2024 170th British Open Champion: Brass Band Treize Etoiles

Winning smiles

The Winning Conductor with his Mortimer Maestro Trophy

Runner-up and 2026 European invite: Flowers

Third Place: Black Dyke

Fourth Place: Grimethorpe

Fifth Place: Foden's

Sixth Place: KNDS Fairey

2024 Adjudicators

Presentation to composer Jan Van der Roost

Presentation to Treize Etoiles form British Open organisers

Iles Medal recipient: David Childs

Mortimer Medal recipient: Paul Fisher

Result:

Test Piece: The Lost Circle (Jan Van der Roost)
Adjudicators: Dr Stephen Cobb, Anne Crookston, Dr Luc Vertommen

1. Brass Band Treize Etoiles (Frederic Theodoloz)
2. Flowers (Paul Holland)*
3. Black Dyke (Prof Nicholas Childs)
4. Grimethorpe (Michael Bach)
5. Foden's (Russell Gray)
6. KNDS Fairey (Philip Chalk)
7. Tredegar (Ian Porthouse)
8. the cooperation band (Glenn Van Looy)
9. Leyland (Daniel Brooks)
10. Carlton Main Frickley Main (Allan Withington)
11. Cory (Philip Harper)
12. Brighouse & Rastrick (Prof David King)
13. Hammonds (Morgan Griffiths)
14. Hepworth (Ryan Watkins)**
15. Aldbourne (Ivan Meylemans)
16. Northop Silver (Erik van de Kolk)**
17. Whitburn (Michael Fowles)
18. Oldham Band (Lees) (John Collins)

Stanley Wainwright Memorial Trophy: Mathilde Roh — cornet: (Brass Band Treize Etoiles)
Brian Evans Memorial Trophy for Best Soprano: Paul Richards (Flowers)
The Geoffrey Whitham Memorial Trophy for Best Euphonium: Adam Bokaris (Black Dyke)

* Flowers Band will receive an invitation from Brass Bands England to represent England at the 2026 European Championships in Linz, Austria.

** Northop Silver and Hepworth are relegated to the Grand Shield

Final thoughts

The British Open celebrated its 170th anniversary in the finest of style here at Symphony Hall.

Congratulations to Treize Etoiles — now without doubt the world's number 1 band. Congratulations also to the other 17 competitors for providing such outstanding musical entertainment on such an intriguing and absorbing test-piece.

Jan Van der Roost asked a great deal of the performers, and especially the conductors, and won them over with a work that demanded a return to informed, considered music making. The audience certainly enjoyed it and its need for bands to keep a controlled level of dynamics. This was music of texture and colour not shock and awe and it brought the best out the performers — the pick the trio of award winnings in Paul Richards on soprano, Mathilda Roh on cornet and Adam Bokaris on euphonium.

There was also a great atmosphere in and around the hall, with the tweaks made by the contest organisers well received by competitors and listeners alike.

The winner was simply outstanding, but there was so much to savour in the podium finishers of Flowers and Black Dyke. Anne Crookston's excellent pre-results analysis also ensured that the band were clearly informed of what the judges were hoping for before hand and what they got on the day.

A fine day of music making and a quite remarkable winner. The British Open remains most the engaging, enticing and exciting contest in the world — topped once again by an exceptional winner.

Malcolm Wood

4BR Pundits — Top 6

Christopher Thomas goes for:

1. Brass Band Treize Etoiles
2. Black Dyke
3. Cory
4. Foden's
5. Flowers
6. Brighouse & Rastrick

Dark Horse: Tredegar & Grimethorpe

Jack Capstaff goes for:

1. Brass Band Treize Etoiles
2. Cory
3. Black Dyke
4. Flowers
5. Foden's
6. Tredegar

Dark Horse: Brighouse & Rastrick

18. the cooperation band (Glenn Van Looy)

Christopher Thomas

A thoughtfully effective and atmospheric opening from the Scots, cleverly exploiting the colours of the percussion and using the muted effects that follow to telling effect. The tread of the basses is just a touch uneven but it builds with purpose and intent.

