The Guards Chapel in central London provided a poignant setting for this Concert of Remembrance - a rebuilt edifice of praise which rose from the ashes of an infamous Second World War bomb attack.

After the National Anthem, the band launched into Vaughan Williams’ ‘Toccata Marziale’, written for the Royal Military School of Music. The seating logistics, limited by the choir stalls, meant that the band sat in a very deep formation, although they coped admirably with the unfamiliar set-up.

Fresh sounds

‘Benedictus’ from ‘The Armed Man’ is usually performed as an euphonium solo, but this effective ensemble arrangement still allowed for the emotion of the writing to come through.

Bob Wiffin’s ‘Pavan: Sicut Aquilae’, based on the biblical text referring to ‘soaring on wings as eagles’ was written to mark the 60th anniversary of the Battle of Britain. At times dark and mysterious, it featured some fine solo playing - particularly in the high-lying horn solo and with the excellent contrasts between woodwind and brass. 

‘Hymn to the Fallen’ opened a little tentatively, but soon settled with its nicely sustained sounds, before the first ended with Holst’s ‘Jupiter’ - joyous and light in a convincing reading.

UK premiere

The UK premiere of Nigel Clarke’s, ‘A Richer Dust, Symphony No 1’, for wind ensemble and narrator, was preceded by a brief introduction explaining its genesis and form.  

The text, compiled by Malene Sheppard Skaerved is drawn from a range of sources; press reports, the Bible, George Orwell and Shakespeare etc, whilst the title is taken from a poem by Rupert Brook. The four movement work incorporates planned silences to enable the audience to reflect on the emotions that it elicits in the mind.

This significant composition saw the band augmented my members of the Scots Guards, students from Kneller Hall and civilians to cover the expanded orchestration, which included a contrabass clarinet, two cellos and one double bass - all with prominent parts to play.

Dissonance

The music itself is full of dissonance, as befitting its subject matter - with sustained chords punctuated by violent interjections and crisp utterances. Together with the text it offers depth and meaning. It is also a work that everyone involved in should take immense credit for being performed.

Violence in all its banal all-encompassing forms was touched upon with a refined sense of understanding and even elegance. The lasting consequences however - and especially the very personal nature of it - was brought to the fore as players stood up in the final section to read out a list of names.  

A very powerful thought-provoking work received, as requested, a respectful silence.

Peter Bale