Results:

Elite Division:

Set Work: Concerto No.1 (Derek Bourgeois)
Adjudicators:
Set Work: Veronique Gyger-Pitteloud; Knut Vaage; Svein Henrik Giske
Own Choice: Mareika Gray; Glyn Williams; Arvid Anthun
Set Work/Own Choice = Average total

1. Eikanger-Bjorsvik Musikklag (Ingar Bergby): 95/ 97 = 96.00
2. Manger Musikklag (Prof David King): 93/96 = 94.50
3. Stavanger Brass Band (Ivan Meylemans): 91/93 = 92.00
4. Jaren Hornmusikkforening (Michael Aaberg Thomsen): 94/89 = 91.50*
5. Kleppe Musikklag (Tormod Flaten): 92/91 = 91.50
6. Oslofjord Brass (Peter Szilvay): 87/94 = 90.50
7. Oslo Brass Band (Sebastian Haukas): 89/90 = 89.50
8. Brottum Brass (David Morton): 90/88 = 89.00
9. Tertnes Brass (Paul Holland): 88/87 = 87.50
10. Bjorsvik Brass (Andreas Hanson): 86/86 = 86.00

*Set Work mark takes precedence
Solo Prize: Solo Trombone of Oslofjord Brass
Section Prize: Tubas of Eikanger Bjorsvik

First Division:

1. Rong Brass (Ian Porthouse): 96
2. Krohnengen Brass Band (Magnus Brandseth): 94
3. Ila Brass Band (Stig Maersk): 92
4. Flesland Musikklag (Margaret S Antrobus): 91
5. Askoy Brass Band (Reid Gilje): 90
6. Sandefjord Brass Symposium (Trond Husebo): 89
7. Radoy Brass (Jacob Vilhelm Larsen): 88
8. Tomra Brass Band (Frans Violet): 87
9. Musikkorpset Gjallarhorn (Emil Bjorklund): 86
10. Molde Brass Band (Frode Amundsen): 84
11. Tysnes Musikklag (Yngve Nikolaisen): 83
12. Orskog Brass (Jonathan Bates): 81

Solo Prize: Flugel with Rong Brass
Section Prize: Tuubas of Krohnengen Brass Band

Second Division:

1. Agder Brass (Philip Hannevik): 95
2. Bergen Brass Band (Thor-Arne Pedersen): 94
3. Stangaland Brass (Melvin White): 92
4. Gjesdal Brass Band (Russell Gray): 91
5. Tromso Brass (Vidar Alvestad): 90
6. Trondheim Brassband (Espen Andersen): 89
7. Sola Brass Band (Dewi Griffiths): 88
8. Jolster Musikklag (Bjorn Breistein): 86
9. Haukas Musikklag (Yngve Nikolaisen): 85
10. Bjorvika Brass Band (Maria Molund): 84
11. Sorum Musikklag (Philip Hannevik): 83
12. Folleso Musikklag (Oddvar Nostdal): 82
13. Hasle Brass (Kai Grinde Myrann): 81

Solo Prize: Euphonium of Bergen Brass Band
Section Prize: Percussion of Agder Brass

Third Division:

1. Evanger Musikklag (Reid Gilje): 95
2. Krohnengen Old Stars (KOS) (Oyvind Nikolaisen): 94
3. Stavanger Kommunes Korps (Morten Ovrebekk): 93
4. Moen Musikkforening (Ole Kristian Egge): 91
5. Riska Brass Band (Arne Stian Aarrestad): 90
6. Lindas Brass (Ben Hirons): 89
7. Haugaland Brass Band (Paul Hughes): 88
8. Tertnes Amatorkorps (Jane G Westervik): 87
9. Kjolsdalen Musikklag (Arvid Anthun): 86
10. Manger Old Star Brass (Patrick Randefalk): 85
11. Alexander Brassband (Gwyn M Evans): 84
12. Gjovik ByBrass (Morten Fagerjord): 83
13. Fjell Brass Band (Ben Hirons): 82
14. Oster Brass (Henrik Dagestad-Dalhaug): 81
15. Nes Musikkforening (Maria Molund): 80

