Saturday 5, 19:07:13
2024 Champion Band of Great Britain: Flowers
The winning MD: Paul Holland
All smiles
2024 Winners: Flowers Band
First Place: Flowers
Second Place: Foden's
Third Place: Black Dyke
Outstanding Soloist: Daniel Thomas
The adjudicators
Result:
Test Piece: Harrison's Dream (Peter Graham)
Adjudicators: Arsene Duc, Dr Stephen Cobb, Prof Rob Wiffin OBE
1. Flowers (Paul Holland)*
2. Foden's (Russell Gray)*
3. Black Dyke (Prof Nicholas Childs)*
4. Cory (Philip Harper)
5. the cooperation band (David Morton)
6. Tredegar (Ian Porthouse)
7. Carlton Main Frickley Colliery (Allan Withington)
8. Zone One Brass (Richard Ward)
9. Aldbourne (Ivan Meylemans)
10. Brighouse & Rastrick (Prof David King)
11. Friary Brass (Nigel Taken)
12. GUS Band (Dr David Thornton)
13. Whitburn (Michael Fowles)
14. NASUWT Riverside (Dr Ray Farr)
15. Desford Colliery (Phillip McCann)
16. Tongwynlais Temperance (Owen Farr)
17. Easington Colliery (Luc Vertommen)
18. Ebbw Valley (Gareth Ritter)
19. Pemberton Old Wigan DW (Ryan Watkins)
20. KNDS Fairey (Philip Chalk)
Best instrumentalist: Daniel Thomas (euphonium) — Flowers
*Top three pre-qualify for 2025 National final
Saturday 5, 18:14:04
Full time opinions:
It has been an enjoyable day on a test piece that has certainly ensured that the very best bands had to play to the top of their form to master it.
25 years after it was written, 'Harrison's Dream' remains a very fine test of top Championship Section credentials.
Here's what our two critics thought with their top-six.
Chris Thomas top-six
1. Flowers
2. Cory
3. Black Dyke
4. Brighouse & Rastrick
5. Foden's
6. Tredegar
Dark Horses: KNDS Fairey and the cooperation band
Josie Sleigh's top-six
1. Cory
2. Flowers
3. Black Dyke
4. Foden's
5. Brighouse & Rastrick
6. Tredegar
Dark Horses: Zone One and Friary Brass
Saturday 5, 18:02:10
Championship Section:
20. Carlton Main Frickley Colliery (Allan Withington)
A lean and incisive opening from Carlton Main that is laced with intent. The extremes of dynamic are utilised to compelling effect and this flies along in almost hair raising fashion.
There are odd entries that fly a little wide of the mark but the excitement quotient is high.
The Largo does not open entirely comfortably, and a good number of bands today the exposed nature of the scoring here is such that slips start to creep in along with moments of wavering intonation. Yet, still the band succeeds in finding serenity in the passages that follow, with the MD's musical intentions always clear.
The Tempo Primo finds exaltation in the pace of the piece, with the band leaving something in reserve for a majestic enunciation of the big reprise. This is beautifully handled and paves the way for an ethereal approach to the closing affirmation of human faith.
Overall: Carlton Main close the day with a performance that although not always consistently executed, found both a musical and very human connection with the score.
Christopher Thomas
To close the day was Carlton Main Frickley Colliery Band. A rhythmical opening from the percussion kept them storming ahead.
In the mix of commotion and nerves at the beginning the trombone playing was certainly powerful but may have suffered some overblowing.
Clarity is maintained with warmth and resonance even in the most disorderly sections of the music. As the piece moved through its contrasting sections, the band's dynamic control was well-paced.
The softer, more delicate moments were handled with finesse. The Largo was both subtle and evocative. Serenity is all that comes to mind when hearing the effortlessness of each soloist flowing so freely.
Fading carefully before the end was a special moment, before the final chord rang out with strength and grandeur for the final time today.
