Saturday 5, 12:01:02
Championship Section:
6. Black Dyke (Prof Nicholas Childs)
Saturday 5, 11:39:07
Championship Section:
5. the cooperation band (David Morton)
David Morton takes to the stage in a full set of tails and draws cheers and whistles from the audience.
The opening is laden with intent. Clarity is not absolutely pristine but the dynamics are carefully graded and the brief quieter passage that follows the opening is subtly and atmospherically nuanced.
Solo euphonium flies…this really does go for but its mighty impressive…and the dynamo like drive never lets up.
There's a chill about the Largo…so haunting in its shading and most of all there is a real sense of emotion about this….the requiem for those lives lost at sea that we have only heard hinted at so far today.
It's a shame that there are little lapses that detract here and there but that sense of atmosphere remains musically and emotionally intact. Again there are little clips (soprano) but the shaping of the melodic lines and phrasing is so effective.
The Tempo Primo is well controlled dynamically, leaving the 'ff' bars to blaze forth and as with the opening, although the clarity of detail is not entirely consistent, the MD's stamp of musical authority is etched on the Scots' performance throughout…and the longest final chord of the contest so far!
Overall: There was so much subtlety and nuance about cooperation's performance under David Morton. Shaped with admirable care and emotion and laced with drama.
Christopher Thomas
the cooperation band offered a well-versed performance. After the opening section driven with purpose from the percussionists a conscious decision to take the lyrical sections slower than the bands preceding them brought a sense of stillness to the music, making later climaxes all the more effective.
The Largo section was beautifully timed, and a feeling of emotional weight was evident. Nerves were in the air but these players outwardly still portrayed tranquillity. Later, there was immediacy and momentum and the poignant striking of tubular bells was prominent in the build-up to the final climax and was overall handled extremely well.
The large technical demands of this piece were still evident through some lack of clarity.
Despite this, the overall style was controlled, and disciplined but an expressive nature captured the sentiment of much of this music. Their final chord rang resolutely in the air of the Royal Albert Hall.
Josie Sleigh
Saturday 5, 11:12:28
Championship Section:
4. Aldbourne (Ivan Meylemans)
A opening from Aldbourne that reverberates with drama and energy, whilst also finding admirable clarity in the rhythmic detail. Excellent work from the cornet section and we can clearly sense what the wily MD is bringing to this…working the dynamic contracts with impressive intent.
The pace never lets up and although there are clips and mispitches occasionally buried within the textures, the momentum is unrelenting in its progress.
The Largo is never allowed to languish in its progress and tempo, the melodic lines flowing freely. There are the tiniest blemishes but solo euphonium does well and there is an innate musicality about this, with shades and nuances of colours allied with thoughtfully created atmospheres. It is innately musical in its approach.
In the Temp Primo there is sometimes a sense of momentum at the expense of absolute unanimity of ensemble but the final reiteration of the theme is broadly delivered. A little strain is revealed in the soaring cornet register of 'Even Calmer' but the subtly of the approach to the final chord is again achieved with a telling sense of atmosphere.
Overall: So much musicality on display from Aldbourne. This was a thoughtful and carefully considered approach to the score.
Christopher Thomas
A controlled performance — full of musicality. Sometimes the inner detail was lost with heavy footing, but it was great to see the attention put into each dynamic, each decrescendo finely timed.
Very strong playing from the timpani underpinned the complex syncopations. There was great energy and rhythmic vitality which meant they brought a refreshing sense of urgency to the faster sections.
Confident playing from the soloists all around with resonance and thoughtfulness.
Through the cantabile section, the euphoniums really sang but there was some noticeable tiring of the lips. They held majesty in the climaxes which were occasionally disrupted by mispitches.
However, the musical director, Ivan Meylemans, really brought emotional fire from within the players. An all-round valiant effort right through to the end.
Josie Sleigh
Saturday 5, 10:57:16
Championship Section:
3. Pemberton Old Wigan DW (Ryan Watkins)
We don't quite hear essential rhythmic and cohesion in the opening bars despite clear vigour and energy, yet as the opening progresses there are also passages that do leap out at us with impressive unity of ensemble. Solo Eb bass is indistinct but solo euphonium does well and the MD works hard to maintain the driving momentum…which on the whole he succeeds in admirably.
The opening of the Largo just lacks a touch of spine tingling atmosphere. It's generally secure but possible at the expense of the dynamic. Solo euphonium starts well but falters on the top D at the height of the solo, but otherwise what follows has pathos and feeling. Fine soprano and again, the atmosphere here is carefully and thoughtfully wrought.
A punchy, no holds barred opening to the Tempo Primo and we sense that the band has thrown the shackles of as the performance flies onward to words it conclusion. Pemberton is punching above its weight here.
'Even Calmer' shows just the slightest twinges on the solo cornet top D's but otherwise Pemberton end as they began, with a reading that held nothing back.
Overall: Playing from Pemberton that at its best was impressive indeed. To the MD's credit he took no prisoners in attempting to find every dramatic recess of the score.
Christopher Thomas
Pemberton Old Wigan opened with a ferocious tempo resulting in some parts of the band falling behind. However, it didn't lack drive or purpose in the primary sections. The MD brought out an expressive notion from the players and the soft sections maintained an elusive nature.
With the force of this percussion section, they drove untamed through later fast passages which had significant improvement on the beginning of their performance, perhaps as the nerves have settled somewhat.
They sustained broadness in their playing with the melody soaring above the strong underlayers and they clearly displayed attention to balance.
