Test Piece Preview: Un Vie de Matelot by Robert Farnon

An Exploration of Un Vie De Matelot for Brass Band

The set work for the 2026 Senior Trophy is Robert Farnon’s charismatic Un Vie De Matelot (A Sailor’s Life). It’s a difficult work with plenty of challenges for the soloists, as well as tricky technical sections that are sure to put a band through its paces. Let’s take a deeper look into the piece and what it has in store for the bands performing it. 

Who was Robert Farnon?

Robert Farnon was born in Toronto in 1917 and  is regarded as one of the 20th century’s greatest composers and arrangers. Alongside his compositional talents, Farnon earned a solid reputation as a conductor and trumpet player. His musical portfolio spans a wealth of original scores (often in the light music genre), as well as film themes and incidental music. Later in his career he turned his hand to more serious orchestral works, including three symphonies and was recognised with four Ivor Novello awards and the Order of Canada. 

When was Un Vie de Matelot Composed?

Une Vie de Matelot was commissioned for the 1975 National Finals of Great Britain. It’s a colourful work filled with wit and character. Similarly to Horovitz’, Ballet for Band, this is not the first time Un Vie de Matelot has been used at the Spring Festival, as it made its debut at the contest in 1988 as the set work for the Grand Shield and again in 2002 as the set work for the Senior Trophy. Twenty-four years later, it still poses a significant challenge to bands. 

Exploring Un Vie de Matelot by Robert Farnon

After a playful, but determined opening, the Soprano Cornet introduces the main theme that will be used in the variations that follow. It’s jaunty and care free (although the Soprano Cornet player may not feel as care free playing it!). The main theme is then taken over by the middle of the band with technical flourishes around the stand. Despite its lighthearted character, this is not an easy work at all. 

The melody is then woven into a series of technical passages that are passed around the band, beginning with solo euphonium. Maintaining a steady tempo and ensuring a seamless handover of the melody line around the stand is key to keep the character and the flow of this section. 

A lyrical larghetto section follows which offers the opportunity for the Soprano Cornet to really show off their melodic playing. Solo Euphonium takes over with a contemplative solo line that finishes with a quasi cadenza moment. There is some truly beautiful writing in this section and although its does have technical hurdles it offers a real moment for bands to demonstrate their musical heart. 

Before we all get too relaxed, the wind picks up and we head into a more lively Allegretto and Solo Horn takes over with a jolly variation of the theme before basses and euphoniums take on the melodic mantle and pass it around the stand in a fugue style. We accelerando into a slightly livelier tempo that opens up some fiendish technical sections for baritones and euphoniums as our little sailor hits some choppy waters. 

The waves settle and the sun comes out in a happy little hum of a solo from euphonium that sets us up for a beautiful, but melancholic extended solo from Principal Cornet. Our little sailor is perhaps a little homesick? Hats off to all Principal Cornets who will be bringing this to the contest stage. It's a long solo with some light-footed technical moments that soars up to a very exposed, sparsely accompanied top B. It’s a test of both musical skill and holding your nerve. 

We return to the playful, jolly motif heard at the beginning of the work that takes us into the ‘allegro con spirito’ final section of the piece. This is a big work in terms of stamina. Farnon squeezes out every last drop of energy in this final section with a big, maestoso (reminiscent of Fantasia on British Seas songs), full-bodied ensemble sound that grows into a triumphant triple forte chord to finish. 

A Technical Tempest

It’s a technical tempest of a work, but it’s filled with so much heart and personality that it makes for an entertaining listen. Although he may not be the most well-known composer of brass band music, I think Farnon’s writing really suits the brass band style.

There are a lot of musical obstacles to navigate through, which will be an achievement within itself. However, the bands who manage to dig deeper and bring the wit and character that Farnon has buried within these challenges to the surface will stand tall at the top of the result table. 

References

Chandos | Robert Farnon: https://www.chandos.net/composers/Robert_Farnon/944

Brass Band Results | Un Vie de Matelot: https://www.brassbandresults.co.uk/pieces/un-vie-de-matelot

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