This was a performance from Carlton characterised by great energy throughout, especially impressive after waiting the full day to perform.
Josie Sleigh
Saturday 5, 17:32:31
Championship Section:
19. Zone One Brass (Richard Ward)
The local band that started its life at the RCM has seen several good finishes here in the past and the opening of 'Harrison's Dream' here certainly means business.
It's big and bold in its approach and although the precision of the ensemble does waver occasionally the solo voices cut through the textures in impressive fashion.
The opening of the Largo doesn't initially settle, but when it does it finds a lovely sense of space and peace. A couple of slips on solo euphonium are heard but the musical intent is always present.
Intonation is not always 100% in the exposed passages but the transition into the Tempo Primo is effective and the pacing leading up to the reprise of the main theme is well managed.
Again, the band finds shimmering colours and textures in the closing bars, the final chord making an impressive parting gesture.
Overall: A fine effort from Zone One. Musically astute throughout but just struggling to find those elusive last ounces of consistency.
Christopher Thomas
The most local band of the bands, Zone One brought to the table a strong understanding of style and a sense of direction and purpose. An expansive array of dynamics is one of the elements that made this performance a successful one.
Broad fortes filled the hall as well as perfectly timed crescendos. Polished and glowing individual playing was noted in many notable places.
After the opening, they lost some of the energy and sense of urgency that they had started with, but this was quickly recovered in the dance-like quality of the light syncopations.
At the climax the soaring melody floated above the band, evoking a feeling of nostalgia and majesty which then quickly settled into a beautiful cornet solo. The band had reason and intention which made for a moving performance.
A very admirable performance from this year's London & SC winners.
Josie Sleigh
Saturday 5, 16:56:15
Championship Section:
18. Foden's (Russell Gray)
Foden's immediately stamps its authority on an opening which is delivered in blistering fashion, crackling with latent energy and detail. The detail at lower dynamic level from the cornets and the middle of the band is particularly ear catching, with the rigidity of the tempo never faltering.
Fabulous playing from solo euphonium, and when played like this, everything about the score makes musical (and mathematical) sense.
The opening of the Largo is so delicately done and that sense of mystery pervades as Russell Gray shapes and at times caresses the melodic lines on behalf of his players. The feeling of serenity that results is so deeply felt.
There are a couple of tiny little slips, but the underlying serenity remains intact…allied with a sense of stillness that is in itself immensely, emotionally powerful.
The Tempo Primo builds and capitalises further on the opening of the performance and now there is a real sense that the band knows that it is on the home strait with so much clarity and ensemble of magnificent unanimity.
The transition into the final chord is magical…the final chord itself immense in its sound and scale.
Overall: Majestic, musically compelling and emotionally powerful from Foden's.
Christopher Thomas
Foden's were thriving on the fast-paced opening of 'Harrison's Dream', and this was just a hint of what was to follow…
This performance was an absolute display of musicality, the shading and contour of every written musical line both captivating and chilling.
In parts that had the potential to become increasingly ragged, but Russell Gray guided the players with exactness through every difficult crevice. The attention to detail of every written dynamic is to be envied. Each solo was spoken with pure emotion and carefully balanced in the softest of moments.
As melodies overlapped and rhythms became more problematic there was a demonstration of complete control. Following this, the pacing of the approach to the conclusion was very well-handled.
Fine colours from the percussion were produced in many characterful moments in the piece.
A refined, orderly and sophisticated interpretation of Pater Graham's work from Foden's today.
Josie Sleigh
Saturday 5, 16:34:28
Championship Section:
17. Flowers (Paul Holland)
There is a laser like precision to Flowers' opening. Cornets cut through like a knife through butter and this is magnificently detailed, cohesive and dynamic.
Just the slightest clip on Eb bass perhaps, but it doesn't detract and the ensemble is fabulously taut in what follows as the tempo makes no concession. And why would you need to when a band is as accurate as this?
