Peter Graham’s ‘Phoenix’ made for a vibrant opener, followed by ‘Deo Gloria’, effectively transcribed from its 50-trumpet part original: Featuring the melody ‘Nicea’ it closed with three powerful, striking chords.

Derek Lance was the first of the evening’s fine soloists on ‘When Morning Gilds the Skies’. With a lead line both reflective and declamatory, the interplay with the accompaniment was unusual with modal harmonies and unresolved suspensions.

Sibling timbres

Brothers Christopher (who was on outstanding form throughout) and Timothy Ward then combined in a new soprano/horn arrangement of ‘Gabriel’s Oboe’ - the sibling timbres complimenting each other well.

Martin Cordner’s ‘Americana’ drew on the history of the Native American Indian in its opening section; the players called upon to chant the word ‘peace’ in a variety of dialects.  

The shift into big band mode, with the hymn tunes ‘How Firm a Foundation’ and ‘Come Thou Fount of Every Blessing’ tested every section of the band. The powerful figures from xylophone and basses and quotations including ‘Superman’ and ‘When Johnny Comes Marching Home’ came in a work that will probably take repeated listening to reveal its hidden depths.

Singing

The NYSB has long been feted for its singing, and their phrasing was impeccable in Thomas Mack’s unfussy setting of ‘He Giveth More Grace’.

Trombonist Matthew Luhn presented ‘I Walked Today where Jesus Walked’, with Peter Graham’s sparing use of the cornets allowing him to be heard clearly: Having risen up to a climax, a coda built gradually to a final affirmation.

Witty impact

The first half closed with ‘La Fiesta’ - although some of the solo contributions were a little lost played from their seats and were occasionally overpowered by the ensemble. Percussionist Bob Jones’s trademark party trick of removing his jacket during the drum solo never loses its witty impact though.

Energetic

The percussion section also called the audience back for the second half before segueing into ‘Raise the Song’.  Written by bass player Simon Morton, the energetic setting of ‘Come Ye Thankful People Come’ made quite an impact.

The band was joined by young Staines players for ‘Classics in Brass’, allowing the opening of ‘Also Spracht Zarathustra’ and Beethoven’s ‘Ode to Joy’ to be played with backing, before James Williams was invited to conduct ‘Crown of Conquest’ - as elegantly precise as ever.  ‘Eleanor Rigby’ followed, in a fairly upbeat take on the Beatles song.

Power and Glory

Limited space prevented the band employing their usual stage formation for ‘Power and the Glory’, but it still came across well.  

Clearly influenced by John Williams, it featured the melodies ‘All Hail the Power of Jesu’s Name’ and ‘At the Mercy Seat’. Tubular bells were particularly prominent in the final, uplifting statement of the tune.

The band ended with ‘The Stars and Stripes’, but this time in a big-band adaptation before leaving a well satisfied audience with the song, ‘Rock of Ages’.  

Peter Bale