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2004 Midlands Regional Championships
First Section - Retrospective
Saturday 6th March
Test Piece: Coventry Variations – Bramwell Tovey
Adjudicator: Malcolm Brownbill
At the outset of this retrospective it is only correct to add,
once more our condolences to the family, friends and fellow band
members of Steve Freckleton from the Langley Band. An assessment
of the competition itself though would show that this was a strongly
contested section with a consistently high standard in performance
all across. It must also be said that Malcolm Brownbill was the
very epitome of what a good adjudicator is all about; an obviously
concentrated knowledge of the chosen score, a fine overview of the
performances at the end of the section and the certainty that there
could be very few quibbles with his final results.
Paul Northey took the first of his two bands over the weekend with
Unity Brass. From their number one draw they got off to a solid
start and a strong lower band added impetus to a confident performance.
There was nothing vague about their very direct interpretation and
they laid down a good marker that set the standard that had to be
followed. Some nice soprano work formed part of a colorful and atmospheric
performance, but hats off to the basses in a 6th place that was
well earned and deserved.
In conversation with Malcolm Brownbill, looking back at this First
Section, he told us at 4BarsRest that he was quite taken with the
quality of this initial performance and was then further uplifted
by the following band Tintwistle.
David Shutter captured the kaleidoscopic changes of mood and colour
exceptionally well in his interpretation in coaxing some lovely
sounds from the Tintwistle Band. The euphonium, repiano, back row
cornets and snare drum all played very precisely indeed, in fact,
sprightly playing right through the band with good transitions helped
this warm urgent reading of the score. An award of 5th place just
outside the prizes came only as a result of some even more solid
performances from other bands yet to come.
Ibstock Brick Brass, third on stage would have to take performance
levels up another notch if they were to make an impact but one word
could probably sum up the Ibstock performance under David Jones
- ‘Nerves’. This was a shame because it led to an untidy
14th place. The band delivered some rhythmic and bright playing
but these came in fits and starts so it was probably those repeated
weak moments that so affected the performance that proved costly.
Whenever called on the elaborate percussion playing however was
quite stimulating.
The contest had opened well with a high standard of performance,
and as Malcolm Brownbill commented from the stage with a very high
standard of percussion playing and the Bedworth Brass performance
was no exception - but on this occasion their efforts were eclipsed
by the horn playing. The trio balance at the opening was a little
trombone dominant but allowing a little leeway in dynamic shape
David Williams MD encouraged some very rhythmic playing. At (IV)
the horns were very good but the music lost a little cohesion in
the soprano feature (VIII). The solo euphonium took control and
the band recovered well before they drew the piece to a good close.
Earlier troubles almost certainly cost and 13th overall was their
reward.
There was a nice feel for the atmosphere and freedom for expression
in the Bramwell Tovey score with the 5th band of the day Jackfield
Elcock Reisen. The reading and playing by the band was well judged
both in shape and balance, delivering music with nice definition
- particularly from the tenor horn section. They drew the work to
an exhilarating close and their 4th place well earned.
Cliff Parker tapped his forehead to reinforce a message for Langley
to hold their concentration which the band duly noted. Their performance,
the sixth in the draw, was well conceived and although the playing
became a bit sticky (bar 204) and could perhaps could have been
a little been warmer after (bars 210/2) these were minor blemishes
and in no way detracted from their performance which beguiled the
ear in lyrical passages, contained some classy soprano work and
caught the attention with energy in the exiting variations. A remarkably
well-balanced interpretation and 1st prize to take a place in Harrogate
come September. It was well deserved.
Though they were a little unsettled at the start, the Enderby Band
troms took up the challenge and were, on entry, really very good.
The basses followed suit and the whole was underpinned with tidy
rep & back row cornet playing. The performance did not escape
“Scott free” and Variation VII saw some problems with
balance and intonation issues surfacing at variation IX. Definition
seemed to get muddled somewhat at variation IX, but the opening
variations did work better than those later in the work, which was
unfortunate as it meant a 9th place for Stephen Cooper and the band
in a sometimes powerful and dramatic performance.
