Set Work: Catharsis (Kjetil Djonne) Adjudicators: Set Work: Chris King, Ingunn Korsgard Hagen, Sverre Olsrud Own Choice: Anne Crookston, Halldis Ronning, Tom Davoren
Solo Prize: Euphonium of Frei Hornmusikk Section Prize: Tubas of Skeie Brass
Saturday 8, 22:05:40
Gala Concert and results...
The traditional Gala Concert is going on this evening at the moment with the results expected around 10.30pm (local time). We will bring them to you as soon as we have them.
Iwan Fox
Saturday 8, 20:44:12
Round up and opinion
Its been a fascinating day of own-choice excellence — and that is the right word to describe it.
At the top end the playing was exceptional — led for both Chris and Iwan by Eikanger. Chris then goes for Manger, Stavanger, Ila, Bjorsvik Brass, Oslofjord and dark horse of Tertnes.
The 4BR Editor has Eikanger followed by Manger, Stavanger, Oslofjord, Tertnes, Oslo and Ila as th dark horse.
Chris Thomas top-six own choice 1. Eikanger 2. Manger 3. Stavanger 4. Ila 5. Bjorsvik 6. Oslofjord
Iwan Fox top-six own choice 1. Eikanger 2. Manger 3. Stavanger 4. Oslofjord 5. Tertnes 6. Oslo
Overall winners?
We've checked back and tried to do work out the results and have agreed it may well be Manger's title thanks to their brilliance on the set-work, ahead of Eikanger and Stavanger with Oslofjord fourth, Tertnes fifth and Oslo sixth.
'A Gabrieli Fantasy' is an extended exploration of an original octet composition 'Canzon in Diouble Ech a 12' written in 1608 by Italian composer Giovani Gabrieli. Belgian composer Bert Appermont has taken this and developed it through the spatial use of five linked elements based on a triple chorus (group) band structure.
He adds that the three groups are both separate and co-joined ' the central group positioned sufficiently back as to act as a musical echo to the ensembles spaciously flanking each side.
Different kinds of triple chorus devices are used ' from letting the triptych play in different sections in quick succession, to echoes of melodies, motifs and cell chords, extended, distorted, expanded or simply adapted in various contrapuntal or canonic variants.
Part 1 ('Canzon') is formed from the original melody but adapted quickly into the virtuosic passages, choral and tutti themes of a 'Toccata'.
The 'Chorale' that follows creates dissonant mystery based on four tones of the original Canzon whilst a 'Scherzo' adapts the thematic cell but in a completely new identity ' including a sarcastic canon between the three groups.
The finale returns the music to its glorious theme ' hammering motifs and virtuosic scalic passages adding to the ornate colourings of neo-baroque inspiration. The prestissimo ending adds all the elements together for a glorious climax.
Iwan Fox
What a beautifully delivered opening from Manger. So stylish and nuanced to absolute perfection. And faultless in its execution.
This is such classy playing…one can sense the opportunity that is there within the band's grasp…but only if it delivers. The opening movement fades away and the ghostly echoes that follow, the muted reverberations of the opening bars, are so effective.
What a glorious flugel solo…delivered with such grace and elegance from the side of the stage. Euphonium follows and this is casting a spell, it's so wonderfully musical in its sense of expression and delivery with solo cornet adding to the magic.
The cartoon, Tom and Jerry like section that changes the mood is played out in frenetic fashion, the snatches of theme flung back and forth between the still antiphonally seated cornets to terrific effect.
The final transformation of the opening Gabrielli is turbocharged…an ending of driving, unbridled energy and excitement that sends the audience into paroxysms of applause and cheering.
Christopher Thomas
Editor's view
A gauntlet thrown down by Eikanger was immediately picked up and flung back in the face of their rivals with such finesse by Manger.
The opening 'Canzon' dripped with so much elegant style — the lead from the principal cornet setting the tone and style combined. It was razor sharp in clarity too — all around the stands.
The central section was a passion play between soloists — led by the flugel and then taken on by cornet, euph and horn. Some little moments of unease, but the climax was shuddering and prolonged — you needed a post coitus fag and a kip to recover.
The finale was deliberately a 'scherzo absurda' — waspishly frenetic and tailored. Got a little messy and wayward at times in lead lines and ensemble, but the energy had Gabrieli running around like Usain Bolt in baroque lycra.
Honking stuff to close — the pace hitting the red zone before the explosive climax rounded it all off.
