Grand Shield:

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Saturday 14th May
Test Piece: Titan's Progress — Hermann Pallhuber
Draw: 9.00am
Commence: 10.00am
The Opera House

Adjudicators: David Read MBE and Frank Renton

Comments by Chris Thomas

What do we think?

A contest that stretched the bands here to the very limit and beyond.

A tartan double for us though with Kirky ahead of Whitburn to get to Birmingham. Just missing out for us are Pemberton Old, Reg Vardy with Redbridge and Flowers behind.

1. Kirkintilloch
2. Whitburn
3. Pemberton Old
4. Reg Vardy
5. Redbridge
6. Flowers

Plenty of dark horses!

Exchange Communications Whitburn (Ian Porthouse), 20

Opening — F:
Bold opening means business from the start, but Chorale takes time to settle. Allegro is impressive in its detail and dynamic variation.

F — R:
Little clips and slips but there is real poise and style about the playing. Trombones not quite! Farandole is the best today — real swagger and classy execution. Bravo.

R — U:
Euph and cornet duet is excellent and played with sensitivity. Quirky Lander is well done too.

U — End:
All the lines are heard in the fugue which is played at a fine tempo. When it motors it really impresses too. A majestic ending is powerful and very convincing.

Overall:
A performance of real stature to round off the day. Right in the mix for Symphony Hall.

Jaguar Land Rover (Dave Lea), 19

Opening — F:
Opening doesn't quite come off and the chorale is taken at a deliberate tempo, but there is something about this we like — a touch of authentic Mahler perhaps?

F — R:
Now we certainly get it — bravo MD. The con fuoco is effective and although the Farandole could have been tighter there was a super bit of sop work on display.

R — U:
Euph and cornet play with style, but accomp is not of same quality. Quirky Lander is neatly done too. Deft is the word.

U — End:
Rocky start to Fugue is a shame — a real old hotch potch that doesn't gel. Detail is not clear and there is a loss of focus to the playing. Tired perhaps? Just enough in the tank for a big, bold close.

Overall:
Plenty of quality in places, but the final third was a bit of a mess and it sounded tired to end. A performance that just couldn't quite match the fine musical aspirations.

Flowers (Paul Holland), 18

Opening — F:
A loose start to the Allegro detracts and this has taken a while to get going from Flowers. When it does though its good stuff.

F — R:
This is much more like it — quality playing in the con fuoco in particular. The style is a bit on the harsh side at times, but its determined playing from all concerned. Farandole is technically secure but is not very subtle.

R — U:
Euph and cornet play so nicely — classy. The accompaniment is very effective too — one of the best of the day this.

U — End:
Not precise and lacks real detail to start. It's lost cohesion and focus, but recovers when the drive kicks in. The big, bold ending is a huge one, but is harsh.

Overall:
Not quite at their very best today, but still a good one. Just the lack of focus in places will possibly see them fall away a little.

Redbridge (Jeremy Wise), 17

Opening — F:
A statement of intent to open. Allegro is a touch brazen and certainly full of fire. This has grabbed the attention.

F — R:
Melodic lines are fluent and sensitive with excellent troms and a con fuoco that is ful of drama.

Farandole is more questionable however — very heavy and over accented.

R — U:
Fine solo cornet and eloquent euph display real musicality at a distance too.

U — End:
Fugue loses its focus — with cornets all over the place. It gets back on track but it has been a bit of a mess this. The last furlong is played with purpose and poise though with detail and a reserve of stamina in hand for the big finish.

Overall:
A persuasive one this despite the odd moment or two that just made you wince. Big, bold and very musical though.

Pemberton Old Wigan DW (Mark Bentham), 16

Opening — F:
The MD stamps a real mark on this one from the word go. It's a slightly different musical approach but very compelling.

F — R:
It doesn't quite come off at times but the emotion is worn on the sleeve and that hasn't been heard too often today. Engagaing stuff this with real drama and pathos in equal measure. There is a great deal of contrast with the Farandole too.

R — U:
Chorale is big in sound but majestic and it is backed by a very stylish cornet and euph duet.

U — End:
Fugue loses its way — a scambled mess at times but it recovers its poise as MD cracks the whip. Now the detail comes through and it builds to a quite epic ending.

Overall:
A very indivdual take on the Titan tale this. It may well take the contst by storm or drop like a lead balloon. A serious contender for us though. Very serious.

Co-operative Milnrow (Mareika Gray), 15

Opening — F:
The one and only Philip McCann is on the front row for this one and the opening is well handled with a neat chorale. Just gets a little untidy after this but there is a flow and vibrancy about the playing.

F — R:
A real attempt to keep a lid on the dyanamics is well done although the little errors are mounting. A little touch and go in places, but there is real style to the playing. Farandole lacks subtle swagger.

