The 2011 National Championship of Great Britain sponsored by Allianz, Yamaha and Wright & Round is taking place at The Royal Albert Hall, London.
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Saturday 15th October
Test Piece: Breath of Souls (Paul Lovatt-Cooper)
Draw: 8.30am
Commence: 10.00am
Adjudicators: David Read MBE, Luc Vertommen, Rob Wiffen
Comments: Iwan Fox
4BR opinion:
What an intriguing contest — not one band really nailed it today. Plenty came close but each had problems. The piece proved very popular and certainly sorted the bands out.
As for a winner?
Wow. We think the trophy may well stay in Yorkshire — but where?
Brighouse gave the most compelling rendition, whilst Carlton Main was the most persuasive. Cory was not at its very, very best today but still showed so much quality whilst Tredegar's early doors performance hed its own.
Flowers and Hepworth were impressi in different ways, whilst Foden's may just be a dark horse after a flawed rendition.
1. Brighouse & Rastrick
2. Carlton Main Frickley
3. Cory
4. Tredegar
5. Flowers
6. Hepworth
Dark horses: Foden's & Fairey.
Draw:
5.05
Foden's (Allan Withington), 20
A very deliberate opening tempo sets the stall out. Lots of detail and balance, but we hear the first errors of many. It is bold and vibrant, but you can't help but notice the clips.
Lovely signing euph leads the way but the cadenzas are a mixed bunch of B,B,A,A,A,B in totoal and a mixed bunch in execution too. Not all sound secure.
Lyrical interlude is lovingly shaped but there are problems in the ensemble and some lead lines. The close is so well shaped but not secure.
Reprise is high paced and so exciting, but there are problems again in the solo and ensemble. Great high power finish is full throttle stuff and the finale is a thumper.
Overall: Not Foden's at their very best today — too many niggles and errors, but there was still something that stuck in the mind about the approach.
4.43
Reg Vardy (Ray Farr), 19
Bold opening but there is real dislocation in the ensemble at times. There is pace and power, but it is scrappy and lacking cohesion. This hasn't really settled.
Euph does well in a deliberate statement of musicality. Cadenzas are A,A,B,A,B,A — solidly played too.
Lyrical interlude is bravely shaped but at times poorly executed — its fragile. It is being milked to high heaven too. Mrs Thatcher couldn't have snatched more Gold Top than this!!!
Reprise is high paced, but messy. The differences in tempos is so marked. Hard to understand the approach for us.
Finale is blown and blown hard and there is just enough in the tank to deliver a thumping close (courtesy of bass drum).
Overall: Disappointing. This just didn't seem to engage techncially or musically today. A low finisher for us.
4.25
Exchange Communications Whitburn (Michael Bach), 18
Scrappy start takes time to settle. Lacks real detail and contrast, although the flowing approach allows the leading lines to be clearly defined.
Euph does well and the following cadenzas are played with solidity in the A,A,A,A,A,B multiple choice exam. Nealy all come off.
What is impressive though is the musicality that is brought out from the lyrical interlude, despite the obvious frailties — so thoughtfully shaped and subtly coloured. Lovely — and so well directed.
Reprise is fast paced and just about comes off — but it is not precise in the ensemble. Just enough in the tank to get to the end, but it is running on fumes to close.
Overall: A lovely musical shaped performance, but the execution was not in the same class. A midfielder.
4.02
Carlton Main Frickley Colliery (Phillip McCann), 17
What a fine start — neat and precise and played with a lightness of touch. More quality follows — and MD takes the odd risk with the phrase endings too — tastefully elongated.
Well done euph — and cadenzas to follow are solidly played in the B,A,A,A,B,B format.
Solo cornet leads with such stylish emotion in lyrical section. Just needs a tad more flow perhaps, but its so well done. Gets stuck in the emotion before close.
Reprise is paced so well but there are some uncomfortable moments in lead lines and ensemble. Now it catches fire and the finale is played with such verve and with juice left in the tank. Bold end.
Overall: A fine this from band and the MD. So intelligently laid out — very nearly everything came off as they would have wished you suspect. Another mention off the stage at least?
3.37
Brighouse & Rastrick (Professor David King), 16
Pacy opening is full of drive, detail and desire...
Bright but controlled, there is a vibrancy about this playing that is marking it out so far. Techincal detail is balanced by musical shape from MD.
Bravo euph — there is artistry in this playing and the following cadenza.
Choices of B,A,A,B,A,B are a mix and match that work, although some sound a little strained. Lyrical interlude is played with such flowing breadth, despite a dislocated moment in the ensemble that sounded odd.
