The International Staff Band of The Salvation Army
Conductor: Bandmaster Dr Stephen Cobb
Soloist: Ian Bousfield
Compere: Paul Hindmarsh
Royal College of Music
London
Friday 10th October

This birthday celebration provided a substantive musical prelude to the Albert Hall National Final – one which not only the composer, but conductor and guest soloist were to be an integral part of the following day.

The music reflected important stanchion points of Gregson’s distinguished career – linked to his Salvation Army hinterland as well as the secular contesting world, from the early march ‘Dalaro’  written in 1964, through to the seminal ‘Variations on Laudate Dominum’  and ‘Connotations’. 

Duality

That duality, which he admitted saw him influenced by the likes of Eric Ball and Ray Steadman-Allen on one hand, Bartok and Stravinsky on the other, also saw him perform the central, Gerswhin-esque ‘Nocturne’  from his ‘Concertante for Brass Band and Piano’  (something of a billet-doux to his future wife, Sue) revealing his fine skills at the keyboard.   

Slack jawed

Further connections were brought together by compere Paul Hindmarsh, whilst short interviews with the composer added further depth of understanding for an appreciative audience who were left slack-jawed by the playing of guest soloist, Ian Bousfield. 

Steadman-Allen’s imposing ‘Eternal Quest’  was delivered with stunning advocacy – noble and enquiring in its shaping and questioning

Steadman-Allen’s imposing ‘Eternal Quest’  was delivered with stunning advocacy – noble and enquiring in its shaping and questioning. Don Morrison’s ‘Consecration’ which seamlessly combined ‘He Takes Me As I Am’  and ‘Teach Me How to Love Thee’  came with a vocal quality of tender pleading, whilst Erik Leidzen’s iconic ‘Concertino’  was freshened with a renewed, yet respectful vigour.  Each was a masterclass performance. 

Unobtrusive hand

Throughout, Dr Stephen Cobb directed the ISB with a firm, unobtrusive hand. 

Tiredness just caught them in ‘Connotations’  to close, but before that there was much to enjoy, especially with the extended version of ‘Variations on Laudate Dominum’ which had an authoritative air of understanding.

There was also a lightness of rhythmic touch to the ‘Dalaro’  and ‘Chalk Farm No.2’  marches which were counterpointed by Wilfred Heaton’s quirky bolero-stamped ‘Victory for Me!’  and Eric Ball’s cornet and trombone feature ‘Never Give Up!’.

There was also a lightness of rhythmic touch to the ‘Dalaro’  and ‘Chalk Farm No.2’  marches which were counterpointed by Wilfred Heaton’s quirky bolero-stamped ‘Victory for Me!’  and Eric Ball’s cornet and trombone feature ‘Never Give Up!’.

It was fitting that the premiere of the tender setting of ‘Hear Us When We Pray’ that Edward Gregson recently wrote in tribute to his late brother, Bram as well as Dr Stephen Cobb also provided a prelude to the contesting inspired finale on the night.

Iwan Fox