Best Soloist (set-work): Emily Evans (horn) — Flowers
Best Soloist (entertainment): Kevin Crockford (soprano) — Desford Colliery (LCITWF)
Winners set-work: Flowers
Most Entertaining Band: Flowers
Highest Placed Mining Band: Desford Colliery (LCITWF)
*Placing on entertainment takes precedence
Sunday 12, 19:22:49
Results: British Open Solo & Quartet Championships
Adjudicators: Dave Lea and Mark Walters
Senior Quartet:
1. Flowers
Senior Solo:
1. Bethan Plant
Junior Slow Melody:
1. Rhys Stokes
Junior Intermediate:
1. Edward Culpin
All participants awarded places by the judges and notified on their remarks sheets.
Sunday 12, 17:32:42
Stan turns 70 in style
Today is a very special day in the life of the legendary Stan Lippeatt, Musical Advisor for Butlins and such an influential part in making this weekend what it has become over the years.
And for that he deserves banding's thanks.
He's 70 years young, although he'll probably quip he's actually only forty with another thirty years of life experience.
Tonight at 8pm in Centre Stage there is a concert with his friends, so why not come along and wish him many happy returns... It should be fun...
Sunday 12, 17:27:19
British Open Solo update
It's been an enjoyable four hours of solo playing across the Junior, Intermediate and Senior Sections so far today and we're not finished yet.
One thing that's stood out is the number of overseas competitors who have travelled to be here in the past 24 hours to compete. These include Jonas Violet and his father Frans from Brass Band Willebroek. Jonas, Frans and other Belgium players were always huge supporters of the event when it was held in Tameside a few years ago, so its great to see them here as well.
Sunday 12, 16:32:10
Championship Section round-up and prediction....
Lots to enjoy from all six performers today — and a wide variety of music in style and substance too.
There was a touch of familiarity about things — nothing too left-field, but when the bands did try something a little different it worked well. The level of solo playing was first class, with Kevin Crockford rolling back years to be the favourite with the audience to win the Soloist Prize.
Flowers had that stamp of quality about everything they did this weekend and their entertainment set, dusted off from Brass in Concert showed that in full. Just a bit dynamically over-whelming in places, but such confidence from a band in prime form.
Desford were a different proposition from yesterday and pushed Flowers very close, whilst Woodfalls and Dr Robert Childs in particular used experience and nous to make the most of their resources.
GUS were brave and committed to an exciting new musical direction and both Redbridge (with that great i-band finale) and Wantage showed themselves off in fine light.
Class should be the deciding factor today and overall then — so today we go for...
Dawn of a Voyage (Dan Price)
The Descent (Christopher Bond)
Soloist: Harmen Vanhoorne (cornet)
Monster Thrash (Paul Saggers)
La Cathedrale Engloutie (Debussy arr. Dan Price)
Escape the Kracken (Dan Price)
Flowers give us a reprise of their 2019 Brass in Concert programme, opening in style with Dan Price's stirring 'Dawn of a Voyage', played with an ocean going brio that gets things off to a fine start.
Harmen Vanhoorne simply radiates class in Christopher Bond's 'The Descent' that follows. A model of composure and a lesson in lyrical playing on the edge of audibility. Wonderful stuff from the Belgian star.
In complete contrast the full force of the high seas is released in all its power in Paul Saggers' 'Monster Thrash' as a furious torrent of music is unleashed featuring soloists including Harmen Vanhoorne once again and the ever impressive Paul Richards on soprano.
Next it's the wonders of the city under the sea that are viewed through wondrous eyes in Debussy's 'The Sunken Cathedral'. It's majestic, radiant music played with warmth, but it's also dynamically robust at times…perhaps a little too much so for music that was originally conceived for the intimacy of a piano.
Back to Dan Price and The Kracken is portrayed in music of menacing fury that transforms into ultimate triumph as flashes of John Williams emerge in what is an energetic romp to the end.
It completes an exciting final programme from Flowers and one that could see them steal the title back from Desford…it's only a few hours wait now until we will find out!
Christopher Thomas
4BR Editor's spin...
After the excellence of yesterday's performance no wonder Flowers took to the stage and played with such confidence here.
That stamp of hallmarked quality was heard from start to finish — although it was a touch brazen and harsh at times — just missing the opportunity to really showcase their abilities and tonality at the lowest dynamic levels. The Sunken Cathedral just lacked magical mystery.
That said, the set was so well conceived — the gem of the cornet solo at its heart full of gold and silver.
A very fine band on high quality form once again though. They have been a class act this weekend.
Sunday 12, 15:02:09
Championship Section:
5. Woodfalls (Dr Robert Childs)
A Prince in search of a Princess...