Solo Prize: Euphonium of Stavanger Kommunes Korps
Section Prize: Tubas of Stavanger Kommunes Korps

Fourth Division:

1. Skeie Brass (Ray Farr): 94
2. Flora-Bremanger Brassband (Philip Goodwin): 93
3. Randaberg Musikkorps (Espen Westbye): 92
4. Hetlevik Musikklag (Fredrick Schjelderup): 91
5. Lyshornet Brass (Torstein Avar Sollien): 90
6. Seim Musikklag (Torstein Holmas): 89
7. Laksevag Musikkforening (Margaret S Antrobus): 88
8. Skui Brassband (Marte Rolfson): 87
9. Fla Musikkorps (Ingrid Oien): 86
10. Eikelandsfjorden Musikklag (Oddvar Nostdal): 85
11. Brumunddal Brass (Erling J Myrseth): 84
12. Grenland Brass (Sigurd Grov Skramsett): 83
13. Heroy Brass (Frode Dalhaug): 82
14. Saksumdal Musikkforening (Andreas Halla): 81
15. Jonsvatnet Brass (Gerard Rooker): 80

Solo Prize: Principal cornet of Seim Musikklag
Section Prize: Tubas of Flora-Bremanger Brassband

Fifth Division:

Adjudicators: Japp Musschenga; Irene Graven

1. Langhus Brass (Thomas W. Tengelsen): 95
2. Sagvag Musikklag (Havard Kroka): 93
3. Floro Hornmusikk (Torgeir Halvorsen): 92
4. Holmestrand Brass (Nils Andreas Grosas Granseth): 91
5. Valdres Brass Band (Tor Arthur Hagen): 90
6. Frei Hornmusikk (Randi Anita Dale): 89
7. Imi Brass (Halvor Gaard): 88
8. Lismarka/Mesnali Brass (Andres Halla): 87
9. Filadelfia Hornorkester Drammen (Knut Esten Stendal): 86
10. Torpa BygdeBrass (Jon Kristian Solberg): 85.5
11. Norheimsund Musikklag (Viljar Bjorsvik Rath): 85
12. KarmsundBrass (Kristian Thulin): 84
13. Fjordbrass -Lavik (Jason Burn): 83.5
14. Hordvik Musikklag (Arian Pedersen): 82.5
15. Austevoll Brass (Stein Skorpholm): 82

Solo Prize: Principal cornet of Floro Hornmusikk
Section Prize: Tubas of Langhus Brass

Photo finish for the title?

Today has emphasised just how good the very best bands are here, as well as how hard it will be for the judges to compare and contrast their performances of such diverse test-pieces.

The top two of defending champion Manger and 21 time winner Eikanger could well be separated by the width of a Norwegian Rizla fag paper — its that close over the two days.

For us, where yesterday Eikanger had the edge, today it was Manger. What that means come results time is Rizla territory. Overall, Stavanger and Jaren we think should also be in a very tight battle for the final podium place with Kleppe, Oslo and Oslofjord as out dark horse just behind.

There is a shortish gala concert now in the Peer Gynt Hall before the announcement of the results around 10.00 local time (9.00pm in UK).

Own choice predictions:
4BR Editor:

1. Manger
2. Eikanger
3. Stavanger
4. Jaren
5. Kleppe
6. Oslofjord

Camilla:

1. Manger
2. Eikanger
3. Jaren
4. Stavanger
5. Kleppe
6. Oslo

With that all in mind and taking into account yesterday's opinions this is what we have come up with.

