After the courtesy of the ‘National Anthem’, the latest crop of talented performers certainly showed their musical intentions on what proved to be an excellent concert with the youthful vibrancy of the overture 'Celebration', written by Canadian Jacob Plachta, when he himself was just 19.  

Open textures and wit

'Crimond' followed, skillfully developed by Bramwell Tovey from a piano improvisation: Here the textures were much more open, frequently with a chamber music quality, infused with a suitably unworldly section marking the walk in the shadow of death.

Vinter’s 'Variations on a Ninth' offered ample opportunity for the bravura principal players to come to the fore, whilst it was good to hear the MD bringing out the often ignored waspish humour of the writing where appropriate. It was a fine reading of an undervalued work, despite a few occasional linking issues between sections.

Tailor made

Guest soloist Derick Kane presented a fine account of 'Some Glad, Sweet Day', realised by Bram from sketches discovered after the death of his father - himself a one-time member of the International Staff Band. 

It was almost tailor-made for the euphonium star: Derick displaying his dexterity as well as his renowned singing timbre and style in the upper register.

Eager anticipation

The premiere of Paul Mealor's 'The Heart of Hidden Flame' was eagerly anticipated.  The composer is now best known for his choral music, which is often restrained, but as he explained, this was an opportunity to return to a familiar medium (being a former euphonium player with Northop Band) to write something very different; vibrantly boisterous and driving, constantly changing with its rhythmic patterns.  

Iconoclastic

The second half began with 'Diamond Strike', conducted by Glyn Williams, which put the excellent percussion team through their paces.  They then took a back seat as the band gave a rare performance of 'Grimethorpe Aria' (although it’s now been heard a couple of times this year at high profile events). It remains a work of iconoclastic importance and engagement. 

The mood was lightened as Derick returned for 'The Ransomed Host', following it immediately with Steven Bulla's 'Scottish Folk Variants' - both skillfully presented with elegant aplomb. As an extra encore, he invited Daniel Morgan to join him for a delightful account of 'Jeanie with the Light Brown Hair’.

Respectful

The final major work was 'Cloudcatcher Fells', which respectfully marked the passing of John McCabe.  

Coming at the end of a taxing programme it was not surprising that tiredness slightly took the polish off a subtly paced and coloured rendition that contained excellent solo line contributions from all concerned. Nevertheless, it was a laudable effort of an immense work for the medium.

Emotional farewell

All that was left was 'The Cossack', march, complete with a vocalised finish, which was the only time during the whole concert that the outstanding principal cornet Thomas Fountain seemed to be under any pressure, before 'The Day Thou Gavest' offered an emotional opportunity to pay tribute to those for who were making their final appearance with the band. 

Peter Bale