Result:

Concert Division:

Adjudicators:
Set Work — Thomas Doss; Mareika Gray; Ian Porthouse
Own Choice — Isabella Ruf-Weber; Bert van Thienen; Florent Didier

Set Work: Mirage (Jan de Haan)

Test Piece/Own Choice programme = Total

1. Brass Band Treize Etoiles (Frederic Theodoloz): 97.25/97.33 = 97.29
2. Brass Band Willebroek (Frans Violet): 95.00/99.50 = 97.25
3. Flowers Band (Paul Holland): 94.67/98.11 = 96.39
4. Cory Band (Philip Harper): 95.92/95.89 = 95.90
5. Brass Band Schoonhoven A (Glenn Van Looy): 93.08/91.56 = 92.32
6. Australia Brass (Dr Matthew Van Emmerick): 93.67/90.22 = 91.94
7. Wellington Brass (David Bremner): 93.33/89.78 = 91.56
8. the cooperation band (Katrina Marzella Wheeler): 90.58/92.11 = 91.35
9. Immortal Brass Eternally (Kazuyuki Kouno): 86.00/87.67 = 86.83
10. Five Lakes Silver Band (Christopher Ward): 85.00/85.78 = 85.39

Award for outstanding soloist (Own Choice programme):
Tim De Maeseneer, Solo Horn — Brass Band Willebroek

Award for Best Test Piece:
Brass Band Treize Etoiles

Result:

Second Division:

Adjudicators: Thomas Doss; Mareika Gray; Ian Porthouse

Test Piece/Own Choice programme = Total

1. Brass Band Schoonhoven B: 91.50/91.78 = 91.64
2. Cologne Concert Brass: 83.58/83.22 = 83.40

Award for an outstanding section or soloist:
Solo quartet of Brass Band Schoonhoven B during Traversada

Award for a musical promise or remarkable musical achievement:
Principal cornet of Cologne Concert Brass

4BR Editor's take...

Two days of immensely impressive performances have come to an end, and it's going to go to the equivalent of extra time and maybe even penalties to decide who will be crowned 2026 World Champion.

Yesterday

It was very close yesterday with Willebroek just ahead of Treize Etoiles and Cory — but only by the narrowest of margins. Flowers, Wellington and the cooperation band made up our top-six.

Today

Today it's Treize Etoiles by a more clear cut margin from Willebroek, Cory and Flowers, with Wellington and the cooperation band.

Overall:

Overall then, the title could be heading to Switzerland by the narrowest of margins with Brass Band Treize Etoiles just pipping Brass Band Willebroek, with Cory and Flowers so close behind. Then it's Wellington and the cooperation band for the overall top six.

Iwan Fox

Steven Mead's thoughts...

We have been royally treated today — and I'm sure that has been the case around the world and especially those lucky enough to have been in the hall to experience it live.

I was at home and enjoyed every minute of the live stream broadcast. Lots to think about today for the judges too, but this is what I have plumbed for today.

1. Brass Band Treize Etoiles: 197.5
2. Brass Band Willebroek: 197
3. Cory: 195
4. Flowers: 194
5. Brass Band Schoonhoven: 193
6. Australia Brass: 190

Based on yesterday's placing overall it means for me...

1. Brass Band Willebroek: 197.75
2. Brass Band Treize Etoiles: 196
3. Flowers: 195.5
4. Cory: 195.25
5. Australian Brass
6. Brass Band Schoonhoven

Concert Division:

10. Australia Brass (Dr. Matthew van Emmerik)

Dreamtime
Soloists: Quinn Kellock (Didgeridoo); Rex Richardson (Trumpet)
Masquerade (Philip Wilby)
Master of Suspense (Peter Graham) (Movements 1&3)
Soloist: Rex Richardson (Trumpet)
The Zelda Code (Mike Fitzpatrick)

Photograph: Jochen Mettlen

The Australians have come a long way to Kerkrade and brought a musical taste of their homeland with them — especially with the opening and closing items.

That introduction combined the haunting sounds of the didgeridoo against the improvisation of the trumpet — a twist with a nod of respect to cultures ancient and modern.

Philip Wilby's wonderful Falstaff homage was performed with huge character; the MD drawing out bluff and bravura just as it should be in the right places, with rich humour, pathos mystery and a little mayhem too.

All the main solo lines were delivered with elan (especially euph and cornet) — before the jolly belly laugh finale — but only after some serious quality playing.