Solo euphonium is terrific and there is a sense about this of a band at the height of its own confidence and fully aware of its own technical mastery.
The opening of the Largo is so beautifully shaped, nuanced and coloured. Delicate work from soprano adds so much to this and the mystery suddenly gives way to serenity. Once again the solo lines are both secure and wonderfully musical, with the melodic lines seemingly given endless space and time. This has been sublime to listen to.
The Tempo Primo is frenetic in its headlong propulsion, but once again the sheer detail and energy are magnificent. As is the pacing that is so skilfully managed from the middle.
The reprise of the big theme is glorious, as is the further seam of emotion that leads us into the final ethereal bars ahead of what is a wonderful final chord.
Overall: If anyone had the slightest suspicion that Flowers performance at the British Open was a flash in the pan, this was the evidence to prove that it was most certainly not.
Simply magnificent.
Christopher Thomas
Under substantial technical pressure from Peter Graham's demanding writing, Flowers execution of its intricate passages was what made their performance a stand-out of today's selection.
They began with momentum and proceeded with forward drive. The crisp articulation added to the overall rhythmic clarity.
A nurturing of the dynamics from all accompanying parts to the soloists had a sensitive quality. Each soloist embellished their lines with care; aligned with confidence and projection. The exposed singular cornet line was impeccably still and beautifully motionless.
The shaping of the entire work was well thought through and pursued the musical narrative throughout, credit to Musical Director Paul Holland.
The entire performance was well-paced, with some stand out interpretive choices. A slight rallentando into the climax was certainly musical, though not written in the score.
Flowers had a strong sense of unity today with unquestionable beauty.
Josie Sleigh
Saturday 5, 16:29:50
Championship Section:
16. Tredegar (Ian Porthouse)
Tredegar's cornet section immediately penetrates the textures to emerge with exceptional clarity and cohesion. An impressive start indeed, the impact of which is counter balanced by the bars that follow which are marked by a telling contribution from the Eb bass.
As the initial tempo reignites the clarity of the detail is once again evident, but it is the careful balancing of the band and a first class control of the dynamics that is allowing so much of the running figurations to come through with such transparency. This has been an opening of unbridled quality from Tredegar.
The Largo is gorgeously haunting, evocative and with a warmth at its heart. Solo euphonium is so sensitive but an inaccurate entry from the soprano then briefly unsettles what has gone before — a great shame as this seems to unnerve the band with further slips following in the ensuing bars.
The transition into the Tempo Primo sees the band finding its feet again and the Tempo Primo effectively recreates the opening, followed by a beautifully haunting transition into the final chord which builds inexorably.
Overall: A performance of insight and musical pedigree from Tredegar but slips in the central Largo are likely to prove costly.
Christopher Thomas
Tredegar are amongst the highlights of today's performance so far. They brought a vibrant and lively performance to the stage at the Royal Albert Hall.
Rattling percussion in the opening section followed by angular, awkward lines that were mastered with technical prowess.
There were very few discrepancies in tuning across the band and the power of the trombones was not to be missed. Some slips did affect the quality of the softer sections and won't be missed by the judges though.
With its driving intent, the band sped towards the final section with a vast sound on the final chord.
Whilst they were able to display pomp and grandeur, Tredegar were equally capable of delivering tender, reflective moments.
Josie Sleigh
Saturday 5, 15:51:17
Championship Section:
15. Friary Brass (Nigel Taken)
One of the notable facets of the contest today has been the number of bands that have tackled the opening passages with latent energy. It has been matched with varying degrees of precision and in the case of Friary, the accuracy of the ensemble at its best was highly impressive…perhaps most of all in the cornet section.
The Largo opens serenely with solo euphonium soaring with majestic ease into its upper register.
As the Largo progresses the slow tempo tends to hold the flow of the music back, but the soloists respond well with the opening serenity being found once again as the transition into the Tempo Primo is effective.
