What a bold, bravura premiere performance from Neunkirch of a work that is once heck of a severe test of musicality and Shakespearean character from Philip Wilby.
So much to consider from the players and the MD here — the solos virtuoso but not merely acrobatic, the ensemble work, detailed, layered and textured. They really gave it their all in delivery — especially the soloists (the trombone as the donkey, 'Bottom' was inspired) and percussion who added so well to the atmosphere.
Not all the detail came through at times, but that character did — all the way to a triumphant close.
What type of marker this was we will have to wait and see...
A much more spotlit rendition — like a stage play with the focus on the lead characters right from the beginning with the euph.
The boldness had finesse though, plenty of it, even if it was starkly defined at times. The perc added so much, sometimes a little too much, but it also created the backdrop also for others to shine.
What fine soloists — the tender flugel, a comedic trom as 'Bottom' etc as the mechanicals of the plot, but the shaping of the scenes in the central section by the MD was the notable feature.
All the elements were on show here — themes of mystery, love, identity, comedy and passion all brought so confidently to bear, all the way to the curtain call of Wilby fugue built triumph.
High quality playing and delivery in a thrillingly derived account.
Iwan Fox
1. Brass Band Harmonie Neuenkirch (Manuel Imhof) Together with the Brass Band Harmonie Neuenkirch, we enter the Forest of Arden for the first time. After a mysterious moonlit start, we plunge into the darkness of night, where there is much to discover. The trombones flash repeatedly, like the eyes of a forest animal when a flashlight shines on them. Maestro Imhof skillfully guides the flashlight, illuminating each section at precisely the right moment.
The entrance of the merry craftsmen is effectively performed, and Bottom's transformation is dramatically heralded. The trombone soloist plays the fool at the edge of the stage, and then the lovers' sweet melody is passed on by the other soloists.
We reach the end of this highly musical work with a spring in our step. A fantastic opening!
2. Brass Band Emmental (Jan Muller) A magical start from the defending champions. A wonderful euphonium solo that blends seamlessly with the sounds of the tuba section. Excellent use of the solo horn, which transports us into the night.
The percussion is occasionally a bit loud, but the acoustics of the hall carry its sounds incredibly well. The band gives it their all in fortefortissimo, which in turn is very well utilized by the large volume of the hall.
The fourth scene opens with an incredibly mellow flugelhorn playing with absolute serenity. Wow! The soloist is interrupted by a rather stubborn donkey, who brilliantly brings out the effects.
A magnificent soliloquy by the euphonium ends the sixth scene, and Jan Müller builds tension once more in the transition. The last two scenes, as the composer intended, are driven forward with increasing excitement.
The tireless soprano cornetist shines above the broad band sound, and the band is rightly rewarded with enthusiastic applause.
Adjudicators: Magnus Brandseth, Frode Rydland, Andrew Duncan Set Work: Arden Forest (Philip Wilby) Start: 12.15pm
1. Brass Band Harmonie Neunkirch (Manuel Imhof) 2. Brass Band Emmental (Jan Muller) 3. Ensemble de cuivres Euphonia (Glenn Van Looy) 4. Brass Band Rickenbach (Florian Lang) 5. Brass Band Eglisau (Andreas Buri) 6. Brass Band Cazis (Robin Bartholini) 7. Graubunden Brass (Gian Stecher) 8. Regional Brass Band Bern (Philippe Bach) 9. BML Talents (Patrick Ottiger) 10. mgrr Brass Band (Roman Caprez)
Arden Forest (Philip Wilby)
Philip Wilby's latest work takes inspiration from Shakespeare's 'A Midsummer Night's Dream'. Written around 1595, and based in the Arden Forest, it remains one of his most admired masterpieces, portraying the bustling intrigues of characters from both the aristocracy and the common people, the intersecting fates of four young lovers, and the intrusion of fairy creatures beloved in British folklore.
Through the subtle intertwining of spells and supernatural interventions, Wilby follows the Shakespearean narrative in weaving an eight part episodic story where the main and secondary plots interlock with finesse and whimsy. The height of the comedy is reached when Bottom, the weaver, is transformed into a donkey and attracts the love of the fairy queen.
