2024 Champion: St Austell

2024 Winner: St Austell

Runner up: Skelmersdale

Third Place: Besses Boys

Best Soloist: Jon Gibbs of Audley

Result:

Section 2:

Test Piece: Albinus Variations (Etienne Crausaz)
Adjudicators: Andrea Price, Dr Brett Baker, Ian Porthouse

1. St Austell Town (Steve Sykes)
2. Skelmersdale Prize (Benjamin Coulson)
3. Besses Boys (James Holt)
4. Audley (Tom Hancock)
5. Diggle (Sean Conway)
6. City of Cambridge (Philip Fisher)
7. Newmains & District (Paul McKelvie)
8. St Keverne (Karl Long)
9. Raunds Temperance (Jonathan Pippen)
10. South Yorkshire Police (Leigh Baker)
11. Saint Sebastian Wokingham (John Watts)
12. Durham Miners' Association (Stuart Gray)
13. Abertillery Town (Stephen Sykes)
14. Emley (Tim Sidwell)
15. Tilbury (Melvin White)
16. Usk (Jamie Jones)
17. Ferryhill Town (Jonathan Fenwick)
18. Gosport Solent (Phillip Littlemore)
19. Broxburn & Livingston (Charlie Farren)

Best Soloist: Best Soloist: Jon Gibbs (Principal Cornet) — Audley Brass

Section 2:

4BR Editor's round up and prediction

A thoroughly enjoyable Second Section contest to round off a long and exhausting weekend for the bands — both those drawn early and late.

This afternoon could have been a real listening struggle but thanks to the choice of test piece and the efforts of the bands and MDs to capture the character of its different variant elements, it has been anything but.

It has made it difficult to really pick a clear winner (getting an excuse in early!) but we enjoyed the ones that went out on a limb a little as well as those that opted for traditional contest day certainties.

It's the judges' decision that counts though — ours is only an opinion from the bleachers

We are going for the early doors one from South Yorkshire Police with Diggle and City of Cambridge close on their heels. Another early one in Audley took our fancy ahead of Skelmersdale and Besses Boys with a pair of dark horses in St Austell and Raunds Temperance.

Tin hat at the ready'

4BR Prediction:

1. South Yorkshire Police
2. Diggle
3. City of Cambridge
4. Audley
5. Skelmersdale
6. Besses Boys

Dark Horse: St Austell and Raunds Temperance

Section 2:

19. St Keverne (Karl Long)

The final performance of the weekend was one that could push itself into the reckoning for a top-six finish.

Lots to keep the late night audience engaged with some super playing from start to finish — from the atmospheric opening to the gloriously rousing close. Some well observed and executed solo lines — lyrical and tender in the central duet between the cornet and euph as well as from the fine sop and opening horn.

The little Iberian detour was well handled and although there were a few moments when the cohesion was lost the hymnal was smooth and flowing. The final thrust with its joyous treatment of the Lutheran chorale had a controlled exuberance to bring things to a fine close.

Iwan Fox

Section 2:

18. City of Cambridge (Philip Fisher)

Oh this was so close to being an absolute belter of a later draw gem — and hopefully it will get reward and recognition for the sheer verve and character that was drawn out of the score by the MD and his players.

It wasn't perfect by any means and there were some dodgy old moments in solo and ensemble lines, but the filmatic sweep and sashaying endeavor made you sit up in your seat from the word go. The 'religioso' elements were dark and serious, but contrasted with the fun of the Iberian detour and the little nods and winks to Tallis to Waespi etc — knowing and deliberate.

The perc was a delight and the final ride home was the stuff to make a crusty old Lutheran do a knees up in a boozer. Odd but deliciously so.

Star Player: Perc team were brilliant — best today.

17. Raunds Temperance (Jonathan Pippen)

One to capture the interest in the box perhaps? Not perfect by any means but an idiosyncratic take that had a great mix of the bravura set against the reflective with a dollop pinch of sardonic wit too.

It was held together so well by the MD who took measured risks in pacing and malleability to make the ideas work — and for the vast majority of time they did just that.