We can sense that the dynamics in the faster music are designed not to mask the detail although that detail is not always projected with absolute clarity. At times it is a little tired sounding'not surprising given the length of the wait that the band has had to play perhaps'but on a pictorial level, the MD is clearly trying to project the narrative into the performance.

Salisbury Plain flows with ease, marked by quality individual contributions from flugel and solo cornet and with the tempo allowing space and breadth. It just needs a little more tonal variety at times.

Trombones survive the opening of the 'procession' but that feeling of tiredness, perhaps mental more than physical, seems to permeate the closing paragraphs of the performance as the detail becomes less distinct. There is a final reserve found in the very closing bars however.

Overall: Perhaps the toughest draw of all today for the Scots. It's been a long wait for them but on a musical level, there has been both emotional warmth and a clear response to the storyline in this performance.

Jack Capstaff

Pre-historic Nature

A very atmospheric opening.

Waun Mawn (a long, very long time ago..)

Well handled pulse and good dynamic shapes in the brass lines. Perhaps missing a bit of bite on the top dynamics. Percussion is excellently paced.

Bronze Age Burial Site

Tubas have a great sound. Some of the movement is a little clunky, with not all tones quite speaking as one. This is a nice style and approach in the build. Horns become a bit bold for the mournful hymn, but the band work well to build nicely together.

Moving the Big Boulders

The band find good detail and pulse through the technical material and there's a good drive throughout the band. Big finish to the sound, but not quite joined up to with the preceding material.

'And Crossing the Presli Hills'

This is a good approach to the score. It finds light and shade, allowing for drama without overdoing anything. A couple of knocks detract, but they're few and far between. Cornet and tuned percs work well together, and there's a great build to the climax. Percussion just start to dominate in places, and so we lose some of the detail through the ensemble.

'One Last Effort'!

Trombones and euphoniums work together well, and the sound of the lower band is well balanced. The technical work in lower band becomes a little less precise.

Arriving in Wiltshire: this is the place!

We get a good sense of the chorale , though it could benefit from larger phrases — it surges a bit in places. When they open up — they really do offer a tremendous sound. The lines before the tranquillo become a little frenzied, but they settle into a nice pastorale.

Salisbury Plain

A very dark flugel sound compliments the baritone well, it's all very sonorous and the espressivo style is. Cornet and Euph work well together, if a little overpowered by the ensemble in places. There are nice moments of small ensemble work, however mispitches and knocks detract alongside some untuneful moments. Tutti sounds are well established, though lack a little warmth in places.

Procession along the Stonehenge Avenue'

The procession starts confidently, if heavy. There are a few moments of unclear articulation in the basses, but trombones deal with the material well. We could do with more of the middle voice for the balance.

Approaching the re-erected monument'

Things are just starting to feel a little tired as we approach the finale. The pace is great — just the sounds are becoming a little ragged,

STONEHENGE ' the new burial and ritual site!

The final chorale sits well on the texture, but could do with more of the middle voice presenting. The accompaning material works nicely.

'what an excitement'!

This drives well, though not all moments come off, with ensemble just struggling to keep everything absolutely tight. The textures just become a little frantic.

The 'Lost Circle' at it's final destination!

The final circle is presented well, and we get a great build to a very fine last chord.

Overall

They've waited a long time to perform today, and arguably the most difficult job, but they really took to the stage with conviction and verve. Not all moments of ensemble came off, and it wasn't a performance without errors, but the performance had a real spirit and went a long way to telling the story laid out by Jan Van Der Roost.

17. Cory (Philip Harper)

Christopher Thomas

A truly thunderous opening from Cory that possibly took many in the hall by surprise…and the muted effects that follow beguile and tease the ear. This has been a fascinatingly individual opening with the ensuing tread of the basses that follows, growing with purpose and intent.

As with the best performances today, the trombones act as the glue that underpins the music structurally and the accuracy and detail of ‘moving the big boulders’ and ‘crossing the Preseli Hills’ is out of the very top drawer…playing of towering technical mastery and control, topped by the trademark Cory sound.

Delicate percussion lead us onto Salisbury Plain and a sensitive, lyrically compelling flugel solo that sits within its accompaniment beautifully. Solo cornet to follow is beautifully done, intertwining with solo euphonium so well. There are one or two tiny little clips in a couple of places but they really are minor and as the slow movement reaches its conclusion, Philip Harper draws everything that he can from the score emotionally.