Half way through the contest and Gresley Old Hall must have been
disappointed as they were unclean at the opening – just as
the adjudicator’s pen has already hit paper. They did quickly
turn the piece to strength with brisk sounds and lots of vigour.
Good basses made their mark at (VI) and this saw steady playing
with nice expression and they achieved some nice mutes sounds. The
MD David Hutchinson did not press the variations too hard and they
produced brass both with fine bite and sonority ably demonstrating
that 11th could have been a lot better.
Into the second half of the draw and Wigston gave a solid account.
Good percussion made for very rhythmic flowing music but some untogtherness
[VII] really stood out. [P] improved as the ensemble again shone
but it was at a big dynamic and they certainly delivered the loudest
tam tam sound of the day. It could perhaps have touched a fraction
higher in the frame but at 15th they coped well with the challenging
writing.
Riddings got a good result here last year and repeated this. Some
nice flugel playing opened in the trio and good basses in all the
sections hallmarked a test piece played most confidently. Plenty
of rhythm and urgency capped with notably lovely flugel work saw
[VII}and {IX} exude lots of quality. This was a performance worthy
of its 2nd placing in which the evident relish for the piece by
John Davis allowed the band to play with gusto.
12th in the final order placings and 11th on stage were Nottingham
City Transport. A mixed bag of a performance really as the ‘con
forza’ was well noted and [J/K] were very well described.
Blemishes in the solo lines undid the very good ensemble work which
in no way lacked inner detail. The euphonium themeatic line was
neatly described [S] but then the line was overshadowed in chorale.
The same could be said of the Shirley Band and probably why they
came so close to Nottingham. This section was still richly enjoyable
and it was little shortcomings rather than major setbacks in playing
that separated the bands in this section. Good horn work and nice
dynamic contrast weaved their way through some striking lyrical
ideas. The whole was just troubled when things became a little ragged
[VI] and intonation problems became noticeable. A strident chorale
resulted in a performance again of mixed fortunes.
Three bands to go to complete the section and Foss Dyke, who finished
8th gave perhaps one of the most effective opening trio’s
of the whole section being absolutely ‘andante maestoso’.
The first number of staves were all good but troubles set in from
[J/K] which caused problems. [VII] was unsettled and the band continued
to work hard without really pulling off their best from then on.
It was interesting that the flugel & troms stood to carry the
themeatic line at the chorale as the problems in projecting this
musical idea through the busy band work was discussed by the adjudicator
at the conclusion of the section. MD Walter Ritchie and Malcolm
Brownbill in accord with each other in that one then!
With a performance of consummate and commanding artistry Adele
Sellers artistic insight brought to the piece an imagination and
emotional intensity. Towcester Studio opened with a good trio then
went on to play with lots of detail in a characterful performance.
Noticeably good percussion with quality sounds especially the tambourine
heralded a good section at [V]. The flugel produced some top playing
but if one looked for criticism the troms may then have just overcooked
things. {VIII] had good attack and the panache with which the MD
so well crafted this performance deserved its 3rd place. A pity
only two bands qualify for Harrogate as we are sure Towcester Studio
too would have represented the Midlands really well there.
Last of the fifteen bands entered in the contest were Blackley
who gained a mid placed 7th and a performance with lots of attack.
They were rather straight in style perhaps at times, and [V} was
really nicely crafted but [VII] was less assured in the solo line.
From [219] onward the music built really well and [IX] was particularly
good. What a shame about the troubled central sections and we felt
that they may have been costly.
Although two bands stood out for us in our predictions, Riddings
and Gresley Old Hall, we felt that behind them were the likes of
Jackfield Elcock Reisen, Towcester, Shirley, Unity Brass and Langley.
It was, as we thought, one heck of a fight and our dark horses Langley
really played exceptionally well. Riddings, Jackfield Elcock Reisen,
Unity Brass and Towcester Studio all played up to form but Greasley
Old Hall and Shirley didn’t quite make it a clean sweep for
our resident tipster.
John James
© 4BarsRest
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