John Logan and his mixed, merry band of brass players were back at the VIAF. They were warmly welcomed by the audience which filled up all available roof space in the relatively cool, twilight ambience of il-Haģar Museum’s rooftop.

This brass band consists of senior students of the Royal Conservatoire of Scotland, located in Edinburgh. Even at this stage, the level of performance, technique and musicality of these young people is very high. Some already show signs of great virtuosity. All the performers form a very cohesive and well-knit team under the firm but benign fatherly direction of John Logan.

The atmosphere was quite informal with some high-spirited exchanges between conductor and some members of the audience, all done with a good dose of sense of humour. On the other hand the performers did their job with a keen sense of professionalism and team work.

The music was varied and began with The

Earl of Oxford’s March. This was an arrangement by Elgar Howerth of the original work by William Byrd (1540-1623). The Earl in question was most likely the poet Edward de Vere, 17th Earl of Oxford.

As John Logan said this was a fine piece to begin with and it was followed by a brief, three-movement Concerto for Two Trumpets in C Major, RV 537 by Antonio Vivaldi (1678-1741) to an arrangement by J. F. Taillard. Soloists were Gregor Koziel and Edward McDiad. Great clarity and articulation, pretty amazing breathing smoothly gentle in the central Largo buy perky and high-spirited in the outer Allegro movements.

Mighty among beasts is a Biblical reference to the lion and was the name of the next work, a prayer by Aaron Jacob (b. 1943). Different in style and mood was Tico Tico (1917) a samba song by Brazilian composer José Gomes de Abreu, who is also known as “Zequinha” (1880-1935). It moved fast and well too, an energetic fun piece.

Also a quite extended fun piece were the Surprise Variations by Paul Hart (1954-2022).

They are based on a theme from the famous Symphony n.94 in G major nicknamed “The Surprise” composed in 1791. The theme was announced by members of the band beginning with the horn followed by others. It was an amusing piece of team work, fun yes but precision and discipline ensured a smooth delivery.

I was glad that John Logan did not forget Bizet (1838-75) who died 150 years ago. He announced a three-movement Suite from Bizet’ last and greatest opera, Carmen, premiered a mere 3 months before his premature death. It began with the Aragonesa, prettynon the surface but underlined by a persistently sinister and menacing pedal (normally) in C. The middle movement was the famous Act 1 Habanera in which Carmen flaunts her free spirit. The final movement was the Danse Bohéme, the slowly accelerating crescendo leading to a final blaze of energy and vigour. Trumpets, especially Leo Brychta had a field day here. The arrangement was by J. Harvey.

The penultimate piece, The Haven, a mainly serene work was by the youngest composer featuring in this concert born in 1990. It was by G(reg?) Beattie. If I understood well he was a graduate of this Conservatoire. (I beg speakers who use a microphone to kindly not hold it too close to their mouths. The end result is shuffling and mumbling of words).

It was back to music of centuries ago, Los Canarios (1674) by Gaspar Sanz (1640-1710). So-called because based on a folk song from the Canary Islands it gained wide renown in its inclusion by Rodrigo (1901-99) in his Fantasia para un Gentilhombre (1954). Much-loved by guitarists but now accessible to brass bands thanks to J.Powell’s brilliant arrangement. Trumpets and trombones were very prominent here, in a build-up to a powerful crescendo and incisive conclusion.

John Logan thanked the audience for the positive reaction to the music. He was “not sure” whether the audience wanted an encore! (Oh, the poor soul, or, as we would say “miskin, jahasra!”) Well this act resulted not only in one but two encores.

The first was Minnie the Moocher (1931) by Cab Calloway (1907-94), this jazzy bit was with audience participation egged on by trombonist Aaron Singh.

The second encore was Trumpets on Tour to Gozo presumably by John Logan. Which is what Fr. G.J. Frendo, VIAF Artistic Director hoped for in earnest, as he said in conclusion

I am certain that they would be back.

Albert George Storace