Hadleigh Temple Band

Last Night of the Proms
Conductor: Ken Hillson
Hadleigh Temple
Saturday 17th March

Since the opening of the new hall at Hadleigh Temple, the "Last Night of the Proms" evening in aid of the Mayor of Castle Point's Charity Appeal has become a much awaited fixture on the calendar. 

All available tickets were sold, and there was a waiting list of names in the event of any tickets being returned.  Supporting Hadleigh Temple Band and Timbrels once again were local vocalists Colleen Elvidge, Vanessa Cozens and Hilary Pell, who have now formed themselves into a trio with the title "Trillogy".

As soon as the band, under the leadership of Bandmaster Ken Hillson, had taken their places on the platform, they launched into the march medley "Sousa on Parade" (King Palmer, arr Denis Wright").  Feet were soon tapping along to the familiar – and less familiar tunes, with "Liberty Bell" receiving a particularly warm reception, whilst the band brought just the right amount of swagger to the proceedings.  More well-known music from the classics followed, with Denis Wright's transcription of Verdi's "Grand March from Aida" bringing out some fine playing from the cornet and trombone sections.

"Trillogy" always get a good reception, and on this occasion they were backed by their pianist, Andrew Palmer, together with Roy Dowling on string bass and Anthony Sommerville on drums.  "You raise me up" (Graham/Louland) was followed by "And this is my beloved" (Borodin, as reworked for the musical "Kismet"), for which the three singers clustered round a single microphone.

Their third item, the unaccompanied folk song "Whistle, daughter, whistle", brought more than a touch of humour to the proceedings, as the daughter in question was unable to respond to her mother's plea to whistle in order to receive a sheep or a cow, but miraculously gained the necessary skills when promised that she would gain a man!  To end their slot, they presented an arrangement of Irving Berlin's "Alexander's Ragtime Band", complete with three of the Hadleigh bandsmen (miming) on cornet, clarinet and trombone, and an unexpected quote from "Peter and the Wolf" thrown in for good measure.

Anthony Sommerville, having played drums for the vocal set, then took up his euphonium for his debut rendition with the band of Norman Bearcroft's demanding solo "The Great Adventure".  Written for Derick Kane, it features the old song "Come comrades dear" (also used in Wilfred Heaton's "Celestial Prospect"), with the middle section, so often the highlight of a Bearcroft solo, using his own setting of the words "Just as I am". 

Anthony dealt with the challenges of the writing with aplomb, including the demanding extended cadenza, whilst the band coped well with the intricacies of the accompaniment.  Bandmaster Hillson even remembered to quote the right regiment – Anthony is a member of the Grenadier Guards Band – unlike the Mayor, who referred to him later on as having performed with the Coldstream.

For their first item, the dozen members of Hadleigh Temple Timbrel Brigade entered the hall in a line crocodile-fashion, each with a hand on the shoulder of the person in front, as they sang a plaintive setting of "Just a closer walk with thee".  As the cornet, clarinet and trombone struck up the melody, they joined in with the tambourines, still at the same steady pace, until a drum break led into an up-tempo chorus, with more traditional actions.

A congregational song, "Trusting as the moments fly", sung to the bright Scottish melody of "Will ye no' come back again", preceded some thoughts from Heather Sheldon (Assistant Band Sergeant) on the homecoming of the Prodigal Son.  This section concluded with Paul Sharman's setting of Robert Lowry's "Here is love", with an opening that gave ample opportunity for the horn section to shine, and effective fanfare-like figures in the closing chorus.

The band then closed the first half with Jan van Kraeydonck's arrangement of "Toccata in D minor" (JS Bach, Leroy Holmes & Kevin Peek), with Ben Still moving from his seat in the trombone section to perform the drum solo.  This was another item receiving a first outing from the band, and seemed to put the audience in the right frame of mind for the established favourites coming in the second half.

After the brief interval came Elgar's "Pomp & Circumstance March No 1", in which the audience attempted to sing "Land of Hope and Glory" when it first appeared (in the lower key) rather than whistle it as at the Royal Albert Hall.  When it returned in the coda, they were able to really open their lungs and join in rather more heartily, their efforts earning a reprise of the last section.

New Zealander Dean Goffin produced a number of transcriptions from the classical repertoire, many of which were published long after they were written.  One of these is the "Finale from William Tell" by Rossini, which found the audience merrily clapping along.  Dressed in black, the Timbrels returned for their second item: originally prepared as part of the corps' Christmas presentation, it was a display to Bruce Springstein's version of "Jacob's Ladder", the timbrellists performing in two lines, one at the front of the hall and one in the middle, immediately in front of the Mayor and his party.

The Mayor of Castle Point, Councillor Belford, whose charity fund was the beneficiary of the evening, expressed his thanks to those involved, and then John Ashworth stepped forward to present Norman Bearcroft's arrangement of "Somewhere over the rainbow".  Accompanied by the band, he was joined by Marion Still on vocals, who came forward from the middle of the hall as she sang the well-known words.

"Trillogy" commenced their second group of songs with "Look at me" (Dempsey and Rowe).  Taken from the musical version of "The Witches of Eastwick" the song is sung by the three heroines, once they have accepted that they are all in love with the devil-like Darryl van Horne (played by Jack Nicholson in the film).  For their second number, "Fields of Gold" (Sumner), made popular by Sting and Eva Cassidy, the hall lighting was subdued as they huddled together at the microphone.

To close, they brought two lively swing numbers, "Fly me to the moon" (arr Gwyn Arch) and "It don't mean a thing if it aint got that swing" (Ellington arr Huff).  The latter number was neatly choreographed, with the three singers starting with their backs to the audience, then neatly executing the required moves to match the music.  Although there was not to be an encore, it was promised that "Trillogy" would return to sing "Rule Britannia".

There was another opportunity for audience participation as the band turned to the music of Johann Strauss, and the ever-popular "Radetsky March" (arr Pat Ryan).  The usual contest ensued at the da capo, as band and audience competed to see who could reach the end first, resulting in an honourable draw.

Henry Wood's "Fantasia on British Sea Songs" has long been central to the Proms, having been written in 1905 to mark the centenary of the Battle of Trafalgar, with various additions and removals having caused some controversy in recent years. 

The band presented Denis Wright's version, and highlights included the hornpipe "Jack the Lad", kicked off in fine style by the band's Principal Cornet and Deputy Bandmaster, Keith Johnston, and "Farewell and Adieu" which featured the trombone section, with Alex Campbell on flugel.  Alex was one of two Hadleigh bandsmen who had performed in the Regional Contest at Stevenage earlier in the day, their band having secured an early draw so they could get back in time for the evening concert. 

The ensuing cadenza, linking it with "Home, sweet home" was suitably embellished by Anthony, assisted by the band's other two euphonium players.  The conclusion of "See, the conquering hero" saw the return of "Trillogy" to lead the assembled company in three verses of "Rule Britannia", accompanied by a sea of waving flags, the last verse being reprised and sung with even more gusto.

A little decorum was restored with the concluding items, Albert Jakeway's arrangement of Parry's "Jerusalem" and Frank Wright's fanfare preceding the "National Anthem", although the singing was just as enthusiastic.  As a willing team of helpers set about preparing the hall for Sunday worship, many of the departing listeners said they were looking forward to next year's event.

Peter Bale

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