All the action takes place under the moonlight of the mysterious Arden Forest until the first rays of dawn announce a ducal wedding, concluding with Shakespeare's final lines:
"If these shadows have offended, think but this, and all is mended: that you have but slumbered here while these visions did appear."
Iwan Fox
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Saturday 29, 11:46:47
Third Section opinions
First and foremost — what a super piece written by Simon Dobson. 'Thought Gap' is accessible yet challenging with its inventiveness — clever but thoughtful too with the clarity of the writing.
All five MDs caught its essence that balanced darkness, tenderness and joyfulness without going overboard with hubristic tendencies in any element (as the composer gave a warning sign to).
Hope to hear it again soon.
As for a winner?
The Welsh/Swiss press corps are a little divided but not on a potential winner.
The 4BR Editor goes for: 1. Ensemble de Cuivres Jurassien B (Florian Lab 2. Brass Band Gurbetal (Joram Bots) 3. MG Ufhusen (Sandro Frautschi)
The BRASS BAND NEWS Editor goes for: 1. Ensemble de Cuivres Jurassien B (Florian Lab) 2. Brass Band Zurich (Werner Kubli) 3. Brass Band Gurbetal (Joram Bots)
Saturday 29, 11:35:05
Third Section:
5. MG Ufhusen (Sandro Frautschi)
What has been a cracking start to these 50th anniversary championships is rounded off with the fifth high quality performance of Simon Dobson's ever inventive test-piece, 'Thought Gap'.
And another enjoyable and insightful take it it is too of the score from the MD — allowing the music time and breadth to speak clearly even in its most condensed moments.
A fine, darkly edge opening created atmosphere and pulse, whilst the central section had a lovely, tender flow aide once again by quality lead lines and a sense of peacefulness. Could have just had a bit more of a relaxed sigh to close though. Seemed a bit short of breath!
The finale has such a fine sense of growing adventure without going overboard. The little sprint at the coda was so nicely done to round a high class show of what was a high class contest.
Iwan Fox
5: MG Ufhusen (Sandro Frautschi) The last band in this category is up and opens their performance with crystal-clear clarity. They let the piece flow effortlessly, allowing us to enjoy the final version of Thought Gap.
They manage to convey the work's high entertainment value and skillfully shape the various sections.
3. Brass Band Zurich (Werner Kubli) 4. Ensemble de Cuivres Jurassien B (Florian Lab)
It is already evident that the standard at this level is good as another brace of bands give performances of stylish substance and understanding.
Zurich are lighter in touch and approach right from the beginning, but soon show they can darken the ensemble sound without losing clarity and atmosphere.
The central section is played with a tender touch too — noticeably by fine solo leads and a cultured ensemble balance. The music sits well with its smooth texturing.
The finale is bubbly and bright — just building nicely to a bold climax without falling foul to hubris as the composer highlighted.
Jurassien B has such a fine sound — built like a pyramid from a big, but not robust tuba section.
The opening therefore has that dark Gothic feel before it moves and fizzes. whilst the central section is played with a lighter texture and contrast. Again, lots to admire with the solo lines and the sense of release when it comes with the exhalation of breath really does capture the moment.
A great finish — drawing in energy and just the right pinch of drama closes things off with a real flourish. Bravo.
Iwan Fox
3. Brass Band Zurich (Werner Kubli) The Zurich musicians choose slightly slower tempos than the previous bands, fully exploring the composer's various moods.
They heighten the drama, making the powerful emotions palpable. The tutti passages shine with a brilliant sound.
No. 4: Ensemble de Cuivres Jurassien B (Florian Lab) The young musicians from the canton of Jura show absolutely no shyness and launch into their performance with a bang.
The principal cornet player's pink unicorn mascot proves its worth, successfully guiding the band through Dobson's world of thought. Superb soloists and a spirited trombone section round off the compelling performance.
1. Brass Band Gurbetal (Joram Bots) 2. MG Brass Band Lengnau (Markus Hauenstein)
A fine premiere performance from Brass Band Gurbetal led with neat authority by the MD has certainly laid an impressive marker for rivals to beat.
A darkly atmospheric opening led to a nicely quirky opening section, followed by a confident, lyrical central element of peaceful lucid reflection with fine solo lines — and breathy control.
