Household Troops Band

Conductor: Major John Mott
Regent Hall
London
Friday 21st May

For a number of years now the Household Troops band has given a programme at Regent Hall on the eve of the annual Salvation Army Gospel Arts Concert at the Royal Albert Hall.

It was of particular significance this year as it was to be Major Mott’s final one prior to his forthcoming retirement as Bandmaster, and it also marked the return of the band from a successful trip to Norway.

Fanfare opening

The evening opened in fine style with William Gordon’s fanfare and chorale 'Laudes Domini', played with the cornets and trombones standing around the lower brass. Clearly influenced by the writing of John Williams, it features the melody associated with the words 'When morning gilds the skies', and the performance was marked by crisp rhythms and a wide dynamic range.

Music from overseas

Staying in the same formation, the band next launched into Norman Bearcroft’s exhilarating march 'Temple 85', in which the horns and euphoniums made light of the high lines as they soared over the band.

After mention was made of their Norwegian trip, there was a change of mood with Ray Steadman-Allen’s arrangement of 'The Last Spring' (Edvard Grieg). The playing was nicely sustained but there were a few signs of tiredness and lapses of concentration, as well as some intonation issues with the top end of the band.

The first soloist to be featured was Principal Cornet Daniel Robson of Birmingham Citadel, presenting Erik Leidzen’s 'A Happy Day'.

He produced a smooth, flowing account, making perfect sense of the at times angular solo line, and warming the tone effectively in the minor variation, although the tuttis seemed a little on the heavy side at times, and out of context with the overall interpretation.

Vocal guests

The guests for the evening were the Staines Songster Brigade under the direction of Samantha Turner, and their contributions throughout were first class.

They produced a well-balanced sound, with excellent diction, and although the male voices were a little outnumbered – they apparently had a few absentees on the night – they avoided falling into the trap of trying over-hard to compensate. After their opening choral 'Let everything that hath breath' (Jeffery L Ames) an ‘a capella’ quartet sang 'Sweet Spirit', solo lines alternating between the four singers, with a particularly fine bass, and accompanied by finger-clicking.

This was followed by Howard Goodall’s 'Love divine', that somehow seems to lack the impact of his setting of  'The Lord is my shepherd', only coming to life in the final bars, no matter how well it is sung.

The final item in their first set was 'Gloria' (Juan Luis Guerra, arr Carol Cymbala) which featured Sara Howe as a confident, gospel-style soloist. The singers were clearly quite comfortable with the syncopated writing, fitting in the words neatly, and building up the intensity as the song went on.

Lively soloist

Martin Blessett, of Peterborough Citadel, brought a lively account of Leigh Baker’s setting of 'The Bare Necessities' (Terry Gilkyson) complete with other players trying to muscle in and steal his thunder.

After leaving stage, he was persuaded to return by Lt Col Phillips, down on bended knees, as the band donned glittering red bowler hats. It stayed just within the bounds of acceptability, although the band did seem a little de-mob happy.

Songs of Praise

The first half closed with William Himes’ 'Endless Praise', featuring the song, 'We stand amazed in the presence of Jesus the Nazarene', showing off the horns to good effect, and with some excellent work on xylophone.

Andrew Newell was in the spotlight in the central section, a laid-back setting of 'Blessed Assurance' with a gentle Latin American backing. As the band moved into the final section, there was an uncharacteristic fingering skip in the unison cornet melody of Beethoven’s 'Europe', eliciting a sideways glance from Major Mott.

Following a restatement of the tune, set almost as a jazz waltz, the final stately presentation of the theme was accompanied by decorative figures from cornets and xylophone.

The composer at the helm

After the interval, the audience had the opportunity to join in singing, 'O that’s the place where I long to be' before Norman Bearcroft stepped forward to conduct his own 'Just like John', recalling that he had performed it in London many years previously with his Canadian Staff Band.

Written in the style of an old-fashioned testimony meeting, various sections and individuals are featured, and there was some particularly fine playing by basses, euphoniums, horns and soprano, whilst one could only sympathise with Andrew Newell when faced with the fiendish trombone solo! Chosen as the title track for the band’s latest recording, there was a clear allusion to Major John Mott himself.

Commanding solo playing

Keith Loxley (Harpendon Corps) was the final soloist on the programme, making light of Chris Mallett’s, 'Travelling along'. The running lines soared over the band, and he showed excellent control in the slower passages, with some particularly effective backing from flugel and trombones.

There was also a touch of humour as an umbrella and a water spray were produced in response to the quote from 'Raindrops are falling on my head'.

Three songs in contrast

Staines Songsters encouraged their listeners to 'Keep your hand on the plough' with a setting of the Spiritual 'Hold On' (arr Mark Hayes) before presenting a sensitive rendition of 'All there is of me' (Sidney Cox arr Richard Phillips).

The men’s voices were particularly impressive as they made the light syncopated phrases flow quite naturally, and the composer’s presence in the hall was acknowledged at the conclusion of the piece, which was greeted in reflective silence.

Their final contribution was 'I will rejoice' (Michael W Smith & Beverley Darnall, arr Mark Hayes), which had an almost hypnotic effect as the cumulative phrases built up as the song progressed. The enthusiasm of the brigade’s charismatic leader was clearly infectious as she held them in the palm of her hand.

Majestic sound

Keith Manners, the Bandmaster at Southend Citadel, as well as the leader of the Essex Police Band, has written several pieces for the Household Troops, including the selection 'Everlasting Love'. Using the melodies 'Such Love' and 'The wonder of His grace', the item ended with a full, majestic sound which filled the hall.

After Lt Col Phillips had spoken briefly about Pentecost and the coming of the Holy Spirit, the band closed their programme with Kevin Norbury’s overture 'Truth Aflame', which was conducted by their Deputy Bandmaster, Carl Saunders, of Cardiff Canton Corps.

Opening with shimmering cornets, soaring euphonium and sonorous basses, the vibrant setting of 'Send the fire' was presented with enthusiasm and verve.

Faster pace

After the central section featuring, 'Tucker', the cornets and trombones turned outwards towards the audience in a blaze of sound at the reprise of 'Send the fire' as the music moved to a triumphant conclusion.

The Regent Hall acoustic can be rather unforgiving, but Major Mott knows the hall very well, and managed to ensure that the band’s big sound was never overpowering.

The players then sent the audience into the warm London streets with a toe-tapping rendition of the march 'Rousseau' (Ray Ogg), although played at a somewhat faster pace than the composer may have expected!

Peter Bale

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