'Tips from the Top' - Interview with Roger Trigg

The music of Roger Trigg needs no introduction to the Salvation Army Brass Bands and audiences. In this weeks 'Tips from the Top' I chat to Roger Trigg about his recent commission for Euphonium entitled 'El Olam' as well as inspirations for his popular music. 

1. Over the past number of years you have had an enormous output of new compositions, what inspires you to write?

The main motivation for writing is receiving requests for new music. Life is busy, and without requests for new music I would almost certainly be writing less. With a commission for new music I would normally be guaranteed at least one performance, sometimes a recording, for my latest effort – either of which is a good incentive.

Inspiration comes from many different places: music; songs; other art; books; sermons; scripture; personal connections; historical events etc.

2. A number of years ago I approached you asking if you would write a Euphonium solo for me. Do you get many requests for new music and what is your starting point for a new work?

It usually works out that I have just about as many requests for new music as I can manage to complete around family life and a full-time job.

I always ask the group/individual commissioning the music to articulate what it is they are looking for including: scoring; extra-musical references; theme/s; duration; difficulty; style etc. This is an attempt to match expectations with what ultimately materialises as the end product. The better understanding I have of the needs, tastes, expectations of the commissioner the more likely it is that the end product fits the bill.

If the commission is music intended for use in The Salvation Army I will usually reference at least one hymn (modern or ancient) in the work. Additional musical material may also be derived from a phrase or fragment from one of these tunes.

3. You recently finished a brand new work written for me entitled 'El Olam'. Can you tell our readers a little about the process that was undertaken when commissioning and writing what was to become 'El Olam'.

The music started with finding a pre-existing musical stimulus from the vast Salvation Army music archive. The middle section of ‘El Olam’ was the first part I sketched out, which for the most part is a song arrangement that also includes a soloist part.

Once the middle section was drafted, I needed to devise material that would be more readily suited to a fast, more technical treatment in order to give more opportunities to better showcase the soloist’s dexterity, facility and technical skills. The first four bars were written next, which uses the melody of the first two bars of the chorus of the song ‘Yesterday, today, forever’ - a little like a motif.

Once that tempo and style was established, the fast section came more readily. In this section, there are also references to the phrase ‘Jesus is the same’, where Bosanko has cleverly reflected the text in the melody ie. set all on one note. When both the slow and fast section had their basic look and feel, the rest was filling in the blanks and connecting sections together to make a cohesive whole.

4. What is the story and meaning of 'El Olam'?

The Hebrew word Olam (o-LAM) translates as "eternal", "everlasting", "forever", "lasting" and "ancient." When paired with El to make El Olam, it means Eternal God or Everlasting God. This name of God teaches us that God has no beginning, no end and stands outside of and beyond time. God's nature and purposes are timeless, for God created time and is not limited by time in any way. Before there was a universe and before there was time, God existed, without beginning and without end (Psalm 90:2).

The term Olam also includes the unchangeable nature of God. Everything we know changes, in some way, over time; but God never changes. His character, his Word, his promises, his purposes and his kingdom never change and never end. The melody 'Yesterday, Today, Forever', first published as music for SATB choir and piano in The Musical Salvationist in 1984, forms the basis of the middle section of the music and references to this beautiful Ivor Bosanko tune can be heard throughout the work.

The only other non-original music is an arrangement of the first couplet of the refrain from the modern hymn, ‘The steadfast love of the Lord never ceases’. The song was used because of its clear thematic connection to the work.

5. As a composer you are always working on new ideas and commissions. Can you tell me a little about what you are working on and what plans you have for the future?

I have some ideas that have been on the back-burner of late, but I’ve set some time aside in early 2017 in an effort to work on these. At this stage, I’m not sure what they will end up being.

6. You have heard your pieces performed live many times as an audience member, does any one performance stand out for you and why ?

If I had to choose one, the performance that stands out for me would be the Melbourne Staff Band (Ken Waterworth) performing ‘Atonement’ in the Royal Albert Hall (RAH), London as part of The Salvation Army International Staff Band’s 120th anniversary celebrations in 2011.

Being a former member of two Staff Bands of The Salvation Army (Melbourne and New York) I had made plans to attend ISB120. I was intrigued by the event, but also saw it as a way to catch up with some good friends from distant places.

‘Atonement’ had been commissioned for the MSB tour that preceded ISB120, but I only found out two days before their RAH performance that ‘Atonement’ was scheduled as part of the MSB’s individual band presentation. As is usually the case, it was a mix of fear and excitement as to how it would be received. The RAH was at full capacity and it was the first time any music I’d written had been played at this historic venue. It was a thrill to be there and to hear it played and played so well.

7. What do you believe makes a good and successful solo piece?

Firstly, I think it is easier to assess if something has been successful as opposed to whether or not it is good. I think a ‘successful’ solo can be measured by aspects such as applause, the number of times it is performed and the number of soloists who’ve performed it. Success could also be measured by the number of recordings made of a particular solo.

However, the notion of stating that a particular work of art is ‘good’ is much more subjective and personal. Sometimes music will be successful because it is good – or, at least, that most people think it is good. However, to say that something is ‘good’ is a judgement. I guess if one or two people who are honest with me and whose judgement I value give me feedback that something is ‘good’, that is enough for me.

I would like to thank Roger for his patience and dedication and superb musical talent which lead to the creation of 'El Olam'. It has been fascinating to chat today about the creation of new music which is so crucial to the progression and freshness of brass band repertoire. Don't forget to check Roger Trigg's webpage at the following link- http://www.rogertriggmusic.com/