Procession of the Nobles (Rimsky Korsakov)
Miss Blue Bonnet (Frank Simon)
Soloist: Jan Boler
Devil's Galop (Charles Williams)
The Firebird — Infernal Dance and Final Hymn (Stravinsky arr. Farr)
Great to hear this opener again and it makes for a fine, noble start to a programme that promises to capitalise on the pantomime season…Oh no it doesn't!!
The lonely prince (one with a royal problem of trapped wind we are told by announcer David Hayward) appears on the stage with a pbone…..the perfect instrument for demonstrating his flatulent problems.
The first sight of the object of desire comes in the form of principal cornet player Jan Boler, who demonstrates her considerable attributes with a performance of 'Miss Blue Bonnet'.
As the Prince goes into battle it's Charles Williams' 'Devil's Galop' that gets a welcome reprise…a bit of swashbuckling Dick Barton in his prime.
The finale comes in the form of Stravinsky's 'Firebird' suite, a radiant affirmation of the Prince securing the object of his desires.
It amounts to a witty, thoughtfully put together programme that fused a handful of old favourites with pantomime humour that clearly made its mark on the 1700 strong audience in Centre Stage.
Christopher Thomas
4BR Editor's spin...
A neatly conceived reboot of ideas and yellow tinted music this — spruced up in panto style with a great narrator in Dave Hayward and a flatulent trombone hero who was a brilliant 'Le Petomane' cameo performer (check out the old film with Leonard Rossiter in the main role!) .
The music and story-line combined well — even if the idea was as cheesy as any great old cheddary 'Cinders' tale you may have seen this Christmas with the kids.
The little mimic motifs also added to the mischief and fun and there was some seriously good playing on show too — from the imperial sounding start to scorch mark Firebird ending.
Familiar stuff this — but polished and cleverly executed familiar stuff nonetheless.
Sunday 12, 14:28:55
British Open Solo & Quartet Championships
So with the Youth contests over, the focus in now on the British Open Solo & Quartet contests, with various titles at stake. Dave Lea and Mark Walters are judging.
If you're here come on over and show your support,
Starfire (Mike Sheppard)
Breathless (Mike Sheppard)
Do not go gentle... (Mike Sheppard)
Soloist: Thomas Fountain
Dash — Flight of the Angry Wasp (Mike Sheppard)
Out of the Morning Light (Mike Sheppard)
A programme devised by composer in residence Mike Sheppard that opens with a bright, modern march, bristling with energy and 1970's style cinematic references.
It's followed by music that oscillates between passages of out and out funk, laced with calm interludes and instrumental features.
Thomas Fountain is the cornet soloist in a warmly affectionate tribute to the famous Dylan Thomas poem. Gorgeously mellifluous cornet tones and playing of lyrical grace, although all is not always entirely comfortable in the accompaniment.
All over before you know it….a 50 second flying fusion of 'Flight of the Bumble Bee' meets 'The Minute Waltz'…although you'd be hard pressed to know it played at this speed.
Another fusion of two pieces…this time in the form of Neil Hefti's 'Cute' and the theme from the television series 'Bewitched'…both of which are knitted together in a feature for xylophones and glock.
A finisher full of contrasts from the drama of its opening to passages more relaxed in style and featuring various soloists from around the band — and a bit of 'Checkmate' thrown in for good measure.
Some terrific playing from the band in a programme that took risks in trying to appeal to the judges with completely new material.
Christopher Thomas
4BR Editor's spin...
An engaging and interesting set of mixed styles and ideas from Mike Sheppard's fertile imagination.
Stylish writing and stylishly played — even if not all the items quite came off. The opener had sparkle and fizz and the following tuba feature had a funky groove about it.
The cornet solo was was a lyrical showcase for the substantial talents of Thomas Fountain — not quite as 'Bible black' as Dylan Thomas at his melancholic best, but still a pitch tar slice of the boy from Cwmdonkin Drive that made a lasting impression.
The errant wasp just got a bit lost in the heavy accompaniment, but the closer had an emerging power that was unleashed in full for a great close to an interesting concept set.
Sunday 12, 13:31:59
Malcolm Wood's Youth round up
What superb entertainment has been served up in Reds this morning by the Youth and un-registered ensembles.
The unregistered trio showed us what the future holds. We had a touch Latin Fiesta through to the Samba, a couple of marches and a great contribution from the next Frank Renton. The little lad from Gresley was a star, and definitely fancies his job!
In the Youth section the contenders had to play a march and a hymn in their programmes.
Defending champion, 3BA Academy from Germany opted for a spoof on 'Britain's Got Talent', entitled 'Butlins' Got Talent'. Not just choreographed with the usual props seen on the show, but brilliantly played with touches of dark humour. Class from the word go.
Youth Brass 2000 with Cathy Fountain at the helm (the mother of James and Thomas) have probably pushed the German's close with Enderby Youth and Shirland Youth just a close step behind.
