The three men in the box were very impressed by the winners it seems…

Cory:

Michael Ball:

A committed opening with expressive lines in the solo quartet. Perhaps a little more could be made of the tutti playing in the second part of A.

You coped well with the challenges of B. A little tension before G.

Solos at G were sympathetically and flexibly shaped with a good sense of line and J had the necessary momentum. An effective lilt to the rhythms of the Farandole with neat individual shaping of solo lines, coping well with the technical and tuning challenges.

Expressive shaping at R suitably spacious; only the odd little blip.

A little insecurity in intonation in euph at S but you kept your nerve and T was effectively done. Other soloists well managed.

The dialogue was well brought out in the Fugue at U with careful dynamic layering and enjoyed sense of ensemble/teamwork.

This impression was maintained as the performance continued with a clean metric framework containing (semi quaver) detail securely.

A fine finish.

Well prepared playing in a well achieved performance.

Well prepared playing in a well achieved performanceMichael Ball

David Read:

Impressive opening – lovely sounds pervade and all under control.

F – All well coordinated and played (bar 93 suspect)
G – Lovely shape and so sensitive. Troms fine – without overcooking it. Fine perc team.

M – Neat and nothing overdone – everything in its place.

R – Beautiful and sensitive. I like the contrast.
S – Some intonation problems – what a pity.

T – Fine and 288 excellent from baritone

U – Neat and the fugue develops well all under control

374 onwards – Well balanced

AA – Neat, perhaps just ever so slightly a sense of hurrying, but, nothing is missed.

A well thought out reading with well controlled playing.

William Relton:

Opening strong (and) vital.

A – sweet. Bar 13 – less euph please.

C – stylish and great attention to crescendo most effective.

F – Nice start. Bar 92a bit of a strain, and some late speaking of notes spoils the overall effect.

J – Effective. 166 – timps forte only.
M – great attention paid to dynamics and cresc/dim
P – Well restrained
R – 5 before S – sop notes do not all speak
S – Fantastic! Full of character, neat baritone
V – a great start
Y – Try to keep the dynamics down always
AA – Great technique here
BB — Leggerio piano please
DD — Fine timp

A really full blooded ending.

Black Dyke:

Michael Ball:

A committed open and well shaped solo lines in A, effective euphonium.

B – took a moment or two to settle but was well achieved thereafter. Some balance and slight ensemble issues at F.

G – Settled more as the section progressed and you made good sense of J/L with a good forward impetus and sense of the heroic character.

You held M-Q together well and the rhythms crossed effectively.

A spacious account of R with good sonority. The duet of cornet/euphonium at S was well achieved and the humour of the pui mosso interpolations by flugel and baritone were enjoyable and effectively characterised.

There was plenty to enjoy in the dancing figures of the Fugue which was carefully balanced with good teamwork across the band and detailed inflection of tone, rhythmically very secure.

A very enjoyable performance – thank you!

David Read:

Confident start
A- Good balance and the music flows. I note the contrast. Playing of a high technical standard.
E – Good start but tentative moments

G – The music could flow a little better I feel but a strong melodic line pervades. Troms fine.

J – Fine sounds with good percussion. Good close with cuckoo intervals.

M – Confident playing if at times a little too pedantic – however no real technical problems.

R – Well done. The music flows well and I note your contrast.

S – Excellent and flugel enjoys the Landler as does the baritone later.

T – Fine cornet/euph. Well done.

U – The Fugue develops well and with clarity and no technical problems.

Y – Fine – relentless

AA – All under control and time always shines through

William Relton:

Opening some slips

A – a ‘safe’ piano. The ensemble was good, and well balanced and a real try for ‘pp’ before B. Takes time to steady down.

F – tenuous
G – Fine tone
H – well tuned
J – Great filigree runs in cornets and euph (later others too)
M – Nice and light
O – more effective if basses were mf only
R – nice solo playing and a well toned band
S – nice duo and great style by flug and later baritone.
V – Brilliant start and a well balanced Fugue
Y – good speed and control
AA – Starts well and percussion helps the build up tremendously – a realy good ending.

Most musical

Grimethorpe:

Michael Ball:

An alert well pointed opening. Expressive shaping in the solo quartet and enjoyed playing in the following tutti.

Good forward momentum established immediately and maintained at B (and onwards)

Mood established at F, pity about a little fragility in cornets at 91/92. Some expressive playing at G if occasional individual imperfections.

You clearly enjoyed the heroics of the section at J (onwards). Well contolled cornet/euph.

Farandole; a little anxious I flugel/solo horn. Basses well managed, as were the exposed solo lines in the later sections after Q.

Effective cornet/euph duet and interpolations from flugel and baritone (S onwards)

A fast tempo for the Fugue (U onwards) but reasonable clarity was achieved and a convincing sense of overall shape and momentum maintained through the various sections.

A good overview of the whole work was achieved in a well prepared performance with a clear feeling for the musical character.

David Read:

Good opening.
A – Pleasing
B – Lacks some clarity, it improves as we proceed.
F – Good dynamic contrasts but not without flow.
G – Lovely sounds but keep it flowing. Excellent troms. Good tune from 147. Good perc. Cuckoo fine. I like the contrasts in dynamics. All goes well and good clean playing.

R – Beautifully played soloist (Bar 261 well done!)

T – excellent Euph and cornet.

U – All heard as it should be. Excellent perc. 374 – Good contrast.

AA – Neat

All technically secure and musically shaped. A well thought out constructed performance.

William Relton:

Opening great dynamics
A – nice lyrical playing and what great crescendo (15 onwards) to inner parts
E – a tiny bit of overblowing makes the long note chord raucous.

F – untidy start, and intonation fails in bass 7 + 8
G- Nice start
h – lyrical but bars 5 + 7 a touch scrappy
J – spirited – 166 neat. Timps good, not overdone
N – calm amid the storm, a nice movement. 214 able xylo, well knitted together all round.
R – fragile start, well shaped phrases, well done sop
S – full of character, cheeky flugel and baritone
Y – neat

AA – Such good basses
BB – a lighter accomp please, hold back to CC – a splendid ending, just the right touch.