Trombones are a touch unclear to open the ‘procession’ but the majesty of what follows precedes a final vision of Stonehenge in which all of the inner detail is heard with total clarity. As always with Cory and Philip Harper, the pacing of the build to the final triumphant peroration is so well measured and the ending itself is a blaze of triumph.

Overall: A towering display of technical prowess from Cory. Excitement levels that were off the scale at times and sounds that were occasionally very different.

Jack Capstaff

Pre-historic Nature

Well, it opens with a crash! Very different to what we've had, and while it's not how I had read it, it's very hard not to be engaged by it!

Waun Mawn (a long, very long time ago..)

Excellent pulse and fine dynamic contrast on display as soon as we open. The sections move with absolute unanimity.

Bronze Age Burial Site

The tubas are revealed and what a beautiful sound they have. It's not without the occasional error and blip, but generally the texture works nicely and is balanced well. More voices add almost imperceptibly, as we enjoy a very nice cresc. poco a poco.

Moving the Big Boulders

The pacing really helps to tie these two sections together, which is now in full Cory form showing off extreme accuracy and great control of ensemble.

…And Crossing the Presli Hills…

I love the balance of this. The percussion is really made to feel a part of this, and the tubas blend so well because of it. There's nothing completely overdone, but the wall of sound is exciting and visceral. There's so much detail in the lines which just whiz past like lightning. Excellent cornet and percussion keep the energitico driving with supportive ensemble. Surely one of the best trombone sounds we've had today, and the lines just seem to bounce from one another in a way that not many have gelled. Unmistakable Cory.

…One Last Effort…!

The build to this has an inescapable trajectory. Again, the percussion and band are balanced as well as we have heard today. It really feels like a unified picture. What a pull back — but no sound left unspoken.

Arriving in Wiltshire: this is the place!

No theatrics needed here, what a tremendous band sound, we get clarity in the chorale without subduing the excitement of the flurried lines. The transition to the pastorale is nicely handled and the pastorale tranquillo itself very nicely balanced. This really is a forte of Cory under Philip Harper; the sonority and attention to sound and texture is impeccable (to my ear!)

Salisbury Plain

Beautiful individual voices here blend nicely to find a sum greater than the parts, and the ebb and flow Harper finds in the music is more emotive than some today but no less intuitive. The subtlety of timbral changes through the tutti sections is genius; we travel from homogeneity and unanimity to bright, and darker colours. Bass and cornet counterpoint so well here, the music just always flowing. For me, and me alone, the accel. is a bit on the nose, but it really does present the listener with a hallmark 'Cory Moment'.

Procession along the Stonehenge Avenue…

What can be said is that they are taking us on a very clear journey. Basses trudge along nicely, and the trombones make this tricky material work, perhaps in the darkest style we've had today. They draw my ear to facets of the score that haven't always been immediately clear, such is the clarity of the texture and organisation of the balance.

Approaching the re-erected monument…

This really suits the band, it's an exciting sprint towards the finish line, packed with detail and backed up with fastidious individual playing.

STONEHENGE—the new burial and ritual site!

The balance here works well and the feeling is positively jubilant at this slightly quicker tempo.

…what an excitement…!

This is the closest we've been to bordering frantic playing and at this tempo the material is bordering on chaos, but by goodness it's thrilling. There's no lack of detail from it though,

The ‘Lost Circle’ at it’s final destination!

Brilliant final presentation of the circle and there's a real drive to the end.

Overall

There's so much to thank the band for in this performance, however there were idiosyncrasies which I feel it could split the room. It had a real stamp of Cory authority, with hallmarks of their approach to story telling and music making, but the question is whether that will find favour 'in the box'.

16. KNDS Fairey (Philip Chalk)

Christopher Thomas

Fairey take a slightly bolder approach to the opening than some with the thunder somewhat more prevalent in the opening sounds. The ensuing tread of the basses is effectively captured and the bold approach continues... this is vivid playing but there is also impressive detail and the story unfolds thoughtfully and effectively.