There was a Lutheran seriousness about the 'religioso' elements — dark and unrepentant, but that was balanced against the wit of the Iberian detour and the tenderness of the hymnal. All that and it got a bit Aaron Copland meets Julie Andrews to close — a real joyful nun belter from a mountain top.

There was something about that caught the imagination — but will it resonate in the box? Should at least get them debating its merits though.

Star Player: Solo cornet — cultured and confident playing in every facet today

Iwan Fox

Section 2:

16. Emley (Tim Sidwell)

A battling one from the Yorkshire contenders that was uneven but still offered a great amount in style and character.

It was a pity that the intonation in the more exposed lines just caught the ear too often, as when they played with a full, energised sound it was thrilling stuff.

The religioso intent of the duet was so nicely done — led by a wonderful sounding cornet and complementing euph. Just those other little problems though took the gloss off — but that duet was as good as any today. The little Iberian segue clicked along with a neat tambourine measure and the hymnal that followed was a seriously Lutheran.

That was built on for a thumping finish — blazing triumphantly.

Star Player: Solo cornet — a lovely true cornet sound to savour today.

15. Saint Sebastian Wokingham (John Watts)

A real mix and match of the bold and the tender here that worked in a persuasive musical manner, even if the technical flaws were marked.

Some lovely touches after it just took a little extra moment or two to find consistency. There was a fine flow to the music — the variants changing and malleable in their context. Super cornet and euph standing in situ played with graceful elegance and what followed emerged with a finely attuned sense of arcing musicality.

The balance between the brass and perc too often got a little wayward in places, but the character of the music was so clearly defined that you could just about forgive the excess. A stomper of a finish rounded off an enjoyably imposing performance.

Star Player: Solo cornet — another fine player leading in the best way possible.

Iwan Fox

Section 2:

14. Besses Boys (James Holt)

An interesting one this from the North West challengers — ostensibly very straight forward in approach by the MD with his interpretation, but with a couple of little twists in the mix to catch the aural taste buds of the judges in the box.

They worked though — the seating plan giving the ensemble a rich sounding centre, the standing euph and cornet (by the timps for their solos and duet) making them sound longing and distant. What seemed like an errant digital metronome (either in the hall or on stage) thankfully didn't detract, but it was odd.

The playing was solid and direct — never overdone and just on the right side of the limits. The final section was cracking — joyful and rampant at the same time, real evangelical stuff — brazen and bold — but again it worked so well.

Star Player: Solo cornet — excellent both sitting and standing.

13. Ferryhill Town (Jonathan Fenwick)

A nearly one this. So much to enjoy with the musical approach from the MD and his players, but perhaps just a few too many minor clips and blips that at first chipped at the outer bone and then got into the marrow of the music.

It was a pity as the stylish playing with its little movements, ebbs and flows gave each variant a well defined identity — aided by the splendid perc section.

The Iberian detour melded so nicely into the tender hymnal played with reserve and respect. Just the moments of poor intonation caught the ear.

A well measured run for home, vocal and vibrant was again so well done and left a joyful spring in the step.

Star Player: Brave to perc trio who added colour, texture and rhythmic rigor.

Iwan Fox

Section 2:

12. Tilbury (Melvin White)

A tip of the tifter to the MD here — with a splendidly considered take on the score that bubbled with an energy that was rich and oily in tonal substance built on a fine tuba foundation.

Some of the finer inner detail was masked a little in clarity and there were some obvious unforced errors, but it was good to hear the little ebbs and flows added to the stylistic nuance in each variant — with solo lines making their mark and troms adding a baroque clarity.

Bravo in the Iberian processional, just making things tick along, and the contrast that came with the hymnal was well observed. Just that slightly edgy intonation at times grated, but it was all Lutheran Sound of Music — joyful and uplifting all the way to the close.

Star Player: Going for the trio of troms — very nicely played

11. Skelmersdale Prize (Benjamin Coulson)

An impressively structured account from the 2022 Third Section National Champion and further evidence of their solid incremental progress under their talented MD.

