And I don't think I have ever attended a concert of any type which whizzed by so quickly!

A dazzling array of music was matched by the musical skill and technique of every player – and all presented with a professionalism that could hardly be matched anywhere.

It is difficult to select stand-out tunes, because every single one had merit. But in the early stages Cole Porter's 'Anything Goes' was a toe-tapping swinger that set the standard of excellence of what was to follow.

Michael Iles took the intricate cornet solo in 'Zelda', which sounded like one that would appear in brass band competitions for its fiendish complexity.

'Men of Harlech' was flawless, and the comedy began with 'Mexican Hat Dance', with soloist Mexicans Ann Ness and Calum Tonner, who vied with each other as to who would have the bigger sombrero. Ann's moustache was a clear winner, however.

From 'The Student Prince' came a noble 'I'll Walk With God', which was followed by Rimsky Korsakov's 'Cortege from Mlada' and the fast and furious 'Cossack Wedding Dance', which started slowly and whirled into a galloping climax.



Ailsa Russell utterly mesmerised me with her solo in 'Capriccio Brillante' which came across as one of the most effortless pieces of the evening – so relaxed that I found myself watching and listening in small-boy mode of eyes wide and mouth open. Just 'brillante'.

'Mack the Knife' was a glorious bash in which the band let its hair down and enjoyed the tune as much as the audience; and the film music from 'Pirates of the Caribbean' was a miscellany of pieces from the film series.

For 'Hornpipe Humoresque' the band came, singularly or in small groups, on to the stage while clearly three sheets to the wind, and playing an interesting variation on the original tunes – while staying in tune.

The humour continued in a big way with 'Liszteria', with xylophone soloists Paul Judge and Eoin Tonner. "So what?" you might day. Well … they only had one xylophone … and it was clear that the two soloists did not get on at all well! Mixing note-perfect playing with a hilarious slapstick routine was one of the many highlights of the evening.

The band's 'March from Jazz Suite No 2' by Dimitri Shostakovich was another favourite in which I completely lost myself.

The climax to the show, by the programme, was 'Summon the Heroes' by John Williams – this was rousing enough, but a bonus number, 'Entry of the Gladiators' trumped it with a tune that is known to everyone who knows the word 'circus'.

It was a fabulous night, and a show that I am sad that I cannot tell you to attend at all costs, because it was on for only the one gala performance.

But those who were at the concert will be asking if I have forgotten the Junior Band, under its director, Ann Ness.

Indeed not. The Junior Band has grown not only in numbers from its inaugural 10 to 36, but also in talent. I can recall in the early days, very occasionally, forgiving them for bits that didn't quite hit Plan A. But there was no such requirement on Friday.

The Juniors played two sets while the senior band rested. But please bear in mind that a good number of the juniors also play in the seniors, so they were on stage for the entire concert.

A strong opening, 'March from the Haslemere Suite' was followed by a delightful baritone solo by Catriona Wood in 'Jeannie with the Light Brown Hair'. The first set ended with a sparklingly fresh version of Abba's 'Mamma Mia'.

The second set opened with a splendidly controlled 'Kalinka', with conductor Ann Ness's foot firmly in control on the accelerator pedal.
'Ashokan Farewell' was quiet and intricate, but quiet is not a word you would use for the fourth movement of Scottish Dances, 'Hooley at Glebe Street', which was rightly described as a rip-roaring skirl.

But the Junior Band matched their senior colleagues with a bonus number, in this case The Proclaimers' '500 Miles'. It was utterly brilliant, uninhibited and note-perfect by a band that was loving every minute of it.

Compere for the evening was Matthew Bicket, who had the audience in stitches with his jokes, particularly during periods when members of the senior band were changing uniforms to join the junior band. The man has the timing of a Jack Benny.

The band personnel comprised the following:

Principal cornet – Ann Ness. Solo cornets – Eoin Tonner, Michelle Madill, Laura Beckett, Philippa De Villiers and Gregor Beattie; soprano cornet – Calum Tonner; repiano cornets – Michael Iles and Matthew Buchan; second cornets – Jeff Smart and Scott Ness; third cornets – Gregory Chaplain, Ernie Gerrard and Gordon McLean.

Flugel horn – Elaine Masson; solo horns – Ailsa Russell and Yvonne Swankie; first horns – Joanne Frier and Hayley Tonner; second horns – Lisa Cartney and Beatrix Clark.

First trombones – Joe Walters and Heather Singer; second trombone – Stuart Frier; bass trombone – Simon Garden.

First baritones – Brenda Cartney and Catriona Wood; second baritone – Christopher Knight.

Euphoniums – Lynsay Carson, Shirley Bennett and Sarah Knight; EEb basses – Ross Knight, Jed Smith and Scott Dowie; BBb basses – Bob Johnston and Peter Philbin.

Percussion – Paul Judge, Derrick McDonald and Ewan Mayes.

The Youth Band members were as follows: Scott Ness, Laura Burdin, Lisa Cartney, Beatrix Clark, Joanne Frier, Sarah Knight, Catriona Wood, Jed Smith, Scott Dowie, Hayley Tonner, James Parker, Christopher Robertson, Rachael Greenhill, Gregory Chaplain, Gordon McLean, Bridget McCall, Danielle Yeaman, Eoin Tonner, Calum Tonner, Ailsa Carnegie, Louise Ednie, Rachel McArthur, Craig Knight, Shannon Carson, Meagan McIntosh, Lisa McDonald, Hana Smith, Mhari Clark, Derrick McDonald, Louise Pullar, Andrew Goss, Peter Jackson, David High and Ruaridh Mathieson.
The next Arbroath Instrumental Band concert is something I look forward to from the final climax of the previous one. Roll on September, 2009!
G.W.C.