R — U:
Some nice touches on show from the soloists but the ensemble is inconsistent and problems are heard.

U — End:
Fugue loses focus as tiredness creeps in. Detail is lost in a bit of a scramble to the end, which is a tad harsh sounding.

Overall:
A band tested to the limits but one that opted for musicality to bring Titan to life.

Freckleton (Paul Dalton), 14

Opening — F:
Promising opening doesn't quite go on to fulfill its promise and seems to find ensemble and individual difficulties.

F — R:
Bold playing — very bold at times in the con fuoco, but they have certainly got a grip of the technical side of things by the scruff of the neck.

R — U:
Solo cornet makes fine recovery and the off stage duet is very lontano indeed. It's near Grimsby! It works well though. Don't quite get the wit in the Lander though.

U — End:
Fugue is overblown to such an extent that all internal balance is lost. The volume doesn't mask the serious problems. Timp is so OTT! Blimey! The ending is so forced — when it just needed more control.

Overall:
An overblown account that need not have been. When it was in control it had real quality, but the easy option of blowing and blowing killed off the style.

Dalmellington (Raymond Tennant), 13

Opening — F:
A promising opening but its a shame that the aggressive approach then loses the sense of style required.

F — R:
The music really flows well but the Farandole doesn't quite come off. It's workmanlike playing, but lacks a touch of elan.

R — U:
Tipsy baritone solo is played on euph and sounds more than odd. The following duet doesn't gell either.

U — End:
There is a lack of cohesion now as the band tires and it starts to lose ensemble focus. Bold close, but its harsh in sound.

Overall:
Started with promise, but Titan showed its teeth and it was a struggle for the Scots thereafter.

Wingates (Philip Harper), 12

Opening — F:
Bold opening is followed by a warm chorale which has a fine sense of flow. There is plenty of detail coming through here.

F — R:
Scrappy cornet fanfares don't spoil the overall picture, as there is that persuasive sense of flow on show once more. Exciting sounds are in the right place and we hear a Farandole that has just the right light feel. Good to hear.

R — U:
Excellent solo euph in duet, which although a touch unbalanced still sounds beautiful

U — End:
Although all the voices are heard it doesn't always knit together. This isn't comfortable at times and rocks. Regains focus in time for a grandstand finish.

Overall:
A great deal to commend with this Titan. Some untidy episodes may just cost, but this was one of the most stylish renditions of the day.

Kingdom Brass (Andrew Duncan), 11

Opening — F:
Super sounds to start — full and broad. This is a confident statement of intent form the Scots.

F — R:
Sensitive playing follows, which contrasts well with ferocious con fuoco. Farandole is a touch on the heavy handed side and lacks sense of subtle style.

R — U:
Plaintive solo cornet is very effective and quirky Lander is one of the best today. Duet doesn't knit though — a near miss.

U — End:
Fugue is well handled despite xylo going AWOL. Detail is heard but they just try too hard to close with harsh conclusion.

Overall:
Odd moments that just took the gloss off one of the better performances of Titan today.

Half way prediction:

A very mixed bag so far — some good ones, but none that has totally secured their place at the Open. The door is still open, but so far its Kirkintilloch, Reg Vardy and perahps BTM are the three in with the best shout.

4BR Prediction:

1. Kirkintilloch
2. Reg Vardy
3. BTM

B T M (Tom Davoren), 10

Opening — F:
Hits right between the eyes this with adrenalin fuelled opening. Exciting but not always precise.

F — R:
Music is given so much space and time, and although not always 100% its a very persuasive sense of style that is heard. Farandole doesn't sound so flowing though — a bit mechanical, but the MD is certainly putting his stamp on this reading.

R — U:
Duet is seated and is played with a real sense of authority and style. Good stuff.

U — End:
A fugue that reallt motors along, but there is plenty of detail on show too. Fully committed playing this right to the huge ending.

Overall:
A Titan with the power of force 10 gale at times. Not really subtle, but by heck it was exciting.

Reg Vardy (Dr Nicholas Childs), 9

Opening — F:
Powerful opening is full of sonority and the chorale is the best so far today. It is followed by a sense of excitement and detail even if it does just tend to be on the heavy side with the dynamics.

F — R:
Flow and style once more — few have done this so well today. Excellent troms and Farandole is light and swaggering.

R — U:
Seated duet works and is stylish, but not really lontano?

U — End:
Speed takes a few prisoners in the fugue but it is exciting for sure. Knits well after the short moment of calm and the ending is powerful and full of authority.

Overall:
A performance that hit home with the power of a Hans Krankel volley. Right in the mix at the halfway point for sure today.

