Although the Royal Albert Hall is dwarfed by much of the shiny futuristic architecture of modern-day London, it remains an imposing symbol of Britain’s proud musical heritage.
The Kensington cake-tin is over 150 years old, but in recent years it has also undergone much needed regeneration – not only with the bricks and mortar that encase the 5,272 seats in its iconic auditorium, but also with its financial planning.
It had to.
Transform
Covid saw the venue lose over £60m in income and take out a £20m loan from the Culture Recovery Fund, whilst in 2022 its CEO said it faced “terrifying” energy bills.
In 2023, the House of Lords said that long standing governance issues were harming its reputation, and in the last few months a High Court decision was made that could well affect how future members and box holders are able to earn income from the 1,268 seats they hold.
in the last few months a High Court decision was made that could well affect how future members and box holders are able to earn income from the 1,268 seats they hold.
In the last few days, it appointed a new Chair of its Capital Appeal to raise £50m to “transform the venue across 15 years”.
The future of how members can sell their seats for events has been heard at the High Court
Far from irrelevant
All of this may seem somewhat irrelevant to those who have bought their tickets for the National Championship contest on Saturday morning, but it is anything but - especially for Kapitol Promotions, who remain in an invidious position, stuck between the viewpoints of brass band supporters and critics alike – seemingly pleasing neither fully as the years roll by.
Kapitol Promotions, who remain in an invidious position, stuck between the viewpoints of brass band supporters and critics alike – seemingly pleasing neither fully as the years roll by.
The reality is that on one hand it is fully committed to hosting the Championships at a venue that since 1945 (with a few breaks) has been its home, backed by a strong working relationship with the hall management who are said to be supportive of it.
On the other though, the costs of doing that have become increasingly prohibitive.
Cruel circle
Kapitol has ploughed in hundreds of thousands of pounds since the end of Covid, yet there appears to be little visible sign of a significant regeneration of audience interest, and as a result, money (which the venue takes a further cut), in return. It is a cruel circle of potential investment stagnation.
It is a cruel circle of potential investment stagnation.
Bean-counters watching
And whilst the immediate future of the event won’t directly be decided by how many people fill the red seats in the hall this weekend to find out who is going to be crowned 2025 National Champion, the numbers are sure to be looked at by the Albert Hall bean-counters looking to maximise their revenue streams for a very different purpose.
At the centre of this the competing bands are certainly feeling the pinch, and are also starting to look closely at the value of 20 minutes of playing time at a hall only a third full of listeners, against the cost of at least one night’s hotel accommodation and a bus for the privilege of doing so.
And even if they enjoy the undoubted prestige of victory (and the benefits it can bring), it is worth noting that the £2,000 first prize (first presented in 1980) would now be worth over £10,000 if it had kept up with inflation.
And even if they enjoy the undoubted prestige of victory (and the benefits it can bring), it is worth noting that the £2,000 first prize (first presented in 1980) would now be worth over £10,000 if it had kept up with inflation.
Protest
It brings you to a conclusion that wonders if people would really protest too vociferously against Kapitol, if instead of tinkering further around the edges of the day’s format and PR presence, it took the decision to move away from Kensington Gore and hosted the contest at a new venue - even around the country with a return to the Albert Hall every fourth or fifth year?
That’s a very different question to consider than that of who might well be crowned the new 2025 National Champion come Saturday evening – although you can be sure someone at the Albert Hall on the weekend may be thinking it.
Musical decision
The immediate musical decision however will be the hands of the adjudication trio of Dr Stephen Cobb (fifth consecutive time), Rob Wiffen OBE (sixth time in total) and Ian Bousfield – the latter making his Albert Hall debut as a judge, although the former LSO and Vienna Philharmonic Orchestra trombonist has a long connection to the banding movement, and this venue as a member of the Yorkshire Imperial Band that won the title here in 1978.
Although premiered by the bands in 2012 , it was not taken up by the British Open, much to the dismay of the composer, and until now has lain like an imposing colossus of its own, waiting for regeneration.
Imposing composition
They will assess the performances of a wonderfully imposing composition of serious outlook and intention in Edward Gregson’s ‘Symphony in Two Movements’ – originally commissioned jointly by the National Youth Brass Band of Great Britain, National Youth Band of Wales and the British Open Championships.
Although premiered by the bands in 2012 , it was not taken up by the British Open, much to the dismay of the composer, and until now has lain like an imposing colossus of its own, waiting for regeneration.
Abstract
It is a remarkable work of ‘abstract’ compositional maturity as the composer calls it, although the academic musical language it employs over its structure is readily understandable.
The compact ‘Toccata’, sonata in form, is developed from the opening eleven note row, whilst the extended second movement ‘Variations’ is essentially a theme and four variations that eventually returns to its opening in recapitulation.
The demands are extensive but deeply thought out – not a single bar of padding or wasted vacuity in its 19-minute duration.
Deeply thought out
The demands are extensive but deeply thought out – not a single bar of padding or wasted vacuity in its 19-minute duration.
The changes in pace, dynamic and texture require a level of appreciation from both conductor and performer alike that is rarely found in many of the modern-day skyscraper test-pieces heard at major events - its technical challenges servants to the music.
Defending champion: Flowers
Usual suspects
The 19 bands (one less this year following the decision – now dropped - to have just three pre-qualified bands) will kick-off their challenges at 10.00am, with a short pre-results concert given by Youth Brass 2000 under MD Chris Jeans before the identity of the new champion is revealed.
They will be one of the bands confident of getting their hands on the famous solid silver National Trophy once more, although like their rivals, they may not wish to be remembered as the last band to claim it at the most iconic brass band contest venue in the world.
Of those, the usual suspects tend to do well at the contest – an unexpected winner is as rare as a pint for less than £10.00 in the Albert Hall Champagne Bar - with Flowers outstanding debut victory last year one that was built on an accumulation of major championship performances of the very highest quality.
They will be one of the bands confident of getting their hands on the famous solid silver National Trophy once more, although like their rivals, they may not wish to be remembered as the last band to claim it at the most iconic brass band contest venue in the world.
Iwan Fox
Competing bands:
Saturday 11th October
Start: 10.00am
Doors open: 9.15am
Aldbourne (Glyn Williams)
Black Dyke (Prof Nicholas Childs)*
Brighouse & Rastrick (Prof David King)
City of Hull (Jonathan Beatty)
Desford Colliery (David Morton)
East London Brass (Jayne Murrill)
Ebbw Valley (Matthew Rowe)
Flowers (Paul Holland)*
Foden's (Russell Gray)*
GUS Band (David Thornton)
Hepworth (Ryan Watkins)
Leyland (Daniel Brooks)
NASUWT Riverside (Stephen Malcolm)
Oldham Band (Lees) (John Collins)
St Dennis (Darren R. Hawken)
the cooperation band (Katrina Marzella-Wheeler)
Tredegar (Ian Porthouse)
Whitburn (Chris Shanks)
Zone One Brass (Richard Ward)
*Pre-qualified