The layers of sound could perhaps be stripped away a little more but the MD (as several have today) once again brings players and sections to their feet to compensate. A subtly coloured introduction to Salisbury Plain sees the flugel soloist sing over the band, with solo cornet and solo euphonium also adding telling contributions. It possibly just lacks that last ounce of emotion but there has been much to admire here.

The final triumphant vision of Stonehenge is majestic in its breadth and as the band reaches the conclusion, the commitment and detail is once again impressive. There is maybe a little clarity lacking as the band tires toward the close but this should hold its own amidst tough competition.

Overall: This has been an energised Fairey band. Perhaps a little too much so at times but at its best, the underlying narrative and imagery was colourfully portrayed.

Jack Capstaff

Pre-historic Nature

Very pre-historic here, sabre-toothed and thunder.

Waun Mawn (a long, very long time ago..)

This sets off well, with good pulse and some very nice shapes in the brass.

Bronze Age Burial Site

Basses emerge, so well controlled in their quiet chord. Not quite all tones speak evenly and together, with pulse just wavering from time to time. Euphoniums join incredibly softly, and the band grows well together as more entries are heard.

Moving the Big Boulders

Great pulse builds up to something which is indeed very heavy, but they're successful in getting it moving. What a terrific and very bright band sound they present when they open it up.

…And Crossing the Presli Hills…

This is full of drama and generally well managed. Pulse is good and the tuba and trombone lines good through the technical requirements here. Cornet and percussion not quite unified through the energico. Perhaps heavy for forte, but they certainly find the contrasts at the higher dynamics when they need to. Quavers are just tending to slow a fraction, but the ensemble is generally well aligned and tight. Just a few knocks here and there which detract.

…One Last Effort…!

Trombones and euphs are well paced together and lead the way for another show of technical dexterity from the bass end. We lose a bit of the detail through the fluid lines.

Arriving in Wiltshire: this is the place!

The chorale is nicely balanced without conceding ground to the flurry of activity required to create the excitement. Again, brilliant sounds when they let it all out! Nice transition to the pastorale, which is soft and peaceful. Some tuning issues in muted instruments detract.

Salisbury Plain

Flugel and baritones sing well together, and this has a nice pace. Cornet and euphonium playing is excellent — it finds the pace nicely. As more ensemble join there are a few more knocks which is a shame in an otherwise nicely organised and balanced tutti sound. The shape of this section is nice, there are just moments along the way which lose a little of the fluidity and maybe get bogged down in the bar by bar shapes and phrases. The animando is well paced and they leave nothing unsaid to finish the section.

Procession along the Stonehenge Avenue…

Quite a heavy procession from the basses, but they speak together and a good contribution from trombones which feels just slightly uncomfortable metrically, but excellently balanced. The animando is paced well.

Approaching the re-erected monument…

This really drives, but we lose a little focus on the detail and the lines don't quite always speak as a result.

STONEHENGE—the new burial and ritual site!

The maestoso works nicely and isn't overdone. Not all lines quite match up as we reach the end of the section.

…what an excitement…!

The same can be said here, in that the material is full of excitement, but it perhaps just gets on the edge of comfort for the players and so becomes a little untidy.

The ‘Lost Circle’ at it’s final destination!

The final circle works well in its balance and pace, and we get a build with great verve to the final chord.

Overall

This was a very fine performance from KNDS Fairey Band with some really commendable playing. I have a feeling that the error count may prove too high for a podium finish today, but it was a performance with direction and a real sense of enthusiasm.

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15. Brass Band Treize Etoiles (Frederic Theodoloz)

Christopher Thomas

The sounds of the opening are fascinating. Subtle shifting colours in the percussion and with telling muted effects from the trombones and horns.

The MD has the euphoniums seated at the back of the band alongside the basses for the vision of the Bronze Age Burial Site and sound is noticeably different, homogenous and rich in warmth.

The rhythmic precision of the ensuing music is in classic Swiss style; remarkably detailed, wide ranging in its dynamic reach and with a blazing sound when the band unleashes its full power'which it does thoughtfully selectively. Once agin it is the balance and the attention to the layering of the sounds that is allowing us to hear so much vivid detail here.