With Chris Jeans listening (he's taking GUS this weekend) this was a set that was very much in keeping with band. The march 'Death or Glory' and a faultless baritone solo 'Lark in the Clear Air' the picks.
Enderby went for dance band formation, whilst Shirland was more traditional in its programme choice.
4BR Prediction:
1. 3BA
2. Youth Brass 2000
Sunday 12, 13:28:45
Championship Section:
3. Redbridge Brass (Chris Bearman)
Journey Through Time...
Back to the Future 3 (Silvestri arr. Newton)
Overture to the Marriage of Figaro (Mozart arr. Wright)
Share My Yoke (Joy Webb)
Soloist: Cliff Pask
Gospel (MarchFourth)
Virtual Reality iBand
Music from the third instalment in the Back to the Future trilogy in an arrangement by Rodney Newton launches the Londoner's programme in stirring fashion, replete with familiar hints of the themes from the first and best of the three movies.
It's a far cry from the overture to Mozart's 'The Marriage of Figaro' that follows it, in a display of sepia tinted nostalgia that remains a tough test of ensemble. A good deal of it came off here, but not quite all.
Cliff Pask is the cornet soloist in Joy Webb's classic Salvationist melody, displaying a melting tone and imbuing the heartfelt melody with both pathos and a deeply touching sense of lyrical line and phrase.
There's a Latin American feel to 'Gospel' with soloists and percussion standing across the front of the stage in a number that amidst much hand clapping ends in surprisingly reflective fashion.
One of the cleverest finale's you are likely to see in a brass band programme to close…a skit on technology and the 'i' band of the future — one controlled from an app by a witty narrator as the band engage in all sorts of variations on the famous 'Can Can'.
Funny, slick and imaginative — and a great conclusion to what had been a somewhat mixed affair to this point.
Christopher Thomas
4BR Editor's spin...
A odd game of two halves approach by Redbridge that certainly played to the band's re-emerging strengths, and featured a wonderful lyrical focal point with the cornet solo and a gem of a closing item.
It was a bit of a mixed bag overall — but the good stuff was classy (the cornet solo) and truly inventive (the great i-band finale based on different apps running the band playing the famous 'Can-Can' music).
The rest seemed a little stilted and unimaginative in comparison though, but was well enough played.
If they had really trusted their inventiveness here this could have been brilliant...
Sunday 12, 12:50:59
Championship Section:
2. Wantage (Jonathan Bates)
Bach to the Future...
Toccata in D Minor into Back to the Future (arr. J. Bates)
Prayer to St Michael (arr. Bates)
Featuring: Sam Wyne (euphonium)
Cafe 1719 (Jacques Lossieu arr. Bates)
Badinerie (Bach arr. Bates)
Peel Park from Lowry Sketchbook (Wilby)
Toccata in D Minor (arr. Bates)
Wantage under Jonathan Bates opens its Bach inspired programme with a flash of 'Back to the Future', before euphonium soloist Stan Wyne rises to his feet for a hushed and touchingly delivered 'Prayer to St Michael'.
'Cafe 1719', is a slicked up bit of Bach that features the horn and trombone sections in an imaginary greasy spoon meeting between Bach and Handel…although the two men never actually met!
The famous 'Badinerie' is given a very different treatment, opening with the well known theme announced as a mobile ring tone, but going on to feature the percussion section in one of the more unusual items we've heard so far today.
The finale takes Bach as interpreted by Philip Wilby in the final movement from 'A Lowry Sketchbook'. It's a clever choice of music to complete the programme, albeit one that exposes one or two cracks from the demands it places on the band.
It leaves an 'encore' of an energetic account of Bach's 'Fugue in D Minor'…what else — not forgetting the slide show image displaying Bach's famous portrait in shades and the maxim, 'I'll be Bach'. Neat.
Christopher Thomas
4BR Editor's spin...
Something a bit different this — and enjoyably so, even if at times it went a bit wayward and wonky.
The witty opening set the scene — Frank Renton leading us through the potted highlights of the great Bach's life before pushing the button to the flux capacitor in the Michael J Fox DeLorean car.
A lovely contrast with the prayer — led by tender euph and evocative voice-over, before we hopped over to the left bank of the Seine for a pack of Gitanes fags, sophisticated jazz and a chapter of an Albert Camus philosophy text to ponder.
Another neat twist with the 3 xylophone and glock 'Badiniere' with mobile phone extras, which just about works like an old Nokia phone on last vapours of charge, before the Wilby close (Bach inspired) that held its form amid a few wobbles.
The neat updated take on Ray Farr's treatment of the famous 'Toccata' rounded things off with a thumping drive.