Iwan Fox
Saturday 8, 19:17:29
Elite Division:
9. Eikanger-Bjorsvik Musikklag (Florent Didier)
***** Concerto No.10 for Brass Band and Ondes Martenot (Ludovic Neurohr)
The stars of Ludovic Neurohr's work signify the five linked movements that deliberately set out his free-thinking emotions ' aided by the ethereal presence of the sound of the ondes martenot.
There is no mathematical structuring of the music, no traditionally balanced harmonies or specific orchestration ' it is a musical alchemy of thought and freedom to create, projected onto a blank 18-minute canvas.
The work is subtitled, 'No word to give emotion' for a singular reason.
Each star represents a section of this liberal approach ' the first a prelude that bubbles like magma from a volcano, followed by the second, 'Immersion', which deliberately sets out to provide a 'bewitching nectar' to get under the skin of the listener.
The third, 'Sharing' connects the preceding sections through a transmitted approach led by a lyrical soprano that soon possesses 'bright and sparkling' intensity.
The fourth evokes a sense of heavenly reflection ' led by the sound of the ondes martenot ' elegant, restrained and finessed to a point that lingers above the band ' pulsating from the heart but connecting with the mind.
It leads to the finale ' a culmination of ideas and ideals ' exciting, tingling and intense ' the last play of shared moments of a kaleidoscope of emotions, real, perceived, raw, tender or simply imagined.
Iwan Fox
It could possibly be that only Ludovic Neurohr could open a piece with a chorale on unaccompanied basses but that is the evocative start of his typically enigmatic Concerto No. 10 and it allows Eikanger to conjure with something that is musically so very different yet utterly compelling.
The Ondes Martenot might be in recorded form rather than a physical specimen as such, but it is not the sound of the invading instrument that is arresting here. it is the laser like precision of the band's ensemble with the front row cornets in particular demonstrating remarkable unanimity through what is a manically active opening movement. The levels of detail and precision are often breathtaking.
The sense of calm that provides during the opening of the second movement comes as a glowing moment of repose and when the ondes martinot is used, as it is so effectively in alliance with bowed vibraphone, it is used sparingly adding a unique colour rather than dominating the musical picture.
There are moments of luminous, aching beauty as the slow movement reaches its emotional climax with Florent Didier drawing a huge sound from the band ahead of a magical pairing back to muted cornet and horns.
With the ondes martot adding to the colours, it's an eerie yet strangely touching moment that prefaces the build to a final climax of shattering intensity.
Christopher Thomas
Editor's view
Although the Ondes Martenot is in the title, it really isn't the centre of the musical attention throughout — even if the first sound of it is an eerie reminder of its spooky sci-fi qualities.
You couldn't help wonder if Dr Spock was going to appear to live long and prosper after the fine tuba section opening.
It was however 'played' on a computer (the score says it can) although what emotion that brings to the music was therefore more debatable. An AI love interest perhaps?
The five sections were so well linked by the MD as emotive portraits — the first a bubbling magma of virtuosity, the second an immersion in colder waters, the disembodied martenot voice an ethereal colouring.
Top class solo voices and multi layered ensemble built on those stentorian tubas drove the music forward in huge waves of sound and contrasting delicacy. Moments of unease were heard but didn't detract.
The final section was a wasp attack of stinging brilliant — a runabout of controlled freneticism, almost cartoonish with old OM back for one old high pitched whine.
That it wasn't, was down to the MD just about keeping the roof from blowing off.
Iwan Fox
Saturday 8, 18:53:32
Elite Division:
8. Brottum Brass (David Morton)
Music of the Spheres (Philip Sparke)
'Music of the Spheres' was written late 2003/early 2004 and reflects the composer's fascination with the origins of the universe and deep space.
The title comes from a theory, formulated by Pythagoras, that the cosmos is ruled by the same laws that govern the ratios of note frequencies of the musical scale — 'Harmonia' in Ancient Greek, which means scale or tuning as Greek music was monophonic.
He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody. These six notes form the basis of the sections 'Music of the Spheres' and 'Harmonia'.
It opens with a horn solo 't = 0'; a name given by some scientists to the moment of the Big Bang, when time and space were created. It is followed by its depiction, as the universe bursts from a single point of origin.
'The Lonely Planet' is a meditation on the unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, as well as the search for other civilisations, whilst 'Asteroids' and 'Shooting Stars' depicts both the benign and dangerous objects flying through space.
The work ends with 'The Unknown' — leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.
Iwan Fox
Solo horn sets a haunting, lunar scene for Brottum. What a fine opening to this third Philip Sparke score of the contest.