Lots to engage with — and the minor inconsistencies didn't overtly detract from the stylish intent. The MD knew the dynamic and tempo limitations of his band and only at the end did he let the leash go slack.

Before then there was verve mixed with well observed lyricism. Not everything quite came off with some errant intonation, but what splendid soloists — with the solo cornet the high class pick.

The contrast in the processional and the hymnal was marked but not overdone, which allowed the scope for a fine, rousing climax to a performance of note.

Star Player: Solo cornet — lovely solo playing and section leadership

Iwan Fox

Section 2:

10. Abertillery Town (Stephen Sykes)

Lots of enjoyable drama to go with the unevenness in this performance from the second Welsh contender — and one that kept you thoroughly engaged despite the obvious fragilities.

The MD never went off script but just just gave the listener something a little different in his shaping and styling of the variant parts that tagged you along in his musical slipstream. Solidly played solo lines were backed by a vibrant sounding ensemble.

The Iberian detour was chinked and chugged along with a sleepy elegance, before the more serious hymnal intent — all Lutheran minor keys and penitence. The final stretch was nicely paced and matured in intensity to the final passionate choral call of triumph.

Star Player: Euph had an fine day — a rich voice of lyrical substance

9. Usk (Jamie Jones)

A well managed account that certainly captured the variant styles of the score, but perhaps just lacked that extra edge of inner detail and clarity to really colour it richly enough.

Nicely judged in pacing and tempo by the MD, it was also well maintained within boundaries of dynamic and tempo and aided by some fine individual contributions. The more exposed writing just saw intonation waver, but the warm tonality had a richness to it.

The little Iberian detour worked well, as did the final hymnal stretch, building in intensity and passion to the throaty triumphal close.

Star Player: Another sweet sounding sop that added a touch of edge and sparkle just when required.

Iwan Fox

Section 2:

8. Durham Miners' Association (Stuart Gray)

Lots to be engaged with throughout from the North of England contender — again, thanks to an MD who searched between the obvious score lines to reveal character details and style.

Not everything was secure in terms of intonation and some technical things didn't come off, but confident soloists played with a real touch of elan.

The Iberian detour was a delight — like a snapshot village scene from a Sergio Leone spaghetti western, leading into a tender hymnal played with care and appreciation. Well judged too despite the little scratches to a rousing old close.

Star Player: Solo horn — led the way and was always a great focal solo and ensemble point of reference.

7. Diggle (Sean Conway)

Such a controlled exploration of both the major detours and minor alleyways of the score from the MD and his band — always controlled but with a vibrancy that was never lost.

Fine solo leads played with both bravura and tenderness — from opening horn to cornet and standing euph. Nothing overdone or made artificial either — all within well defined confines, dynamic and tempo, to allow the style of the variants to shine.

Just lost its balance in the final stages, but that was down to youthful enthusiasm more than anything else. The triumphant last stanza was the stuff to get even crotchety old Lutherans standing on their pews.

Star Player: Solo cornet was a class act

Iwan Fox

Section 2:

6. Gosport Solent (Phillip Littlemore)

Another MD who used their experience to capture the stylistic nuances of the cleverly conceived music — both marked and more opaque.. Not everything came off in some solo and ensemble lines, but those little nods to Tallis, Bach, Waespi and Albinez even gave an extra level of informed interest.

Lovely contrast with the Iberian processional and the Lutheran hymnal that built in zeal and joyfulness to such a purposeful, boldly treaded climax.

Star Player: Euphonium sung with such lyrical intent.

5. St Austell Town (Steve Sykes)

A very well considered take on the score by the experienced MD, and one that was rewarded by a compact performance from his band in return.

Nuance and subtlety to go with the boldness and bravura — from the series of fine soloists to the warmly textured ensemble and excellent young perc team.

At times the cohesion and balance was momentarily lost and there were a few minor blips and muddy inner detail, but the way in which the music was allowed to flow in its variant styles and was never forced in tempo or dynamic until the triumphal end was marked and hopefully noted in the box.

Star Player: Sweet soprano sounds permeated as well as topped things from start to finish.

Iwan Fox