The 'broad' affirmation of the main theme blazes and the closing paragraphs are despatched with majestic positivity.
Overall: A creditable account from the local team. Varying in its consistency at times but with numerous moments of musical quality.
Christopher Thomas
The level of clarity of the voices within the textures is something to commend in this performance from Friary, with punchy cornet playing and intense timpani hits. The trombones had rhythmic precision, both tight and synchronised.
Also notable was the dedication and passion from the solo horn player. Warmth and tragedy were portrayed through the soft hushed playing of each soloist — quite remarkably so in places.
Quite a magnificent build up was crafted to a beautifully serene following section. The lyrical playing was simply sublime though the tempo was extremely held back.
The commitment to the emotional core of 'Harrison's Dream' was distinguished and the seamless handling from one instrument to another contributed to an excellent and undoubtedly high level performance.
Josie Sleigh
Saturday 5, 15:42:44
Championship Section:
14. Ebbw Valley (Gareth Ritter)
RAH debutantes Ebbw Valley make an immediate impression with a big bold sound and a no holds barred approach.
This is committed stuff, brave and dynamic in its vigour. A good deal of the detail can be heard with clarity and it is clear that great attention has been paid to balance and transparency.
There a calmness to the Largo that although fleetingly unsettled by individual slips, gets to the heart of the music with considerable empathy and emotion. The lines are also given time and space which adds to the sense of humanity that pervades. This has been a pleasure to listen to.
A deftly handled transition leads into a brisk Tempo Primo and although there are clips within the textures, the musicality of the MD and the audible response from his players mark this out as a debut of the highest quality by the Welsh team.
Overall: A fine effort from Ebbw Valley on their RAH debut, with a highly musical account that was also marked by solo playing of impressive style.
Christopher Thomas
Ebbw Valley's performance was heartfelt and earnest. Opening with a great dramatic entrance, they persevered onwards hurtling with haste through the first sections.
There was room for more light and shade in this performance and some transitions between sections felt slightly laboured, but the quieter sections were soothing and undisturbed.
Mature handling of the muted cornets achieved a good balance accompanying the solo line. As the texture thickened individual parts blended into a wave of eloquent sound.
A powerful bass trombone cut through the band and complemented the principal trombone nicely. A clear musical picture was presented by Ebbw Valley in a successful performance with emotional richness.
Josie Sleigh
Saturday 5, 15:02:38
Championship Section:
13. Easington Colliery (Luc Vertommen)
It's a big day for Easington Colliery, whose decision to draw on the experience of Luc Vertommen paid off in the opening bars.
The dynamism of the playing at the opening is undeniable, although various sections of the band and some passages prove to be more accurate and rhythmically unified than others.
The Largo is perhaps on the safe side dynamically and although we can sense the players giving their all, this lacks atmosphere, with not all of the solo voices proving to be of equal quality and solidity. Yet it settles as it progresses, and the bars leading into the bells are beautifully done.
One senses that in the Tempo Primo the band feels that the shackles are well and truly shown off. As with the latter bars of the Largo, the brief watery interlude before the final third is hauntingly done and the close caps what has been a considerable achievement for the band from the North East.
Overall: A band playing to the very best of its musical ability on a test that although formidable, was approached with common sense and musicality.
Christopher Thomas
Easington Colliery gave a brave account with notable moments of brilliance. The overall performance felt slightly underpowered in comparison to their competitors. Much clarity was lost in the opening flourishes possibly due to the lively tempo choice.
There were moments where detail was obscured, although the sturdy basses provided much needed stability which served the band well. A sense of brightness and positivity penetrated through this band, evident to the audience.
The most characterful moments included the lonely cornet solo which was transfixing and motionless in the most musical way. In addition, Easington Colliery really brought out the hymn-like qualities at the heart of the quieter sections.
Overall, this performance lacked the precision to stand out, but was full of committed playing nonetheless.
Josie Sleigh
