Following a brief 'Festival Fanfare', the ensemble presented Debussy's 'Masques' in an arrangement by trombonist Chris Mowatt. 

Originally for piano, the music placed considerable demands on the players but they showed themselves to be well up to the challenge; producing a convincing rendition of a complex score aided by a selection of mutes and various pitches of trumpet adding tonal colour.

Pastoral sounds

Eric Crees' transcription of Brahms’ 'Intermezzo No 2' brought lilting, pastoral sounds, with the trumpet and flugel taking the lead.

The composer's 'Rhapsody No 4' opened brightly, with full, rich tonality; the flugel and horn combining effectively to introduce a mellower element. Staccato quaver passages alternating between trumpets and trombones led to a sparkling finish.

Music from an earlier period followed with Palestrina's 'Kyrie Eleison'; its long, sustained lines and slowly moving figures maintaining an air of elegance and dignity.

​The composer's 'Rhapsody No 4' opened brightly, with full, rich tonality; the flugel and horn combining effectively to introduce a mellower element. Staccato quaver passages alternating between trumpets and trombones led to a sparkling finish.

Brass Symphony

Flight Lieutenant Tom Rodda took over the baton for the 'Brass Symphony' by Jan Koetsier. 

A substantial work and a staple part of the brass ensemble repertoire, its striking opening on unison trumpets led into a horn melody with trumpets echoing the solo line. All the players were able to demonstrate their agility as rising figures from the lower brass contrasted with the brightness of the trumpets. 

The slow chorale of the second movement began on horn, tuba and trombones before the rest of the players joined in with plaintive harmonies evoking a rather wistful atmosphere. The final 'Rondo' brought the work to an exciting close.

Some of best playing was reserved for the encore and Richard Bissill's arrangement of Duke Ellington's 'Caravan'. 

The brass were joined by a kit player to perform this virtuoso setting, marked by tight ensemble playing and with the restraint in the quiet passages ensuring that the climaxes were all the more impressive.

Peter Bale