Sunday 12, 12:02:29
Championship Section:
1. Desford Colliery (LMTF) (Michael Fowles)
Los Hermanos de Bop (Mark Taylor arr. Sandy Smith)
The Impossible Dream (Mitch Leigh arr. John Barber)
Soloist: Kevin Crockford
Balkan Dance (Etienne Crausaz)
Seaside Rendevous (Freddie Mercury arr. Gilje)
Tell Her You saw Me (Pat Metheny arr. Fieldhouse)
Stardust (arr. Gareth Westwood)
A high octane big band opener from Mark Taylor that sees the defending champion open its set in exciting fashion with cornets separated to either side of the band and features for the horn section and Nicky Longden on flugel.
Kevin Crockford performs 'The Impossible Dream' — a song that has seen recordings by artists as diverse as Glen Campbell, Frank Sinatra, Luther Vandross and….wait for it….the one and only Susan Boyle.
All fade into the shadows in comparison to this man…what a gloriously radiant performance from a genuine superstar of the sop. Little wonder the audience response is rapturous.
Cornets once again separate to stand to either side and the irregular dance rhythms of 'Balkan Dance' refracted through Switzerland take the programme in another direction, dispatched with rhythmic energy and drive.
A bit of Queen next…but not Queen as we might know it…complete with kazoos, quirky interjections from the trombones and a number that makes for an entertaining, light-hearted interlude.
An arrangement by Desford's solo euphonium player Jim Fieldhouse that features the baritone section in a beautifully coloured, reflective number that is played with glowing emotion and subtle shades follows. Lovely stuff.
Music from the cinema completes Desford's programme and the fantasy adventure film 'Stardust'. There are hints of 'Pirates of the Caribbean' about this although it might just be that 'Pirates of the Caribbean' is better.
It's a touch meandering and generic in its course, although the style with which the band delivers the music is beyond doubt, capping a well executed programme of contrasts from the defending champion.
4BR Editor's spin...
A substantive, contrasting marker of quality laid down by Desford and Michael Fowles here — topped by a quite stonking solo feature by the ageless brilliance of Kevin Crockford.
The opening had the bubbly fizz, the contrast was shown with the Metheny, the dry wit with the bit of Freddie at his camp best, whilst the odd dance meter of the Crausaz was delivered with a swagger of the hips.
The closer was Hollywood filmatic — if a bit ten a penny unmemorable musically (as with the film if anyone saw it)- but it was played with a rich sheen of ensemble clarity, precision and bold excitement.
It rounded off a well thought out set — added too by neat choreography, stage presentation and that stunning soloist. Desford pulled out the stops today to get back in the title mix.
Sunday 12, 11:58:14
Getting ready for the entertainment....
The Centre Stage venue is packed out — 1700 people plus all bagging their seats (and they were putting their markers down like German sunbathers with towels) for the day ahead.
Frank Renton will be the master of ceremonies and is sure to tickle the fancy with his bon-mots.
Lots to look forward to then... and the draw is the exactly same as yesterday. The odds on that were 1.5 million to 1 according to Frank. Should have put a couple of quid on then...
Sunday 12, 11:20:02
Championship Section:
Entertainment
Venue: Centre Stage
Adjudicators: Russell Gray & Dr David Thornton
Entertainment: Leigh Baker & David Roberts
The results of the First, Second, Third and Fourth Sections will be announced later tonight — so we are off to get a bite to eat and then return to Reds to find out who have been crowned 2020 champions.
We will put up the full results in each section as soon as we get them, before we return tomorrow to enjoy the youth competitions, solo and ensemble events and the entertainment discipline of the Championship section.
Saturday 11, 17:35:21
Malcolm Wood's Second Section round up and prediction
An intriguing but at a times frustrating Second Section contest today. Simon Kerwin's piece has proved to be a stern musical examination that has tested the musical nous of many a conductor and the technical abilities of players.
With no metronome markings on the score, it has given the conductors the opportunity to allow their imaginations to run free and easy.
Some have worked in capturing the elements better than others it must be said. The MDs who have really used their noggin and chosen tempi and dynamics that have allowed for clarity to come to the fore could well find themselves finding favour. The speed of the concluding 'section could prove to be the Troll's Achilles heel for a number of challengers.
With such an open canvas, it could be one of those situations where personal preference of the judges, Anne Crookston and Sheona Wade sways it. There was very little to choose between a number of well led bands today.
4BR Prediction:
1. Hade Edge
2. Eagley
3. Hebden Bridge
4. Meltham & Meltham Mills
5. Besses Boys
6. CWA
Dark Horse: Gresley Colliery
Saturday 11, 17:23:26
Championship Section — halfway round up
What a compact, enjoyable battle of musical wits this was — with all the bands able to bring something out of the score without recourse to artifice or needless effect.
