Gospel Arts Concert

Royal Albert Hall
Saturday 9th June

For many years The Salvation Army has held an annual musical festival at the Albert Hall in June, to coincide with the Music Leaders Councils held the following day, when Bandmasters and Songster Leaders (choir conductors) meet together for spiritual refreshment and musical workshops. 

In the past, this was frequently the occasion for the staff sections to wheel out the latest musical and technical challenge, although attempts have been made in recent years to broaden its appeal to interest those other than band and songster fanatics, hence the change in title to Gospel Arts Concert, and the inclusion of drama, dance and other genres of music.

This year saw the return of the large chorus, actually made up of young singers from around the United Kingdom Territory (including Northern Ireland), and there was a strong emphasis on youth, with the presence of Electralyte, a three piece rock band which is making quite an impact on the contemporary music scene. 

The opening number also featured young people, as cornettists and trombonists from the Territorial Youth Band and the Territorial Music School joined the International Staff Band under Stephen Cobb in a presentation of John Williams' "Olympic Fanfare and Theme".  With the cornets and trombones arrayed either side of the organ, it made good use of the spatial possibilities of the building with some effective antiphonal effects, although there were some rather disconcerting side drum sounds to be heard, possibly due to one of the microphones being placed a little too close.

Before Russell Rook led the congregation in prayer, Andrew Blyth stepped forward to conduct the united chorus in his own arrangement of "My Father's Heart" (words and music by Chris Eaton).  Throughout the evening, the International Staff Songsters sang with the youth choruses, which seemed rather unnecessary: their more experienced voices had a disproportionate effect on the overall sound, especially when the male voices were singing, and it would have been good to hear the young people on their own, with their particular verve and enthusiasm.  The song itself incorporated John Ireland's "My song is love unknown", and was enhanced by the sensitive dance of Karen Telfer.

Having experimented with various formats for the evening, including dispensing with a compere on occasion, this year the role was entrusted to the experienced Cathy le Feuvre, originally from the Channel Islands but presently a member of the Regent Hall Corps in London.  Her informal links helped keep things flowing, but a little more information on the music itself would not have gone amiss, particularly as it was impossible to read the programme notes – largely printed in black on red paper – while the items were taking place.

The International Staff Band's first contribution was Dudley Bright's "Paean": this well-crafted item brought together the tunes, "Father God, I wonder", with its distinctive Hebrew feel, "Hosanna, Hosanna" and "Faithful God", giving all the sections of the band plenty to keep them occupied, and it seemed to make a favourable impression on the audience. 

Two more items from the chorus followed, "Holy is the Lamb" (Chris Tomlin & Gavin Whitehouse, arr Andrew Blyth) and John Rutter's "Look at the world".  The former featured a guitar interlude between two of the verses, but the sound level was a little too low, and it was barely audible.

With no overseas visitors this year, it fell to Philip Cobb to be the main featured soloist.  William Himes wrote "Jubilance" for Peggy Thomas, the principal cornet of the Chicago Staff Band, since when it has been taken up by soloists around the world. 

Philip was certainly on top form as he set off at a tempo that tested band as much as soloist, whilst some of the most impressive playing came in the quieter sections, where he set his own level, almost as if challenging the band to keep below him.  As he received the acclaim of the audience, the pride of his father, Stephen, was plain for all to see.

For their solo items in the first half of the programme, the International Staff Songsters, under the direction of their leader, Dorothy Nancekievill, chose two songs in contrast.  For Handel's anthem "Zadok the Priest", written for the coronation of George II and used at every monarch's coronation since then, they were accompanied by Michael Clack at the organ. 

Whilst the sound was impressive, one wondered whether this mighty instrument, since its restoration the largest in the United Kingdom, was too powerful for the work in question, as the accompaniment lacked the clarity and separation of notes one expects to hear.  Cecil Frances Alexander's words "There is a green hill" have been set to many tunes over the years, and the ISS chose to use a setting by Norman Bearcroft using the tune of "The lark in the clear air", apparently based on his version for tenor horn and band.

The first half of the concert came to a climax with the International Staff Band's main contribution, Leslie Condon's tone poem "The present age".  Cathy le Feuvre set the scene in her introduction, reminding the audience of the various conflicts and difficulties faced but those setting out along the Christian path, not least during the 1960s when the piece was written. 

