To mark 22 years of free lunchtime concerts at Regent Hall, Stephen Maw chose an unashamedly populist programme, and was rewarded by the attendance of a large and appreciative audience.  

About 1200 concerts have been held over two decades or more, ranging from solo performers to many leading bands.

Firm and solid

‘Invincible Army’ got proceedings off to a good start; the band revealing a firm, solid sound, and the three-part bass writing coming across well.  

Next, a piece with local connections: With some of the squares around the Rink currently under development (the next in line is Berkeley), the extended setting of ‘A Nightingale Sang in Berkeley Square’ fitted the bill nicely.

The march ‘Anchors Aweigh’ is not particularly well-known in its entirety, despite the familiarity of certain phrases of melody. It was good to hear though, with Stephen holding back the tempo for the final section before a neat accellerando to the finish.

Outstanding

Ross Lumbard was the outstanding trombone soloist in Downie’s setting of ‘Tom Bowling’; the melody largely remembered from Henry Woods ‘Sea Songs’ at the Proms. It sounded quite different in its new garb, although the soloist occasionally struggled to be heard over the accompaniment.

‘Marche Militaire Francaise’ allowed the band off the leash, with excellent work in the unison runs and figures.  Setting off at a steady tempo, the excitement built up effectively as the music rose to a stunning climax.  

Contrast

In contrast came Len Ballantine’s setting of ‘Shenandoah’, with finely observed dynamics and a smooth, sustained sound.

The march ‘Silver Star’ was played for many years at the commissioning of new officers into the Salvation Army, and one could imagine the cadets marching down the steps and onto the platform of the Royal Albert Hall accompanied by this reading full of panache.  

Not so full of panache however was ‘Last Spring’ which suffered a minor mishap in the opening bars and, whilst capturing the wistful nature of the music, was lacking a little warmth at times, particularly in the cornets.

Augers well

The final item was ‘Shine as the Light’, with good solo work and the two-man percussion team putting in as much as they could in a piece that really needs three players. The ending though was suitably majestic, with the final statement of ‘The Light Has Come’.

As an encore, ‘Nimrod’ - starting with just a solo cornet, with the band gradually joining in to round off a fine programme, put together with very little rehearsal time, and which augurs well for the future of this essential concert series.

Peter Bale