Live coverage of the English National Championship at the Guild Hall, Preston.

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English National Championship: Own Choice

Adjudicators: Ian Brownbill & Derek Broadbent
Draw: 9.00am
Commence: 14.00hrs

Comments by Iwan Fox

What a fantastic afternoon of high quality brass band music making. There wasn't a single weak performance and all the bands emerged with great credit — and on some very brave choices.

Fairey for 4BR this afternoon put the cat amongst the pigeons and we think it may well take the honours, but only by the smalest of margins from Black Dyke and then Fodens.

Reg Vardy deserve to be in the mix and we have them fourth ahead of Rothwell and Leyland.

A disappointing Brighouse will surely be way down just ahead of Hepworth and Pemberton — but it will be close between all nine.

Overall then that means Black Dyke from Foden's, then Fairey, Rothwell, Reg Vardy, Brighouse, Leyland, Hepworth and Pemberton.

4BR Overall

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

Own choice

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

17.35
Fairey (Geneva), Russell Gray, 9
A Symphony of Colours (Simon Dobson)

Wonderfully coherent start — full of precision, effect and internal balances. MD is drawing out the sense of the unreal with so much breadth of imagination — and the players respond — especially euph and cornet.

You hear the motifs and ciphers of Messiaen — from that opening movement of joy through the intriguing sense twisted flow in the midde Chroma mvt.

Surreal, engrossing and attractive this — like Emily Maitlis on the news. Close you eyes and you sense the engaging oddness.

Moves into deeper territory now — it makes Vinter's Spectrum sound like a musical crayola set. Great ensemble playing, just gets ragged in places, but the reprise and drive for home is delivered with the organ stops out like Dolly Parton in a wet tee shirt contest.

Just a little loose to close, but what an ending.

Overall: A tremendous bit of playing, helped by a great reading of a highly complex score by the MD. A real treat this and played with such understanding and authority.

17.08
Pemberton Old Wigan DW, Mark Bentham, 8
Spiriti (Thomas Doss)

A well managed opening retains that sense of gradual emerging focus.

Some lovely effects and growing atmosphere — this is paced to perfection by the MD so when the first big 'Ein Fest' tune comes it evolves rather than bashes you in the face.

Opening reprise bubbles with mystery like BP's glooping oil in the Bay of Mexico. Oddly engrossing writing — it doesn't quite come off in the main solo lines or the monkish vocals though.

This needed something unworldly about it to really have sent a shiver down the spine.

Bluesy excerpt is a neat interjection, but the vaseline smeared focus on the musical lens needs to be gradually cleared to reveal the hidden detail sooner.

When it does all becomes clear — more great writing and well played by a band in full commitment mode. Like Douglas Bader it just struggles to find its feet in places, but what a great ending — and what a bravura performance.

Overall: What a fine effort on a truely great test piece. Just lost its way in places, but the MD and band must be congratulated for this account.

16.44
Rothwell Temperance, David Roberts, 7
...Dove Descending (Professor Philip Wilby)

Untuneful opening chord is a minor blemish on what is a opening of stature and command. Bass trom sounds like Barry White on Woodbine fags — deep and dangerous. Great ensemble playing follows.

The detail of the playing is so solidly delivered, but it just needs a touch of subtle nuance here and there. Its difficult to hear all the complex layers. Ends with a forceful declaration.

The fat birds are out in force in their twittering to start — like a night in Preston's Spearmint Rhino, but euph is so classy and refined. Sop is delicious, but the ensemble becomes increasingly fragile in places. You applaud the musical risk taking, but it didn't quite come off.

Reprise is back to the high standard of the opening third — bold, bravura stuff, with bags of stamina held in reserve for the pulsating finish.

Overall: A really brave choice and one that almost came off big style. The slightly fragile middle movement may cost though.

16.17
Reg Vardy, Ray Farr, 6
Titan's Progress (Hermann Pallhuber)

A scruffy opening two bars but then there is top drawer playing on show from all around the stands. MD is milking this with the subtle bite of a breast feeding baby — bitty, bitty. Cracking stuff.

Soloists play with style and confidence — and the precision of the ensemble is some of the best we have heard today, backed by super perc.

The balance between the dry wit and emotion filled lyricism is so well portrayed. Bravo sop, cornet, flugel and especially euph — real artistry. An odd cross between Stephen Fry and Placido Domingo — but it works so well.

Romp for home is controlled as Titan reaches maturity. Sop is a bobby dazzler and there is plenty in the tank to close with such authority.

Overall: A very high class performance this, helped by a wonderfully intuitive approach by the MD and the excellent delivery of all the players.

