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2003 Spring Brass Band Festival
The 83rd Grand Shield
May 3rd
Winter Gardens, Blackpool
4BR Retrospective and official Adjudicator's Remarks
In the time I have been covering contests for 4BarsRest,
I have rarely been quite so different in my assessment of some performances
in a contest of that of the adjudicators on the day. This is of
course is not to say the judges were wrong, but I for one just went
for other bands performances and felt on the day that so did most
of the audience. It may sound as if I thought it was a bad decision,
but that isn’t the case – it was just that the judges
had a totally different view on the way the piece should have been
played it seemed from the vast majority in the audience.
Before I give you my impressions of the performances perhaps it
would help if I explain that I approached the contest with a view
that ‘Tallis Variations’ far from being a hard driving
musical vehicle and a demanding virtuosity showcase, is rather,
an insightful musical interpretation full of musical sensitivity.
I’ll let you be the judge if I’m a musical plonker or
not and I do apologise to the bands that finished higher if I wasn’t
in your court on Saturday.
Ballroom, Winter Gardens – 11am
On this occasion the bands were brought forward to the centre of
the floor on a platform bringing them closer to the adjudicator’s
box and this, in my opinion, undoubtedly improved the sound quality.
Kibworth – John Berryman
Drawn 1 – Position; Actual 12th: 4BR 11th
After a few tinkles and bumps when the percussion raised a smile
or two in their preparation the compere, Bob Kerwick, was quick
to remind the audience to turn off both mobiles and digital watches
after the Queen received an additional warble from the auditorium.
In performance the Kibworth problems mainly came in the final variation
as up to that point the playing was quite warmly committed and effectively
managed. The flugel just stretched perhaps for the upper end in
the solo but Var.2 had a nice pulse in the accompaniment. The cornet
fanfares were unclean and the playing suffered in clarity and precision
in that final variation until a sympathetic final muted end brought
the piece to a good resolution. Both soprano and trombone were noted
for their individual playing and the final placing was about right
we thought.
Desford Colliery – Major Peter Parkes
Drawn 2 – Position; Actual 17th: 4BR 20th
Without question this was a performance of what could have been
rather than what was. Major Parkes left the stage post-haste after
the performance without acknowledging any of the players or bringing
them to their feet. It was a perplexed band that stood as he left
the platform.
The band delivered an opening statement and Var.1 of controlled
playing and equalled this (esp. solo cornet) with a sympathetic
Var.3 but the music, in fairness, was not so lovingly moulded in
the other sections. The basses held the fort on this day when Desford
were overall just not compelling. The Major though with his experience
knew they were going to be off the pace and so left perhaps more
than a little disappointed. How they could have wished they could
have tried again.
Bodmin – Russell Gray
Drawn 3 – Position; Actual 18th: 4BR 19th
Watching the exemplary skill of Russell Gray conduct the Bodmin
band one could see him trying everything he could to encourage smooth
and blended sounds in the slow sections to vigorous, alert playing
complemented by rhythmic articulation in the fast ones. At times
the band did manage to reproduce for him that contrast and deliver
for him the persuasive account his reading obviously cried out for
- but all too infrequently for them to make a mark. The early draw
perhaps didn’t help – just like Desford and the longer
the day went on the lower the band dropped down the prize list.
The percussion section did their utmost but the band faltered on
too many occasions on Saturday.
J.A.G. Mount Charles – Bryan Hurdley
Drawn 4 – Position; Actual 3rd: 4BR 4th
Bryan Hurdley brought out some wonderfully atmospheric sounds from
J.A.G. in a reading of the piece that was simply direct and certainly
well played. Whilst other bands and MD’s may have looked for
more individuality Mount Charles delivered a performance that had
a real presence about it and was a clear choice to be in the frame.
The soprano cornet had a contest performance to remember and for
once the band really did play to form and strength on a qualifying
contest stage. This was the real Mount Charles at last.
Skelmanthorpe – Kevin Wadsworth
Drawn 5 – Position; Actual 13th: 4BR 7th
Skelmanthorpe gave a disciplined performance which made for an
attractive reading and although it had a couple of trouble moments
notably in Var.1 and then a bit later just after the cornet flourishes
in the final variation, they otherwise produced some most interesting
playing. On a day when the principal cornet played most effectively
perhaps they were a little low in the final order for us and we
thought they deserved to come higher. Not quite enough to get into
the top six, but for us well worth a good few places higher.
Aveley and Newham – Nigel Taken
Drawn 6 – Position; Actual 15th: 4BR 16th
The Aveley performance opened most strikingly with remarkable clarity
and detail until Var.2 when they became very heavy before the flugel
solo. Var.3 was cleanly played but they were then again less impressive
through the final variation. The principal euphonium came through
and showed class in what was a fair result on the day we felt. For
a band that has done so well here in the past this was a great disappointment,
but it was a piece that possibly didn’t suit their qualities
and needed less of a heavy handed approach.