Hammonds Saltaire (Morgan Griffiths), 8

Opening — F:
A good opening statement of intent is followed by music making of shape and tasteful phrasing.

F — R:
Uncomfortable too often this — not all the solo lines are secure even though there is that Mahler sense of authority about the style. Troms go a little too aggressive and the ensemble rocks.

R — U:
Stylish cornet is very classy and duet with euph is played with a real sense of panache.

U — End:
Just needs more cohesion and incision in the playing. The band do respond to the MDs demands though — right to the close.

Overall:
One of the stronger ones today — a performance not without error but with a nice sense of the required style.

Staffordshire (Nigel Seaman), 7

Opening — F:
A tidy opening is followed by a sonorous chorale, but it just loses its focus after this though.

F — R:
Controlled dynamics and balance capture the right style but cornet fanfares are unclear. Inner parts are not heard and Farandole tends to be on the heavy side.

R — U:
Cornet and euph disappear into wings for duet. Real lontano. It's nicely done though not without minor slips and clips.

U — End:
Another fugue that doesn't quite hold together. It's on its edge in the search for the added bit of excitement to the close.

Overall:
OK by today's variable standard so far. May hold its own but it had a high error count.

Skelmanthorpe (John Roberts), 6

Opening — F:
Opening sounds a little untidy in places, but it soon settles into a nice sense of style. A lovely chorale, but its heavy in the dynamics.

F — R:
MD moves it along but tuning rears its head and there are little inaccuracies that tarnish a well crafted musical picture. It is scrappy in the Farandole which doesn't sit comfortably.

R — U:
Nice solo cornet — a touch of real class, but the ensemnle doesn't quite match it. A slightly cautious approach just needs a touch more life.

U — End:
The untidy playing continues to just take the gloss off. A real pity as there is much to enjoy in the style. The overall impression is one of nearly but not quite.

Overall:
The smaller terrors of Titan took their toll on this one. Nothing major wrong, but it was a blemished performance.

Mount Charles (Russell Gray), 5

Opening — F:
Safe opening and equally safe playing on display to start. It doesn't take undue risks but that might prove effective today.

F — R:
MD shapes this so well, but not everything comes off. It's a bit untidy in places and its lost its focus. Farandole suffers the same fate. A pity.

R — U:
Better playing now and the music is so well shaped again. The lightness is shown but is just tarnished in the Lander. It was very nearly perfect.

U — End:
Fugue is untidy and a little lumpy and it starts to sound tired. Just loses its authority to close.

Overall:
Had real moments this — at times so well shaped, but the execution was not quite of the same level.

Thoresby Colliery (Ian McElligott), 4

Opening — F:
Tuning is uncomfortable to the ear and somehow this takes a bit of time to really settle into its stride.

F — R:
Atmosphere is unsettled and there are untidy moments in cornet fanfares. This isn't gripping the attention as it should. Farandole is secure but there are still nagging doubts about this one.

R — U:
Lacks precision and the detail doesn't always come through.

U — End:
So much better, but it has taken such a long time this. Exciting stuff but even the ending doesn't quite convince.

Overall:
A strange one this. Some good playing on display but a performance that didn't quite knit together.

Kirkintilloch (Garry Cutt), 3

Opening — F:
A feel of real quality. Tempo has ability to get detail through and it is played with verve and authority.

F — R:
Lovely flow with only the minor blemishes. The detail is heard and the Farandole is so well shaped.

R — U:
Excellent solo lines and MD shapes the music so well. This sounds like Mahler!

U — End:
Just rocks occassionally, but balance allows parts to be heard. Great finish is majestic.

Overall:
A performance of style control and a bit of real Mahler. A fine marker.

Newstead Brass (Duncan Beckley), 2

Opening — F:
Tidy and well balanced. Dynamics are controlled and it is a sensible tempo.

F — R:
Tuning is a real problem at times, but the lyrical lines have poise and style. Farandole doesn't quite come off.

R — U:
Solo cornet is dynamically safe. Solo euph excels and style is well controlled by band and MD.

U — End:
Good tempo gives the Scherzo a real chance. It's still a touch scruffy, but the theme is sound and is fully on display to the end.

Overall:
A performance that was not entirely consistent but delivered with thought and style.

Woodfalls (Gareth Pritchard), 1

Opening — F:
A nervy opening takes time to settle. It's got spirit but it's also untidy at times.

F — R:
The music flows well, but there's still that untidiness. The Farandole is a little odd in style.

R — U:
Soloists really deliver but a question mark over the lack of flow?

U — End:
Good stuff. This has settled and has great spirit. Just gets a little ahead of itself with ambitious tempo to end.

Overall:
A brave performance but one that may not feature today.