Set-work: A Symphony of Colours (Simon Dobson) Adjudicators: Trond Madsen, Chris Houlding, Marius Hesby Own Choice: Adjudicators: Chris King, Isabelle Ruf-Weber, Andreas Lackner
Best Soloist: Euphonium (Eikelandsfjorden Musikklag) Best Section: Flå Musikkorps
Saturday 10, 21:40:48
Round up and overall prediction...
It's been a superb day of high quality own-choice playing — and all with open adjudication that no one here bats an eyelid at.
There was one performance that literally took the roof off with its epic invention and remarkable execution and that was Eikanger playing Simon Dobson's 'Jesus in Tibet' — a fantastical piece of writing given a fantastical performance.
Can't see that being beaten today, but by heck Manger gave it their all in their pursuit and may be closer than many may think to taking the title if things go their way yesterday. They may just miss out though.
Stavanger weren't quite at the same remarkable level, but were not far behind and could well end up third overall, whilst Jaren was a different band today and may just get the own-choice nod from a super Brottum and very solid Tertnes.
Overall then that means over the two days we go for...
Overall opinion:
1. Eikanger Bjorsvik 2. Manger Musikklag 3. Stavanger 4. Tertnes 5. Jaren Hornmusikkforening 6. Oslo Brass Band
1. Eikanger Bjorsvik 2. Manger Musikklag 3. Stavanger 4. Tertnes 5. Oslo 6. Rong
Saturday 10, 21:30:20
Gala Concert and results...
They have just started the Gala Concert with the Royal Norwegian Navy Band and Louis Dowdeswell which will go on for about an hour, so the results will take some time.
As soon as they are announced we will try to get them up on the site as soon as we can.
In the mean time the NMF itself has been given a cultural award for its work.
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Saturday 10, 19:52:19
10. Kleppe Musikklag (Tormod Flaten)
Where Angels Fly (Kevin Houben)
'Where Angels Fly'; was commissioned for the 2017 European Championships and is dedicated to Jesse Lefebvre, the son of the composer's best friend who died suddenly while he was working on the piece.
It is a very personal, emotive expression that encompasses both the celebration of life as well as that of its seemingly unexplained loss. It is prefaced by his quote: "How do you say goodbye to what is not, cannot and never will be?"
Houben uses musical inspiration from diverse sources; principally from a cipher drawn from his own name: H (B) — B(Bb) — E — (N), and a beautiful, melancholic chorale written by Belgian composer Paul Gilson. It is the translucent glue that binds the work together.
Houben also allows the thematic material to develop organically; building and releasing tension from contrasting moving and static elements that contain detailed rhythmic pulses and muted timbres.
The music moves forward with bubbling energy and enticing invention (a nod of unconscious appreciation towards Gilbert Vinter with a hint of red tinged 'Spectrum').
It is followed by two sections of contrasting ensemble writing; the first a powerful grand tutti, the second, after a short, startling break, a finale of increasingly powerful driven power and darkly chorded torque that finds its own way to an immense climax.
Iwan Fox
A long overdue reprise for a work that gains added musical and emotional substance when you hear it again — and when played with the intensity and understanding displayed here by the MD and players.
The filmatic excitement of the score (aided by super perc) was really brought to the fore — at times thumping like a pneumatic drill into hard concrete, at others a soothing balm to the troubled soul.
The choreographic positioning of soloists added little to the tonal landscaping, but was well played, but the tenderest central tribute to the death of his friend's son was authentic and moving (greatly helped by the MDs shaping).
A touchstone feroce 'Spectrum' red heralded the drive towards the end — a very, very long but expertly negotiated road of nods, winks and downright steals of filmatic influence but showcased them unashamedly to stunning effect.
Sop (as he had throughout) was immense and there was a true organ-like quality to the closure to what was a finely structured and delivered performance.
Iwan Fox
Saturday 10, 19:22:26
9. Jaren Hornmusikkforening (Maurice Donnet-Monay)
Other Lives (Oliver Waespi)
Waespi's work reflects on the intriguing theme of imaginary lives or certain stages of a single life and how it/they can be re-interpreted through different emotional states that morph into something new.
The opening is derived from 'Der Doppelganger', one of Franz Schubert's late songs and a haunting memorial to things past and lost, familiar but inherently different.
The music soon accelerates to find new shape and meaning, gradually moving further away from its original essence: The first part, 'Rage', has an intensely agitated character, whilst the ensuing
'Reflection' turns back to the initial chord progression before a series of soloistic interventions explore time and space at a slower pace.
'Redemption', is a widely spaced sound field that culminates in a short, luminous reference to another Schubert song of reflective understanding entitled, 'Ruckblick'.
This moment of farewell sees an abstract musical transformation trigger an emotional change, as the initial, gloomy minor keyed inflections are inverted, leading to a brighter harmonic landscape.