Overall potential winner:
4BR Editor:

1. Eikanger
2. Manger
3. Jaren
4. Stavanger
5. Kleppe
6. Oslo

Camilla:

1. Eikanger
2. Manger
3. Jaren
4. Stavanger
5. Oslo
6. Kleppe

Elite Division:

10. Jaren Hornmusikkforening (Michael Aaberg Thomsen)

4BR Ranking: 77

Best National Result: 4th place (4 times)

Norwegian National Record:
2025: Winner of First Division
2024: 9th (10th/7th) (rel)
2023: 8th (7th/8th)

Own Choice Selection:
2025: Audivi, Media, Nocte (Waespi)
2024: Other Lives (Waespi)
2023: Spiriti (Doss)

A Road Less Travelled By (Philip Sparke)

Philip Sparke's 2024 European Championship set-work takes its title, but not its programmatic inspiration, from the final lines of 'The Road Not Taken' by the American poet Robert Frost (1974 -1963).

Two roads diverged in a wood, and I -
I took the one less travelled by,
And that has made all the difference.

Cast in three movements, it is arguably one of his most personal works. Abstract if form, the lack of narrative destination brings intrigue. It is a journey as much for the conductor and his ensemble as it is then for the listener.

The opening Moto Perpetuo is, as the composer notes, rooted in classical language, form and syntax that gives the music its momentum.

The central Nocturne in which the soloists are featured in elaborate solos and ensembles is a free 'fantasia' ' one underpinned by a shimmering vibraphone on which the flugel, horn and euphonium lead into a beautiful melancholic cornet.

The Scherzo Finale is pure Sparke ' mercurial and quixotic in character, free and joyful in style that leads to a reprise of the opening and short decisive coda close.

Iwan Fox

For a second day we have been left deeply impressed by this band and MD after a performance full of appreciative understanding, ensemble solidity and stardust solo leads (take a bow flugel, sop, euph and cornet)

Not a gargantuan work on which to shine, but one rooted in the best traditions of test-piece writing. The MD used his resources to fine effect — especially dynamically to retain the clarity of Sparke's intentions.

It worked so well — shaped and considered to make an impression without resorting to needless fireworks and dazzle camouflage work.

A very fine, solid piece of elite level playing that.

Iwan Fox

The Norwegian perspective

The band shows class from the very first bar, nothing seems to be without purpose or without a clear musical idea, every individual player contributing to the greater musical whole.

The music weaves and moves, solos and beautiful tutti chords making their way towards the common goal, and it works so well. Such balanced massive tutti chords, with that juicy sound (loving that little bit of bass trombone poking through in some of those) so obviously built from the tubas up.

Absolutely stunning flugel solo (she's been sitting there adding musicality and beautiful sound to the proceedings for days now, it was finally time for her to shine), and that solo euphonium!

This is so tender and transparent, it feels like it has real breadth and flow — with the md letting the soloists take their time and do their (very good) thing. Lovely soft dynamics! And there's that wonderful tuba rumble!

The third movement sets off with such purpose and lilt, with just that little bit of drama added. Lovely sop! Great sense of togetherness throughout the band, the dovetailing really working out every single time. So musical, with so much purpose!

Camilla's special prize: flugel

Camilla Søderstrøm Tveit

Elite Division:

9. Kleppe Musikklag (Tormod Flaten)

4BR Ranking: 27

Best National Result: 6th place (3 times)

Norwegian National Record:
2025: 6th (6th set work/ 8th own choice)
2024: 8th (6th/9th)
2023: 6th (5th/7th)

Own Choice Selection:
2025: A Brussels Requiem (Appermont)
2024: Where Angels Fly (Houben)
2023: A Brussels Requiem (Appermont)

Titan's Progress (Herman Pallhuber)

'Titan' was a novel by the German author Johann Paul Friedrich Richter published in 1803 ' 900 pages that tell the story of Albano de Cesara from passionate youth to mature man and the personal 'progress' he has to make to ascend to the throne of the principality of Pestitz.

Gustav Mahler in turn referenced the work in his 'First Symphony' ' the subtitle of which is 'The Titan'.

Pallhuber references both author and composer (the work is subtitled, 'On a Theme of Mahler') in a series of descriptive, virtuoso episodes (Richter called them jubilees) based on the principal character. They evoke both cardinal sins and capital gains, as Albano becomes the all too perfect 'Titan' and dispels what he called 'the indiscipline of Saeculum.'