Unfortunately, the intricate passages lacked clear execution due to mispitches and intonation was unstable at times particularly at the more extreme registers of the instruments.
Josie Sleigh
Saturday 5, 10:24:38
Championship Section:
2. GUS Band (Dr David Thornton)
The cornet section projects the opening with impressive detail and there is a sense of unity to GUS's opening that is at once arresting and carefully balanced.
There are the slightest i brief quieter interlude but once the momentum is regained, we once again sense that the MD has paid close attention to balance within the textural layers. Fine solo euphonium carries the driving onward motion well and there is nothing overstated dynamically about this, with the players kept on a tight rhythmic trajectory.
Slips start to creep in noticeably in the largo as the sparse nature of the textures here exposes a number of nervy and tentative entries. Solo euphonium sings eloquently and there is subtle use of the dynamics with the band getting down admirably to the 'pp' dynamics although not without further little slips and hesitations…a shame as there is a lovely atmosphere about much of this.
The Tempo Primo fires up in dramatic fashion and again the momentum here is so well captured, the sense of sea going peril always present.
The final statement of the theme is majestically shaped and the final chord rises from the depths with impressive power.
Overall: A convincing interpretation and musical approach from GUS but one that was also beset by frustrating slips at a handful of key moments.
Christopher Thomas
A convincing interpretation of Harrison's Dream was presented next by the GUS Band. A sense of clarity came through more so than the first band. There was some tension at times but they quickly became comfortable.
They handled the dynamics with confidence, carefully shaped with sensitivity. Sounds of powerful trombones with strong accented lines cut through the band well with projection and resonance, possibly a little heavy handed at times.
The dissonance of the piece was pursued clearly, leaning into the crunching harmonies.
This performance had an admirable sense of back and forth between soloists, blending together nicely.
They brought a contagious energy to their performance making the quieter sections a great contrast from the rapid figurations earlier on.
It was compelling to listen to their portrayal of the thematic material and they managed to find colour in the muted section before the closure of the piece.
Josie Sleigh
Saturday 5, 10:11:22
Championship Section:
1. Tongwynlais Temperance (Owen Farr)
An energetic opening from Tongwynlais, albeit one that reveals just how tricky it is to project clarity into the rhythmic detail of Peter Graham's dynamic score. What this does possess however is drive and the motor like rhythms are given motor like momentum.
It is in the quieter dynamics that the detail becomes indistinct with trombones and cornets sometimes struggling to sound as one.
Solo euphonium gets through its challenging solo but there are moments when the ensemble just needs a greater degree of unity.
Fine solo cornet to open the Largo but this just lacks a little atmosphere and mystery. Solo euphonium give us a lovely opening to the Cantabile. Dynamics are a little safe possibly and there are the slightest hesitations here and there but there is a good sense of line and shape during these slower passages.
As we launch into the Tempo Primo the detail is again lacking in clarity at times with balances not always coming off in the cavernous acoustic of the RAH, but the 'Broad' recap of the big tune is given space and grandeur leading to a carefully managed close.
Overall: Much to enjoy from Tongwynlais's early effort whilst emphasising just how critical balance and clarity are going to be as the long day unfolds.
Christopher Thomas
It's an admirable opener from Tongwynlais Temperance. Bringing lots of commitment in the opening spirited fast flourishes.
The lyrical sections were well handled with the principal cornet held the attention of the audience in their exposed solos. A beautiful tone which had a sensitive nature.
The percussion drove the band flying through rhythmic passages.
There were some lines occasionally lost in the very crowded passages and sequences of misplaced notes meant some detail was lost in the particularly demanding parts of Graham's piece. But these did not take away from the commitment from the first players on the stage today.
They brought majestic climaxes throughout their performance all the way until the last chord.
Josie Sleigh
Saturday 5, 10:06:01
Old and new team back...
A great surprise for the 4BR Editor today as the other half of 4BR Anthony Banwell flew in from Australia for the event with his daughter. Got him working straight away though...
Today's comments are coming from Chris Thomas and Josie Sleigh a student at the Royal College of Music who has a real interest in music journalism.
The images come from the great team of Craig Chapman and Connor Redmond
Saturday 5, 09:49:19
Draw:
Test Piece: Harrison's Dream (Peter Graham)
Adjudicators: Arsene Duc, Dr Stephen Cobb, Prof Rob Wiffin OBE
1. Tongwynlais Temperance (Owen Farr)
2. GUS Band (Dr David Thornton)
3. Pemberton Old Wigan DW (Ryan Watkins)
4. Aldbourne (Ivan Meylemans)
5. the cooperation band (David Morton)
6. Black Dyke (Prof Nicholas Childs)
7. Desford Colliery (Phillip McCann)
8. Brighouse & Rastrick (Prof David King)
9. KNDS Fairey (Phil Chalk)
10. Cory (Phillip Harper)
11. Whitburn (Michael Fowles)
12. NASUWT Riverside (Dr Ray Farr)
13. Easington Colliery (Luc Vertommen)
14. Ebbw Valley (Gareth Ritter)
15. Friary Brass (Nigel Taken)
16. Tredegar (Ian Porthouse)
17. Flowers (Paul Holland)
18. Foden's (Russell Gray)
19. Zone One Brass (Richard Ward)
20. Carlton Main Frickley Colliery (Allan Withington)
Saturday 5, 09:14:18
All to play for...
The most famous brass band trophy in the world is in its place ready for its new custodian...
Saturday 5, 09:12:38
Wishful thinking?
Wouldn't that be great today. Hopefully the numbers will be up this year and the crowds will flock in to hear the 20 bands.