The band, under the perceptive direction of Stephen Cobb, produced a thoughtful and expansive rendition of the work, which is full of emotion and contrast, with the poignant interruption of the main tune in mid-phrase, "I'll follow thee, deny thee never . . ."  The final positive statement of Sir Arthur Sullivan's tune to the words "Courage brother, do not stumble" ensured that audience left the hall for some well-deserved refreshment and a breath of fresh air on a high note.

The second half opened with a congregational song, an arrangement by Trevor Davis of John Wesley's words "And can it be that I should gain an interest in the Saviour's blood?"  Quite unusually, he employed two of the most-used tunes for these words, with two verses to the tune "Cardiff" followed by two to the tune "Sagina".

The rock group Electralyte is made up of three young Salvationists musicians, Matt Leeder, Paul Leverett and Jon Mitson.  With guitar, drums and bass guitar they occupied a low platform in the arena, as they presented two of their songs, "The Masterplan" and "Take Broken Me".  It is always difficult for such a group to come in cold at a venue such as the Albert Hall and there seemed to be a few balance problems, particularly in the first number, where it was difficult to make out the words, apart from when the vocalist was pictured clearly on the screens suspended to either side of the stage. 

For the second song, they were backed by the International Staff Band, largely providing sustaining harmonies, but the unusual combination of sounds worked remarkably well. 

Their contribution was particularly well received by the 300 or so members of the chorus, who had provided the congregation with a Mexican wave as they resumed their seats after the interval.  Ira Thomas conducted the chorus in "You are good" (Israel Houghton and Aaron Lindsay).  With its punchy accompaniment, supplemented by two trumpets and two trombones, this exuberant song produced some of their best singing of the night, even if the attempts at movement were taken up more enthusiastically by some than by others!

Len Ballantine, although best known for his choral works, has contributed a number of fine arrangements for band, particularly in a lighter mood.  "Wade in the water" is based round the spiritual of that name, opening with the basses on their own before the horns and then the flugel take up the melody.  With the central section also featuring the song "Deep River" this is likely to prove a popular item in many band programmes.

For Philip Cobb's second contribution, he took up the trumpet to play Kenny Baker's "Virtuosity", producing a confident reading, even if some of the figures seemed a little calculated, lacking a true improvisatory feel.  Nevertheless, this item really brought the house down, causing one to reflect how much things have changed since the days when such music was thought of as quite unacceptable in Salvation Army circles.  As for Philip, as he continues his studies at the Guildhall School of Music and Drama, he just goes from strength to strength, whilst remaining very modest and unassuming.

For their second slot, the International Staff Songsters presented two songs, "Jesus, what a Saviour" (Shannon Wexelberg, arr Camp Kirkland) and "Praise His holy name" (Keith Hampton).  Here, their fine choral qualities really shone through, and the relaxed presentation of the latter song, for which they dispensed with copies, made a very positive impression on many, judging from comments afterwards. 

This was followed by a scripture presentation, based round Psalm 46, given by Liam Parker.  A young Salvationist actor from Maidenhead, who has already appeared in numerous film and television productions, he projected the text powerfully and impressively, making good use of area set aside.

The finale this year, arranged by Bandmaster Andrew Mackereth, of Nuneaton, was entitled "Hillsong Praise".  Australia's Hills Christian Life Centre has been at the forefront of contemporary worship songs for many years, with several of their songs now being used very widely.  The medley, including such songs as "That's what we came here for", "Beautiful Lord (The Potter's Hand)", "Church on fire" and "The power of your love", was accompanied by the International Staff Band, and included a striking passage featuring the staff songsters, in particular their impressive male voices. 

It was clear that the young people enjoyed the music, and they responded well to Andrew's enthusiastic leadership.  There was a tremendous uplift, and a sense of inevitability, with the entry towards the end of "The power of your love" which provided a fitting climax both to the arrangement and the concert.  It proved an excellent finale to what had been, on balance, a most enjoyable evening.  There certainly seemed to be fewer empty seats this year, and one has to applaud the attempts to breathe new life into the event.

Peter Bale

^back to top