Rex Richardson was the suave lead in the Hitchcock — Gary Grant meets James Stewart in a pastiche of musical nods of homage. Slick, darkly dangerous and brilliant to boot.

The finale was one heck of a curious mix and match to a set that at times has sounded more like a Brass in Concert programme. This 'Zelda' was also part gaming queen it seems with lip bending capabilities as well as musical mind bending ones.

An enjoyable oddity that put a smile on the faces of a highly entertained audience — although I don't quite know what the judges made of it all?

Iwan Fox

Photograph: Jochen Mettlen

Dreamtime
With didgeridoo and Trumpet
Interesting to see a video screen being used above the band. Was this facility available to All bands, if so why didn't more bands use it. An incredibly atmospheric start with the duo improvising with trumpet by the incredible Rex Richardson. That was fun really innovative and dramatic too.

Masquerade
The incredible difficult opening of this almost comes off. Willy's music sounding just as fresh and awesomely difficult as it always does fantastic trombones once again but the whole Band is sounding good and really incredibly tight ensemble playing. Nothing is held back! Just some momentary tuning concerns as we approach the famous Falstaff euphonium solo, and it's performed absolutely superbly, a rich sound arching through the intervals, lingering to create maximum atmosphere, really stunning moments. Most definitely took me straight back to the Free Trade Hall in 1993! So well controlled playing follows, gentle but so well balanced directed with style and real understanding of the music. The perfect little duet between solo cornet and soprano follows. This is really dreamlike. Confidence seems to be exuding from all players. How great it is to hear this wonderful test piece again. Fine playing and a full range of colours and dynamics

Master of Suspense 1 and 3
Rex really needs no introduction as he is guested regularly in Europe, and is an outstanding player. Here he's performing two movements from Peter Graham's Concerto, Master of Suspense. Some absolutely superb moments, and what a thriller must be for the band to have him as soloist. One or two moments to regret only. The band accompany well and especially embrace the style of the jazz waltz last movement. We hear an amazing cadenza just before the ending, Rex doing what he does best! Outstanding.

The Zelda
One almost wants to change the order of the program with Masquerade to finish, but I understand Australian pride in Percy Code. Hints of fatigue just makes for a slightly untidy finale despite the very best intentions. We've enjoyed some fantastic playing from Australia Brass this weekend, and they can feel proud of what they've achieved and how they realise their potential to bring an outstanding Band to the Netherlands for this contest. I'm sure we'll all remember their marvellous playing in the years to come and hope it's not too long before they return to this part of the world Bravo.

Mark: 192

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

9. Brass Band Schoonhoven A (Glenn Van Looy)

Hypergrid (Espen Westbye)
The Cloths of Heaven (Rebecca Dale)
Savages (Steven Verhelst)
Soloists: Rhys Oldham & Pelle van Esch (Bass trombone & Contra bass trombones)
This Place (Tom Davoren)

Photograph: Jochen Mettlen

What an interesting, slightly left field set of works that had no real connective thread between them, but sat so comfortably next to each other in stylistic contrast and inspiration.

The opener did what it was intended to do — jump started the heart beats of the audience like a jab of adrenaline direct into the pulmonary artery. It certainly set the pulses racing.

The MD shaped the Rebecca Dale work with the requisite poetic feel of the W.B Yeats inspiration — a tender declaration of love, the spoken word transferred to music with insight and thoughtfulness.

Perhaps the title of the contra basstrom/bass trom duet was misleading, as the soloists played with such cultured poise, rather than feral excitement when changing between instruments and repetitive motifs and styles.

Sometimes the solo lines were swamped by the band accompaniment, but there was still plenty of evidence of classy deep-throated playing on show.

The world premiere was a cracker — an inventive combination of Bruckner motifs and themes from his 5th Symphony finale and 'Locus Iste' vocal motet.

The MD had this right on the point of his baton, drawing on excitement, pathos and passion in defined measures and levels of intensity. The central section lingered beautifully in the air, yet still flowed with motion.

There was brilliance on display as the MD drove the finale to its conclusion — almost a demonic fugue of angst and anxiety before it joyfully found its true aspiration and turned in a glorious sense of triumph of will power.

Iwan Fox

Photograph: Jochen Mettlen

Hypergrid
A scintillating dynamic opening. Complete with big block chord writing, crashing dissonances and running parts aided by some nimble percussion. There is also delicacy and a real light touch in the middle of the work. Really fascinating to hear. Now we're into an extended high tempo jazz solos for solo cornet . This is epic in its scale, even though it's a miniature! Very impressive start. Would love to hear a longer version of this.