Heady stuff indeed ' and in Pallhuber's hands it becomes a story rich in drama and passion, youthful innocence and indiscretion leading to mature, majestic reflection.

The composer borrows quotes and motifs from Mahler ' dropped fourths and trumpet calls, triplet falls, chorale melodies in a mix of chorales, landler and farandole dances.

As with the book and the symphony, it ends in fugal glory and a Titanesque climax.

Iwan Fox

There was certainly something of an epic essence about this performance from a youthful band making their way like the 'Titan' of literary inspiration in growing to fully fledged maturity.

At times it still had the rough edges of eager youthful enthusiasm, but also a great more polished refinement of maturity too. The brilliant sop was the thread of titanesque DNA — an old head on young shoulders.

The MDs approach also understood the musical journey too — one he has been on as a player and now, conductor.

Lots of vibrant playing, uber-confident leads — cornet, euph, bari etc, and the final fugue was played with such joi-de-vivre. Just got a bit harsh once or twice, but by the end it mattered little after a performance of significant note.

Iwan Fox

The Norwegian perspective

Great opening, massive tutti sounds and so clear. Lovely solos into the hymn, which is so rudely interrupted again and again. These transitions are so well rehearsed and worked out in detail — and seem to work effortlessly.

Lovely soprano, so elegant and thoroughly musical. A wonderfully mischievous trombone trio takes us through to another display of those massive tutti sounds, so balanced and luscious.

And the music takes another turn, giving us another musical dish — so playful and fun, with lots of space for the expertly handled technical passages to come through.

I really appreciate how the slower movements really let the music live and breathe. With the ending in sight the music twists and turns round another musical corner or three, with such a display of fun and just a little pinch of silly.

Very well done, this is so keenly practiced and rehearsed through every single corner — so transparent and balanced, to the enjoyment of every one of us in the audience.

Camilla's special prize: soprano

Camilla Søderstrøm Tveit

Elite Division:

8. Oslofjord Brass (Peter Szilvay)

4BR Ranking: 47

Best National Result: 4th in 2006

Norwegian National Record:
2025: 5th (7th set work/ 4th own choice)
2024: Winner of First Division (prom)
2023: 7th in First Division

Own Choice Selection:
2025: Journey of the Lone Wolf (Dobson)
2024: Fraternity (Deleruyelle)
2023: The Cosmographic Mystery (Vilhelmsen)

HorrorShow for Brass Band and Percussion (Simon Dobson)

In November 2015 Paris came under terrorist attack. However, within days France displayed a defiant outlook and its people became unified in hope.

With further intolerant attitudes seeping through the world, Simon Dobson explores the themes of senseless violence that he describes as a 'HorrorShow' — a term first used in the book, 'A Clockwork Orange' by Anthony Burgess.

The three-movement work uses distorted quotes from both Beethoven and Bach which feature heavily in the book and subsequent Stanley Kubrick film.

'La Vie — We start from nothing', describes the difficulties of living in a changing world, and portrays a celebration of different peoples living together in an often alien environment.

'La Mort — We return to nothing' is a chorale lament that evokes the memories of the Bataclan nightclub tragedy, whilst ''Mais nous avons des fleurs'' is inspired by the kindness and sense of togetherness shown in its aftermath.

It brings to a close a personal tribute to those who died, and to the unbreakable spirit of both France and its people that serves as a testament of the good of humanity and its ability to embrace rather than repel change.

Iwan Fox

Lest we forget. It is now a decade since the Paris attacks, but Simon Dobson's personal reflection on it, its aftermath and wider meaning still has a raw emotive nervousness.

The MD understood this in raw musical terms too — contrasting the despair of the charnel house to the ultimate sense of reinforced openness and community.

Not everything was technically precise, but the music was so well structured, coloured, paced and balanced — dramatic and forceful, then serene and uplifting.

Powerful stuff — and not just dynamically. Much of the best playing came with a lace like delicacy, the lyrical solo leads and perc adding to the quality.

