Profile Night 11/2/07

Profile XXIX   The Music of Commissioner Sir Dean Goffin

On a chilly night in early November, Salvationists gathered at historic Centennial Memorial temple in New York City to share an evening of music written by Commissioner Sir Dean Goffin (1916–1984) in Profile XXIX. Far more than a  festival of music, the evening was a celebration of praise and worship hosted by the Greater New York Division featuring the Enfield Citadel Band from England, on tour in the United States (B/M Andrew Blyth), the New York Staff Band (B/M Ronald Waiksnoris), Philip Smith, principal trumpet for the New York Philharmonic Orchestra and the Greater New York Youth chorus (C/L Gavin Whitehouse).

            The profile series began in 1979 honoring the musical legacy of great Salvation Army composers. While the New York Staff Band was on tour, Commissioner Goffin, a New Zealander, had been invited to come to New York to be the special guest for his own Profile Night. However, in 1984, shortly after his retirement from active officership, where he served as territorial commander for New Zealand, Goffin was promoted to Glory after a short illness. In his career as composer, he wrote 45 brass pieces and 25 vocal works. Goffin received the singular honor for both his music and his exceptional leadership when he was knighted by Queen Elizabeth II.

His music has challenged, blessed and inspired listeners all over the world, not just for the high degree of technical expertise and complex music style but for the descriptive meditations and hymn tunes that bring hearers into an appreciation of the deep things of relationship with God. Casual listeners, brass aficionados and expert musicians alike have thrilled to his inspired and inspiring music. Many people who have grown up in the church cannot recall more than a handful of sermons they have heard over the years even though they may have been exceptional. Music on the other hand can transport the listener back to another place and time, recalling with vivid clarity significant moments in their own Christian and musical journey. Such was the case at Profile XXIX.           

            The Enfield Citadel Band opened the evening with the festival March—The Crusaders, which uses the well–known song, “Ascalon,” better known by the opening line, “Fairest Lord Jesus.” This was Goffin’s first published Festival Series item. The New York Staff Band followed with Camp Akatarawa—a march written in 1973 for a territorial music camp in New Zealand to teach precision and technique from the Eb Soprano cornet down to the monstrous Bbb basses.

            Enfield played the sensitive and emotionally charged, Wonderful Healer, the companion to what might be considered Goffin’s most notable work, The Light of the World. This piece speaks to deepest of human longings to be well, to be healthy, well balanced, complete and at peace with God as it says:

“Lord, here today my great need I am feeling.Wilt thou not visit my soul once again?I long to feel Thy sweet touch and its healing.Wonderful Healer, touch me again.”

Changing style from emotive to enthusiastic, Philip Smith, accompanied by the New York Staff Band, played the brilliant cornet solo, Victorious. This is one of those solos that every cornetist, young or old would love to play only to realize that only a few have mastered the demands of the piece to do it justice. Victorious is based on the tune by Ira Sankey, “Faith is the Victory” that is often the tune we in the Salvation Army use for “God’s Love is Wonderful,” written by Sidney Cox. The solo that often goes at a pace faster than many of us can think, let alone play, requires all the skill a virtuoso can bring to bear. All in attendance, including the guest band knew they shared a special experience as Smith ended the solo with a dazzling finish that erupted in enthusiastic applause.

The Greater New York Youth Chorus presented two works, Mercy, and My Strength My Tower, the music based on Goffin’s classic band piece by the same name. Both works speak of the new relationship the sinner finds in accepting Christ’s gifts of mercy, forgiveness and grace.

            One of the highlights of the evening was the New York Staff Band’s rendition of the test piece, Rhapsody in Brass. Written prior to his service as a Salvation Army officer, this major work was begun in 1942 when Goffin was the bandmaster for a regiment of the New Zealand Army, stationed in the desert during World War II.  Although Rhapsody in Brass took several years to complete, it was the test piece for the 97th British Prize Band Championships in 1949. This is one of those works that can bring the listener back in time and space. I recall it being in my father’s library as recorded by one of Britain’s premier brass bands and playing it until the vinyl was nearly worn through to the other side. But those are the types of musical pieces that fuel dreams, build ambitions and cement strong commitments to play up to our fullest musical potential whether we are soloists or second part players.

            Even the congregation was invited to participate by become a glorious massed choir for the offertory, singing Goffin’s arrangement of All Hail the Power of Jesus’ Name.

            In a tribute to music schools who train budding Salvationist players, Enfield played the march Tylney Hall—a British band school similar in nature and mission to our own world–famed Star Lake Music Camp.

            The Road to Emmaus, another of Goffin’s well­–loved pieces, provided a musical journey describing the disciples walk from Jerusalem to Emmaus on that first Easter evening as recorded in Like 24. Like The Light of the World that features the knocking motif of Christ knocking on the door of one’s heart, The Road to Emmaus evokes the steady rhythms of plodding feet and heavy hearts making their way down the road as they process all of the dramatic events they have witnessed in recent days. Goffin weaves many melodies of the Easter story:

Low in the grave He lay, Jesus my SaviorO sacred head once wounded. Jesus Himself drew near, Were you there when they crucified my Lord? Abide with me, fast falls the eventide. O come to my heart Lord Jesus

It is almost as if the music transported us to be there beside the disciples who finally discover that the one they have been speaking to Is Jesus. We like they can sense the majesty and glory of the Lord going from despair, to hope, to courage as we discover the resurrection for ourselves.

Enfield further contributed with Goffin’s Symphony of Thanksgiving, written for the 1951 Diamond Jubilee celebration of the International Staff Band. This now–classic work based on the hymns “Now thank we all our God, “ and “Praise my soul the King of heaven,” has become a favorite of brass lovers across the world

            Following some moving and hilarious personal reflections on Commissioner Goffin by his friend and fellow IHQ music department comrade, Lt. Colonel Norman Bearcroft, the two bands united to play Anthem of the Free and the prelude and fugue on Rev. John Darwalls 1770 song, Arise my Soul Arise. Anthem of the Free, featuring Goffin’s signature tune, “Ring the bells of Heaven,” was first written as the official march of New Zealand’s 4th Brigade.

            With both bands playing to their full capability, you could both hear and feel the music as we witnessed great musicianship performing works from a musical genius who wrote both test pieces for competition and simple melodies and harmonies filled with the Spirit as to reach hearts and change lives for the Lord—the real reason for the music of The Salvation Army.