The recently re-formed British Army Brass Band gave its London debut under the direction of Major Stewart Halliday and Captain Brenden Wheeler.

Drawing its personnel largely from its three professional brass bands, there were also five excellent reservists joining them for the occasion.

Following the 'National Anthem' they launched into the fanfare opening of '...Dove Descending'; the antiphonal sounds ringing out clearly with the trombones in the gallery and set behind the band.

The ensemble produced a full, round sound, although it was a pity it didn't continue into the wonderful 'Nativity' section.

Fine account

A fine account of 'Le Roi d'Ys' followed; nicely balanced, with a wide dynamic range and striking tremolos supporting the solo lines and with euphonium Musn Fran Wilson particularly impressive.

A moving rendition of 'Manchester Hymn' commemorated the Battle of Manchester Hill as well as the 2017 atrocities in the city gave poignant contrast, whilst L/Cpl Ailsa Russell astounded everyone with her precision and dexterity in Haydn's 'Cello Concerto, Mvt 3' - her articulation immaculate.

The first half closed with an abridged version of 'On the Shoulders of Giants'; the rich sounds of Bruckner echoing round the famous chapel, although the percussion threatened to overpower the brass. The excerpts from various solos were played confidently and with commitment.

Extraordinary Gentlemen

Ian Shepherd of the Grenadier Guards Band penned 'Fanfare for Parkes' which opened the second half, including neatly realised references to 'Queensbury' and 'The British Grenadiers'.

Musn Christian Dullea was the soloist in two movements from 'In League with Extraordinary Gentlemen'. The Holmes/Moriarty-inspired slow movement included some electronic echo-effects that came off beautifully, and the soloist dazzled with his technique as he portrayed Philias Fogg's race against time.

The Holmes/Moriarty-inspired slow movement included some electronic echo-effects that came off beautifully, and the soloist dazzled with his technique as he portrayed Philias Fogg's race against time.

'Swedish Hymn', with its chamber music textures provided a welcome contrast before Dorothy Gates' three-movement 'Faith'.

From the turmoil and questioning of the first section, through the minor-mode treatment of 'This is My Story' to the relentless tread of the finale (on this occasion without the stamping feet), this challenging music was given a convincing performance.

The concert closed with 'Procession to the Minster', in which having two soprano cornets paid dividends. It bodes well for the future of the band, military duties permitting.

Peter Bale