The Cloths of Heaven
Starts with a tender flugel solo and continues to expand into a touching full sounding hymn, really full quite beautiful.

Savages
When was the last time you heard a work with two contrabass trombones and brass band? No I thought not ! Two outstanding players well matched in tone and intonation. Enjoy it as you probably won't hear too many performances of this. The lyrical side as well as the dramatic side is revealed. A slight balance question when the two trombones play quietly. The band is a touch loud. Rather too much going on. This has to be one of the most innovative performances of the weekend, and rather successful it is too. Just a niggling balance issue at times. If you're sitting on the front row, your hair is definitely going be parted in the middle if it wasn't already. Bravo to our duettists who displayed great technical prowess and unbelievably low notes!.

This Place
A gentle start again with flugel and again textures are thickening and the music becoming more longing and dramatic. We arrive at a fully fledged rhythmic Allegro with imposing and well placed chords and set with a driving rhythm. Lots of Davoren traits already revealed, finding its place between funk and modern classical. Elements of hymn, anthems and perhaps chants are presented.

The mood is triumphal and celebratory. Then we descend in mood and pitch into a tender section for cornet with some euphonium counter melodies. The music becomes more tender, and a feeling of sentimentality takes us to the euphonium once again. Excellent secure playing that has a nobility about it. Just the odd moment to raise the eyebrow!

A gentle melody over distant bells, another strong Davoren trait, with the most reflective music of the entire program. It's effective and quite touching. The music reaches a strong climax and modulates into a bright new world.

My goodness this band has some power, but they use it quite sparingly which makes it all the more effective. The finale begins with a tread against the gong and bells again. Quickly, we are running again and driving forwards. Elements of fugal entries make for a clever and well crafted finale. We hear multiple quotes from Bruckner, set in the most joyous of soundscapes. Very cleverly done and the band seem to enjoy it and that communicates to the audience.

Well done all. Terrific concert.

Mark: 193.5

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

8. Brass Band Willebroek (Frans Violet)

Song t(w)o the North (Lode Violet)
Frokko 5 (Wim Bex)
Soloist: Tim De Maeseneer (Horn)
Orpheus & Eurydice (Stijn Aertgeerts)

Photograph: Jochen Mettlen

If we had the old 'Opportunity Knocks' clapometer in place instead of the judges, the defending champion would have won the title after their rendition of their opening work.

It certainly deserved acclaim for its sheer stylish heft — heavy in dynamic but cut so sharply in articulation and defined balance.

Talking of which, there was weighty whimsical heft from Tim de Maeseneer in the Prokofiev 'ode' — full of capriciousness and wit to go with the stunning technical virtuosity.

The standing ovation told you everything you needed to know what the audience thought.

It was left to the band to condense the 15 books of Ovid and the epic poetry of Virgil Greek tragedy into 17 or so minutes of a contest-winning performance with a distinctive Belgian twist.

Few would argue that they didn't do just that in a hugely commanding rendition packed with great individual and section playing, even if any adherence to the actual narrative of the tale seemed redundant.

Instead, we got an epic display of characterisation — huge in scope and delivery, aimed with a singular contest winning purpose. Unlike the doomed lovers, this one surely won't end in a backward glance with a tragic outcome.

Iwan Fox

Photograph: Jochen Mettlen

Song t(w)o the North
An effective opening piece from the pen of principal cornet Lode Violet. What an array of sounds we get in this opening work from blazing fanfares to virtual was a duet then mysterious muted sections and a duet between flugel and solo horn. Such a range of emotions in the opening piece. Glorious sounds, but not totally error-free it should be said. A mighty full band sound that always maintains it's sound profile. Like a mini-overture, full of different sections, but I must say, it works.

Frokko 5
When you have a soloist such as Tim De Maeseneer of course it's natural you would stretch him to the limits! His remarkable sound and technique are heard to full effect in this piece. The piece is borderline quirky but it has charm and provides a stunning vehicle for Tim's prowess. Some of the high range is quite sensational and still he maintains a fine round sound. He's playing it with the charm of a Goff Richard's solo, but actually it's about 25 times hard harder! The audience love it of course. A brilliant, sensational solo spot. Bravo

Orpheus and Euydice
Huge blocks of sound to start followed by some amazing double tongue sections that pass through the band all with crystal clarity, and like the previous band the technique seems almost unlimited!