15.55
Black Dyke, Dr Nicholas Childs, 5
Vienna Nights (Professor Philip Wilby)

Precise start is hallmarked by dark menace and purposeful drive balanced by the simplicity and beauty of the Mozart.

It's deliberate, almost carefully constructed this, with a real emphasis on detail and precision — played brilliantly it must be said.

The cafe is an amalgam of good manners — not really the suave cool dudes envisaged but the nods of appreciation are so well delivered. A good night vienna of Rigsby rather than Nat Lofthouse bravura Lion of Vienna stuff.

Breathtaking gallop reveals hidden depths of quality and the following recitative and notturno showcase very fine solo voices. Now we get the cream — full bodied high calorie liquid gold. This was beautiful brass band playing.

My sweet Baby Moses! What a thumping intro into the Turkish romp — and a real romp it is too. Cooked to perfection like a late night Mamaris kebab.

Now the floodgates open — with a series of foundation breaking chords and an ending that had the finality of a jackhammer on a paving slab.

Overall: A huge contest winning construct of precision and purpose. Not as thrilling as Foden's perhaps but just as brilliantly delivered.

15.26
Brighouse & Rastrick, Professor David King, 4
Concerto Grosso (Derek Bourgeois)

Oddly subdued opening fanfares lead to fine euph and tuba interjections, but this isn't settled playing with a horrid dislocation in the ensemble.

The drive and purpose is evident, but its very messy and at times insecure. The required precision is missing and for the first time in many a year we see the MD fire fighting.

It recovers its poise and style — at times brilliantly, but its as fragile as a pensioner's hip on a marble floor. Collectively it hangs together but its not cut from the Kings finest musical cloth.

Flugel shows just what has been missing — brilliant. Great spooky close too.

Tico, Tico is played at a speed Carmen Miranda would have lost her bananas at and its as messy as a Eton fruit sunday in places. Recovers its wit and style just in time, but this was so scratchy in execution.

Final reprise starts with a lemon sharp sop and final flourish is all a little too late.

Overall: A real disappointment — almost from the word go. Sounded uneasy in the ensemble and only some very classy soloists saved it from oblivion today.

15.03
Leyland, Richard Evans, 3
The Legend of King Arthur (Dr Peter Meechan)

Drama packed opening pulsates with menace and drive, before euph leads in spectacular fashion.

This is no Disney version of the myth — more like Quentin Tarantino directing — and its not the legend of the former head of the NUM either...

The dark drive and undercurrent of treachery continues through splendid ensemble work and colourful, but integral percussion. Flugel is a plaintive counterpoint with vocal monkish foundation provided by the band.

You sense the building tension, the havoc of battle and the final redemption of Arthur. Super ensemble balance and detail is enhanced by that never ending pulsating beat and a euph soloist who is a titan.

Its a complex character portrait — warts and all of a man with woman troubles — a bit like Ryan Giggs then... Tremendous finish.

Overall: Very filmatic, exciting, colourful and persuasive. Enjoyable and different. A brave old choice this from Dicky.

14.37
Hepworth, Ian Porthouse, 2
Music of the Spheres (Philip Sparke)

Super horn opening is full bodied and atmospheric and leads into a fizzing section of detail and pulsating style.

Little blips do not detract from the drive and the neat precision in the quieter dynamics. Bravo horn and sop again. There is quality individual work on display throughout and the ensemble is not far behind too.

Asteroids offer a bumpy ride and some tiredness creeps into the playing — its as scratchy as a RSPCA rescue dog in places. Like BP it needs to find some reserves of fuel. Euph leads with wonderful lyrical playing and something has kicked into the veins.

Back on track now but it is hard grafting work. It's exciting but messy. A final brave push gives things a rousing close.

Overall: A quality performance but one that just dipped in standard in the final quarter as the stamina waned. Bold, brave and exciting in a performance of real merit.

14.11
Fodens, Allan Withington, 1
Vienna Nights (Professor Philip Wilby)

A fervent start is full of inner detail, pulse and purpose, balanced by the childlike opening Mozart statement.

There are some lovely touches in direction and delivery — notable in the flugel and horn. Suave cafe scene is played with sensuous cool.

Wonderful stuff — bravo sop, and later tuba. The neat gallop is delivered so effectively and the wit is as dry as a Dorothy Parker bon mot to follow.

Nocturno and on is a wonderland of musicality — from cornets and euphs to tubas. Sublime playing and the drive to the Turkish border cant be stopped by the Syrian army....

Hells bells — this is a Turkish stampede! Fab stuff — oh my giddy, giddy aunt! Breathless and breathtaking. Huge chords to close rock the foundations. What a sound and what a close.

Overall: Tremendous playing. A brilliant interpretation but the risks in tempo may be open to question. Alla Turk? Ali Bonkers more like! Stunning — stunning....