A really fine account that — led by a fully attuned conductor in synch with the music.

Iwan Fox

The Norwegian perspective

A lovely atmospheric opening with such obvious musical purpose, expertly shaped by the md. Such beauty!

And the horror begins, but it is a surprisingly musically interesting one, with loads of colours and none of the harsh blackness I expected. It moves, it dances, it travels, it lilts, it breaths.

Beautifully solved! Excellent solo cornet! Massive tutti sounds, the md bringing out sounds and feelings from the dense textures like no other.

Such energy and fervour! Lovely euph solo! Excellent energy again, making us sit up in our seats! Great, huge, massive, funky, tubas — finally your turn to shine! Something ominous is coming, the music is building and building — great effect with the little waves of dynamics in the muted horns. Lovely trombone solo.

Well, I'm sorry, but I never felt any horror. I felt energy and direction, massive sounds, delicate musicality and such space for the excellent soloists. And I unashamedly really enjoyed it!

Camilla's special prize: tubas

Camilla Søderstrøm Tveit

Elite Division:

7. Bjorsvik Brass (Andreas Hanson)

4BR Ranking: 34

Best National Result: 4th place (5 times)

Norwegian National Record:
2025: 4th (4th set work/ 5th own choice)
2024: 6th (5th/4th)
2023: 4th (4th/4th)

Own Choice Selection:
2025: Partita (Sparke)
2024: A Lowry Sketchbook (Wilby)
2023: English Heritage (Lloyd)

On Alderley Edge (Peter Graham)

Peter Graham's work is inspired by the landmarks, myths and legends of Alderley Edge, a 600 foot wooded sandstone escarpment near the affluent Cheshire village itself meaning 'Aldred's Clearing'.

It's evocatively titled landmarks such as Wizard's Well, Stormy Point and The Devil's Grave have inspired storytellers for centuries and a history that goes back to the Bronze Age.

Portraits of these sites and legends are evoked with direct and indirect parallels to the forest myths and folklore found in the German romantic opera tradition, with references to Weber's 'Der Freischutz' and its ideals of redemption themes.

The composer also pays tribute to the romantic tone poems of the brass band tradition 'both in style and ethos.

That thread of nostalgia is mixed into the alchemy of mystery and history ' from the introductory 'Prologue' through the heralding 'Armada Beacon', the mystical ancient 'Golden Stone' and the industrial might of the Engine Vein Mine.

The central 'Holy Well' is outlined as a pastiche aria, while in 'Stormy Point' fragments of the 'Dies Irae' can be heard. 'The Devil's Grave' references the Wolf's Glen scene from 'Der Freischutz' which leads to the exciting close.

Iwan Fox

An uneven one this — from the word go. Nothing terminal, but just a frustrating accumulation of niggling clips and unforced errors.

That was accentuated by the wonderfully operatic feel for the underpinning atmosphere of the score by the MD — a mix of hazy mystery and character drive.

When it did click (led by troms) it was splendid — as it was with the sop rolling back the years — and such a great close.

What a pity then that the interpretation was pock-marked with so many little imperfections.

Iwan Fox

The Norwegian perspective

Another piece with a muted opening, again solved so well — particularly muted cornets managing to blend so well with the vibraphone.

The skies just opened and the euphonium and cornet take us through. And then we get going, so playful and with such technical finesse. Excellent euph! Great attention to detail here, the music lilts and and moves, breaths and sings. Lovely little solos here and there, especially beautiful trombone playing.

Well done trombones, those glisses to chords in long positions is nobody's favourite thing to do.

Beautifully shaped transition to the slow movement, the md really letting the music move at its own pace and giving the soloists all the time they need and want. We move to the final movement brimming of musical confidence and a real feeling of purpose in the phrasing, lots of fun!

Again with those moments where the MD really lets the music breath across the barking, so beautifully done.