'Songs of Ascent' was an interesting work to listen to — the obvious nods of musical appreciation to the mentoring role of Edward Gregson made with cultured knowing by Jonathan Bates.
The MDs knew this too (including the composer himself) and drew on their experience and knowledge to make lines speak, phrases gel and make sense. It was good stuff.
Flowers were outstanding — really high class playing from start to finish. They are a very impressive band at the moment — and on this form will be very hard to beat tomorrow.
Bob Childs' influence on Woodfalls was obvious and it showed in their approach and execution, whilst Desford had the stamp of quality although there wee a few moments of unease that could prove costly.
GUS, Redbridge and Wantage are not out of the running for a podium place by any means either.
Flowers sport Belgian super star Harmen Vanhoorne on principal cornet ahead of his imminent departure for a new life in New Zealand and the opening emerges from the depths amidst darkly writhing basses that herald a hauntingly, ethereal atmosphere.
The clever effects of the score are utilised to tantalising effect here, tickling the ear with subtle sounds as the MD tellingly pulls wonderful sounds from the score, whilst Harmen Vanhoorne displays his supreme artistry in the cornet cadenza. It makes for a magical moment.
Cwm Rhondda is heard as if across a church meadow on a Sunday morning, subtly coloured by tubular bells in a passage that sees the clouds dissipate for a tantalisingly brief passage of relief.
The drama of what follows is literally hurled forth with grim, cumulatively crushing power in an ending that is as gripping as it is unrelentingly bleak.
Fine stuff from Flowers. Grippingly dark from the outset and dispatched with a searing sense of musical drama and intent.
Christopher Thomas
4BR Editor's spin...
There is an almost indefinable feeling of confidence that permeates Flowers at present. And it isn't misplaced either under Paul Holland's direction.
The ensemble moves as one, glowing with an intensity of sound — rich, oily and smooth. It can also change quickly into a marble slab of tonality — dense and thick or a lightweight meringue of gossamer lightness.
Amid it all flickers gold and silver solo lines — this time headed by Harmen Vanhoorne, their Belgian sub on principal cornet. My word his contribution today was imbued with class.
All in all they sounded a level above anything else. Really top notch playing that.
Saturday 11, 16:20:09
Championship Section:
5. Woodfalls (Dr Robert Childs)
The opening is certainly dark but also impressively subtle in its shifting subterranean mists, hauntingly punctuated by the gentlest of timpani strokes. This is chillingly ominous in its eerie atmosphere. Off stage solo horn just slips slightly, but this is a fine opening without a doubt.
Impressive use of dynamics as the drama builds and there is an inexorable power about this, a threatening ever building portends that sits on a solid foundation of rhythmic accuracy and sectional detail.
And that underlying threat is ever present as solo cornet delivers an impressive cadenza that is both confident and admirably secure.
The emergence of the hymn is emotional in a way that is unlike any other performance so far, touching in its honesty and heart on sleeve sentiment to a degree that accentuates the haunting descent into darkness that once again follows.
The dramatic build to the conclusion is exceptionally well paced as the tension builds, with the ending itself losing none of the elemental power that has underpinned the performance throughout.
A high quality account from Woodfalls. This was so rich in its atmosphere and dark underbelly.
Christopher Thomas
4BR Editor's spin...
Dr Robert Childs has been the brass band world's equivalent of Dr Quincey ME for years now — the forensic examiner approach to the inner workings of a score which is laid out in front of him like a fresh cadaver ready to be delved into for the answers.
He has not lost his appetite for it here either — previously unheard elements of detail, effect, dynamic and shape revealed under his microscope. He really has sprinkled life into this one today — more like Dr Frankenstein perhaps.
He has been rewarded by his team of Sam Fujiyamas and Dr Astons too — with some great individual lines backing his ensemble findings. Super stuff — quality from start to finish.
Saturday 11, 15:57:29
Championship Section:
4. GUS (Chris Jeans)
There's a richly sonorous darkness to GUS's opening, one that is as impressive in its breadth of sound as much as its depth. Solo horn is not entirely comfortable and the atmosphere becomes fleetingly fragile for a moment before it regains composure.
The sheer sound of the band is so impressive and there are passages where the drama is heightened to telling effect. Again there are slips though, this time in the two flugels…mistakes that could ultimately prove to be extremely costly.
Thomas Fountain excels in the treacherous exposed cornet solo and there is a touching simplicity about the way that 'Cwm Rhondda' is enunciated.
Great sounds as the drama builds in the final paragraphs and the end itself is grimly dramatic in its monolithic like power. Those earlier slips could well prove influential in the box though.
Christopher Thomas
4BR Editor's spin...
The Munn & Felton/GUS Footwear/Rigid Containers/Travelsphere Holidays/Virtuosi GUS, and now GUS Band has had more face-lift identities than Katie Price over the years, but they have always been hallmarked by the quality of their sound — and it remains in place to this day.