There's a vein of confidence that runs through the detail and propulsion of what follows with the MD diligent in ensuring that the volume is never allowed to escalate to the point that detail is obscured…an easy route to take for the unwary.
The slow movement is not without slips under exposed pressure but this also emanates a warmth that informs everything that the band does…not everything goes according to plan but what communicates itself abundantly is the preparation and musicality of interpretation that underpins what is a vivid musical picture.
The latent energy of the opening movement returns and this again has so much drive, momentum and unbridled excitement…ensemble is occasionally untidy and it possibly tires a little towards the end of what has been a huge effort from the band but there was so much to admire in this.
Christopher Thomas
Editor's view
A tour de force own-choice even today — and one that still has enough teeth in its heavenly bodies to catch the unwary a nasty bite.
There were a few chunks taken in places here, but the approach from the MD and his band ensured that they were not overtly critical — the character of the music maintained through well observed dynamics, tempi and balances.
Once again the MD drew what was important from the score,leaving the non-essential elements to provide ballast and texture — the final chorale a case in point. It flowed with a lovely richness of tonality, the little spikes of stardust left to twinkle in the skies.
The final touchdown home was a little fire and brimstone, leaving a scorch mark or two, but it was a roller coaster ride to the stars and back that would have left even Elon Musk breathless.
Iwan Fox
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Saturday 8, 18:21:16
Elite Division:
7. Kleppe Musikklag (Tormod Flaten)
A Brussels Requiem (Bert Appermont)
The shocking terrorist attacks that occurred in Brussels in 2016 shocked the world, with similar outrages in Paris, Nice and Berlin leading to an increase of fear and misunderstanding.
People began asking questions of how cultures that spoke openly of tolerance and peace had apparently grown so far apart that they could no longer understand each other.
Bert Appermont's composition is a personal tribute to the victims of the attacks ' although it does not seek to describe what happened in Brussels in narrative form. Instead, it sets out to reflect on the experience and to express the complex emotions triggered by the terrible events.
The four movements are linked by the underlying children's song 'Au Claire de la Lune', which in the first movement is used as a cipher for the loss of innocence. It then moves through a militaristic second section of brutal disturbance as hell descends, before a minor coloured chorale leads into a paean of grief and pain.
However, the work closes in hopefulness; a search for meaning, optimism and even childlike fun as the nursery tune is recalled before a fierce, passionate climax.
Iwan Fox
The exposed opening takes time to settle and a couple of early slips might have unsettled the band, yet to its credit the detail and precision of what follows impresses, with the band finding its feet in the rhythmically driven momentum that propels the performance onward, the underlying ominous tones evident throughout.
Once again, there are a couple of uncomfortable moments between the two offstage cornets but the players keep smiling and there is heartfelt pathos and emotion in the climactic moments of the slow movement as the heart and soul of the players is clearly poured into what remains of the performance.
There is some terrific playing in the final movement.
Great work from trombones and cornets and what a credit it is to the band after a terrific showing yesterday, that they have kept their heads high and given everything they have when things have not all worked out in their favour. Bravo for a showing of real commitment.
Christopher Thomas
Editor's view
A performance of huge youthful endeavour and energy that brought great character and pathos to the musical subject matter.
It did come with nerves and slips, but these didn't chip away to damage the vital emotional core of the music. At times there was an acidic malevolence to the playing — drawing the feelings of fear and anxiety, and then sheer terror from under the surface.
Soprano was quite stunning throughout adding a knife edge of quality to the ensemble, but elsewhere his young colleagues were not far behind — from cornet to tubas and super perc.
MD kept the music from veering into misplaced meaningless technicolour frenetic overplay or over indulgence in the emotion too — a fine line expertly trodden.
The thrilling optimism of the finale heralded a cracking close and further evidence of a young band with huge talent and such an exciting future ahead of itself.
Iwan Fox
Saturday 8, 17:34:40
Elite Division:
6. Stavanger Brass Band (Ivan Meylemans)
So Spoke Albion (Gavin Higgins)
Gavin Higgins' composition is inspired by aspects of the life of the artist, poet, illustrator, painter and engraver William Blake (1757-1827) ' destined to become a seminal figure of British cultural life, although not in his lifetime.
An enigmatic man of deep complexities and radicalism, he championed beliefs thought to be completely alien to the restrictions of his time; a Christian who attacked organised religion, a mystic who would see 'visions' of Angels and a writer of some of the most powerful allegorical themes.
