34th Ern Keller Memorial

Retrospective

It would seem that each year the Ern Keller Memorial keeps getting better - in more ways than one.

...two in a row for International Soloist of the Year, Katrina Marzella

The Ern Keller Memorial has developed to such an extent that it is now attracting people from the far reaches of Australia as well as abroad.  4BRDU noted in the crowd this year a large influx of supporters from Victoria; Mick, Cath, and Shaun Wheeler from the far northern city of Cairns; brass band legend from NZ Kevin Jarrett flew in specifically for the occasion; Stuart Dean from Desford in UK added the event to his itinery whilst visiting Downunder; Brenden Wheeler (quickly become famous for being Katrina's boyfriend!) was there to support and also used this time to catch up with his family and Aussie friends; and then of course there are the 20 or so Kiwis who travelled across the Tasman to enjoy the weekend. 

People weren't disappointed.

Not only is it a refreshingly simple, fun weekend, the musical rewards are enormous - either as spectator or participant. 

International Soloist of the Year

Leading the prestige of the weekend is the International Soloist of the Year.  Now in its 34th year, the event showcases the best of the best, and people come thousands of kilometres just to listen and watch those performers invited who are at the top of their game. 

This year was also special in that all soloists had appeared at Keller before.

Having heard Katrina Marzella play here and win last year, there was no way we were going to miss the opportunity to hear her live again.  Her delivery of Andy Duncan's Concerto for Baritone was all consuming.  The goose bumps were well and truely formed during the second movement and the odd blip, which Katrina mentioned latter 'never happens',  may have been the only reason we didn't reach for the tissues.

4BRDU spoke with a very delighted Katrina after the presentation.  We commented on the degree of concentration shown throughout the piece.  Katrina said, "I looked around to find something to focus on and decided on the Exit sign..quite ironic really!"

In an identical result to last year, Mark Howcroft was declared official runner-up, given that St Marys Band Club sends a representative from Australasia each year to the British Open solo comp.  Mark played Anastasia by Helen Johnston - a solo which could be defined as 'an oldie but a goodie'.  There was no doubting Mark's ability.  Tone, technique and consistency were stunning.  We did ponder the somewhat gentle approach to some sections of the piece, but upon reflection this was an interpretive opinion clearly not shared by adjudicator, Nigel Weeks.  A well deserved outcome for sure.

Another influencing variable which may explain some observations, and is one that has been discussed by players in previous years, is the different acoustic for the 'bells up' vs. 'bells out' instruments.  The acoustic of the St Marys Band Club auditorium does seem to take the edge off the upper dynamic of the 'bells up' instruments - though positioning of the bell also seems to make a difference.  What do others think?

Those who came third made a huge impact, each in their own right. 

Matthew van Emmerik, drawing number 1, oozed confidence when playing Quatre Variations sur un theme de Domenico Scarlatti by Bitsch.  Matt's enthusiasm and drive to do well sometimes, we think, sent his sound a little over the edge in the louder stuff.  But this is really picking on something ever so minor in what was a superb performance. 

Kevin Joughin has become somewhat of a Keller icon.  Playing Concerto I by Brandt, which has bought him much success in the past, Kevin never quite really settled into the piece until towards the end.  Despite this though, we experienced some real vintage Joughin at times.

Phil Johnston, arguably the best Bb Bass player in the world, was looking fit and dapper!  As always, Phil's playing oozed musicianship - it just seems to come so easily and naturally to this guy.  Some uncharacteristic slips and the odd questionable interval did leave the door open and it would seem from the adjudicators comments at the conclusion of the event that Nigel Weeks did not totally agree with solo choice in this instance - Concert Fantasie by Gustav Cords.  This aside, Phil Johnston left little doubt in everyones minds about his super talent and ability.

Representing Western Australia, Ben Noonan delivered a neat, technically proficient rendition of Wright's Concerto for Bb cornet.  Sounding almost like a trumpet at times, Ben is obviously a very fine, accomplished player. 

Sporting a new look, Paula Russell played superbly.  Paula's performance of the fiendishly difficult Cornet Concerto by Tomlinson was not without error, but the quality of sound, musicianship and general technical control was inspirational.  Paula must have been close to nudging Mark Howcroft for the runner-up trophy we feel.