Lighter than the biggest around, but still with more than enough heft to hold this music to task.
Chris Jeans knows how to shape and balance even a single line of music to his will too, so despite the occasional tarnished moment of individual and ensemble playing there was a dark, vicious edge to the playing when it was required, a sheen to the excitement and a tender glow to the lyricism.
A band that has gone through many a change of late, but one that is now emerging once again with its recognisable identity in tact.
Saturday 11, 15:35:18
Championship Section:
3. Redbridge Brass (Chris Bearman)
The opening resonates in its dark seam of ominous intent and perhaps more so than in the previous two performances, the Gregsonian echoes seem more prevalent as they inhabit the haunting shadows and darkest recesses of the music.
What emerges is a different take on the score, one that keeps us deeply submerged beneath the darkly troubled surface of the music, but one that also isn't always absolutely razor sharp in the taxing faster passages.
Just fleeting insecurity in the cornet solo and the emergence of the hymn is a shaft of sunlight as it should be…one that allows precious moments of warmth to provide momentary relief from the troubled surface of the music.
The inexorable build up to the final bars is well handled although the ending itself possibly just lacks a little weight of dramatic pow
Christopher Thomas
4BR Editor's spin...
The second of the Londoners also show that they are returning back to the levels that saw them as strong contenders for honours here year after year. Good to hear too.
Always interesting to observe a new conducting talent emerge too — and Mr Bearman is an impressive presence in front of the ensemble — clear yet understated in his baton work with just the occasional impulsive twitch of the shoulders to signal a liberal funkiness to the musical backbone.
The handful of Welshmen in the band would have enjoyed the 'Cwm Rhondda' interlude — all phlegmy in its musical vowels and consonants, but more impressive was the deep throated sounds from the impressive tuba team and the rich sonority to the ensemble. The principal cornet was as neat on his tip-toes as Phil Bennett too.
Saturday 11, 15:11:41
Championship Section:
2. Wantage (Jonathan Bates)
With Wantage MD Paul Holland engaged with Flowers, Wantage turns to the composer of the test piece as its architect with the baton.
The opening is certainly dark in its hues but perhaps lacking the ominous subterranean bass sounds of Desford as the music emerges from the bleak shadows of the opening. Creditable work from the trombones and the composer draws engaging atmospheres from the band, albeit with not all the faster detail being dispatched with crystalline precision.
Solo cornet just falters at the top of the cadenza but the 'Bread of Heaven' that follows warms the soul before the mists once again descend in an eerie shroud.
It just looses its cumulative momentum at times as the performance reaches its unrelentingly bleak conclusion but this has been a quality account from Wantage and fascinating to observe with the composer at the helm.
Christopher Thomas
4BR Editor's spin...
Famously Eric Ball conducted 'Resurgam' at the 1950 British Open Championship — and came third. He also told Harry Mortimer (who won) that his interpretation of the piece was something that he couldn't have imagined would be so moving or so good...
Wonder if that will happen here?
Mr Bates certainly gave it his best shot with his band — and there was a moment when the use of the brushes on the tam-tam wasn't marked in the score. Crafty... What will the judges make of his take then? Solid stuff from an up and coming band.
Saturday 11, 15:07:50
Championship Section:
1. Desford Colliery (LCITWF) (Michael Fowles)
A darkly hued, bleak opening emerges from the darkness with potent intent. This is imbued with so much atmosphere…and when the temp quickens the detail and presence of the playing is stamped with a sense of both urgency and ominous undercurrents.
There are echoes of Edward Gregson about much of this…from the two flugels of 'Dances and Arias' to the harmonic and intervallic progressions of 'Rococo Variations'. But the dark power of the music draws us in with Desford and Michael Fowles relishing every opportunity to deliver it until relief arrives in the form of the first radiant hints of 'Guide Me O Thy Great Redeemer.'
Just a moment of unease on solo cornet but it passes and the eerie moments that follow the hints of the hymn preface playing of impressive rhythmic detail and cumulative momentum leading to a dramatic final flourish.
A high quality opening from Desford that was grimly impressive in its intent.
Christopher Thomas
4BR Editor's spin...
There is a little doubt that you can hear the musical influence of Edward Gregson permeating through Jonathan Bates' score (although to be fair there is a tasty bit of Welsh hywl 'Bread of Heaven' too) — with the elemental nods to 'Rococo Variations', 'Dances & Arias' et al. Just a hint of 'Cloudcatcher Fells' too...
It's a cleverly realised piece in its structural integrity though — not simply a pastiche homage to a mentor who has broadened musical horizons and skill sets. The 4 sets of 9 note tone rows form the DNA from which everything emerges — the music moving with impulse and energy, meandering into new forms and shapes.