'Renewal' sees a return to the grim, tense atmosphere of the opening 'Rage' section; although on this occasion it is transformed into an energetic exuberance of a fulfilled life presenting yet another interpretation of the same musical material.
Iwan Fox
Another band that found its true groove after it somehow never quite being at total at ease yesterday.
This was right up their 'sturm und drang' two-way street; both light and dark, two sides of the same coin, optimism and pessimism, joyfulness and melancholy, life and death played out in front of us.
Great solo lines were a real feature — euph, cornet and horn taking the main plaudits, but all others close behind. The MD had this piece seeping through his veins — giving it the lifeblood flow required.
The clarity that the music flipped from major to minor and then found new shape, form and function was marked, a double dose of Schubert (and he was a man of troubling anxieties, neurosis and a fear of death) that touched all the emotional buttons.
Just when you thought it was all heavy emotional baggage we seemed to head to rodeo country for a Germanic hoe-down — all MAGA baseball hats, Budweiser beer and howdy cowboy yeehaw...
Fantastic close — paced brilliantly and punched out with real abandon was a fizzer from a band unshackled.
Iwan Fox
Saturday 10, 18:44:15
8. Stavanger Brass Band (Frederic Theodoloz)
Sand and Stars (Thierry Deleruyelle)
'Sand and Stars' is the fourth narrative chapter in the composer's 20th century lineal celebration of the spirit of human resilience.
It follows 'Fraternity', 'No Man's Land' and 'The Crazy Twenties' and takes its inspiration from the true story of aviator and novelist Antonie de Saint-Exupery, who in 1935 set out to break the flight record Paris to Saigon.
Nearly 20 hours into the attempt he, alongside navigator Andre Prevot, crashed into the sands of the Libyan desert, their outlook as bleak as the never-ending horizon before them.
Miraculously they survived for three days before close to death they encountered a Bedouin tribesman who led them to safety.
It saw de Saint-Exupery to write the memoir, 'Terre des hommes' ('Land of Men'). Although centred on the incident it was not an adventure story. Instead, it dealt with themes of friendship, death, heroism and humanity. The English title 'Wind, Sand and Stars' came later, as did the best-selling book 'The Little Prince'.
In contrast, Deleruyelle is directly inspired by the adventure, and to a lesser extent the other themes.
The work follows a readily identifiable narrative line (mirroring his other compositions) from the opening 'Le Bourget' take off and the 'extraordinary adventure ahead' that follows. 'The Crash' is a whirling nosedive in the sand.
The 'lament' that follows is a bleak realisation of their isolated situation as they embark on their trek to safety with thoughts of Arabic dances filling their minds before the miracle of their rescuer appears out of the haze of the desert sands.
Iwan Fox
Really interesting to hear the MDs take on a score he has made his own with a different band — although the sense of musical control and tempered adventurism that he imbues remained firmly in place.
It's a super show too; a great start led by the flugel and the initial excitement of the early hours of flight into the exotic Arabian night skies — swooping like a Spitfire fighter, the hot exhaust fumes leaving vapour trails in the air.
The crash is a banger in every sense — headlong into the dunes with only the propeller left whirling like a broken air conditioning fan. Super bass trom, horn and fellow soloists took admirable stock of the forlorn situation that faced them.
The lament that followed was emotive but not saccharin, thanks to the flow and cultured dynamic and tonal nuances. The atmosphere created had a touch of mysticism before the anguished cry of the euphs.
Super sounds of the Sahara heralded the trek to safety — one which emerged with a deliberate pacing and growing dreamlike excitement. Great to see the trust the MD had in his soloists too — leaving them to their own devices. Bravo euph and solo cornet (another who made the top D finish sound easy) and sop.
The hypnotic wiggle of a belly dancer's ruby filled navel was a perfect tonic — played with a swish and wickedness.
There was plenty in the tank too thanks to the carefully calibrated dynamics for our protagonists to join John Mills for an ice cold lager in Alex to close a very fine and cultured showcase bit of playing.
Iwan Fox
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Saturday 10, 18:21:38
7. Tertnes Brass (Paul Holland)
Harmony Music (Philip Sparke)
Harmony Music was commissioned for the 1987 National Championships of Great Britain and remains one of the composer's most accessible and popular major works.
The title is both a play on the German 'Harmoniemusik' with all its associations with bands in general, as well as a reference to the overall tonal harmonic language of the piece.
It opens quietly with a long unison crescendo, interrupted by upward rushes from the basses and trombones which introduces a fanfare like passage from the cornets. A sonorous chorale follows which builds from the lower band to a tutti climax.
There is a brief hint of faster music, but before this is an immensely difficult euphonium cadenza is featured which reaches both extremes of the instrument's range. The Molto Vivace is fast, furious and Francophile in style before the music subsides to a haunting homage to composer Maurice Ravel which incorporates two accompanied cadenzas for cornet and horn.
