Thanks to the generous sponsorship of the Besson Group, the Coldstream Guards Band was able to feature David Childs at this enjoyable concert - with ‘celebrity’ compere Christopher Biggins also worth his fee.

After the Gordon Jacobs setting of the 'National Anthem' the fanfare team remained for 'Second to None', written for the Corps of Army Music, despite its title being the motto of the Coldstream Guards.

To a T

David Childs did not disappoint in 'Brillante'; fitting the patriotic theme to a 'T' with multiphonics and lightning fast runs, whilst L/Cpl Sam Smith, playing his final concert with the band, also shone on ‘London Sketches’.

Written by the Director of Music, Major Darren Wolfendale, it incorporated the elegance of 'Leadenhall Market', the tranquillity of 'Regents Park' and the hustle and bustle of 'The Tube'. 

The audience also learnt that it was Major Wolfendale's final concert before moving to Kneller Hall. 

Refined Spitfire

A refined 'Spitfire Prelude', with the Eb clarinet adding its distinctive sound, preceded David Childs' rendition of 'Believe Me if all Those Endearing Young Charms'. Conducted by Bandmaster, WO1 Laura Stead, the band accompanied sympathetically, whilst David made a tricky solo sound almost ridiculously easy.

'James Bond 007' came complete with a video montage of various Bonds, villains and girls; Johan de Meij's subtle scoring also added fine effect, with growling trumpets and sumptuous alto sax solo.

Period uniforms

The second half saw the band open with 'Pastime with Good Company', with a narrator outlining the history of the founding of the regiment. Entering in sections, it culminated with the Company of Pikemen and Musketeers, in their period uniforms, before exiting to 'The Standard of St George'. 

David Childs final offering, ''Neath Dublin Skies', with its combination of slow, atmospheric passages and fun-filled exuberance, gave ample opportunity to display his formidable technique and overall musicality, whilst mezzo-soprano Susanne Dymott elicited a moving performance of 'Softly Awakes my Heart', enhanced by some very delicate playing from the band.

Waterloo 200

Martin Ellerby's 'Waterloo 200' was written following extensive research; including visits to the battlefield itself. It commemorated the battle without jingoism, recognising the sacrifices on all sides. 

'Return of the Emperor' utilised 'La Marseillaise' to set the scene, with ominous undertones, whilst 'At the Duchess of Richmond's Ball', caught the spirit of the dance (including a 5/4 section) with officers, ladies and soldiers unaware of the impending battle. 

'On the Field of Waterloo' depicted the mustering of the troops and elements of the conflict itself, whilst the finale, 'Thine be the Glory' brought a positive conclusion without undue triumphalism.

Rousing

An abridged version of Henry Wood's 'Fantasia on British Sea Songs' was a rousing addition, with Susanne Dymott returning, bedecked in a union flag, to lead the assembled company in 'Rule Britannia' and 'Land of Hope and Glory'.

The marches 'Music Makers' and 'Milanollo' brought a very successful evening to a close, with a substantial sum having been raised for various Forces charities.

Peter Bale