The composers evokes these in three linked sections: The first, 'Angels on Peckham Rye' a disturbing, fearfully dislocated and anxious vision of heavenly bodies he saw in a tree ' their 'bright angelic wings bespangling every bough like stars'.
The second section 'Catherine' is a lyrical evocation of his wife; tender, loving, unquestioningly loyal and supportive ' a woman that was one half of one of the 'most poignant relationships in literary history'.
The finale section 'Albion Rose' evokes Blake's vision of England ' a giant of a man, 'stretching out naked but open to the world', optimistic in its political awakening, inclusivity and positivity.
Iwan Fox
A highly impressive opening from Stavanger. Taut, incisive playing that allows every detail to emerge through the textures, the many telling shifts of dynamic and subtle nuances of shade being played out as the dramatic elements of the music unfold.
The solos that pave the way for the slow central movement from soprano, euphonium and horn do show the finest of fault lines here and there, with the odd note not quite speaking but the glowing luminosity of the textures and colours that bloom in the passages that follow make a powerfully emotional impression.
How beguiling, how haunting this music is…and how it can be sensed that the players are feeling every note as they lavish care and sensitivity on every phrase and bar.
There is so much detail beneath the surface as euphoniums and baritones and their running figurations are heard with pristine clarity.
There are huge contrasts of dynamic but it's the emotional range and breadth that really hits home, the concluding bars shining forth like a radiant peaen of praise.
This has been a wonderful reading from Stavanger albeit not faultless…but the might of Eikanger and Manger is still to come.
Christopher Thomas
Editor's view
Really wonderful to hear this superb work for the medium again — and delivered so well in a reading of great insight and rich musicality by the MD.
Huge contrasts in style and mood — the opening spikey, disturbing and imploring, energised in its troubled intent and character.
The central section is rare beauty — sublime textures drawn deep from the soul. The third is a sheer overwhelming piece of optimistic virtuosity.
Each was so well captured by the MD and his band. There were clips and slips, but they didn't really tarnish the musical cohesion and intent.
So much to be drawn into and to enjoy — that central section in particular raising the hairs on the back of the neck.
Albion revived and raised in spirit and glory here — a little bit like the UK today with its free problems, but still retaining its artistic vision of its place in the world thanks to the composer.
Iwan Fox
Saturday 8, 16:49:37
Elite Division:
5. Ila Brass Band (Stig Maersk)
Waiting for a Pain Hit!??!!? (Paul McGhee)
Written as an entry in the 2006/07 Swiss Brass Band Association Composers Competition, the work was later chosen as the set-work for the Championship Section set test piece for the 2010 Swiss National Brass Band Championships.
The piece originates from Brass Quintet written whilst the composer was a student and explores the multitude of textures available to a large brass ensemble.
The work grows organically with no pre-conceived narrative or structure, the composer creating both a with a seamless, ethereal quality as well as hugely demanding technical challenges. Much is left to the conductor ' there is no performance direction either; the aim to create new versions of the work with each performance.
McGhee does offer direction however ' although through relatable metronome markings 'boxed' to link sections of the work
The title is also an abstraction ' meaningful to composer in a very personal way, but also to the performers. The essence through is the freedom to choose, to express and own the identity of the music according to the time, place, nature and immediate feelings of the performers
As McGhee says: 'I just like the rhythms, the pulse and the imagery. Hopefully, all of this can help to create a picture. But let it be your picture''
Iwan Fox
Paul McGhee's 'Waiting for a Pain Hit!?!?' receives a rare and welcome revival from Ila Brass.
This is a work we haven't heard for some time but a reminder that Paul McGhee's creative talents have been badly neglected in recent years. The opening is an austere yet powerfully enunciated landscape of controlled dissonance, the 'hits' of which makes a hugely powerful impact.
Massive dynamic contrasts abound as figures and motifs are thrust out of the textures. What is immediately clear is that Stig Maersk and his band are committed musical protagonists in this bold choice of piece, the commitment of the players to the score always evident throughout.
Yet there are also moments of beauty within, the delicately shifting shades and colours of the quieter passages being subtly coloured as the band draws every effect from what is a painstakingly notated score.
The violent interjections over the quasi chorale heard on the trombones late in the piece are reminiscent of Birtwistle's Grimethorpe Aria, the 'hits' coming shorter but harder as the textures thin and the final hit shatters in its intensity.
This has been a powerful reading of a bleak yet immensely rewarding work.