The opening returns before a shuddering climax that is tumultuous.
The soprano and trombones try in vain to stop the chaos before a Presto Coda ends the work.
Iwan Fox
What an interesting and welcome choice to hear this piece played at his level — and so well again.
Against the heavyweight modern blockbusters it is now a dynamic cruiserweight, but still one that packs one heck of a suave, stylish punch — and Paul Holland had trained his troops to land them in real combination flourishes.
An atmospheric opening gave way to a lovely chorale and bravura euph before a fleet-footed, presto vivace that skipped with gallic flair and insouciant joie de vivre. Splendid stuff that.
The ravel inspired middle section was bolstered by tremendous solo leads from cornet and horn and then a glorious climax — as rich as Merlot wine and poured in copious glassfuls to enjoy.
The reprise came via a stonking intro — thumped into the chops and then flyweight lightness of touch and another dollop of french flair and champers fizz.
Great dislocated cross rhythms from sop and trom heralded a snorting close — red hot and rampant. Bravo — one that packed a great punch that.
Iwan Fox
Saturday 10, 17:46:41
6. Manger Musikklag (Allan Withington)
Sand and Stars (Thierry Deleruyelle)
'Sand and Stars' is the fourth narrative chapter in the composer's 20th century lineal celebration of the spirit of human resilience.
It follows 'Fraternity', 'No Man's Land' and 'The Crazy Twenties' and takes its inspiration from the true story of aviator and novelist Antonie de Saint-Exupery, who in 1935 set out to break the flight record Paris to Saigon.
Nearly 20 hours into the attempt he, alongside navigator Andre Prevot, crashed into the sands of the Libyan desert, their outlook as bleak as the never-ending horizon before them. Miraculously they survived for three days before close to death they encountered a Bedouin tribesman who led them to safety.
It saw de Saint-Exupery to write the memoir, 'Terre des hommes' ('Land of Men'). Although centred on the incident it was not an adventure story.
Instead, it dealt with themes of friendship, death, heroism and humanity. The English title 'Wind, Sand and Stars' came later, as did the best-selling book 'The Little Prince'.
In contrast, Deleruyelle is directly inspired by the adventure, and to a lesser extent the other themes.
The work follows a readily identifiable narrative line (mirroring his other compositions) from the opening 'Le Bourget' take off and the 'extraordinary adventure ahead' that follows. 'The Crash' is a whirling nosedive in the sand.
The 'lament' that follows is a bleak realisation of their isolated situation as they embark on their trek to safety with thoughts of Arabic dances filling their minds before the miracle of their rescuer appears out of the haze of the desert sands.
Iwan Fox
For the second time in 24 hours Manger delve deep into their passionate souls with Allan Withington acting like a musical Christian Barnard to provide them with a rejuvenated, regenerated heart of brilliance.
It's one that beats with such clarity and subtle nuances too with its lifeblood volume and textures.
It's also interesting to hear two compositional takes on music from the east — some familiar thought processes, some diametrically opposite, and some where the authenticity comes with a big question mark.
Manger and their MD make the very most of their take though — wonderfully supple and richly characterised in dramatic purpose without over-egging the filmatic cinemascope feel.
Just the odd bit of gritty sand gets in the weary traveller's socks, but it doesn't cause too much trouble, with the flugel quite stunning with each intervention and other lead lines from euph and others not far behind.
Great slabs of meaty sounds with the crash and the following lamentations of forlorn hope were so musically shaped (and bravo solo cornet for a top D that hung perfectly in the desert air) and the most delicate of sops.
The saviour comes out shaking like a belly dancer full of eastern promise and oiled like an otter.
This was fab — exotic but measured, hips swaying like Barry John in his prime.
So colourful and characterful — and absolutely bang on the money for the finale that was a true triumph of the spirit of adventure.
Iwan Fox
Saturday 10, 16:47:39
5. Eikanger-Bjørsvik Musikklag (Florent Didier)
Jesus in Tibet (Simon Dobson)
Simon's Dobson's work references an unsubstantiated supposition that Jesus Christ may have spent most of his adolescent and adult life not in Judea, but much further afield.
It is noted that there is no Biblical reference of Jesus from the ages of 12 to 30 — a singular omission that could be explained by his travels in search of the purity of eastern philosophy.
Mention is made of such a man in the Gospel of St. Issa (Issa the Arabic name of Jesus in Islam) found in a monastery in the Himalayas.
It tells of a prophet devoting himself to Buddhist teachings in Tibet for many years — and perhaps even for the rest of his life. If this were true, it would turn the world upside down.
The composer explores the possibilities in five linked movements.
'Three Kings from The East' not only witness his birth but prophesize his calling to the east.
