8. EverReady (David Morton)

EverReady makes a long awaited return to the British Open after over a decade languishing in Blackpool and the band delivers a bold and effective opening, followed by a cadenza that doesn’t quite hit the mark… not the first today to do so as cornet and euphonium fail to meet unanimously at its peak.

There are a handful of noticeable splashes in the Vivace and for all its intent, the faster music lacks a real sense of cohesion in its ensemble and rhythmic and textural accuracy.

An early entry offsets the opening of the off stage section, possibly not helped by the fact that the players are at the edge of the stage but with their backs to the conductor. It recovers and what follows is a creditable account of cadenza three by the euphoniums.

The Allegro Pesante is not always united in its accuracy of ensemble around the band and we don’t hear the grim, dark malice that underpins the music here.

There are moments of tenderness in the Adagio that are touching but the close is tired sounding and despite the band throwing everything at its performance, this has been a tough baptism back into the realm of British Open for Ever Ready.

Christopher Thomas

Technical accuracy: 14
Rhythmic precision and clarity: 16
Control of full dynamic range: 17
Ensemble precision: 16
Tuning/intonation: 17
Band sound quality: 18
Balance/clarity of textures: 17
Quality of soloists: 17
Overall understanding: 16
Total musicality from the band: 17

Total: 165

A performance of great sincerity by EverReady.

For me it never really captured the style of the ballet music.

A lot of it was heavy, rather ponderous, and sounded like another brass band piece.

This band has fantastic potential and a lot of talent around the stand.

On another day, with another piece, this could really hit the high spot.

Steven Mead

7. Carlton Main Frickley Colliery (Allan Withington)

Allan Withington is a man that will know Prokofiev's music intimately and it immediately shows in Carlton Main's performance as the opening dissonances dissipate into a cadenza that is expertly navigated with safely found top D's noted.

What follows is imbued with a deep vein of Russian character' liberally flecked with touches of the Verona that inspired both Shakespeare and Prokofiev. This really is stylish stuff and with a great sound from the band that in itself, seems to inhabit the heart of the music.

The off stage parts are not entirely successful but it's a minor blip on what continues to emerge as a performance of huge character and interpretative stature.

The Presto is a testosterone fuelled romp, yet one that also posses exceptional levels of clarity and detail, notably in the cornet section.

By contrast, the Allegro Pesante is a little less successful as fleeting moments of focus are lost and the musical concentration wavers.

By the Adagio tiredness appears to have crept in and there is a degree of musical focus that is once again lost yet largely recovered in the build to the closing expression of love over adversity which is triumphantly enunciated.

There was so much to commend in Carlton Main's performance, but perhaps most of all this was a musical journey of inspirational insight.

Christopher Thomas

Technical accuracy: 17
Rhythmic precision and clarity: 17
Control of full dynamic range: 19
Ensemble precision: 18
Tuning/intonation: 18
Band sound quality: 18
Balance/clarity of textures: 19
Quality of soloists: 18
Overall understanding: 20
Total musicality from the band: 19

Total: 183

What became immediately evidence is the conductor's appreciation of the original.

Bristling with energy, light, balletic, brisling along at times.

Some gorgeous solo playing especially from flugelhorn. My only reservation is that it seem to lose its way just before the finale, a hint of fatigue, but also a slight lessening of the expression.

But this was high-level playing, a high-level reading and the audience loved it.

Congratulations all.

Steven Mead

A third of the day already completed

Where has the time gone? 6 bands have come and gone in just over 2hrs 25 minutes.

Despite having the draw (didn't get chance to read it in truth) at the back of the stalls next to the box this scribe is going old school and waiting to see which band is which based on trying to memorise programme numbers.

The piece? Well it's safe to say that the audience are now getting to grips with it and know, like all the bands will tell you, it's a heck of a blow and a hard piece to master.

People are humming, whistling tunes though and talking amongst themselves and debating what they think.

There was feverish excitement in anticipation of Black Dyke's world premiere account. Prof. Childs turned to the audience to conduct the National Anthem, then it was down to business.

Dyke drew 1in 96 at Bridgewater Hall under James Watson but they certainly laid a marker down.

In 2013 and 2015 playing the composers works they've had two 6 places.

Hammonds drew 2 and my goodness the reception at the end took the roof off.

Here the audience were treated to the joyous sounds of Alan Morrison on sop and the beautiful lyrical sounds of Kirsty Abbotts.

My oh my, just wonderful to hear both in their element.

