Gospel Arts Concert 2010: Celebrate & Sing!

Royal Albert Hall
London
Saturday 22nd May

The International Staff band under Bandmaster Stephen Cobb opened the 2010 Gospel Arts Concert in sparkling style with Martin Cordner’s “Celebrate and Sing!” which provided the title for the programme.

A rhythmic opening led to a majestic setting of the tune “Darwalls” before featuring the melody named in the title. This led into the congregational song, “Stand up and bless the Lord”, sung to a lively setting of the tune “Falcon Street” by William Himes.

Song and dance

Colonel Brian Peddle was chosen to compère the programme, which he proceeded to do with a confident mix of efficiency and charm, keeping things moving along nicely.

Having shared a prayer he introduced the various participants and special guests before announcing an item drawing together most of the participants.

Using Ray Steadman-Allen’s arrangement “The Essential Joseph” (Tim Rice/Andrew Lloyd Webber) the story was portrayed in music and dance, with the Festival Chorus and International Staff Songsters being accompanied by the band, this time conducted by Andrew Blyth.

Solo roles were taken by Anthony Harris and Rob Moye as Joseph and Pharaoh respectively, the vocal arrangement having been made by Derick Kane.

Special mention should be made of the intricate choreography performed by the Sutton Salvation Army Community Dance Group led and trained by Gemma Bonner: this predominantly young group added greatly to the success of the presentation, and some of the moves would not have been out of place on “Britain’s Got Talent”, including a couple of the younger members being turned upside down and some impressive somersaults along the length of the arena.

Folk songs in contrast

The highly-respected vocal sextet The King’s Singers have attended several Salvation Army events since they took part in the Hendon Highlights festival a few years ago, and have released two recordings of Salvation Army repertoire.

For their first contribution, they turned to folksongs, with two of the arrangers being very familiar in the world of brass bands.

Goff Richards and Gordon Langford were among the first to provide arrangements of lighter material for the group, and “Dance to thy daddy” and “Phil the fluter’s ball” are still regularly performed by them.

These were separated by a recent setting by current member Philip Lawson of “The water is wide” (“Waley, waley”), producing some beautifully sustained singing which contrasted nicely with the intricacy and humour of the other two songs.

Balanced choral singing

The first solo contribution from the Festival Chorus, whose members were drawn largely from the Northeast of England, Yorkshire and the Midlands, was a new song from Stephen Pearson and Andrew Blyth entitled “Love, grace and power”.

The chorus produced a nicely balanced sound, with the men’s voices more prominent than is sometimes the case, although the diction could have been clearer, particularly in the outer movements when the ISB was accompanying.

There was a slight aural jolt at the start of the middle section when the piano took over, assisted by a beautifully controlled euphonium obbligato played by Derick Kane, although the ears soon adjusted, and it was not so noticeable when the band re-entered for the final section, the piano part adding its percussive rhythm to the music.

A Salvation Army classic and a new twist on the classics

The International Staff Songsters brought a combination of the old and the new to the first half of the programme, commencing with Eric Ball’s “A Prayer for Courage”, written under the storm-clouds of war and turmoil.

In response to this prayer, they continued with a setting by Priscilla and Harold Burgmayer of Andraé Crouch’s “The Power”. This clever arrangement juxtaposed the original words “The blood of Christ will never lose its power”, sung in staccato chords, and the music of Rimsky-Korsakov’s “Flight of the Bumble Bee”, using the repeated words “never, never, never”.

The King’s Singers sing for the King

The King’s Singers returned to the stage for a set of Salvation Army songs, starting with Ray Steadman-Allen’s “The Christian Mission”, the first song they had sung at the Hendon Highlights festival.

This lively song was followed by “The Quiet Heart” (James Morgan/June Collin) in which the chamber choir textures served to accentuate the close harmonies and unresolved suspensions to good effect.

Having received a warm round of applause when they announced that a third volume of Salvation Army repertoire was in preparation, they brought their set to a close with the three contrasting movements of “Reflections” (Catherine Baird/Norman Bearcroft).