Steve Ford - an emerging star!  There is so much to say about this man - both in terms of his performance and as a role model for all players.  Steve made his first Keller appearance here last year all abit tentatively.  This year was a different story.  Still with the enormous, full, absorbing sound, Steve was confident, consistent and convincing.  The piece, Cappricio by Newton, was well suited and well chosen.

It was terrific to see Queenslander Greg Aitken back on the Keller stage.  Playing Concertino by Larsson, Greg eventually settled into the performance and seemed to gain strength and momentum after a hesitant start.  Although Greg perhaps did not use as much vib and warm trombone sounds, particularly in the slower movements, as he is known for, this playing was amongst the top for the day.

Official accompanist, Tony Baldwin, appeared on the St Marys Stage for the 30th year - and he celebrated this milestone with a win, having accompanied Katrina.  The standard of the accompanying was outstanding.  Performances were notably enhanced due to the standard of accompaniment - something which does not always happen but we all hope for.

The St Marys Band Club invested some extra resources into publicity this year which seemed to pay off with a near capacity crowd.  It is still disappointing, however, to see very few local brass band musicians, other than those playing in bands, taking advantage of the opportunity to come and listen to such a wealth of talent.  Though, this seems to be a deeply inbedded pattern that is not specific to the Keller.

Band of the Year

An effectively secondary event to the International Soloist of the Year, the  19th Band of the Year created plenty of interest and attention.

Waratah Brass under the Musical Direction of Matthew van Emmerik brought another dimension to the Keller competition this year with its presentation of The Armed Man: A Mass for Peace, for brass band and choir. 

Prestige Brass conducted by Mark Ford (organised by Howard Taylor, Riki McDonnell and Mark Ford) were a very strong, capable band who played extremely well together given the length of rehearsal time.  The program was varied and appropriate but the real feature was the obvious good time everyone was having.

Willoughby City, led by Andy Snell had prepared well and included both challenging and amusing items.  Andy Snell's humour was in fine form with several one liners ricocheting around the auditorium.

Hunting a Keller hat-trick which was ultimately denied, Howard Taylor conducted St Marys.  The highlight being the showcasing of the many talents of Warwick Tyrell.  His trombone, vocal work, and general stage presence were brilliant.

At the end of the day, the three adjudicators Nigel Weeks, Steve Williams and Don Rader  were divided in their decision - St Marys or Prestige Brass.  The clear direction from Keller producer, Ken Bradley, was that if the decision was not unanimous, music should prevail.  Hence the winner - Prestige Brass. 

Prestige Brass

Whilst St Mary's were entertaining, the musical quality ran second to that of Prestige Brass, and given the personnel of this scratch band - so it should have.

The concept of a scratch band is not new to Keller and is one which was, this year, fully supported by the St Marys Band Club Board.  When the organisers were faced with the withdrawal of two of the invited bands and the prospect of only 2 bands in the competition, Prestige Brass evolved. More attention is now on this concept as the band actually won the event.

Prestige Brass had only two rehearsals together as a band - the day of the event and the day before.  Apart from some obvious ensemble issues, the band bought a freshness and vitality to the competition that hasn't been felt for many years.  The opportunity to compete with few rules feels good.

As in the case of Prestige Brass, other bands can also play whoever they want to, as long as each individual only plays for one band on the day.  Waratah Brass and St Marys both took advantage of this 'freeness', and boosted its ranks with guest players.  Willoughby were to be admired for taking to the stage with its full complement of 'registered' players without feeling the need to out source.

Some people may suggest the concept of the scratch band actually competing, whilst great in many ways, detracts from those regular bands who compete each year, and that perhaps a scratch band can participate, but not be part of the competition, and possibly be paid appearance money as some form of monetary incentive.  No doubt there will be further discussion on the future direction and progress of this event.

Congratulations to Ken Bradley, the rest of the Keller organising team, and the St Marys Band Club Board.  The Ern Keller Memorial has become one of the major events on the world brass band calendar - may there be many more.