Tredegar have come and gone and as with Whitburn it's all down to judges.

Mention has to go to Glyn Williams for his persuasive account from Aldbourne whilst the back row cornets Amersham stood throughout — a great debut account and reception to boot.

There is a comfort break after band 9 — length to be confirmed.

Who's in front after band 6? Keeping a private thoughtful order but just enjoying a work that the audience seem to be enjoying.

Malcolm Wood

6. Amersham (Paul Fisher)

There is an impressive presence to the opening chords and the opening cadenza is largely well negotiated between cornet and euphonium.

There is the odd splash in what follows but the style is effectively found' with a feeling of lightness and delicacy evident through the cornets in particular.

The Vivace is safely executed and what is emerging here is a performance that is undeniably credible as an Open debut from Amersham, with a brave, at times no holds barred approach to score.

The off stage parts are played from the side of the stage rather than truly off it, the result being that it holds together well if not displaying quite the same atmosphere that has been found by some of the bands that have taken their players fully behind the scenes.

Euphoniums hold cadenza three together with relative safety but a few cracks start to appear in the Allegro Pesante where the style is effective but the execution wavers, as hints of strain start to appear and a few notable splashes ring around the hall.

Amersham can be proud of what was a passionate, emotionally fuelled first Open performance that found drama and tenderness in equal and telling measure.

Christopher Thomas

Technical accuracy: 15
Rhythmic precision and clarity: 17
Control of full dynamic range: 17
Ensemble precision: 17
Tuning/intonation: 17
Band sound quality: 18
Balance/clarity of textures: 16
Quality of soloists: 17
Overall understanding: 19
Total musicality from the band: 17

Total: 170

A first class debut from Amersham. My goodness how they've worked to prepare this difficult score. Some wonderful moments, and some very brave solo playing.

Enthusiastically directed, and with great character. The band can be happy with this, no question, they delivered a fine and enjoyable performance under the lights of Symphony Hall.

Outstanding players; Timpani, Euphonium, soprano.

Steven Mead

5. Aldbourne (Glyn Williams)

A highly effective contrast between the huge dissonances and contrasting quietude of the chords that follow, with the subsequent cornet and euphonium cadenza of the highest quality.

Congratulations to the bands principal cornet player on the first sweetly intoned top D of the day!

As the pace quickens what impresses is the lightness and delicacy of touch that is evident. This dances along in a style that is so suited to the music... it might not be completely blemish free but that style is always thoughtfully observed and impressively executed by the players.

The off stage parts are well handled in terms of both dynamic and clarity. Fine cadenza 3 from euphoniums and a soaring top E from solo euph... that was quite a moment!

The Presto trips along like it is motorised. There is so much detail here and it is expertly managed from the MD with thoughtfully balanced dynamics and that essential alignment with the spirit and authenticity of the original score.

The tempo of the Allegro Pesante is bob on and allows that weight and grim drama to come through in spades... its not about volume but style and finding an orchestral like character in the music.

The Adagio is tender, limpid even and most importantly is allowed to flow with ease and space. Yet the band also holds something in reserve for the all important closing paragraphs, which are measured perfectly and allowed to build naturally to an emphatic final statement of triumph.

What a fine account this has been from Aldbourne. So well conceived in its musicality and expression.

Christopher Thomas

Technical accuracy: 18
Rhythmic precision and clarity: 19
Control of full dynamic range: 20
Ensemble precision: 19
Tuning/intonation: 19
Band sound quality: 20
Balance/clarity of textures: 19
Quality of soloists: 20
Overall understanding: 19
Total musicality from the band: 20

Total: 193

A really outstanding performance by Aldbourne, demonstrated a full understanding of the original; stylistically, musically, and the projection of these musical ideas were so clear and so elegant.

Fantastic solo playing from euphonium, solo cornet and soprano in particular but the whole band shined today.

There was real intelligence here in the reading, so much quality, and undoubtedly thrilling for all those in the hall. Should do well at the end of the day.

Congratulations to all.

Steven Mead

4. Whitburn (Luc Vertommen)

Whitburn's opening is effective in an almost brutal kind of way as the grinding, ominous dissonances make quite a statement. The cornet and euphonium cadenza once again takes its toll... we haven't yet heard a sweetly intoned top D, but it swiftly becomes apparent that Luc Vertommen is taking no prisoners with his tempi... what follows flies along at a hair raising pace.

It's exciting without a doubt, but there is also a price to pay as the occasional splash resounds through the textures.