Stunning trombones in the glissandi of 'one last effort'and what inner detail from the centre of the band'the visiting team are playing the acoustics of Symphony Hall to perfection here on the band's first visit to the Open.

Salisbury Plain is reached and the flugel solo is beautifully done, effortless in fact. Gloriously intertwined cornet and euphonium solo'my goodness that was so beautiful'.and there is a gloriously elegant flow to this'supple, pliable and most of all emotional. This is one of those moments where you simply have to sit back in admiration.

Fine trombones to open the 'procession' and there is a grim darkness about this before the mood lightens. And just when you think they might be done, the band finds another gear for the closing paragraphs. The ending is one of joyous affirmation.

Overall: What a band and what a performance. Treize Etoile has given us something to remember here'simply a masterclass in rhythmic precision, yet also rich in emotion and narrative. Simply stunning.

Jack Capstaff

Pre-historic Nature

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Waun Mawn (a long, very long time ago..)

Very rhythmic to open and some phenomenal dynamics. They really are going from the inaudibly quiet to the louder.

Bronze Age Burial Site

A well controlled bass sound and generally this stays fluid though it it isn't without inconsistencies in sound and articulation. As the band join they do so very gradually really lending to the crec. poco a poco.

Moving the Big Boulders

This has the weight of the boulders we're thinking of, but is definitely still driving.

'And Crossing the Presli Hills'

This has flare and drive, but everything is kept quite controlled, nothing is overdone. Every line has its place and the balance is so well organised. Cornet and tuned percussion bounce through the energetic together, as do all sections of the band given their chance.

'One Last Effort'!

Trombones and Euphoniums work in the synchronicity we've come to expect from this performance. The whole band really does act as one unit.

Arriving in Wiltshire: this is the place!

The chorale here takes it's place with a fantastic weight in the basses grounding the flurry of excitement in the supporting lines. There's a lovely pace to the transition which encapsulates some of the aleatorics in the score. The tranquillo is just that.

Salisbury Plain

The pastorale is so evocative I'm sure I can hear the tweeting of some finches in the auditorium. Exquisite flugel horn shines through the ensemble. Cornet and euphonium do a fantastic job. The music doesn't slow, and yet they find ample time in the lines, despite the number of notes. This is plaintive devotion, no gushing of emotions, but admiration of the pastorale, and coloured with the warmth the score lays out. All backed up with fastidious technical accuracy and superb ensemble.

Procession along the Stonehenge Avenue'

Very subtle basses trudge along the avenue, supporting some of the finest trombone work of the day. They layers are so well managed that there is a real transparency to the score — we can hear each of the textures in its place, and the pace is building beautifully.

Approaching the re-erected monument'

Trombones really underpin the pulse here and lead the charge on the way to the finale.

STONEHENGE ' the new burial and ritual site!

The maestoso almost feels a little anticlimactic given the supreme build into it, but it's well managed once it gets going.

'what an excitement'!

This really is flying along and yet every almost every tone is heard. The harmonic content of these lines I think is the most apparent it has been today, with the real underlying structure being truly appreciated.

The 'Lost Circle' at it's final destination!

What clarity in the final phrases, and such a phenomenally well paced build to a brilliant final chord.

Overall

This was playing of a supreme standard. The understanding of the score and its structure was just so evident. The harmonies and textures unfolded as if it were inevitable. A group of travellers so unified in their journey, inexorably and without fault on a trajectory to their sacred ground. One man's opinion perhaps, but if the hall were to have a say — I think we'd all have that very much in the frame.

14. Black Dyke (Prof Nicholas Childs)

Christopher Thomas

An opening rich in colour and subtlety from the percussion and the muted effects from trombones and horns are highly effective.

Lovely sounds from the basses and there is a presence about this that immediately makes an impression. Razor sharp trombones and there is a rhythmic cohesion that binds everything together. This is a Black Dyke that means business.

The level of detail through the middle band is magnificent and there is a clear sense of the Neolithic journey that the music takes us on. At times it is almost demonic in its power…but always that propulsive sense of momentum that drives and propels the performance onward.

The trombone glissandi are so effectively enunciated with all of the rhythmic effects and nuances brought clearly to the surface.