Camilla Søderstrøm Tveit

Elite Division:

6. Stavanger Brass Band (Ivan Meylemans)

4BR Ranking: 20

Best National Result: Winners 10 times

Norwegian National Record:
2025: 3rd (3rd set work/ 3rd own choice)
2024: 3rd (2nd/3rd)
2023: 2nd (2nd/3rd)

Own Choice Selection:
2025: So Spoke Albion (Higgins)
2024: Sand and Stars (Deleruyelle)
2023: A Gabrieli Fantasy (Appermont)

The Forest for the Trees (Wim Bex)

The use of propaganda in times of conflict is both a manipulative and effective tool of political communication.

The title is linked to the argument made by Sir Thomas More in 1533 against the English cleric Robert Barnes, who he thought was a heretic. More stated that although Barnes could actually touch the bricks that built St Paul's Church of Rome, he was still blind to the importance of the building itself.

Belgium composer Wim Bex explores these issues framed within a symphonic tone poem structure made up of 9 subtitled, interlinked sections that asks the listener to search for the unbiased 'middle ground' to distinguish between what is real and what is fabricated.

The music is based on five different themes ' one of which acts as the false 'propaganda' that weaves its way throughout the work.

The truth finally emerges as more and more players see the forest from the trees and the bigger picture is revealed ' although the composer still asks, if even by then does the actual truth exist at all?

Iwan Fox

Something of a conducting masterclass from the Belgian maestro who cut through all the deliberate musical wood pulp to reveal the truthful shape of this huge work.

His band certainly played their part in full — just occasional splinters in lead lines drew blood. The principal cornet was a beacon of class though.

The musical underpinning that came from the middle was pronounced, as was the adherence to dynamic calibration. It gave the music a vibrant, stylistic leanness that was so good to hear.

There was such a lot packed into the mix by the composer — but unlike English cleric Robert Barnes, Meylemans intuitively knew the true meaning of the structure before him and was able to draw his fine band to the same musical conclusions too in what was such a high class show.

So musically satisfying that.

Iwan Fox

The Norwegian perspective

Gorgeous opening, so well tuned with all those mutes/tuned percussion, great solos on flugel and cornet. Massive musical waves once we get started, huge sounds, all so well rounded.

Very elegant solo cornets, such ease. Again with that great principal cornet! Excellent! Massive sounds, so well rounded. Seamless dovetailing between principal cornet and soprano, with such a clear musical idea, in common.

Great euphonium solo — this slower movement works so well, lilts and moves with a lot of musical swagger. Great common articulation from all, again with such attention to detail in the tuttis. Super tubas!

The darkness is upon us, but it is dealt with with a lot of clarity and again with what really feels like an obvious common musical idea and goal, well done! Massive sounds, again so well rounded, never feeling edgy or strained.

Camilla's special prize: solo tuba

Camilla Søderstrøm Tveit

Elite Division:

5. Eikanger-Bjorsvik Musikklag (Ingar Bergby)

4BR Ranking: 5

Best National Result: Winners 21 times

Norwegian National Record:
2025: 2nd (2nd set work/ 1st own choice)
2024: Winner (1st/1st)
2023: Winner (1st/1st)

Own Choice Selection:
2025: ***** Concerto No. 10 (Neurohr)
2024: Jesus in Tibert (Dobson)
2023: HorrorShow (Dobson)

Dear Cassandra (Ludovic Neurohr)
Concerto No. 14 for Brass Band

Cassandra was cursed by the Gods to utter portents and prophesies that although true, no one believed.

She foresaw the destruction of Troy; warning of the 'gift' of the Wooden Horse from the Greeks. Murdered by an avenging wife she is said to have left a chest behind that when opened would see the person who peered inside cursed by madness.

'Dear Cassandara' takes the form of musical 'open mail' that asks conductors to interpret the composer's complex prophetic questioning to shape their own future contesting destiny.

The three linked movements are played as a whole, although each element in turn is divided into detailed paragraphs of musical discourse.

It opens with an extended exploratory introduction, releasing textures, dynamic and effects from single and ensemble lines. 'The Call' section that follows is an underlying rhythmic sequence representing the cipher title of the work.