As with any made to measure work, and we've enjoyed a few today you show off your strength and Willebroek soloists shine, horn, cornet and euphonium now. There is a real cinematic feel about this and the big clashing discords could easily be music for a movie. The E flat bass soloist as well, displaying some impressive lyricism. It's been said before, but the way Frans Violet shapes his band's performances is one of the most exceptional things about European brass banding in the last 30+ years. It is quite a remarkable. At any moment he is shaping the dynamic, controlling almost every nuance and goodness me how his band responds. What a unique privilege to listen to the band this weekend. Incidentally, I heard no signs of stamina issues this afternoon.

How would the judges compare the leading four or five bands in this contest? They would have to take into account the obvious points but perhaps also which pieces reach out to them. It's inevitable. This is a long work and time will tell if it really hit the spot with them.

Bravo Brass Band Willebroek, fantastic playing.

Mark: 197

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

7. Brass Band Treize Etoiles (Frederic Theodoloz)

Intrada Ein' Feste Burg (Ray Farr)
Café 1930 (Astor Piazzola)
Soloist: Jeremy Coquoz (Soprano cornet)
Cassandra 2025 (Ludovic Neurohr)

Photograph: Jochen Mettlen

The Swiss certainly brought their A plus game to the stage today — no doubt about that from the opening bars of the Martin Luther chorale, arranged so cleverly by Ray Farr.

As safe as any stronghold Swiss bank vault, this was acutely balanced and styled — and not overblown either. Crystal clear articulation and multi-layered balances in the trio of choirs then allowed the heft of the ensemble to be projected gloriously.

Talking of which — that was the only way to describe the sublime playing of their soprano soloist in the Piazzola.

There was a delicate fragility about his solo voice that still had a steely resolve in its fragrant beauty. Different and such a delight. My word, that was simply wonderful.

It left the band ample time to flex epic levels of virtuosity with 'Cassandra 2025'.

This is music they interpret and deliver so well; a modern, multi-lingual language that constantly demands the highest levels of ensemble and solo virtuosity.

This was delivered in spades — a royal flush of them, with lyrical beauty to add in the central sections. This was playing of rare musical value.

The final section simply embossed what had gone before with the hallmark of an exceptional performance — thumpingly, honkingly triumphant — bonkers yet mesmeric.

The audience went feral.

Iwan Fox

Photograph: Jochen Mettlen

Intrada
A vibrant start, clear bright sounds, everything in order. Such an impressive opening . Cornets really outstanding. Lyrical euphonium also makes a fine contribution. Tempo changes upper gear and now percussion takes centre stage. A mighty opening for sure, distinguished by some really excellent fanfare playing.

Cafe 1930
A rich, warm-toned introduction of this classic Piazzolla tango. Our soloist Jeremy Coquoz has such a vibrant clear sound a sound that doesn't diminish at all in the high register, really singing and has that little bit of rubato so essential to make this music work. He seems completely at ease in these difficult overwhelming temperatures, and therefore allows the audience to relax and bathe in this marvellous music. Absolutely gorgeous playing, and sensitively accompanied. His delicacy and his lyricism is as good as anything we've heard this weekend. Undoubtedly a master of his instrument. Wow!

Cassandra 2025
Such a striking opening a wall as sound followed a section of great beauty led with distinction by the principal cornet. Magnificent control with complete understanding between the musicians. You sense now that the band has the bit between its teeth and is out to make a point today. Everything is sparkling, all technique delivered to perfection. Levels of technical brilliance also at the highest level of the whole weekend. Lip trilling soloists put the icing on the cake. And the band's unison/octave technique is quite formidable. Bass playing is just out of this world. Just the tiniest of errors in exposed middle parts. Hints of fatigue. That said, this is quite gorgeous band playing, when the music is so good the listener can become more forgiving. Some sensational cornet section sonorities. The magical similarities continue as the music gets faster as if the music is somehow flying, underpinned by the most majestic of bass pedals. The sopranos glisandi are also a first. But there is a sense that there is some weariness around the stand despite the incredible sounds we are enjoying. We now have a disco beat to help us, such is the wide ranging stylistic resources employed in this work. The band is now at full stretch giving all they have. Simply a monumental effort in their bid to be world champions. Today, they couldn't have given more.

Bravo and thank you.

Mark:197.5

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

6. Flowers Band (Paul Holland)

Heliosphere (Kelly-Marie Murphy)
Symphonic Variants (James Curnow)
Soloist: Daniel Thomas (Euphonium)
West Wind — Metamorphoses for Brass Band (Oliver Waespi)

Photograph: Jochen Mettlen

Flowers were back to their imposing major title winning form here — with playing of such commanding authority and confidence.