The finale flowed and fizzed, but always in control. Impressive that.
MG Brass Band Lengnau followed with a fine take on the score by their MD — broad and spacious.
Again, lots to enjoy with the detailing in the opening, dark but not acidic, that led into a nicely portrayed central section that flowed with tenderness aided by confident solo leads and super relaxed breath to close.
The finale was controlled in endeavour, playful and joyful as it got up a nice head of steam for a super finish.
Iwan Fox
1. Brass Band Gurbetal (Joram Bots) The defending champions from the Gurbetal region opened the 50th Swiss Brass Band Competition and under the direction of Joram Bots, seized the opportunity to impress the jury. They projected wonderful sounds into the vast Salle Blanche.
The piece began dramatically, and the musicians skilfully brought out the dynamic effects — they mastered it superbly. The second movement ended with an organized cacophony in the cornets and the audible, collective breathing of the rest of the band. What a fantastic effect!
In a thrilling finale, they asserted their claim to another top spot.
2. MG Brass Band Lengnau (Markus Hauenstein) The Lengnau musicians were the second to tackle the Thought Gap challenge.
As the piece progressed, they found their way into it more and more.
The comic-like effects in the second movement worked very well.
The third movement was performed with great verve, and the ending was rousing, full of energy and a powerful sound.
Simon Dobson has given us a cracking work here full of invention and emerging clarity.
Each of the sections captures the mood of the thought processes — even to the point of a satisfied exhalation of air in peaceful satisfaction.
It has its complexities for even Swiss bands at this level, but the writing has such defined clearness to it — even in the dark gothic sounding layers of the opening before it explodes into busy life.
The central section has a lucid peacefulness — sparsely written, the emptiness adding to the atmosphere drawn to that final breath of ease.
The finale is a joyful romp of vitality — again, not over complex, but increasing in drive, smooth pulse and fervour with a wonderful light touch.
Saturday 29, 10:00:11
Draw: Third Section:
Adjudicators: Margie Antrobus, Chris King, Mathias Wehr
Set Work: Thought Gap (Simon Dobson)
1. Brass Band Gurbetal (Joram Bots) 2. MG Brass Band Lengnau (Markus Hauenstein) 3. Brass Band Zurich (Werner Kubli) 4. Ensemble de Cuivres Jurassien B (Florian Lab) 5. MG Ufhusen (Sandro Frautschi)
Thought Gap (Simon Dobson)
The composer states that his work is the result of creative flow and letting go.
One night he said he sat at the piano and just played. Within five minutes, three figures arrived, as if from nowhere. Rather than overthink the compositional or technical process that led to these figures, or developing them further, he accepted them as they were.
The three movements have titles that describe the different states of mindfullness and meditative thinking that allowed them to come into being.
1. DARK: Gothic in its sound world, almost classical at times.
2. LUCID: Peaceful and serene. After a simple fragment is repeatedly passed around the band, suddenly it starts to wander and intrusive thoughts are heard resulting in a more dissonant harmony and chaotic rhythm. It ends with a return to serenity.
3. LIGHT: The movement starts from a simple, almost minimalist figure, which is heard as an ostinato accompanying the melody above it. It then goes on to show how hubris can take control if care isn't taken to build to an accomplished finish.
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Saturday 29, 09:38:43
Welcome to the KKL
The contest action at the 50th Swiss National Championships start at 10.30am, with the judges for the Third Section going to their places behind a huge screen on the third tier of this wonderful hall.
We have already had a very warm welcome from the organisers who have ensured that we have a great spot to enjoy the action on the same third tier level.
As soon as we get the draw we will publish the details.
November 27 • BACK ROW CORNET. Hathersage Brass Band is a thriving, non-contesting community band. We enjoy our music making, play a wide variety of music and have a good gig schedule. Are you the right person to join our happy band?
November 27 • 4th section national finalists Wantage Academy are looking for a Bb bass and 2nd cornet to complete their team. A friendly, welcoming band who rehearse Wed 7-8:30pm and Sat 10am-12 under MD Gavin Clemons.
November 25 • 2nd or 3rd cornet required to boost our back row. We are a non contesting band, but carry out numerous events across North Yorkshire. We will be doing a joint concert with Carlton Main next year.