The offstage passage is effective if a touch on the heavy side dynamically but there is a sense that the band is starting to find its feet here and confidence suddenly seems to be growing in leaps and bounds.

Luc Vertommen is again stamping his intent on this and cadenza 3 is exceptionally well despatched by the euphoniums... great work form both players.

The Allegro Pesante is brisk in its pace and perhaps lacks a touch of weight and gravitas as a result... this really needs to grind us down in its grim, unremitting intent but we seem to lose that here.

There is a gentle tenderness about the Adagio and we can sense the pacing of the final bars as the band tries to extract every last ounce of its musical energy over the challenging, stamina sapping closing peroration.

An interesting and at times highly effective performance from Whitburn, mixed in its consistency yet with moments that really cut to the emotional core of the music.

Christopher Thomas

Technical accuracy: 16
Rhythmic precision and clarity: 18
Control of full dynamic range: 19
Ensemble precision: 19
Tuning/intonation: 18
Band sound quality: 19
Balance/clarity of textures: 18
Quality of soloists: 18
Overall understanding: 19
Total musicality from the band: 18

Total: 182

For me in places, this was really outstanding capturing lots of character, the lightness of the ballet the action of the fight scene and some lovely tender moments.

There are other moments where excessive fast tempo seemed to kill the style that the band were trying to play. That said this was a very consistent performance.

Most of the noticeable errors again were in the first three or four minutes.

Whilst this didn't tick every box, it was most enjoyable and the band rose to the challenge.

Steven Mead

3. Tredegar (Ian Porthouse)

Powerful yet darkly ominous opening chords emanate from Tredegar before the cornet and euphonium cadenza opens beautifully until it struggles on reaching its ascent to the top D.

There is unremitting energy about what follows... driven, crushingly dramatic and shot through with polarity in its tensions. Yet there are also splits and errors that cannot be ignored.

The accuracy of ensemble in the cornets doesn't always retain its consistency of execution yet again, there is so much to admire in the shifting dramatic tensions that are effectively captured.

The offstage cadenzas are effective if not entirely flawless, one again evidencing a passage that is very difficult to pull off with absolute success.

The Allegro Pesante is hugely effective. Big and dramatic but also with an awareness of the orchestral resonance of the original Prokofiev score. Slips once again come to the surface in the quiet tenderness of the Adagio but the close is one of triumph over adversity, measured and paced with insight and intelligence from the middle.

Some fine moments indeed from Tredegar, but a performance that the band will know could have been so much more impactful had it not been for the inconsistencies that crept in at key moments.

Christopher Thomas

Technical accuracy: 15
Rhythmic precision and clarity: 17
Control of full dynamic range: 18
Ensemble precision: 19
Tuning/intonation: 19
Band sound quality: 18
Balance/clarity of textures: 18
Quality of soloists: 17
Overall understanding: 18
Total musicality from the band: 18

Total: 177

A performance that increased in stature as the piece went on culminating in a full voiced and exciting conclusion. Numerous fragilities in the first third of the work. For me also some of the stylistic aspects weren't adequately captured, too much heavy articulation and not enough warm rich tones. Also a little bit lacking in expressive quality when it really mattered.

That said, we got to hear some exciting moments, well directed, but leaving the listener wanting just a little more.

Steven Mead

2. Hammonds (Morgan Griffiths)

Hammonds opening chords go for the jugular and the drama in wrenching, tension riven fashion. This is darkly dramatic stuff indeed.

The ensuing cornet and euphonium cadenza is not quite conformable and needs to flow with a touch more ease and grace, but what follows has character and there is a clear sense of familiarity with Prokofiev's original score and those all important shifts of tension and energy.

The Moderato is skilfully handled in terms of its dynamics and clarity in what are densely scored passages and the off stage work that follows is certainly distant but also generally well together and coordinated... no easy feat.

The Presto flies along with cornet clarity and detail generally of a high level throughout in what are immensely taxing demands. The Allegro Pesante just lacks a little emotional weight and gravitas perhaps and the Andante bass link that leads us into the Adagio isn't quite comfortable.

The Adagio itself possibly needs to flow with a touch more ease and grace... it's a little lumpy at times. And the final Adagio just loses its way a little with the focus and shape of the music not remaining entirely consistent.

Yet overall, there has been so much to commend from Hammonds in a reading that found abundant drama, conflict and ultimately emotion in the score.

