Most Outstanding Player: Soprano (Betteshanger Colliery)
Section 3Sunday 14, 20:43:07
Round up and prediction
A bit of a slow burner as a contest, but one that came alive and contained some very good performances that should fill the top-six places.
It has to be said though that there were a great many performances that could only be separated by personal preference and a sheet of His Majesty's bronco paper.
Betteshanger for us gave the most complete and assured performance of a work that required real understanding of the different subtle styles required to really bring the character of the music out.
Some late runners did that too, with Flookburgh and Dobcross in the mix for us alongside Ibstock, the early marker from City of Wrexham and Rivington and Adlington, with our dark horse of Renfrew.
1. Betteshanger Colliery 2. Flookburgh 3. Dobcross Silver 4. Ibstock Brick 5. City of Wrexham 6. Rivington & Adlington
Dark Horse: Renfrew Burgh
Section 3Sunday 14, 20:25:46
The very last runner of the weekend...
20. Flookburgh Silver (John Iveson)
The last band out of the starting gate here at Cheltenham has certainly given the judges something to think about when it comes to the top-six places.
John Iveson used all his years of experience in drawing out such a persuasive musical account from the score, and his player's certainly responded too. There was a stately tread of youthful confidence to the opening, but still one that had reserve. The 'waltz' was a little Viennese delight, as was in a very different way the 'Jousts' that had a thoroughbred quality.
The murder was atmospheric and undertaken without fuss and the finale was a real bit of Elgar meets Bliss — all cultured pomp and circumstance that deserves to get a mention for us.
We are into the last straight now here at Cheltenham and will one of the last runners come up on the rail and nip by a short head to claim the title?
Ibstock Brick certainly gave it a good crack — with a bold performance that set out to bring the primary colours and character of the music to life — and they did just that.
Not the most subtle in places but it was all laid out with clarity and definition — from the uber-confident first steps of the new Queen Victoria to her throne and with the 'waltz' that followed. It was very Germanic in style that — lacking a bit of wit, but leaving you in doubt of its intentions.
The 'Jousts' were full on cage fighting stuff — but skilfully managed and virtuoso in character. The murder was bloody, gory and splendidly portrayed and whilst the closing theme music could have had a bit more refined nobility, it left you impressed.
Lots to enjoy with Pilling too — although in trying to capture much the same musical ground as Ibstock they were a little in their wake.
The opening had a nicely observed regal step and the waltz that followed kept a well maintained discipline as well as a sense of wit. The 'Jousts' just came across as a little messy, but that was the right approach to the Rizzio murder and it worked well.
A slightly tired band still had enough to close with a touch of nobility to the television series theme.
A very classy interpretation from Jason Smith and his Dobcross band that matched the character portraits with a Bliss spirit to the music — light, waspish and witty, then dark, dank and dangerous when required.
Not everything quite came off technically, but you were left admiring the approach and refinement.
The opening had a regal confidence despite the odd little clip here and there, whilst the 'waltz' also had an elegant quality and subtle quirkiness few have matched today.
The 'Jousts' leapt and pranced with frantic not frenetic intent and even the murder was warmly undertaken even when Rizzio lay bleeding life. The reprise of the theme was so cultured too. In the mixer that for us.
We have been waiting for a performance to come along and really grasp the crown and sceptre of this palatial piece of Bliss, and Betteshanger may well have gone and done that spades.
What a finely thought out, directed and executed rendition it was — right from the first steps of a youthful Victoria in accepting her destiny — played with an emerging confidence and sure tread.
The 'waltz' was a delight, a Viennese slice of quirky manners and malleable tempos — with subtle changes on the repeat loop too. The 'jousts sprang out from the paintings — driven and dramatic, whilst the murder of rizzio was almost perfect crime even Jessica Fletcher couldn't better — a nasty old stabbing that made his look like a piece of Swiss cheese.
The reprise of regal confidence sealed a top class performance led with great insight by the MD.
Bratton really gave this the full beanz from the start and gave the music such character too.
Not everything came off and it was scrappy, in the opening, but the 'waltz' had a quirky swagger and the 'Jousts' were full blooded charges. The murder too was pointed and visceral — just right, even if there was enough blood splatter to keep the CSI team busy for a few hours.
The reprise worked too, even if it was a little tired to round off a performance that certainly kept you engaged throughout.
The final band of the three was Thrapston with a very well considered take on the score by the MD and executed by his players. This was perhaps the most lyrical interpretation of the day — cultured and refined.
The opening was broad of step and style, the 'waltz' as stately as a galleon as Joyce Grenfell used to say, whilst the 'Jousts' had a touch of fire and brimstone. The solo playing was first class and the murder was darkly malevolent.
The return to the television theme was played with a noble touch of class too.
An entertaining threesome this headed by Barnsley Metropolitan's account that quickly got over its initial over eagerness in the first few bars to deliver a bold and vibrant account.
That little trip to start didn't dent confidence as they soon picked up form to give the 'waltz' a real swish and the 'Jousts' a horsey canter of spiky fun and games. The murder was so well portrayed too, and by the time the television theme tune arrived they had forced their way back into making a mark with the judges.
Just a few too many little inconsistencies took the gloss off a well planned and executed rendition from the second Yorkshire band of Oughtibridge.
The style in each movement was very well portrayed but those little errors mounted up. The 'waltz' had that essential quirky 'lander' feel, the 'Jousts' were played with high kicking energy and the murder made its point (although not quite the 56 times old Rizzio was stabbed).
The bold return of the theme gave things a fine pompous close.
The big and bold approach of Putney & Wimbledon certainly made an impression in the hall — and may well have done in the box too.
It was a little ragged in places in the opening and with the somewhat heavy-metal 'waltz' — but it worked. The 'Jousts' also came to life whilst poor old Rizzio lost his in a blaze of gory excitement — the best of the day so far.