Ransome – Brain Grant
Drawn 7 – Position; Actual 21st: 4BR 21st
Ransome just didn’t sparkle and they certainly didn’t
convey an alertness and spontaneity that they are undoubtedly capable
of producing. Maybe the hall played a part but we think not and
although the solo euphonium played well perhaps this performance
should be put down to one of those unfortunate days at the contesting
office. We have heard Ransome play so much better, but on this occasion
it was too wild and uncontrolled and the balance was all over the
place. A collective “off day” from a band that is so
much better than this.
Flowers – Philip Harper
Drawn 8 – Position; Actual 7th: 4BR 1st
In our opinion we had Flowers figured as the winners of this contest.
Julia Telling on flugel was faultless and deservedly took the solo
prize with the best flugel playing on the day – and as good
as we have heard on this piece. In truth when the solo prize was
announced we certainly anticipated the overall win for Flowers but
it was not to be. This performance was ear-catching – the
mixture of styles drew the attention. Philip Harper captured the
musical strengths of this test piece in an altogether marvellous
performance – most unlucky.
Stocksbridge – Derek Renshaw
Drawn 9 – Position; Actual 12th: 4BR 6th
We favoured this performance that was disciplined with lots to
commend it not least of which was the good playing from all sections
of the band! This was an eloquent performance and most pleasing
in the way in which they made the spacious acoustic serve them and
the music well. Classy solo horn playing and deserving of perhaps
a much higher in the order for us. It perhaps didn’t have
the fullness that the very top bands had but they did sound a band
that could play this piece and play it well.
Beaumaris – Gwyn Evans
Drawn 10 – Position 6th: 4BR 8th
The bass section had a good day in this performance that figured
just outside the prizes. A little untidy both in the turbulent opening
and leading into Var.3 (which just rocked) but otherwise it was
attractive and confident playing came through. It certainly deserved
its place in the top half of the results and if it wasn’t
for those two little moments when things just got away from them,
they could have well been placed higher.
Burry Port Town – David Evans
Drawn 11 – Position 14th: 4BR 9th
David Evans directed a strong performance of this test piece that
certainly emphasised the ‘Tallis’ associations of the
score. The principal players were engaging, with the soprano cornet
particularly effective in a performance we had figured for just
a touch higher. They are a band in good form and there seems to
be strength all around the stand, which was emphasised with a full
ensemble sound. A few technical difficulties possibly undid them
but we thought it deserved a touch higher.
Carlton Main Frickley Colliery – William Rushworth
Drawn 12 – Position 1st: 4BR 18th
In our preview of the test piece we certainly expressed a view
that the bands needed to “approach the work with a high degree
of musical sensitivity and understanding of what the piece is all
about. This is certainly not a blood and thunder showcase”.
This is probably where and why we differed so much from the adjudicators.
Other than Kirsty Abbotts on Principal Cornet, who we felt played
with an open and warm style, we considered that the band came at
this work with little endearing gentleness but more bluff rugged
strength. All the notes were there so certainly one where the interpretation
of the piece proved a major factor. If anything it probably shows
where our preferences lie in a winning band sound and on this occasion
the bands performance didn’t catch our ear at all. That is
not to say it wasn’t good – it was just that we didn’t
like the approach. That was our opinion and we will stick by it
and that is what contesting is all about - opinions. Still, the
judges certainly had their own opinion (and the one that counted)
and they had them down as the winners – and that is all that
counts.
Glossop Old – James Cant
Drawn 13 – Position 8th: 4BR 5th
At this point in the proceedings and for some unknown reason the
speakers above the hall started to emit the most annoying static
and at times this proved most distracting. It was difficult to tell
whether it affected the bands or even if they could hear it sitting
directly below but it didn’t interfere with this Glossop performance.
James Cant presented a clever marriage between the contrasting vigour
of the opening and cornet flourishes to a breadth in the lovely
thematic lines. Jim Cant directed a bright and most persuasive performance
that we rated highly. With clean euphonium playing all through they
it certainly warranted its top ten placing - we certainly had it
knocking on the door.
Thoresby Colliery – John Hudson
Drawn 14 – Position 20th : 4BR 11th
Stan Lippeatt took his place in the audience for this performance
of his band and will, we would guess, feel a little disappointed
at seeing them drop into the Senior Cup next year. Whilst the soprano
player in turning outward toward the adjudicators box in the final
statement did spoil the balance somewhat, it was probably a small
detraction in the overall rich character and shape of this performance.
The flugel tone from Matthew Challender, particularly in the solo,
was quite wonderful but we were won over by the musicality of solo
euphonium Terry Wells. Not a performance that would have challenged
for a top placing but one for us that merited quite a few places
higher.