Interesting stuff — and its given an interesting marker performance by Desford too. Great ensemble sounds, well balanced and darkly malevolent. Just the odd moment of unease, but there was a high class stamp of authoritative quality about the approach and execution.
Saturday 11, 14:54:01
Second Section progress report
It's been an intriguing first half on Simon Kerwin's evocative 'Galdhoppigen', with the ensembles opting for varying ways to present the piece.
There have been some very descriptive accounts although no ensemble has got away unscathed on a taxing piece.Those that have brought out the inner detail (and it is in there in the layers of the score) and the character of the music should make their mark.
Eagley provided the marker off number one that was very descriptive in character and well thought out with the Yorkshire duo of Hebden Bridge and Meltham & Meltham Mills worthy of mentions so far.
Beyond that,very little between bands with the contest very much up for grabs.
Saturday 11, 14:50:07
Third Section progress report and prediction
Towcester provided a solid, unpretentious account full of solid virtues and endeavour under the well led direction of their MD, whilst Stamford rounded the contest off with a super show (and confident too with standing euph) — one that also showed off detail, style and precision.
Could be a hard one to call this...
4BR Prediction:
All bands managed to play a super test-piece to a good standard and above today, although the ones that stood out where those who added that extra touch and varnish of style.
Two more bands that have got in touch with their Gothic impulses for certain — with Great Yarmouth really giving it their all in a brave attempt. not everything came off but full marks for the endeavour.
Whitworth Vale with swagger and confidence about their paying — led by their MD. Great attempts to show the dynamic and stylistic contrasts too — enabling that music to come to life.
Saturday 11, 14:07:18
First Section round-up and prediction...
A thoroughly engaging battle between 12 well matched bands — although it does come with the caveat that the test-piece did show the type of inherent weaknesses that would be very cruelly exposed if they were to find themselves in the top section in the next 12 months or so.
The best brought sense and sensibility to the music — and were able to add that extra little pinch of fizz and vibrancy to the music.
Eccles stood out for us with their all round confidence and precise execution under Mareika Gray, whilst Marsden showed that their musical renaissance is taking substance under Andrew Lofthouse.
After that its a bit of a toss-up, with the very different approaches of Dublin, Sandhurst and Stannington making their mark with Unite and our dark horse of Staffs.
4BR Prediction:
1. Eccles Borough
2. Marsden Silver
3. Dublin Silver
4. Sandhurst Silver
5. Stannington
6. Unite the Union
Dark Horse: Staffordshire
Saturday 11, 13:38:04
Third Section progress report
Another trio of bands that have enjoyed their outing on Alan Fernie's super test-piece.
Raunds Temperance really made such an impression with their lyrical approach — so cultured and haunting in the second movement in particular. A few moments of unease, but it had the stamp of quality without a doubt.
Just the occasional moments when things didn't quite knit for Syston (not helped by an errant mobile phone) in a slightly uneven but hard working rendition, whilst the sensible approach from the middle from Hoover Bolton perhaps just yearned for a few more risks to be taken. It was all there though — and consistency like that may pay dividends today.
Saturday 11, 13:11:26
Looking for the best deal in Butlins this weekend...?
Band Supplies are offering a special deal on Besson Prestige Euphoniums at their Trade Stand this weekend.
Not only will there be special prices offered on these particular instruments Band Supplies will be offering a minimum part exchange value of '2000 on Sovereign or similar level euphoniums.
Stocks are limited so get along there now...
Saturday 11, 12:49:15
First Section progress report
Another four bands who have given a tricky piece their best efforts.
Stannington was full of solid Yorkshire virtues — well led and musically portrayed with the fantastic perc section adding colour and effect.
Dublin Silver overcame a slightly hesitant start to produce a performance that grew in stature and confidence, warmth and tonality, whilst Eccles Borough (under MD Mareika Gray — above) upped the ante with a cracker — so sensibly led by the MD and delivered by her players. There was a touch of classiness about their rendition.
The quartet was rounded off with a heart on sleeve one from a robust Sandhurst. A very different approach but one that caught the imagination. Could be the Marmite rendition of the day.
More to come, but this turning into a thoroughly engaging contest.
Saturday 11, 12:27:43
Third Section progress report...
More super playing to enjoy here in the Crazy Horse venue — and the place is packed too. Standing room only. How good is that to report!
Sale Brass produce a cracker — just the odd moment of unease but so musical and full of character and an exciting close, whilst Pleasley are also full of confidence and endeavour. The sop was on fire.
High expectations of Tewit — and they didn't disappoint. What a good band — top quality playing from all around the stands and so well directed. The leader for us in what has been a super contest so far.
Saturday 11, 12:01:26
Malcolm Wood's Fourth Section round up and prediction:
A short and sweet Fourth Section contest on a piece that was well suited to the bands.
