St Clement's Brass is made up of personnel from the Royal Air Force Music Services, and the United Reformed Church in Ickenham was packed for a concert in aid of the St Giles' Memory Cafe.

The brass were augmented by timpani and clashed cymbals for the opening number, the 'Force of Destiny'.

The flugel and French horn were often used together for the more lyrical passages, together with Lewis Musson on euphonium, whilst two piccolo trumpets added brightness. Tremolos and the judicious use of mutes contributed to the tonal variety in a well-controlled reading.

Atmosphere

Piazzolla's 'Maria de Buenos Aries Suite' followed, bringing a complete change of atmosphere and mood. Scored for 2 trumpets, 2 horns, 2 trombones, tuba and percussion, the tuba established the opening rhythmic pattern. 

The two percussionists were placed in the middle of the group, one sitting on a cajon (wooden box) which itself provided much of the rhythmic support, together with cabasa, castanets and guiro. The combination of tango and habanera rhythms and flowing melodies made for a very attractive and unusual set.

The first half closed with 'Rhapsody in Blue', brilliantly played by pianist Anthony McCarthy.

The sensitive arrangement managed to retain many of the tonal subtleties of the original, with Ben Godfrey replicating the clarinet glissando at the opening, and the two tuba players taking on figures originally played on bassoon and bass clarinet.

There was much use of rubato, particularly in the solo passages, and Anthony created a real rapport with the audience.

Lively

The second half, which was played without a conductor, opened with a lively version of 'Malaguena'. The players made light of the challenges of this demanding score, before trombonist Jonathan Hill presented John Iveson's delicate setting of 'Londonderry Air', with some lovely, smooth playing.

The concert concluded with Kurt Weill's suite from 'Threepenny Opera', full of strident chords, astringent harmonies and unresolved suspensions. 

With its combination of march parodies, irony-filled songs and ballads (including 'Mack the Knife') it offered plenty of scope for the players to show off their considerable skills, and went down well with the audience, as did the relaxed playing of the encore, Chris Hazell's 'Mr Jums'.

Peter Bale