Atmospheric percussion lead into Salisbury Plain and the opening flugel solo is beautifully done, sitting so well within the context of the accompaniment. Fine work also from Richard Marshall on solo cornet and this flows with elegance….could it have just a tiny bit more time and space? Possibly…but there is no denying the emotional warmth and integrity of this…it's super stuff.

Terrific bass trombone to open the grim 'procession' and fine unity when joined by tenors. This is again highly impressive in its pacing and detail. A powerful final statement of the chorale and the build up through the final paragraphs is brilliantly executed…what an ending. Breathless and triumphant.

Overall: This has been Black Dyke on top form. Magnificent detail, well nigh flawless execution, soloists of the highest quality and a clear and perfectly enunciated story brought vividly to life.

Jack Capstaff

Pre-historic Nature

An atmospheric opening, well judged in its pace.

Waun Mawn (a long, very long time ago..)

Fantastic pulse to open and everything in its place. The dynamic contrast and pacing is excellent.

Bronze Age Burial Site

Basses emerge, and what a great sound it is. The sound is big, but very well joined up. We sometimes just miss the internal harmonies. The band join nicely and present that Black Dyke sound. Lots of vibrato!

Moving the Big Boulders

Rhythmically tight through here, though the articulation isn't completely unified with trombones and horns becoming unbalanced.

…And Crossing the Presli Hills…

There's a good rhythmic drive here. For me, so of the tones are just a bit too clipped to really allow the harmony to speak, but it's very accurate. Cornet and tuned percussion are excellent, perhaps just with the balance tipping toward percussion too much.

…One Last Effort…!

Euphs and trombones are not quite aligned as we start, but the textures are generally balanced such that we hear everything they want us to.

Arriving in Wiltshire: this is the place!

There's a phenomenal accuracy to the material here, but for me the balance is too far in favour of the technique, and not enough in the chorale. The tranquillo is, for me, the most beautiful blend of sound we've had today.

Salisbury Plain

Flugel and baritone play beautifully, with a lot of flow. As do cornet and euphonium. For me, there could be a bit more time taken, but it's got a lilting beauty to it. They draw the ear to moments we've seldom heard today, and really make sure to balance and blend the ensemble so we hear what they want us to. There are a few moments of slight unease in the pulse and odd inflection, but these are few and far between. They've captured a very light and airy pastorale, very different to others we've had today.

Procession along the Stonehenge Avenue…

Very accurate bass playing, and a trombone section which are both in control and very balanced. Horns put their part in well in turn, and we have an impressively quick shift; a scene change into the cantabile lines.

Approaching the re-erected monument…

What a tuba gliss! This has all of the accuracy and glitter one has come to expect from Black dyke, and a unanimous sound.

STONEHENGE — the new burial and ritual site!

The maestoso is very well controlled, opening up just at the very end.

…what an excitement…!

This is a truly jubilant sound — it embodies the elation the score calls for.

The 'Lost Circle' at it's final destination!

Accuracy, balance, and pace all exceptional.

Overall

This was a performance of fastidious technical accuracy in the way we would absolutely expect from Black Dyke on good game. It was a different musical journey; somehow less deeply emotional and more spiritual, with the tranquil pastoral at the heart. There were moments, very few and far between, which didn't quite sit, but these were surely the exception to the rule. We'll soon see if it rings the bells the judges are listening for today.

13. Oldham Band (Lees) (John Collins)

Christopher Thomas

An understated opening from the Grand Shield winners yet one that is nonetheless effective as the MD leaves the percussion team to their own devices for the opening bars.

The basses set a good tread to the chorale and what follows is thoughtfully measured dynamically. There is nothing masked or overblown about this. The clarity of the detail does vary to some degree but what is admirable is that the underlying story still comes through and there is a certain musical honesty about the approach as a result.

In 'Arriving in Wiltshire' the underlying sextuplets are heard with clarity as a result of careful control of the block chords that surround them and once again there is a sense of this being a thoughtful approach to the band's Open debut.

There are moments in Salisbury Plain where the intonation wavers as well as one or two fleeting insecurities but Roger Webster makes the taxing cornet solo sound sublimely easy and the slow movement as a whole is allowed to flow with reasonable musical freedom.