They could all play it, although the trick was to bring the musical character out of the three individual movements. The exposed elements of the score proved tricky at times, but well done all. There wasn't a stand out account for us — but that showed how the bands handled things so well
We think it could be a close run thing between Dodworth & Amington with Sherwood not far behind and Spennymoor as the dark horse.
4BR Prediction:
1. Dodworth
2. Amington
3. Sherwood
Dark Horse: Spennymoor
Saturday 11, 11:48:07
Draw:
Second Section:
Venue: Reds
Test Pieces: Galdhoppigen (Simon Kerwin)
Adjudicators: Anne Crookston & Sheona White
It's great to welcome Dublin Silver Band and their MD Tim Jameson (above) here — all the way from the USA.
These are febrile times in the sphere of international politics however, and we were informed that the band's Bb tuba was asked to remain at the airport on landing in the UK.
They have done absolutely nothing wrong at all and its a bit of a mystery. The band has been greatly concerned and they hope to find out that their friend is Ok and is being treated with the respect that should be given to friends by the authorities.
The warm welcome of friendship is here though and sees Stannington's BBb tuba stay on stage to help their challenge.
Saturday 11, 11:30:55
Third Section progress report...
Alan Fernie's enjoyable test-piece is bringing out some fine playing in the early contenders in the Third Section.
Crystal Palace produced a strong opener, and a marker of note. Some great dynamic contrasts and fizzing technique in the cornets made the music leap from the page.
Emley upped the marker though even further — a real Gothic delight. Some super little touches of musicality and nous from the MD aided a confident, purposeful account, whilst Tadley got over an unsteady opening to build in resolve and excitement. The soloists gave it their all in what was a thoroughly exciting account.
Lots to enjoy here — lets hope it continues.
Saturday 11, 11:20:51
First Section progress report...
It's been an interesting contest so far here in Centre Stage — helped by a test piece that has posed quite a few difficulties. It's within the capabilities of solid ensembles at this level for certain, but the transparency of the arrangement, especially in the middle section in solo lines has seen the fragilities emerge.
Marsden lead the way for us here at the end of the first third of the contest — with a performance that had still had top flight foundations underpinning the playing. Had its moments of unease, but they were someway ahead of the rest.
Good efforts though from a robust Staffordshire, a free flowing Middleton and exciting Soham.
Plenty more to look forward to though, but Marsden has set a solid marker for the rest to chase down.
Saturday 11, 10:55:35
All three sections are underway
All the action is now underway at Skegness — and we will bring you updates from each of the contests at regular intervals to sum up how things are going.
There is a snapshot opinion of each performance on our twitter feed as well.
Keep your eyes peeled then...
Saturday 11, 10:34:31
Draw:
Third Section:
Venue: Crazy Horse
Saturday 11th January
Commences: 10.30am
Test Pieces: Gothic Dances (Alan Fernie)
Adjudicators: Dave Lea & Sam Fisher
Very interesting talking to Mike Kilmartin about the piece and how he took a wind band score and moulded it to the needs of a brass band for this event.
Getting the different colours to come through in the brass band version was tricky he said, especially in the second movement, where it could have been easy to just allow the usual soloists to hog the spotlight. Good then to hear the baritone given 15 seconds or so of fame...
The music has touches of John Williams about it — a little bicycling ET in places, as well as what seems a little of the 'oirish. Mike hasn't made it easy though — and the transparency of the writing makes a welcome change from some of the crash, bang, wallop we have been used to.
Saturday 11, 10:06:50
Technical hitch...
We have a bit of a technical hitch at the moment in the First Section in Centre Stage with some errant sounds from behind stage interfering somewhat with the proceedings.
Its all been just about sorted — so fair play to the bands etc for this.
Back to the action then...
Saturday 11, 09:37:23
A warm welcome to the day's action...
The start of a great day of action here at Skegness — with the Fourth Section kicking things off in Reds and the First Section at Centre Stage.
Lots to look forward to as well — and we are joined by Mike Kilmartin (above) who arranged the First Section test-piece, 'Symphonic Episodes' by Brian Balmages.
Good to have an expert opinion on 4BR eh....
Saturday 11, 09:28:28
Draw:
Fourth Section:
Venue: Reds
Saturday 11th January
Draw: 8.30am
Commences: 9.30am
Test Pieces: A Bournemouth Suite (Benjamin Tubb)
Adjudicators: David Roberts & Alan Widdop
Venue: Centre Stage
Saturday 11th January
Commences: 9.30am
Test Pieces: Symphonic Episodes for Brass Band (Brian Balmages arr. Mike Kilmartin)
Adjudicators: Leigh Baker & Gary Davies
Good morning everyone. We're just getting set up and will start posting shortly...
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