East Yorkshire Motor Services – Gareth Pritchard
Drawn 15 – Position 9th: 4BR 3rd
This was a most enjoyable performance from a band playing we felt
both atmospheric and evocative music. The reading by Gareth Pritchard
was immaculate and ensured that the links between the variations
were strikingly successful (the best of the day). So close to capturing
one of those British Open places for us, the trombone section supported
the band exceptionally well in a performance we had figured for
one of the commemorative trophies. Better luck next time.
Fishburn – Graham O’Connor
Drawn 16 – Position 4th; 4BR 10th
In the main clean ensemble playing and good solo work was for us
just let down by to many odd blemishes such as that in Var.2 (as
it was drawing to its conclusion) when the players just seemed to
fall off the phrasing. The percussion section had a particularly
fine contest and obviously the blemishes we penalised were offset
in the adjudicators view by the overall picture they painted. Graham
O’Connor knows exactly what is needed to succeed here and
once more he and his band provided the goods. We had them further
down the list, but the judges once more liked what the MD did.
Yorkshire Co-operatives – John Roberts
Drawn 17 – Position 5th; 4BR 13th
John Roberts drew from his band a warm quite poetic interpretation
of this work. Although the tonal bloom of the ensemble had much
to offer, which must have courted favour with the judges, a few
too many scratchy moments and an untidy entry to Var.2 (basses)
were a little too distracting for us. Soprano cornet played with
confidence and style but the performance was just off the pace for
us on the day. We had them down for 13th and possibly the later
draw did them a favour, but the judges had them 5th and that what
counts doesn’t it.
Sellers International – Philip McCann
Drawn 18 – Position 10th; 4BR 14th
Unquestionably the favourites in our predictions – pre match
that is. The band in this performance didn’t quite match the
merit of the direction from Philip McCann when the music was overshadowed
by the driving hard sound of the band – a sound that we felt
they didn’t have to make. The cornet solo was particularly
well shaped but then the music all too often rushed headlong and
harshly forward which we felt worked to their disadvantage. Mid
table was about right for us.
Scottish Co-op – Nick Childs
Drawn 19 – Position 2nd; 4BR 2nd
So close to taking the spoils. This was a most lyrical and convincing
interpretation of the piece. Nick Childs wonderfully weaved a careful
web in which the music beguiled the ear. Articulate horn playing
all across the piece, both in solo and as a team were particular
highlights in a performance of quality. Fully deserve their place
in Birmingham come September and for the second time in a row they
have showed that the giants have stirred.
Freckleton – Paul Dalton
Drawn 20 – Position 19th; 4BR 16th
It’s not meant as a harsh criticism but we would describe
the Freckleton performance as fully acceptable but just a bit thin-textured,
and their account of ‘Tallis’ was on the day just overshadowed
by some of the performances that preceded them. The euphonium playing
was well described and it was just a subtlety of colour that eluded
them. It was one of those shows that never quite made the impression
you hoped for.
BT – Mike Fowles
Drawn 21 – Position 15th; 4BR 17th
The hall swelled to hear BT with the imminent announcement of the
results from all the sections. In a performance that was at its
best in Var.1 and Var.3, the other sections suffered a little from
being a bit unbalanced and further included a few ‘clips’.
This just wasn’t BT’s day but congratulations to the
band for holding their nerve in front of what must have been an
audience probably touching a thousand adjudicators!
So what of the predictions? Two out of six but what diversity from
1st and 2nd to 17th and 21st! It’s true then predicting the
Spring Festival results is, as we said, rather difficult in this
company and we didn’t get it spot on did we. Well done to
the winners and qualifiers – we tipped them both before hand,
but only had one of them after the contest, whilst a couple of our
fancies just didn’t do the business on the day. Our dark horses
though were good value, but on the day the judges verdict was the
one that counted – ours was as always a personal opinion.
1. Sellers International – 10th
2. Scottish Co-op – 2nd
3. Flowers – 7th
4. Desford Colliery – 17th
5. Carlton Main – 1st
6. Ransome – 21st
Dark Horses:
Kibworth – 11th
Burry Port – 6th
John James © 4BarsRest
83rd Spring Festival – Grand Shield
3rd May 2003 – Tallis Variations by Philip Sparke
Adjudicators Remarks
Carlton Main Frickley Colliery
Draw 12 – Placing 1
James Williams MBE
Tremendous opening with all dynamic effects to an effective well
balanced 14 to 31
Var. 1. Rhythm and measurement so good with lots of shape and space.
55 is just righ. 127 not a clean perhaps as all the preceeding.
134. Var. 2. All is so musical nothing overdone. It is all there
to a fine ending.