'Fear' sees the music delve into a world of electronic pop rock; fevered and rhythmic, before 'Tests' and 'High Hopes' take the form of overlapping quasi-cadenza solos.

'No Matter' turns into a prophetic response with the use of a theme from Pergolesi Thema's 'Stabat Mater', before the 'Finale' seeks to dispel doubt once and for all in glorious affirmation of the composer's own journey to finding musical fulfilment.

Iwan Fox

The direct battle of the contesting mega-weights sees Eikanger also tackle an immense Swiss edifice — although that was the only similarity in musical inspiration.

The MD drew mariana trench deep into the emotional well to offer such a humane feel to the obvious technical extremities on show — the Cassandra motif heard in direct and indirect forms.

It made for engrossing listening — the playing from lead lines almost perfect in meeting the demands of the music and the MDs interpretation of such truthful spirit. The ensemble layering was so defined.

Each climax was added to the next — the final one leaving the audience like an emptied husk — the MD's feral facial response told you everything about what he was left feeling.

Iwan Fox

The Norwegian perspective

Atmospheric and exciting, ebbing and flowing from the start — expertly executed from every single player in a massive ensemble sound. Great cornet solo! The ensemble is tight and transparent, detailed and huge at the same time. And off we go, this is exciting, impressive and so together.

That double tonguing, every single player attacking the passages with exactly the same length and the same amount of articulation, how do you even do that?

This is a very detailed musical tapestry with so many details coming through that massive tutti sound, the musical journey you're taking us on is enjoyed by all. Fabulous cornet and euph solos, you've got 1700 people holding their breath just to get the most out of your beautiful music making!

And we're off, tunes percussion making way for the rest — excellent fun, yet again, complete with excellent phrasing, balance and tuning. Much appreciated!

Camilla's special prize: principal cornet. Well done, young man!

Camilla Søderstrøm Tveit

Elite Division:

4. Manger Musikklag (Prof David King)

4BR Ranking: 13

Best National Result: Winners 9 times

Norwegian National Record:
2025: Winner (1st set work/ 2nd own choice)
2024: 2nd (3rd/2nd)
2023: 3rd (3rd/2nd)

Own Choice Selection:
2025: A Gabrieli Fantasy (Appermont)
2024: Sand and Stars (Deleruyelle)
2023: Other Lives (Waespi)

This World (Thomas Doss)

Although known for seeking inspiration from classical music sources, Thomas Doss draws on his own feelings for 'This World' to reflect on the planet on which we live — one on which we "love, laugh, mourn, cry and fear. On which we beget, give birth, kill and destroy."

As a singular viewpoint individual action can do little to alter, yet seen from the vastness of space there is a very different perspective — the focal point Doss uses to encourage the listener "to see this world from outside".

Much like the view afforded to astronauts, it is an oasis of beauty and optimism — the 'Good Earth' as called by Apollo 8's Jim Lovell, and — a rotating globe of the hopefulness of life — according to Doss.

Current events are reflected — the conflicts in Ukraine and the Middle East to the destruction of the environment and the politics of populism that do so much to drag a singular species apart.

It also provides its emotional core; earthly troubles caught in heavenly serenity, technical advancement and daring set again lyrical reflections and contentment. All arise from the pages of his score — from ensemble virtuosity to solo line beauty.

The music, written in one continuous arc, asks these demanding questions of the players in their efforts to offer performance resolutions; the listener simply asked to keep an open mind to the outcome they wish for themselves.

Iwan Fox

A work of immense structures and strictures was approached and shaped with such intensity of spirit by the MD.

All the Doss hallmarks were displayed (hints of Bach to open and later), explored and eviscerated before being drawn back into the body of the work once more.

As the Alabama 3 once said: "Things ain't been the same since the Blues came into town' — and by heck did they pay a trip here, as did the obligatory pinch pot of Arabic influences and jazz fission.