That was shown from the off with a boldly dramatic opening that had a throbbing intensity that never lost its sense of focus or propulsion.

A glorious rendition of Curnow's variant solo came from Daniel Thomas, even against a full blooded accompaniment. It was a consummate display of artistry — his technique a servant to his command, the lyrical musicality intuitively natural.

The immediate standing ovation was richly deserved — the murmur of chatted audience wonderment taking even longer to settle.

The reprise of the Waespi was also fully appreciated in the hall — an account ever more detailed in both its subtle and unexpected shifts of meter and mood.

It was riveting stuff — literally so in joining the heavy dynamic plates of the score together in watertight fashion. The tender elements were not forgotten or lost though with super solo leads.

The curious hybrid final section saw the band in poetic overdrive — Bronte "no coward soul is mine" or Flowers on this form for that matter.

Iwan Fox

Photograph: Jochen Mettlen

Heliosphere
A work that imposes itself on you from the beginning. Some sparkly contrasting colours, of course crystal clear articulation and technical delivery by this marvellous band. Some fantastic dynamic variations in this work, so carefully crafted. Extensive use of percussion in this opening work and they are blessed with a magnificent team. What a full band sound! Terrific opening.

Symphonic Variants
What a great soloist Dan Thomas is, and starts this solo so sublimely. Absolutely nailing all the high notes. Again the air conditioning troubles his sheet music but I think we're okay! This is a slightly abridged version and we go from the opening section directly to the middle Allegro variation, sounding easy under the fingers, but I can assure you it's not! A couple of tiny notes escape but this is impressive playing. The slow variation is played delightfully with some real beautiful high cantabile playing. As we approach the final section, we can enjoy Dan's magnificent sound and he's always expressive. What a final phrase, fearless going up to the high G! Bravo, it takes a brave man to risk-take like that in such a contest.

West Wind
What a super work this is, and what is probably the fourth outing with this work. This piece definitely befits this occasion. The band begin with absolute clarity of idea and delivery, the lyrical nature of the soloist is so impressive, all kept flowing by Paul Holland. Astonishing moments. Hard to pick out individual soloist as everyone is delivering. The pulse of the music is relentless, I'm driven with such clarity of sound by all sections of the band. Small little blemishes in the middle section are heard unfortunately, which could be expensive today. The textures build as we get to the conclusion of this central middle section, it's absorbing listening. The balance within the band is one of the finest you'll hear, but the tiny clips are still there.mThe final movement starts with such positivity, the inexorable dance to the finish. Super playing. Who would want to be an adjudicator today? So many different elements to consider, balance of the programme, the execution throughout each piece, how the audience was 'enriched' shall we say?. It's going to be close but for sure, Flowers Band will be up there! Bravo.

Mark: 194

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

5. Five Lakes Silver Band (Christopher Ward)

Leviathan (Paul Lovatt-Cooper)
Sin Filtro (Marshall Gilkes)
Soloist: Marshall Gilkes (Trombone)
The Lost Circle (Jan van der Roost)

Photograph: Jochen Mettlen

The Americans once again brought their brand of stars and stripes showmanship and seriousness to a concert set that was played with raw bravura.

The opener from PLC had a familiar high sugar content feel and choreographed polish — a clever combination of ear-worm melody and technical fizz, played with just the right stylish elan.

It was followed by the extended tour de force of trombone gymnastics that came from Marshall Gilkes.

It was certainly eye-popping and blindingly brilliant at times, but there were also a few moments when the solo line and ensemble focus was lost.

They closed with an emboldened 'Lost Circle' — played with an industrious purpose and a fine sense of the lineal narrative. The tonal edginess saw a few chips to the dolomite blue stones, but the reflective little 'lagoon' and flugel solo lead were tender and sweet.

A slightly untidy final section built in dramatic intensity and nobility to close a performance of determined note.

Iwan Fox

Photograph: Jochen Mettlen

Leviathan
A powerful athletic start with solo players at the front of the band. Fine presentation, and this really shows off their strengths. Excellent technique around the stand.

Sin Filtro
We welcome now the outstanding world famous Marshall Gilkes. Really hard to walk on stage under these situations, but he's the man. A few notes early on I'm sure he'd like to do again. Into the cadenza, we're hearing some mind blowing stuff. His facility from the highest to the lowest notes is almost unheard of. Remarkable flexibility needed here, but he did write this piece himself so he only has himself to blame! Such engaging beautiful lyrical music side-by-side some of the most extraordinary trombone technique you will hear. Some very engaging and lyrical accompaniments, notably flugel and solo horn. Great music and very well played, what a soloist to have to call on!

