Live coverage of the English National Championship.

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Set Work

Test piece: Elgar Variations — Dr Martin Ellerby
Adjudicators: Andrew Duncan & Steve Sykes
Draw: 9.00am
Commence: 10.00am

Comments by Iwan Fox

Half way point

It's been a high class contest so far — some great performances from the bands from start to finish.

It could come down to a question of style on this one as technically there was little to choose between the best today — none were perfect in execution.

Its between Black Dyke and Foden's at the very top for 4BR although other opinions in the hall vary.

Rothwell in third just ahead of Brighouse with Fairey and Reg Vardy.

The rest come in as Leyland, Hepworth and Pemberton Old.

4BR Prediction:

1. Black Dyke
2. Foden's
3. Rothwell Temperance
4. Brighouse & Rastrick
5. Fairey (Geneva)
6. Reg Vardy
7. Leyland
8. Hepworth
9. Pemberton Old

12.45
Black Dyke, Dr Nicholas Childs, 9

A pacy swagger to the opening of immense detail and effect. It leads into a stylish cornet solo played a lovely air of tastefulness.

The solo lines are passed around with a tenderness of grannies holding a baby — just the hint of fragility in the air. This is music making of a very high class. The emphasis on style in heard despite the power and purpose and is not overdone — more Roger Federer than Chris Eubank.

Something wrong before the euph solo? The ending wasn't neat, but the euph sang like an Irish tenor — fruity and full of emotion. Wowee on the reprise — haven't heard such balanced turbo power today.

There is such a deliberate purpose and emotional content to this, led by superb flugel.

Final ride for home is a statement of Edwardian intent over Johnny Foreigner — awash with Englishness and stamp of authority on the back of the neck to close.

Overall: Such a high class delivery. A deliberate construct of musical and technical authority that leads the field for us.

12.28
Hepworth, Ian Porthouse, 8

A fine start has swagger and a bold lilt, but is a tad harsh. Bravo Mr bumper up — a cracking effort. Not too sure about the obvious flugel camouflage work though — sounded strange.

Big bold stuff to follow — Elgar crossed with Brian Blessed. You can almost hear 'Flash Lives!!' This is played with such purpose and drive. Best neat finish before euph solo of the day. Bob on and euph leads with style too. Engaging this.

More powerhouse playing has a modernistic sense of style, but we also hear the little ciphers and nods of historic appreciation. Just the odd loss of focus in the delivery, but the emotion bubbles under the surface.

Little clips and errors just tarnish, but it is played with a beating emotionsl heart. Finally ride for home has an intense feel and a well controlled final swipe of Englishness.

Overall: A solid well shaped performance that just failed to build on its opening promise for us, but much to admire in the approach.

12.09
Rothwell Temperance, David Roberts, 7

A swagger start of good manners, detail and defined pulse is followed by a real top notch bit of cornet playing — the best by a margin so far today. Classy indeed.

More quality playing — as solidly English as a Geoffrey Boycott forward defensive stroke. The inner detail is so well defined once more and raspy troms lead the ensemble with a flourish. This is high class stuff.

Just loses its focus in places, such as closure before euph solo and this section doesn't quite sit well. Its like Elgar on Jerry Springer — every tasty little secret is being revealed. Gets a touch fruity in places but it hard to find fault in the delivery. Bravo flug.

Finally ride for home gets those union jacks out big style, but there is still that sense of control jingoism in the air. Ripping close.

Overall: Rothwell deliver a high class musical as well as technical show. A very English sense of style permeated this from start to finish.

11.50
Brighouse & Rastrick, Professor David King, 6

A sense of Elgarian restraint in the tasteful swaggering lilt to start, is followed by a mix and match cornet solo that just about comes off but was a tad schizonphrenic in tonality.

More style led playing — but with pulse and lovely touches in the inner detail. Bravo troms — real TT screamers and the flow never lets up. This really grabbed the heartstrings and twanged them like Eric Clapton. Lovely.

