The International Staff Band of The Salvation Army

Hadleigh Temple
Conductor: Bandmaster Stephen Cobb
Sunday 26th February

Over 250 people gathered at Hadleigh Temple for the Praise Meeting led by the International Staff Band of The Salvation Army. 

The band, under the leadership of their Executive Officer, Major John Wainwright, had been responsible for the morning worship, although sleet and strong winds had led to the cancellation of the planned march of witness, which was to have included Hadleigh Temple Band as well as the ISB.

In contrast to the Saturday night programme, which had concentrated on new pieces of music, Sunday's programme featured a number of long established favourites, the only new item being the opener, Steven Ponsford's "Fanfare to Worship".  Based on the chorus "Come, now is the time to worship", it started off with cornets in unison, and featured rhythmic percussion in the style of John Williams' "Olympic Hymn", with various sections of the band joining in with rhythmic interjections over the melody.  It is good to see the ISB featuring the work of such young, up-coming composers on their programmes.

Canadian Morley Calvert is one of the composers included in "Origins", the ISB's latest recording project which concentrates on Salvationist composers who have also had works selected for use on the contesting stage.  His "Canadian Folk Song Suite" was introduced by the New York Staff Band in 1968, memorably recorded for posterity on the LP "Brass International".  It is an attractive three movement work based on three Canadian folk tunes, two from Quebec and one, the enchanting "She's like the swallow" from Newfoundland.  The dynamics were very closely observed, with a fine bass solo in the first movement, whilst the smooth euphonium in the serene middle movement was supported by a very sympathetic accompaniment.  The last movement commenced at a firm, steady pace, with a telling contribution from percussion, with some delicate playing in the quieter passages, before building up in both tempo and volume to a positive finish: even the clapping was more convincing than is sometimes the case!

Philip Cobb, son of Stephen and grandson of Roland, has just taken over the second cornet seat, and he played Erik Leidzen's "Wondrous day", premiered by his grandfather in 1955.  Currently in his first year at the Guildhall School of Music and Drama he soon showed that reports of his prowess on the instrument were no exaggeration.  With a clear, bright tone, even at the very extremes of the register, the dynamics were closely observed, and the cadenza had clearly been well thought out.  He certainly made light work of the technical difficulties, with the answering high and low phrases being particularly successful, and one could sense the feeling of pride as father watched son receive the warm applause from the congregation.

Derick Kane was the other featured soloist, following on from his performance of the Kenneth Downie Concerto the previous evening.  Here he was on more familiar ground with Chris Mallett's "Travelling Along", and was at his best with the high-lying solo line and the fierce-some opening scales.  The runs may be "under the finger", but it still takes skill and panache to carry them off well, and this solo will be a useful addition to the repertoire as it is shortly to be published with band accompaniment.  Following the quotation from "Raindrops are falling on my head" the reprise was taken at even more of a breakneck speed, with no lack of precision or tone.

Following Hadleigh Temple Songster Brigade's presentation of Andrew Blyth's "Compelled by Love" it was back to Erik Leidzen.  "None other name" draws together several songs featuring the name of Jesus, including "Jesus is the sweetest name I know" and the final, majestic "All hail the power of Jesus' name".  Music full of subtlety, with various sections frequently at different dynamics, with rises and falls at various points, it calls for playing which is at once precise and flexible, and this was seen right from the opening, where the initial melody, made up of accented notes across the band, was most effective. 

There was also a uniform approach to the grace notes in the basses, and the BBb phrase answering the euphonium was nicely tucked in.  The final statement of "All hail the power", with soprano rising over the top of the band, had just the right amount of swagger about it, and the runs towards the end were much more precise than is often the case.

Many people had travelled some distance to hear the band, and there was delight in the hall when one of them, former ISB Deputy Bandmaster George Whittingham, was asked to lead the band in George Marshall's classic march "Mighty to Save".  It was hard to believe he is now in his eightieth year as he led the band with his economic conducting style, no wasted effort but indicating very clearly what was required.  Taking the march at a cracking pace, he brought out the contrasts with exaggerated dynamics, encouraging the players to find a little more for the closing bars.

Morley Calvert's "My all is on the altar" preceded a brief message from Major Wainwright, drawing the contrast between what we receive as a gift and what we believe we are due as of right.  The playing was seamless, with the horn section, including Philip Wainwright, undertaking his first away weekend with the band, being particularly impressive.

The final item was Ray Steadman-Allen's "Victorian Snapshots: On Ratcliff Highway", now nearly 30 years old but still capable of taking both players and listeners by surprise.  Stephen Cobb briefly outlined the background to the piece, which portrays the early Salvationists making their progress along Ratcliff Highway in the East End of London, surrounded by the cries of street vendors and the jeers of the skeleton army as they tried to interrupt the march. 

The interpretation of the music made the most of its Ivesian characteristics, as various tunes emerged from the texture, not attempting to blend with each other, but each competing for the listener's attention.  The sound picture was lucid, with the lower pitched melodies in particular sounding out more clearly than is often the case, and the victorious statements of the tunes "We'll be heroes" and "Hold the fort" brought the afternoon to a triumphant close.  There were those, however, who were left somewhat confused by this music, and this could have been helped with a more detailed explanation, and possibly the use of a Power Point presentation to accompany the sounds.  There were also those who questioned whether the final meeting should have closed with something a little more traditional, and they may have preferred to have left the hall to the strains of a familiar Army march.

Nevertheless, it had been a good weekend of fellowship and encouragement, with a wide range of music presented to a very high standard, and it is to be hoped that it will not be too long before the band is able to make a return visit.

Peter Bale 

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