The ISB earn their crowns

The first half ended with a performance by the ISB of Kenneth Downie’s “Variations on a Celestial Theme”. Taking the melody “Bright Crowns” the composer has produced another well-crafted set of variations which put the players through their paces, with plenty of running semiquaver work around the band, including the glockenspiel and xylophone, and an effective interlude towards the end in which the trombones were featured playing “My eternal Home”.

An opportunity missed

The second half opened with a new song by Stephen Pearson and Richard Phillips, entitled “Praise God All Ways”. The lyrics, which were quite humorous when one could understand what was being sung, referred to the various participants in turn, whilst the music called at one point for the ISB players to run through some technical exercises.

Even the King’s Singers got into the act, although their contribution of “Widdicombe Fair” seemed slightly out of kilter with the item as a whole. Finally, the audience were encouraged to join in singing the “Doxology”, the words of which appeared on the overhead screens: one only wished that some of the other lyrics had also been projected which would have enhanced the overall enjoyment.

Music on the move

Pianist Susan Avison was joined by Retired Bandmaster Michael Clack at the organ to accompany the next song from the chorus, “Victor not victim” (Neil Winton/Andrew Wicker), before the Household Troops took over the arena for a display of marching and music.

Opening with William Gordon’s fanfare and chorale “Laudes Domini” they continued with the march “Stand to Arms” using a mixture of slow and quick time as the formation changed. The band moved into a line around the edge of the arena as Daniel Robson was featured in Olaf Ritman’s “The Lord is Gracious”, before livening up proceedings with “Victory” from “Cry of the Celts”.

Finally, the band formed a guard of honour for Major Mott as he marched between their ranks to the final bars of Norman Bearcroft’s “Just like John”. It may not have quite been quite up to Guards standard, but it was a creditable effort on the back of an hour’s run through in Norway (without instruments and with several participants missing) and the practice in the Albert Hall on the day.

Challenging choral writing

The ISS brought more music from the pen of Norman Bearcroft as they revived his “City of God”, based on Psalm 46 and words by Catherine Baird.

Ebullient singing in the opening section was followed by some finely-balanced harmonies in the middle movement, from both men’s and women’s voices, together with a final chord that could have been lifted straight from the composer’s “Three Spirituals”. The writing in the final part placed considerable demands on the top sopranos which they coped with admirably as the piece ended with a confident affirmation of the Living lord.

Anyone for Salsa?

The ISB’s final solo item was a new work from Bandmaster Andrew Mackereth of Nuneaton Corps: the title “Salsalvation” should have told everyone what to expect, with Latin American rhythms and sounds, not to mention the flavour of the bullring.

Solos from Kevin Ashman, Andrew Justice and Derick Kane, together with some ensemble work from the basses and effective growls from the cornets all added to the effect, as the band proclaimed “Salvation is our motto” for the 21st Century.

King’s Singers in relaxed style

For their third set, the King’s Singers turned to popular song, beginning with the haunting “Swimming over London” by former member Bob Chilcott.

This was followed by the country style “Out of the Woods” (Nickel Creek, arr Lawson) and “Valparaiso” (Sting, arr Lawson), the latter really seeming to strike a chord with the audience. Last of all was “Straighten up and stay right” (Nat King Cole, arr l’Estrange), with bass singer Stephen Connolly effectively impersonating a string bass, complete with the slap of the string on the fingerboard.

It summed up a fine exhibition of vocal chamber-music and versatility, and their willingness to become involved in the united items was particularly appreciated.

Massed finale

Colonel Peddle drew on the words of Psalm 9 as he shared some thoughts regarding praise, with a touch of humour as he reminded his listeners that, though at risk at times of being “sucked in, washed out and blown over”, and of loss of enthusiasm, the Lord will still supply a new song to be sung for Him.

For this year’s finale, Kenneth Downie had written “Inspirations from the Pioneers”, drawing on words and music from some of the early-day Salvation Army personalities.

One was reminded of Leonard Sachs in the Good Old Days when he used to invite the whole company to take part, “. . . but most of all, yourselves”.

It proved a particularly satisfactory end to a fine evening, with even the King’s Singers having a couple of solo verses, the congregational singing at a comfortable pitch, and the inclusion a s couple of thunderous organ interludes for good measure before the final, and fitting, “Victory for me”.

Peter Bale

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