Wit and charm in the ensemble illuminate the hidden ciphers and euph plays with tasteful elegance. Changes emotional partners quicker than Ryan Giggs this — and with much more class. Do we hear a vocal MD?

The final ride for home has such a restrained feel of Elgar and even the last whip lash is tastefully played.

Overall: What a stylish performance this was. No without clips, but laid out with understanding and tasteful emotion. Very engaging this.

11.30
Fodens, Allan Withington, 5

This is big, big stuff — huge sounds played with such purpose: A swaggering bulldozer. Cornet lead is so tasteful to start but ensemble work contains a very nasty slip.

More power and purpose and this is as tight as Shane Warne's face lift. The troms are fizzers but there is some less impressive work on show too. This is Elgar on a steroid fix in places. Solo lines are so well played with flug and euph espeically on tip top form.

MD pulls out the emotional stops — this is so stylishly moulded. The final repose in flug is a thing of beauty. Lovely.

Ride for home is played with more patriotic jingoism than can be found in a Daily Mail colour supplement and is rounded off with sizzling finality.

Overall: A very high class performance this. Powerhouse stuff in places made it a very modern Elgar for the 21st century.

11.07
Fairey (Geneva), Russell Gray, 4

Bold opening stuff — Elgar swaggers like a bull elephant — all power and purpose. Leading lines are played with stylish lyricism — but are a little strained in places.

Troms razz like a trio of Ducati's and the MD is pulling this about like Elgarian playdough — it drips with emotion from every pore.

This really is a construct of stylish intent, despite the untidy closure before fine euph solo. Now comes heavyweight stuff — it packs a real punch before more tasty elastic lyricism from soloists. Again — there are noticeable strains though.

Elgar has lost his stiff upper lip in the ride for home — the man is blubbing with emotion. It's really laid on by the bucketful before a turbo driven end.

Overall: A performance that sought the emotion — found it and displayed it for all to hear. Hearts on sleeve stuff — and perhaps not everyone's take on Elgarian restraint.

10.45
Pemberton Old Wigan DW, Mark Bentham, 3

Breezy opening swaggers with a pacy lilt. Neat bit of division of labour makes cornet solo secure if staid, but control and detail in the following sections is classy.

Troms sound a little too razzle dazzle perhaps for Elgar, but the ensemble playing is well handled and MD just enhances the lyricism with subtle pulls. Untidiness loses the wit — not as dry as neat martini for sure.

It loses it focus — lead lines strain and the flowing lyricism is gone.

Recovers, but the ride for home lacks that Edwardian sense of stiff upper lipped restraint.

Overall: Started with real promise, but lost its control and style — a bit like the end of Britain's Edwardian empire. OK but up against it we suspect.

Leyland, Richard Evans, 2

Thankfully Dicky doesn't opt for a swagger march opening, but it does have that unmistakable lilting feel. Not entirely comfortable in some leading lines it must be said — it sounds a little strained in places.

Troms give it a nice rasp and now the turbo boost is turned up — boldly coloured this. It's Elgar with an E tablet. It captures the style and euph is top notch. MD is enjoying this now — the ciphers are all shown off amid a broad lyrical approach.

It's laid on as thick as Joan Collins make up, but the effect is as impressive.

Ride for home is full of flag waving Edwardian patriotism, then it goes hell for leather to the close.

Overall: Indivdual to say the least. A modern take on Elgar this — full of bold colours and emotion laid on with a trowel. Strained in places though it must be added.

Reg Vardy, Ray Farr, 1

A stylish opening is Elgar with a breezy swagger and tucked in there is a lovely solo cornet lead. Troms give it the right crispy razzle and flugel is a fine melancholic voice.

Some messy little touches here and there, but you hear the ciphers and nods to Elgar's other works. Gets a little sticky in places and loses that elegance in some leading lines. MD is in emotive mode — and the player's respond.

Neatly styled once more, if a little strained, but the close is full of pomp and passion.

Overall: A good marker this from Reg Vardy. Really confident playing, led by the MD in emotional overdrive. Stylish if a little messy at times but a stamp of Elgar quality without a doubt.