Christopher Thomas
Editor's view
Well now — that was a pain hit well worth the wait from the last time we heard it live.
Critics may think it's music that is like being hit on the head with a shovel — it leaves an awfully bad impression on the mind — but they are so wrong. There was a real touch of the Harry Birtwistle's about this.
Takes some understanding to really get under the skin of its complexities, but it doesn't leave you befuddled or alienated — it has a sparkling clarity of purpose.
It was also fully understood by the MD and his band, who inhabited every bar with a bold sense of endeavour in its uncompromising language.
The flow was never lost — both dark and exploring as well as light and lingering — brutal and beautiful in equal measure. The audience was certainly drawn deeper into its core.
Some may have needed a paracetamol but there was little doubt it was music that stayed in the temporal lobes for quite some time.
Bravo MD for this — a fine piece given a very fine performance.
Iwan Fox
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Saturday 8, 16:26:40
Elite Division:
4. Bjorsvik Brass (Andreas Hanson)
Partita (Philip Sparke)
Commissioned by the Eikanger Bjorsvik Band in 1988 in celebration of their historic European Championships victory, 'Partita' takes its inspiration from both the 17th century single instrument form, and the 19th century ensemble 'suites' for different instruments formulated by J.S Bach.
Sparke ingeniously combines both throughout the three-movement work ' the opening a mini concerto showcase for each instrument group built on a bubbling ground bass foundation.
It is a relentless bravura piece of exhibitionism ' worthy of European champions. It ends with a neat barley twist snapped off with precision.
The central section is drawn around a yearning cornet solo, dark and melancholic in feel. It builds with a deep sense of nobility and stature to a glorious chorale of thanksgiving, before ebbing away in duet harmony to a tender close accompanied by heartbeat timpani.
The closing Vivo revives the spirits with sheer pizzazz ' rattling articulation and crisp edged playing driving the narrative forward.
It is music of jubilance and joy, once again allowing the sections to shine in the spotlight before the start of an inexorable built of momentum towards a glorious chorale climax.
Iwan Fox
The toccata like moto perpetuo that opens Philip Sparke's effervescent Partita takes wing as Bjorsvik Brass trip through the opening movement in fleet footed yet elegant style, with Andreas Hanson beaming at the band and exuding his very own brand of directorial elegance.
The all female trombone section is a joy to hear; incisive and yet with an agility and lightness of touch that sits so well with the mood of the music. Brilliant stuff.
Lovely solo cornet to open the slow movement and this simply glows.
What a joy it is to hear Philip Sparke's music at its very best and played with such empathy and glowing affection…and full credit to the band for choosing an own choice work that whilst making serious demands on the players, takes us away from the technical powerhouses that inform the choices of so many bands.
There's a radiant sense of the sublime that informs every moment of this heartfelt central movement with soloists all adding eloquent contributions.
The opening of the finale is not without one or two little blemishes on the veneer but the dance like energy never loses its sparkle and trips along with a momentum that is ceaseless…but most of all a sense of joy that pervades to the every end.
Christopher Thomas
Editor's view
Like an old rock band rolling back the years with a gig of their 'greatest hits', we get a super retro performance of a touch of classic Sparke.
So much to enjoy with this — as lean and cultured as the MD's stylish conducting and demeanour, and played with a great sense of understanding by the players.
All the main soloists enjoyed their moment in the spotlight — as did the troms in trio mode like a Bergen version of the Nolan sisters. Fab.
The central section was wonderfully musical — shaped with the loving care you see when grandparents take turns to cuddle a new born baby.
The finale was a sprightly jig, uplifting despite the odd momentary trip in places. The pacing was so cultured — with enough in the tank to flick through the old manual musical gears to close.
A bit like rolling out the mid life crisis sports car for a bash around the lanes — but what fun and how good to hear musicality not based on needless excess.
February 10 • Linthwaite are a friendly 4th section band looking forward to the Yorkshire area contest in March, following on from that we will have a vacancy for a 2nd cornet. We also have various contests and engagements coming up through the year to keep us busy.
February 7 • Our COMMUNITY BAND meets on a Monday morning and we welcome any players who would like an extra blow.. players of all abilities welcome and we do not expect you to alter your allegiance to your band.. just a fun blow with cake and coffee.
February 5 • Wantage Band (championship section) has a vacancy for TOP 2ND CORNET. This would suit a player with experience in a championship/first section band. Rehearsals take place every Sun 7:30pm and Wed 8pm in Wantage with highly experienced MD Chris King.
