille, est. 1868) PRB. 9. RF 1, RT 3, AS 8, PD 12, JM 13 10. RF 6, AS 10, PD 12, JM 13 7. Contralto saxhorn in B flat 11. RF 6, AS 10, PD 12, JM 13 – Adolphe Sax (Paris, c. 1849-1850), sold by Distin & 12. RF 6, AS 10, PD 12, JM 13 Sons, Cranbourne St. Leicester Square, London. On 13. RF 6, AS 10, PD 12, JM 13 loan from the Bate Collection, Oxford 14. RF 1, RT 2, AS 8, PD 11, JM 13 15. RF 6, RT 7, AS 8, PD 12, JM 13 8. Tenor saxhorn in F/E flat/D 16. RF 6, RT 7, AS 8, PD 12, JM 13 – Courtois (Paris, c. 1855), sold by Arthur Chappell © 2016 Resonus Limited (London) on loan from the Jeremy Montagu Collection. 17. RF 6, RT 9, AS 8, PD 11, JM 13 è 2016 Resonus Limited 18. RF 4, RT 3 & 6, AS 8, PD 11, JM 13 Recorded at The Ascension Church, Plumstead on 30 June & 1-2 July 2016 9. Tenor saxhorn in E flat 19. RF 1, 4, 6 & 7, RT 2, 3, 6 & 7, AS 8, PD 11, JM 13 Producers: Tom Hammond and Anneke Scott. – Boosey & Co (47317, 295 Regent Street, London, 1900) PRB. Engineer: John Croft. Editors: Anneke Scott and John Croft. 10. Ventilhorn in E flat Executive producer: Adam Binks – Distin (4760, Gt. Newport Street, London, c.1862) PRB. Recorded at 24-bit / 96kHz resolution (DDD) Cover image: Emma-Jane Semmens, after an 1845 lithograph of the Distins by Charles Baugniet, incorporating 11. Baritone saxhorn in B flat instruments from the Distin instrument catalogue published c. 1851-3 (www.emmajanesemmens.co.uk) – Couesnon (44139, 94 Rue D’angouleme Exposition Universelle De Paris 1900) PRB. RESONUS LIMITED – UK

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