Totally immersive — the MD created such a sense of rich alchemy with his source material — detailed with brilliant solo contributions (euph especially) and balanced too.

The end was climactic in every sense — huge organ slabs of sound and a nuclear button detonation.

Iwan Fox

The Norwegian perspective

The entire lower end of the band starting the piece cup muted, playing in tune with tuned percussion is some feat! So atmospheric, so many layers and still so transparent!

A constant feeling of flow and togetherness, a massive musical picture painted with many, many little brushes. Excellent timps.

Excellent technical passages just coming from everywhere, but always fitting so beautifully together. A completely different band from yesterday, what an emotional performance. Great solos!

Still so impressed with the tuning in those cup muted tubas! Loving the dirty funk, so stylish and well planned without being obvious, every phrase surprises us and takes us on an unexpected musical journey — what an absolute joy to be in the hall for.

Great sections from euphoniums and tubas, this really is brass banding at the very highest level in every aspect, such detailed musical fun. That sound at the end! But why, oh why, my friends, didn't you play like this yesterday?

Camilla's special prize: Timpani. Just so good!

Camilla Søderstrøm Tveit

Elite Division:

3. Tertnes Brass (Paul Holland)

4BR Ranking: 33

Best National Result: 2nd in 1995

Norwegian National Record:
2025: 8th (8th set work/ 7th own choice)
2024: 4th (4th/6th)
2023: 5th (6th/5th)

Own Choice Selection:
2025: Perihelion — Closer to the Sun (Sparke)
2024: Harmony Music (Sparke)
2023: Music of the Spheres (Sparke)

Harrison's Dream (Peter Graham)

Peter Graham's work takes its inspiration from a naval disaster of 1707 and the ceaseless 40-year endeavour of clockmaker John Harrison to produce a timepiece that could be used to measure Longitude and thus enable ships to navigate safely.

The increasing loss of naval lives pushed the urgency to the forefront of the national consciousness and precipitated the Longitude Act, a Parliament funded a prize of £20,000 to anyone whose method or device would solve the dilemma.

For John Harrison, this was the beginning of an obsession.

Graham's composition reflects on aspects of the epic tale. Much of the music is mechanistic in tone and constructed along precise mathematical and metrical lines.

However, the central core is very human — and reflects on lives already lost and would be lost before Harrison could find the answer to the problem. The sound of different bells toll for the countless souls lost to the abyss of the ocean deep.

The work ends in triumph — the answer found at last.

Iwan Fox

Another piece of historical portraiture — as well as being drawn by complexities, although these were mathematical rather than psychological.

The contrast between the solving of algebraic mechanics and the human element that drove the man behind it was so well marked by the MD and his players. Not always perfect or precise — but this was no AI music making.

Just occasional faults, clips and fissures, but the heartfelt emotion was simply and so effectively displayed — especially the chilling sound of the toll of bells signalling the souls lost to the waves.

The reprise was jammed to the gunnels with dramatic impulse and cannon ball bass drum — and the climax when it came was the crashing wave stuff of 'From here to eternity'.

Really fine playing, with the close growing with organic certainty.

Iwan Fox

The Norwegian perspective

Great opening from the percussion team, the cornets take over and we're off. Lovely tuba sounds! Well balanced dissonances make all the difference to the tuning, well done. Great trombones!

Really wonderful horns and flugel, so playful and fun. Rhythmical figures move through the band with such ease and musicality, great team effort from the entire band.

Lovely sounds through the middle of the band through the quieter section, great to see the solo euphonium taking great risk to give the music space. Impressive on a contest stage!

A well balanced and tuned trombone section take us through to the atmospheric percussion section which again pushes us into the third movement. Excellent timp!

Great tubas! That sound again! Impressive technical passages through the band, with such ease. Lovely build up towards that final section, with particularly excellent soprano. Great sounds throughout, such attention to details has gone in to preparing this.

Massive chord to end (is it even a chord when it's in unison?)— never overblown or in any way painful. Lovely!

Camilla's special prize: those horns/flugel

Camilla Søderstrøm Tveit