In addition to serving as introduction and providing time for the musicians to get their breath back, Lt. Col. Hunter's commentary added depth to the program. He explained, for example, that the motivation for Joseph Turrin's Hymn for Diana was the expression without words of the composer's reaction to the death of Princess Diana. He also highlighted the connection many of the pieces had to the Salvation Army tradition, pointing out the use of standard hymn tunes as a basis for their composition.

Of interest to the trumpet players were, of course, the solo appearances of Philip Smith and other members of the New York Philharmonic Orchestra trumpet section. Philip Smith's first solo, Trumpet Call by Kenneth Downie, provided a beautiful contrast between the smooth and mellow sound of the Staff Band's cornets and other conical brass, and the more brilliant sound of Smith's trumpet playing.

Ad Optimum, by Peter Graham, and Joseph Turrin's Hymn for Diana also provided a wonderful contrast, showing off the band's ability to handle both loud, brassy and fiery contemporary music, as well as moving and powerful contemplative music.

A trumpet trio of Philip Smith, Robert Sullivan and Thomas Smith performed The Victors by Bruce Broughton, a relatively short and light Salvation Army standard. The last piece before intermission was Kevin Norbury's Truth Aflame, a "science-fiction" sort of music, according to Lt. Col. Hunter, reminiscent of the type of music one might hear in TV shows such as Star Trek. There seemed to be a bit of western flavor as well, including a lively section in 7/8. A thrilling moment was when the entire band turned the bells of their horns out to the audience and played a complete statement of the melody, fortissimo. Astonishingly, each individual could be heard clearly within the strong ensemble sound.

A last-minute substitution, Douglas Court's trumpet solo Standing on the Promises, opened the second half of the concert. This piece was written with Philip Smith's special requests in mind, including the use of both flugelhorn and trumpet, for a beautiful and moving piece which flowed from lyrical contemplation to a strong and brilliant conclusion, and incorporated a strong Latin feel.

The Staff Band performed another Latin-flavored work, Joy Dance by David Ayma, then featured vocalist Raymond Livingston on Led By the Fire, a song in the style of a Broadway spiritual, which he sang with energy and conviction. At the Edge of Time, by Ray Steadman-Allan, was another chance for the band to show the range of its technical and musical skills.

Philip Smith, Robert Sullivan and Thomas Smith returned to the stage with Will Scarlett and performed The Trumpeters, another quick toe-tapping Salvation Army standard, written by Eric Ledze. A gorgeous euphonium solo was the highlight of Philip Wilby's The Day Thou Givest, a piece which, as Lt. Col. Hunter explained, expressed musically the mission and motivation of the Salvation Army.