Barnardo's Brass Appeal

Enfield Citadel Band
Bandmaster: Jonathan Corry
Soloists: Richard Marshall & David Thornton
Queen's Theatre, Hornchurch
Sunday 15th November

Barnardo’s Brass Appeal is a series of concerts aimed at raising money for Barnardo’s. 

On Sunday 15th November, at the Queen’s Theatre in Hornchurch, a well attended audience heard the latest in this concert series, given by the Enfield Citadel Band of The Salvation Army, together with Black Dyke principals, Richard Marshall and David Thornton.

Rolling along

Enfield began with William Himes’ march “Rolling Along”. This march features the music found in car television adverts in tribute to the car city, Detroit. Under the very flamboyant baton of their Bandmaster Jonathan Corry, Enfield was in fine fettle, all very neat and tidy.

The band’s second item was, in contrast, Serenade (Derek Bourgeois). The band did not seem as comfortable in this item as the first, with an untidy opening that unsettled the band and from which, they did not recover

Brilliance

Soon though, the audience was introduced to soloist number one of the afternoon, Richard Marshall. Richard chose to present that favourite “Charivari” (Iveson). 

As well as a sound that seemed to leave his instrument several feet wide, Richard’s technique and brilliance in the upper register thrilled the audience, many of whom were not brass band aficionados. Accompanying a soloist, particularly with minimal rehearsal time is a difficult task, but both band and Bandmaster coped well.

Dead

The second soloist of the afternoon, David Thornton was next introduced by the compére for the concert, Ted Heath. Unfortunately, some of his jokes were as dead as his more famous namesake. To encourage and excite an audience is one thing, but quite another to act as a ringmaster, or to shout down the microphone in the manner of Davina McCall.

Despite this, David’s solo “There Will Be God” (Webb arr. Phillips) was played in exemplary fashion (without music) and his rich, full timbre and power delighted all.

“Cute” (Hefti arr. Sparke) was the title of the next item and cute it certainly was. Whilst Richard and David took a breather, Enfield presented one of their own soloists, Simon Jenkins (kit). Notable for its well balanced accompaniment and ensemble, this was an enjoyable lighter number that the compére enjoyed so much; he invited “Mr. Drummer” to take a bow, not noticing that this had, in fact, already happened.

Speak

Richard Marshall’s second solo of the first half was Gordon Langford’s arrangement of Sint-Saens “Softly Awakes My Heart” from his opera, Samson and Delilah (not Softly Awakes Your Heart, as was announced). Richard’s ability to make the cornet speak, even at the lowest dynamic, was quite magical.

The soloist’s slot for the first half concluded with David Thornton presenting “Grandfather’s Clock” (Doughty). Full of additional lip slurs, polyphonics and extended cadenza’s, David really enjoyed himself - especially in the extreme upper register. This reviewer’s only complaint about both soloists was that they chose quite dated items – with the exception of “There Will Be God”.

Major piece

Enfield’ major piece of the first half was “Shine As the Light” (Peter Graham). The band again, was on fine form, particularly Ben Horton (trombone) who was making his debut as principal. The finale was certainly exciting, if the dynamic contrast between forte and fortissimo wasn’t really made clear. A special mention must go to Paul Baker (Euphonium) who played both euphonium parts all evening. He soared effortlessly over the band, when required.

Enfield began the second half with Goff Richards’ arrangement of “Let’s Face the Music and Dance”. Whilst perfectly well played, it was a touch on the slow side and really, particularly with a mind to the contest at the Sage the same day, felt quite “old hat”.

Sound easy

David Thornton’ final solo of the afternoon was “Endearing Young Charms”. His facility with large intervallic leaps, extremities of range and demands for a luxurious sound made the solo sound easy, surely the aim of all soloists!

Enfield’s next solo item was “The Light of the World”, followed by a minute’s silence as a Remembrance Day Tribute. Unfortunately, the right atmosphere was not created as the many split notes, tuning issues and other blights of the brass player reared their ugly heads.

“Zelda” was Richard Marshall’s final contribution. Apart from the whimsical nature of the solo, expertly captured by Richard, the power of the final top “C” just kept coming and coming.

Split notes

Bandmaster Corry chose, as the penultimate item, the Overture to “The Magic Flute”. Again, split notes and a considerable lack of pace resulted in a rather lacklustre performance.

Following the votes of thanks, Enfield’s final piece was Ray Farr’s “Fugue in D Minor” (J.S. Bach), as played by Reg Vardy for BiC at The Sage about 3 hours earlier! The arrangement is certainly in keeping with his earlier “Toccata” from the same piece. 

How long will it be before bands are playing the entire work (both Toccata and Fugue)? Unfortunately, once again, many split notes and mis-pitching, particularly from the horns, marred this exciting finale.

However, Enfield’ traditional encore the march, “The Red Shield” ended the afternoon on a positive note – or rather several of them, bass trombonist Stuart Horton’s pedals in the bass melody, without any hint of edge, finding the very back of the auditorium very clearly. 

Nick Garman

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