'Songs of Second Temple' takes place before the destruction of Herod's second temple, and the sounds of ancient Shofar horns that accompanied it.
'The Silk Road' marks Jesus' travel along the famous trading route, whilst 'St. Issa' marks his final arrival and devotion to a peaceful, serene meditation. 'Nirvana or Retribution' sees Jesus' return to his homeland and his Biblical destiny — although the music leaves an open question to whether that is indeed what happened.
Perhaps he was crucified and reached enlightenment. Perhaps he fled and lived out his life in quiet meditation in the hills of Kashmir in India.
Iwan Fox
Well now — as disappearance stories go this one is up there with Jimmy Hoffa, Lord Lucan and Paul Pogba's skills as a midfielder when he signed for Manchester United.
But then again none of these have been found since either.
Hard to come up with the superlatives for either the scope and ingenuity of the writing or the playing — the exotic sense of adventure, mysticism, wandering magi, snake charmer trombones and other worldly incredibilism of the other soloists and ensemble.
The clear narrative (added to with more than a pinch of theatrical something or another along the Silk Road) of the gospel of Dobson was so well laid out, the players the disciples of both mayhem and magic — the sop a supernatural spirit.
The effects were stunning — the perc an essential part; quirky, quixotic and as Eastern as a box full of Fry's 'Turkish Delight' — from belly dancer tambourines to ringing, singing bowls, bells and something that looked like the machine Joe 90 used in the 1970s.
From Wise Men to destructive temple crashes, dancing dervishes and Silk Road exotica all led to the peace and tranquillity of Tibet.
If he came back we don't know, but Issa certainly enjoyed a lengthy spell searching for Nirvana. The music almost resurrected Kurt Cobain in places to close but what a hoot.
It got all magic Jesus biscuits, open toed sandals and kaftans but what bonkers brilliance, what virtuosity, what free thinking invention and what a band.
Praise be! The final few bars were evangelical ecstasy — even the lame on their feet (with a hint of Led Zeppelin Kashmir) touched by a bit of brass band miracle working.
Iwan Fox
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Saturday 10, 16:13:15
4. Brøttum Brass (David Morton)
As if a voice were in them...(Oliver Waespi)
Dedicated to Andreas Buri and referencing the poetry of William Wordsworth, 'As if a voice were in them…' written in 2014 is Oliver Waespi's creative reflection of the 'nameless force' that dictates the majestic beauty of the topography of the high Swiss Alps and its power to draw deep into a man's soul.
Wordsworth's poetic genius found its measure in both — focussing on the treacherous Simplon Pass:
Characters of great Apocalypse, The types and symbols of Eternity, Of first and last, and midst, and without end.
Like 'Audivi Media Nocte' and 'Traversada', Waespi also defines his music by the craggy, disjoined natural landscape that confine man's attempts to conquer it — the simple folk song 'Angelus de St
Andre' heard as an expression of both hope and joyfulness at the beginning and end.
In between the music draws into its dark structures before emerging with symphonic scope.
It's lively scherzo, energised and rhythmically complex, drives forward as if echoing off rock faces, ultimately finding a telling pathway, grooved deep into the granite — 'tumult and peace, darkness and light' as if working as one with nature.
Iwan Fox
A performance imbued with the scenic majesty of the Alps this — both pastoral and beautiful as well as granite hard and vertiginous — the contrasts so well moulded and maintained by the MD in his handling of the score's complexities.
The modernistic thud and throb of deep seated funk seeped onto the crampons too — shaking the vertebrae in your spine. Oh that was a dirty delight. Who knew the Swiss were like that eh — no cuckoo clocks and toblerone there.
A few nearly moments, but nothing to detract too much, and horn and flugel sang like Alpine birds on top of the Matterhorn.
The tender scenic beauty was instilled so well, and then came that voice of majestic omnipotence from within the rocks — a deep throbbing, incessant rhythmic drive that underpinned the antiphonal choirs each side of the band.
This was call and response, joyful and uplifting — and truly majestic too; the MD controlling things perfectly from its heart.
The wickedness of the finale was a honker — turbo drive stuff that hit you like a sledgehammer right hook in the chops to round off a super show.
November 22 • Bilton Silver (Rugby) requires a cornet player to join our Championship Section band (Position negotiable). Under MD Brad Turnbull we have a varied programme of events. Rehearsals are held on Monday and Friday at 7-45pm in our own purpose built bandroom.
November 21 • Under the direction of David W Ashworth, we are making every effort to complete the rebuild of this very famous brass band. We require one kit and one tuned percussionists plus one Back Row Cornet to complete our line up for the North West Area Contest.
November 20 • Goodwick Brass is seeking an experienced professional conductor specifically for contests and major concerts. If you're passionate about brass band music and eager to contribute to the success of a dedicated and ambitious band, we'd love to hear from you!
