For aficionados of brass band music, last Saturday’s Spring Festival put on by the Salvation Army at the Berkeley Institute was a treat. It was the Army Divisional band’s tenth annual such concert.

Brass bands, for the uninitiated, use neither French horns nor trumpets. The aggregation which evolved in the north of England, uses the smaller cornet, flugle horn, E Flat Tenor, and a series of tuba-shaped instruments descending in size from the Baritone, through the Euphoniums to the Basses.

Exalt, one of two Salvation Army Youth bands from Southwestern Ontario, were the guests of Bermuda’s Divisional Band. In attendance also were the Bermuda Divisional Youth band under Bandmaster Jerome Atwood’s leadership, who also had a turn directing the combined bands, later in the evening.

The evening opened with the combined bands playing Salvationist composer Ray Steadman-Allen’s march ‘Silver Star’. Bandmaster Warren Jones took the baton and guided the huge aggregation through this spirited opener.

SA marches feature a ‘bass solo’ in which the whole of the tuba section along with the trombones take a turn at playing a melody, usually a gospel chorus well known to church audiences, but one didn’t have to know the tune to enjoy the robust rendition of this performance.

The Youth band flowed, a little tentative at first. They were far fewer in number so the contrast with the opened, in volume and timbre was distinct.

But they warmed to their task as they went on. They played a suite, ‘Walking With Jesus’, by Keith Manners, and followed with star composer-arranger Stephen Bulla’s arrangement, ‘Glorify thy Name’.

Bulla is a graduate of the Berklee College of Music, and is chief arranger to the US President’s own Marine Band. More of his work was heard later in the programme.

Exalt opened with ‘Fanfare to Worship’, a piece reminiscent of Copeland’s ‘Fanfare for the Common Man’ conceptually.

Long notes and large intervals announced the theme, carried by the lighter horns of the middle section. When one thinks of fanfares one normally assumes that the statement be made by trumpets.

This piece was like an inner sonorous unfolding of petals, one by one until a musical flower bloomed fully, with the whole ensemble, finally playing; then a return to the opening statement, then closure.

The young people were in good form, attending to the dynamic shadings their conductor indicated. Above All followed, the ‘Music Maker’, a real departure for Salvation Army music (in that it involved musical styles until fairly recently considered off limits by the rather conservative editorial board of Army) — Jazz and Broadway.

It was wonderful music to listen to, and the skies did not fall in.

BM Warren Jones then led the Bermuda Divisional band through three numbers, a sizzling march, ‘Temple 85’, a meditation, ‘I Know Thou Art Mine’ (Ballentine) and the jaunty ‘Happiness is The Lord’; good clean playing, respectful of dynamic markings, nice balance.

Canadian soprano Deborah Dawe sang ‘Grace Alone’ conducted by its arranger, Exalt’s bandmaster Craig Woodland, which was followed by ‘Thou o Lord’, sung by the Bermuda bandsmen. A little tentative when the sopranos began, things firmed up somewhat when the male voices entered.

Ballet dancer Haley Cann interpreted this in dance, to warm applause.

Stephen Bulla’s ‘Washington Salute 125’, written to celebrate than number of years of Salvationism for Gen. Eva Burroughs American visit sparkled.

Bulla is a march king, and more.

The talented Lieutenant Wayne Knight , baton in hand on little notice was the surprise conductor, and put the band smartly though its paces.

BM Jerome Astwood, perhaps a future BDB conductor also took a turn with the United Band’s rendition of ‘The Day Thou Gavest’, before the evening closed with Peter Graham’s scintillating march ‘Stateside’ led by Canadian guest Graig Woodland.

It was a most enjoyable evening if you went only for the music. But, this being a Salvation Army production, there was a significant divisional element, naturally.

But the music? Tremendous!