Christopher Thomas

Technical accuracy: 17
Rhythmic precision and clarity: 18
Control of full dynamic range: 19
Ensemble precision: 19
Tuning/intonation: 19
Band sound quality: 19
Balance/clarity of textures: 19
Quality of soloists: 19
Overall understanding: 19
Total musicality from the band: 18

Total: 186

Overall, a very enjoyable performance with tons of character, passion and great dynamism. This came at a price at times with slight moments of roughness, but the overall effect was very positive. Outstanding solo cornet and soprano.

The audience loved it because they shared the vision of the piece by the band. The off stage ensemble work well on this occasion!

Could still do well at the end of the day despite the bad draw.

Steven Mead

1. Black Dyke (Prof. Nicholas Childs)

Wonderfully balanced and full toned chords to open from Dyke but there are moments in the ensuing cornet and euphonium cadenza that don’t quite gel. One or two clips continue to surface but there is huge momentum, energy and detail generated as the pace and tension quickens.

The concern is the cumulative impact of clips and splashes that continue to surface and are again heard in the offstage parts.

This is emerging as a performance of character and intent but with the veneer of its surface taken off by those recurring little errors.

Yet the character of the performance and the clarity of the cornet lines in the Presto is truly terrific and we sense that this is finding the dark heart of Prokofiev’s music and its ever shifting conflicts and tensions.

Again there are moments where the still surface of the Andante’s love music is unsettled by moments of unease and although the ending is thoughtfully measured and paced as it needs to be, this had the feeling of an early morning performance from Dyke that never quite settled into its comfort zone.

Christopher Thomas

Technical accuracy: 18
Rhythmic precision and clarity: 18
Control of full dynamic range: 19
Ensemble precision: 19
Tuning/intonation: 20
Band sound quality: 19
Balance/clarity of textures: 20
Quality of soloists: 19
Overall understanding: 18
Total musicality from the band: 19

Total: 189

Thoroughly impressive at times, but there was a touch of the early morning feel about this. Some noticeable fragilities in the first five or six minutes. Some wonderful majestic moments too of course, outstanding bass trombone, well controlled euphoniums beautiful solo horn sound.

But missing a lot of passion overall and the ending seemed somehow disappointing.

Steven Mead

Star Crossed Lovers

In fair Verona, where ancient grudge breaks to new mutiny, two star-crossed lovers take their life beneath the jealous moon. What cruel fates conspire against these children of feuding houses, whose passion burns bright as summer's day yet finds itself poisoned by their parents' bitter strife? Thus do the stars themselves decree that love must die ere hatred's ancient wound can heal, and never was a tale of more woe than this of star-crossed Romeo and Juliet.

Stephen Roberts unleashes "Star Crossed Lovers" — a battle cry that takes Prokofiev's immortal Romeo and Juliet and sets it alight! This isn't your grandmother's Shakespeare — it's a testosterone-fueled street fight with ballet dancers as jockeys, racing through Verona like the Palio di Siena on steroids!

Forget the tragic ending — Roberts cranks this baby up to a triumphant, soaring climax that will leave audiences breathless and bands fighting tooth and nail for victory!

Draw:

Test Piece: Star Crossed Lovers (Stephen Roberts)
Adjudicators: Stephen Roberts, Anne Crookston and David Hirst

1. Black Dyke (Prof. Nicholas Childs)
2. Hammonds (Morgan Griffiths)
3. Tredegar (Ian Porthouse)
4. Whitburn (Luc Vertommen)
5. Aldbourne (Glyn Williams)
6. Amersham (Paul Fisher)
7. Carlton Main Frickley Colliery (Allan Withington)
8. EverReady (David Morton)
9. KNDS Fairey (Philip Chalk)
10. Brighouse & Rastrick (Prof. David King)
11. Brass Band Treize Étoiles (Frédéric Théodoloz)
12. the cooperation band (Katrina Marzella-Wheeler)
13. Flowers (Paul Holland)
14. Foden's (Russell Gray)
15. Leyland (Daniel Brooks)
16. Cory (Philip Harper)
17. Oldham Band (Lees) (John Collins)
18. Grimethorpe Colliery (Michael Bach)

Good morning from the 171st British Open

There is a real buzz around Symphony Hall at the moment as the first players and supporters arrive to check out the hall, buy their programmes (cash and card) and study scores.

The draw will take place at 8.30am and we will post it on the site only after the judges have gone into the box.

Until then, there is plenty of last minute preparation going on before we get to hear the world premiere of 'Star Crossed Lovers' by Stephen Roberts.