Kettering Citadel Band

Bandmaster: Richard Philips
Hadleigh Temple
Saturday 18th March

Bandmaster Richard Phillips would have known how it feels to be the manager of the English rugby team following their latest defeat as he was forced to shuffle his playing resources prior to Kettering Band's visit to Hadleigh,  With solo euphonium Gary Rose out of action for several weeks with a torn diaphragm, and with the regular percussion team unavailable, there were a number of enforced moves around the bottom of the band, a guest percussionist for the evening and another coaxed out of retirement.  It is to their credit that they continued with the programme as planned, including the major work, the bandmaster's own composition "Metamorphosis".

Their programme commenced with William Himes' fanfare arrangement of "St Francis", with the solo cornets and trombones standing either side flanking the band.  The bright sound of the band, with a firm foundation from the bass section, was shown to good effect, and the five strong trombone section displayed a full, clear tone.

Following the congregational song "Praise my Soul", sung to an up-tempo arrangement, the band presented the "Marche Militaire Francaise" from Saint-Saens' "Suite Algerienne".  The version chosen was that by Michael Kenyon, a former bandmaster at Hadleigh, and it gave the horns a chance to shine, with exceptionally clean articulation.  Taken at a quick tempo the playing was accurate and controlled, with the trumpeting in the final bars carefully placed.

Solo horn Jonathan Miller held the same position with the International Staff Band until recently.  His clean rendition of Bellstedt's "Capriccio Brilliante" (arr Sandy Smith) was enhanced by the sensitive accompaniment provided by the band, cutting down to one on a part and with the soloist never being swamped as can so easily happen with middle-register instruments.  Grace notes and appoggiatura were carefully placed and the music was given space to breathe.

In total contrast, the band continued with two arrangements of negro spirituals: "Deep River" has been arranged by William Broughton in the style of the Count Basie band, and its success depends to a large part on having a bass section that is able to hold things back.  Kettering's basses had the style just right, and with the band making the most of the varied dynamics and the lush harmonies it worked well.  Len Ballantine's version of "Go down, Moses" is in a much livelier style, based on a previous choral setting.  With incisive accents and a prominent role for the flugel, it too went down well with the audience.

Edward Elgar wrote "Chanson de Matin" for violin and piano, and it is not easy for a band to bring off successfully.  In Wes Kendrick's subtle arrangement, however, it can be very effective providing, as in Kettering's sensitive rendition, the graded dynamics are observed, and the basses can achieve the pizzicato effect requested. 

Puccini's famous aria "Nessum Dorma" often appears on band programmes as an instrumental item, but bass player Terry Wright showed himself to be a very competent vocal soloist.  Using Howard Snell's arrangement, his amplified voice carried well over the sound of the band, and his final note was greeted with warm applause.

Richard Phillips wrote "Metamorphosis" for the visit to the USA and Canada by the Household Troops in 2002, and their conductor, John Mott, was present at the concert to hear it played by Kettering.  Introducing the piece, the major work of the evening, it was pointed out that one definition of "metamorphosis" is the "complete change of physical form and substance". 

Using the chorus "In his time, he makes all things beautiful in his time" the music portrays peace and calm replacing turmoil and chaos.  Muted cornets and trombones introduced the melody against basses in octaves, and it was then taken up by the horns and baritones.  The ensuing passage, moving relentlessly forward, was suitably frenetic, with crisp rhythms and shot notes, and descending scales going right down to the basses.  Cadenzas for cornet, horn, euphonium and BBb bass followed, despite some disturbance from a passing motor bike!  A tranquil interlude featuring cornet, euphonium and flugel horn preceded the cornet runs which heralded the triumphant conclusion.

Paul Drury's march "Jubilee" has very quickly become established as a favourite, and received a brisk rendition in true circus style to open the second half of the concert. 

Richard Phillips had said previously that he would not be playing during the evening, but he succumbed to the pleas of Hadleigh Temple Band's executive officer, Lt Colonel David Phillips, performing his version of "Count your Blessings" (in Russ Conway style) during the taking up of the collection, which raised nearly £700 for Hadleigh Band's funds. 

This was followed by Dudley Bright's "Fanfare, hymn and thanksgiving": an original fanfare precedes the hymn "Old Hundredth", which then leads into a lively setting of the chorus "Thank you", complete with the occasional missing beat to keep the band on their toes.  There was some seamless, sustained playing in the hymn section and, following the tidy opening of "Thank you" on flugel and horns, the excitement built up through each successive increase in tempo.

Introducing his own arrangement of Strauss's "Radetzky March" Richard referred to the traditional New Year's Concert held in Vienna, and broadcast on television worldwide, pointing out that the audience had to participate in the usual way.  Leading the clapping, he suddenly cut the band off when the audience failed to observe the right dynamics.  From the restart, the clappers seemed to rise to his expectations, even coping with the occasional rallentando and accelerando.

"Bring him Home", from the musical "Les Miserables", has frequently been featured as a solo item, but Richard Phillips' effective arrangement is for full band.  With the euphonium taking the melody at first, and very sparsely scored, it builds in intensity before returning to the small ensemble for the closing bars. This led into the scripture reading, focussing on incidents in scripture of characters returning home, brought by Major Geoff Blurton, who piloted the evening through in a relaxed but informative manner.

For the second time in a month the audience were treated to a lively account of Ray Farr's version of "Toccata", showing the band still had plenty of puff and stamina left.  Although missing the xylophone due to the circumstances outlined earlier it was full of life and energy, with some fine work on the drum kit.  

Following the benediction, the evening ended with the old march "One by one", which left many in the audience scratching their heads to remember who had composed it – it was in fact written by John Pattison sr, of the Seaham Harbour Corps.  It brought to an end a pleasant and varied programme, well presented and displaying the band's talents to good advantage. 

Peter Bale

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