Well executed trombones to open the 'procession' and although the band can't find the extreme detail of some in the closing paragraphs, the final pean caps what has been the conclusion of quite a journey for the Grand Shield champions.

Overall: A creditable Open debut from Oldham and one that played sensibly to the strengths of the band and its soloists.

Jack Capstaff

Pre-historic Nature

An extended opening from Oldham helps to settle the atmosphere.

Waun Mawn (a long, very long time ago..)

The pulse doesn't quite settle immediately, but there's some nice dynamics effects to be heard, and the basses emerging out of the resonance left by percussion.

Bronze Age Burial Site

The tubas are generally well balanced to start, but the sound surges from time to time with inconsistencies in dynamic. The band joins well and make a good gradual cresc.

Moving the Big Boulders

There's nice detail to be heard here and the pulse is well controlled.

'And Crossing the Presli Hills'

Basses are a little heavy and articulation not always consistent leading to an untidiness. Cornet is excellent at the energico, just slightly detracted from by the balance of the accomp. Horn and sop also great in their style. The quavers just tend to pull back through the asymmetric rhythms. It's perhaps all just getting a little heavy to maintain its momentum.

'One Last Effort'!

Trombones and euphs generally gel well, though the dynamics are generally a little heavy through the section.

Arriving in Wiltshire: this is the place!

This is definitely excited, but the feel of it is a bit more frantic than controlled. The tranquillo is established nicely, just with some slight knocks and moments of unease in the entries.

Salisbury Plain

Flugel and baritone work very well together, though music could take more time. Cornet and euphonium are again excellent, but the music doesn't necessarily have the space that would elevate these super performances even further. It builds to a good and consistent tutti sound which is nicely balanced. Through the smaller ensemble music the basses tend toward the heavy side which doesn't quite suite the flow of the performance. The accel and rit into the recap is well managed, with errors just creeping in through the ensemble.

Procession along the Stonehenge Avenue'

The basses set this off well, and trombones are well balanced. The accel is paced nicely, though some lines just get misaligned from time to time.

Approaching the re-erected monument'

Not all accents and approaches are unified in the accents through here leading to a slightly misbalanced ensemble.

STONEHENGE ' the new burial and ritual site!

The balance works well here with the chorale taking the fore, and the basses supporting this nicely.

'what an excitement'!

There's a real drive to this however the rhythmic detail is lost in the fullness of the texture.

The 'Lost Circle' at it's final destination!

I'm not quite convinced on the balance of the final circle, but there's a good build to the end with possibly the longest(?) chord we've had.

Overall

There was some real guts to this performance, which just in places tended to the extremes of weight and pace. I feel some fantastic solo contributions could have shone even brighter with a bit more time to enjoy the music, but each to their musical opinion. The calibre of playing here today is high, and I don't envy those in the box making the tough call on 1-18 rankings!

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You either love marmite or you don’t

Lily Allen, the English song writer and actress is quoted as saying "I think I’m like marmite, you either love me or you don’t".

As mentioned earlier, the marmite analogy resonates with today’s test piece. There is great relief from those who’ve come off stage that they can relax now, whilst a large amount of audience members (not involved on stage) have become absorbed with the music.

Those that approve and those who go the opposite way have become fascinated with how bands are bringing out not just the detail but hoping one band will take the music in the direction the listener thinks it’s going.

There have been many comments along the lines of ‘you think the music is leading somewhere and then it suddenly does something completely different'.

One member of the audience sat close to my base where the judges are has had enough of the work today and as it’s not to their taste has gone home.

In contrast, others would like to hear the work at the RNCM Brass Band Festival. Dr David Thornton, if you’re reading this, that’s one for you sir.

For those old enough to remember, Russell Gray took a leaf out of the wee Professor Walter Hargreaves, at Kings Hall, by standing on a conducting podium. It didn’t do him any harm as he won the contest back in 1979.

Whether played on stage or just listening, there’s still a long way to go to discover if the 'Lost Circle' has been found by the trio of judges yet.

The audience are engrossed now as the contest enters its final third. Foden’s brought many in the Hall to its feet for the first time today.

Malcolm Wood