A little more regality to close may have just been needed, but this was an account that certainly caught the imagination.
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Section 3Sunday 14, 17:49:41
Last one before half time...
10. St Ronan's Silver (Michael Marzella)
The band before the break (we start back at 6.00pm) and it is perhaps the most stylish of the day so far with the Scots.
Lots to admire (esp the lovely sounding solo cornet), despite the little clips and blips that were on show — but the opening had a youthful tread of Victorian acceptance rather than some of the more leaden 'old queen' treks of some.
The 'waltz' had a light touch feel too, whilst the 'Jousts' came to life — perky and proud in their splendour. The death of 'Rizzio' came with an x-rate certificate in its misty textures, whilst the theme music reprise returned us to a sense of unmistakable stateliness.
The mistakes were there, but this still left a mark.
This piece of palatial 'Through the keyhole' Bliss has provided a pretty level field on which all the bands have been able to add extra levels of character to the basic contest foundations — although some with more storeys of quality than others.
That was the case with a solid, if slightly non-descriptive account from Avonbank (Evesham) that had all those foundation stones in place for certain.
A well projected opening led into a workmanlike 'waltz' that just needed a touch of regal sparkle, although the 'jousts' that followed was played out with clear intent.
The murder rather came and went, but was all in the right place and the right time, before a well appointed thematic reprise brought things to a close.
A slightly hit and miss account from Trimdon — when they hit it was spot on, but the misses may cost them.
A decent opening had a nice feel to its regal step, but the 'waltz' never sounded at ease. The 'jousts' had colour and excitement, but the murder of Rizzio wasn't really the stuff of 56 stab wounds terror.
They were much more at home with the closing television credits though — a touch of pomp to close a hard working account.
That applied to Bideford too — well directed in its sensibilities by the MD, but possibly in need of a touch of glamour, sparkle and intrigue too at times.
Lots to enjoy though — pacing of the opening, spot on, the 'waltz' perhaps less so. The 'jousts' were well maintained but we needed a little more terror in the air for the murder scene. It was a bit Jessica Fletcher 'Murder She Wrote' without the gore.
The neatly packaged theme tune to close rounded off a hard working account.
Another trio of performances that could well end up batched together come the results — all three, solid, well led and musically engaging with the royal subject matter.
Rivington & Adlington provided the heft of the three with a firm lower brass foundation on which a bold account was draw.
The opening had a pinch of regal pomp about it — although the weight of the dynamic was more Queen Vic in rotund old age than sprightly youth as marked.
The waltz was well handled in its carbon copy format, as was the joust scene, majestic in its horsey splendour. The murder occurred under a misty cloak of textures before the reprise TV theme tune drew an imposing account to a close.
A performance that grew in confidence, security and evocative style from Renfrew Burgh.
The more they got into this the more it came alive; just taking its time to settle to open, but with a neat quirkiness to the waltz and a perky equestrian drive to the 'jousts'.
The murder was a real Scottish treat — dreadful in the best possible musical way, before the stately close rounded things off with a touch of regal grandeur.
The Welsh of Mid Rhondda also got better as it progressed after a slighty hesitant start. Once it found its pacing it hit the spot, and the 'waltz' had a playful freshness even on a repeat loop.
The 'jousts' were so nearly handled as was the murder of Rizzio — all very atmospheric. The theme tune ending drew things to a solid, upbeat close of substance.
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Section 3Sunday 14, 15:17:45
A Royal flush to finish...
1. Swindon (Steve Yorke); 2. City of Wrexham (Scott Lloyd); 3. Littleport (Ian Johnson)
'Music from The Royal Palaces' is taken from a 1960s television series that told the stories behind the great homes of the Kings and queens of this land of ours.
Sir Arthur Bliss as he was then invested great time and effort into the series and the score and that is certainly the case with this very clever and respectful arrangement by Michael Halstenson who has flown from the USA to enjoy his first ever brass band contests.
Well, if this a taste of things to come this could be a very difficult contest to sort out for the judges, as there wasn't as much as the width of a Buckingham Palace State Banquet napkin separating this trio out.
Swindon gave a well measured set of picture postcards of history — the opening 'Call to the Throne' optimistic yet regal, the following, 'Buckingham Palace Waltz' refined and lightweight.
The picture of a medieval jousts scene comes alive in colour and texture as did the murder of Rizzio — are dark and dangerous, before a controlled nobility of musical style to close.
It was a blueprint followed by Wrexham too — a stately opening followed by an uplifting waltz that had just enough pulls and pushes to capture its Viennese quirkiness.
The jousts sprang to life with drive and boldness whilst the murder was evocative and dramatic. The return to stately refinement closed a good solid account in fine style.
Good solid playing in all five movements from Littleport too — nothing over done for cheap theatrics.
There was a graceful stateliness to the opening and a refined choreography and well mannered feel to the 'waltz'. The 'Jousts' had a perky feel of medieval excitement, whilst the Rizzio death came with a dark x-rated texture to the sound. The Palace theme returned with a firm feeling of monarchy to close.
September 16 • Required:. Musical Director : Cheltenham Silver Academy Band Following the relocation of our current conductor we are looking for a progressive, passionate and dedicated individual to lead our Academy Band, and to support our continued improvement.
September 16 • We need a Bass player (either Bb or Eb) and a percussionist to join our happy team! The band is promoted to the first section in 2026 and were also 2025 Second section National Finalists. We rehearse on Wednesday evenings in our own bandroom in Chinnor
September 16 • We are looking for CORNET players (position negotiable) to join our highly motivated 4th section band. We are a very welcoming and sociable band, with a positive outlook and a reasonably busy calendar of engagements. Other enquiries are welcome.