The Lost Circle
A well constructed build-up at the opening with some fine tuba sounds, and the conductor masterminds this brilliantly. Percussion seems at times a little loud but maybe it's better actually in the hall rather than through my headphones. Virtuoso trombones, with such a fine big sound. Cornets and percussion have a super sense of ensemble together. The band sounds more relaxed today and really going for it now, starting to hear its full potential. Technical lines seem more confident, and many individual players are starting to shine. At times the lyrical lines sound a little strained and could definitely be more cantabile. More singing gives you more line. What sensational music this is and Five Lakes here have really done their best with it. A special word of praise for the percussion section who have been outstanding all weekend . The final build-up works well as we head to the triumphant conclusion.

Congratulations all, hope you've enjoyed this fantastic weekend.

Mark: 182

Steven Mead

Photograph: Jochen Mettlen

Concert Division:

4. the cooperation band (Katrina Marzella Wheeler)

Skara Brae (Andrew Duncan)
Into the Darkness they go, the wise and the lovely (Kelly Marie Murphy)
Sergei the Puppetmaster (Lucy Pankhurst)
Soloist: Chris Flynn (Euphonium)
Jesus in Tibet (Simon Dobson)

Photograph: Jochen Mettlen

Once again the detailed preparation, ensemble cohesion and solo confidence of the Scots was clear to hear throughout another impressive showing.

The opening was darkly uplifting, revealing the complexities of the writing — much like the unearthing from the sands of Skara Brae after a storm in 1850.

A tempered contrast that revealed emotive hidden depths with Kelly Marie Murphy's noble paean to the memory of Bramwell Tovey was played with rich texture and liquid threads from the sop and others.

The euph was a true Machiavellian lead in his solo — playing his part to perfection — acidly contemptuous, yet still enthralling all with his exhibitionism. Bravo.

The second trip to Tibet today came from very different source material — although almost equally as fantastical: An alternative Biblical epic told by the MD and band in cinematic language and effect (super perc again).

It was an immense undertaking that occasionally just wavered and caught a bit of grit in the sandals on the Silk Road, but by heck it was played with such bold confidence (bravo sop).

The final section went into overload on the return ticket drive to Jerusalem, with that lasting stop over in Kashmir listening to Led Zeppelin to close a truly bravura performance and concert set.

Iwan Fox

Photograph: Jochen Mettlen

Skara Brae
A striking original-sounding work with fresh colours that demonstrate the huge sound of this band. Such a rich middle sound to the Band, and Katrina Marzella Wheeler finds some wonderful things to say with this. We need to hear more from Andy Duncan. A terrific start.

Into the Darkness they go, the wise and the lovely From the early muted sounds and atmospheric percussion the melodic lines become longer and always expressive. Difficult music to perform in these conditions but they do it magnificently. Thoughtful and respectful. Brilliant soprano. Multi-layered textures all contribute to this expressive sound world, with beautiful expressive sonorities. For all those of us that knew and worked with Bramwell Tovey, this is really extra special.

Sergei the Puppetmaster
Reprising his successful performance at last year's Brass in Concert, Chris Flynn enjoys himself with Lucy Pankhurst's composition. Really accurate technique, sounding easy in the high range, and displaying a lovely range of styles and emotions as the piece progresses. The accompaniment was also superb, staying with the soloist despite all the twists and turns of the tempo changes. Well played!

Jesus in Tibet
We open with some fine storytelling, building up the textures, blocks of sound, fizzing with energy antiphonally, with some outstanding cornet work, unanimous in sound and style. Horns do great in the de-tuned section, (such fantastic writing here). A few gremlins do stray into the texture which we can only put down to slight fatigue. Such a long weekend for all bands, and with this incredibly hard program, it's not surprising we hear some fatigue. Some ensemble frailties are also appearing, what a pity.

Some spectacular Arabian sounds to be heard towards the conclusion, revealing some outstanding technique, what a drama, how magnificent the tale. Well done solo trombone. Searing tumultuous sounds to close.

This is such a monumentally tough piece, hard to imagine performing this at the end of a long program/weekend. It's a very brave effort make no mistake, and the cooperation Band has showed the world that it's a musical force to be reckoned with, if we didn't know this already!

Well done everyone, now time to rest the lips.

Mark: 185

Steven Mead

Photograph: Jochen Mettlen