211. Var. 3. V. Controlled start into competent quasi cadenza and
good shape at the meno mosso. Piu mosso well balanced and good chorale
style. Good drama at 251/252 and fine ending 262.
Last var. Authoritative playing – and conducting 312 onwards
all works so musically well. Impressive CON TUTTA FORZA in fact
it is all impressive to a quite wonderful ending.
Thank you maestro
Bram Gay
Rhythm! It’s jumping! A fine start
The band has no problems. The conductor understands the music?
What more are we hoping for?
It was a little loose before 134. B careful – we need a winner!
211 - Effective soloists, sympathetic band.
225 - Phrases are shaped well
There’s atmosphere everywhere. We are very relieved to hear
this one! The tempos are absolutely on the nail. Consequently everything
works - it’s a masterly score and beautifully treated.
I wish only for one thing more – a defined dotted semi and
quaver figure. But not today, it seems
A really splendid finish.
Scottish Co-op
Draw 19 – Placing 2
James Williams MBE
Good competent start and well controlled into 14 and on. These
parts are well controlled to a well balanced ending
31 Var. 1 Good tempo and well balanced
55. Flugel is little strong but it all flows well. Good effective
playing to clean end
134 Vari. 2 Excellent tempo here. Flugel is excellent
157. Good balance and all effects here are just right – not
overdone. Good chorale style at 169. and it all works so well to
a fine ending
Cleanly into 211 and fine quasi cadenzas - all very musical
Meno mosso 225. very fine playing through to Piu Moss. V. Good sostenuto
and style. Dynamics so well controlled and lots of drama. 251/252.
V. Fine ending
262. Jubiloso – and musical. Fine playing throughout. Fine
soprano, and fine sfz effect.
Everything is there in a musical performance so well directed. Superb
ending.
Thank you maestro.
Bram Gay
A nice band sound, controlled. There’s an atmosphere building.
There’s definition of dotted semi and quaver figure etc. Horns
are loud at 55, but nice.
Fine flugel and band accompanies well. It’s all very musical.
225 on – really well done by cornet and band. It has feeling,
space, time to breathe.
Very little criticism here and very pleasant listening. Everything
comes off for you. It lacks just a little magic, that’s all.
If someone has found it - !
Very fine. Congratulations.
J.A.G. Mount Charles
Draw 4 – Placing 3
James Williams MBE
Very good tempo for start and it is very well played and controlled.
Excellent dynamic contrast and balance into 31 which again is at
the right tempo. A little loud at 55 perhaps.
The meaurement of all effects in this vari. is so good.
134 and this variation you get just right. It sits so well with
space and musicality. Such clarity. Quasi cadenzas are very effective
and 225 is well done. To 234 which is well played with drama into
252. and good end to vari.
262. Again not over the top – just musically right. 336 on
the sfz are not quite as good as they might be – a small point
as the rest of this busy music is so well done. A very fine ending
to a very musical performance very well done indeed. Thank You.
Bram Gay
Rhythm! We need it! Thank you for that.
I like it. A class band, making the right sounds and all the semi’s
accurate.
The mf is a bit ambitious?
dotted semi and quaver figure yes!
134 – clarity at last! Flugel unlucky.
Tuning is really on the ball always.
I can just hear that note before 262. well done.
The low E at 312 is not effective [again].
The piece is dependant on balances and rhythmic vitality. You provided
both, thanks!
I think none of your soloists is a virtuoso, and that has been a
handicap. But the direction has been in absolutely first-class hands
and the music has been very effective indeed. Congratulations overall!
Fishburn
Draw 16 – Placing 4
James Williams MBE
Very good controlled opening and 14 on is so well balanced and
a fine ending.
31. Vari.1 . Excellent tempo all so well played. Excellent dynamic
contrast at 55 on
Good definition throughout.
134. Musical direction very evident at all time. Very fine.
211. A little insecure going into 211 but quasi cadenza are well
done. Meno mosso V.fine Cornet. Good Shape.
234. Piu Mosso, V.good sound and balance to drama at 251/252. Fine
End.
262 Last Variation. This is very good and just the right dynamic
at 312. Impressive throughout to a very fine controlled ending.
Thank You.
Bram Gay
Good start – though steadier would give better definition?
14 Well done. Mutes are very soft before 31
55 dynamics very well managed. Genuine mf horns.
107 pp! and dotted semi and quaver figure defined!
146 dynamics are fine. Flugel plays well.
Admirable stuff – never OTT, always within musical reason.
211 Mutes are lovely. Baritones not secure, alas!
225 One of today’s better cornets, thanks.
262 etc. This is super playing really. All under control and technically
sound.
Tri. too soon ! Splendid ending.
One of the few conductors today who really understand what is happening
here and can bring it off. Very well done indeed.
© 4BarsRest
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