Intense musicality wins through and is followed by rip roaring pace to the finale. Little clips and blips but such drive and energy is hard to fault. Lovely little touches here and there add something to the mix. Slightly odd ending though, but what a corker.
Overall: Very, very high class musicality this. Made something from the score that nobody elese has done today. Players responded in kind. The leader and a mark of potential champion.
3.17
Pemberton Old DW (Mark Bentham), 15
Good start — bright and flowing if just lacking in detail and balance. Moves along but we hear the technical difficulties. Just sounds harsh too often despite drive and energy.
Well done euph and this is followed by solid cadenza. Choices of A,A,A,B,B,A are another based on pragmatism. OK only.
The lyrical interlude is so lacking flow though. The emtoion has stifled this despite sweet cornet lead. Needs energy. Bogs down to close.
Reprise is untidy and tired. Band gives of their all and there is some fine euph work on show. Loses focus despite and gets harsh as the lactic acid flows through the veins. A tired band gives everything to close.
Overall: A brave effort this from a young band. Had its moments but it saw them play at their very limit. Low midfielders for us.
2.55
Rothwell Temperance (David Roberts), 14
Good solid opening — bold in colour and dynamic for certain, but so confident in approach. It is stating its case in blocks — bolted together at times, but solid as a rock.
It needs more dynamic contrast, but you cannot fault the execution. Just starts to get raw in places — five perc players add drive and colour.
When it gets quieter little cracks of uncertainty appear, but little fissures they are — not gaping holes. Euph does OK and following cadenzas are well played (esp sop). The B,A,A,A,B,A selection is one based on pragmatism.
Lyrical interlude is a little uneasy and lacks flow but it closes well.
Finale is played at a whip thrashing pace — and played well. MD asks a great deal and is rewarded by a band giving their all. Messy episodes in lead and ensemble at times, but what stamina for a rip rousing finish.
Overall: Right between the eyes — no messing. MD knows the Albert acoustic. Gave their all and it could well feature highly today as a result.
2.36
Flowers (Paul Holland), 13
Super start — neat and tidy. Lots of little detail shines through. The colour and the vibrancy is first rate. Just gets a bit harsh in tone but this is a solid statement of intent.
Euph does well and follows it with classy cadenza. The choices are B,B,B,A,A,A — all solidly played if not all sparkling. Flugel is an exception and does really shine.
Lyrical reprise is neatly shaped by MD — nothing overdue and he is rewarded by some super player. Horn just!
Final fly for homes takes a bit of time to catch the tempo but then whips along at fair old rate of knots. A little scrappy, but certainly exciting. Great close too. What a fine end!
Overall: A super show from Flowers — so solidly put together and played. Right in with the leaders so far today.
2.15
Cory (Dr Robert Childs), 12
Cracking start but it is not always precise, despite the immense attention to detail. There is so much balance and colour but there are slips and they are noticeable in ensemble and lead lines.
Euph is OK but wobbles a little and the following cadenzas A,B,A,A,A,A are variable. Flugel is outstanding.
The music flows and there is such quality on show. Little clips though and odd tuning just detract (mute work?). Sublime work to close in ensemble.
Flight for home is such high paced playing but it is not error free by any means. Bass trom is camouflaged. The final section is now such high class playing — ensemble tour de force. The close is immense and final.
Overall: The door has been left open here. Such high quality, but the indivdual errors and ensemble slips were noticeable. Right in the mix but not unbeatable by any means.
1.54
Virtuosi GUS (John Berryman), 11
Scrappy start is full of vibrant life and colour, but it's as scratchy as a junk yard dog with fleas. A real pity as there is colour and balance to be heard throughout.
More scratches and clips spoil the musical picture. Euph does well and repeats it in cadenza. A,A,B,A,A,A choices nearly come off and the following interlude is so well shaped. Subtle musicality.
More blips and clips amid the excitement. We hear some tremendous stuff (cracking flug) and some pretty ordinary execution. Tires to close but it just holds it form to end with a flourish.
Overall: Not quite the sum of its parts this. At time great, at others pretty ordinary. A high midfield finish?
4BR opinion:
The half way point of the contest and we don't think we have heard the winner yet. There are some big guns to come and the contest is still up for grabs.
Tredegar delivered a thriller with slips and Fairey a musical one with slips. Hepworth delivered a solid one with some slips and bloody mutes!!! Contesting eh?
Top three for us then:
1. Tredegar
2. Fairey
3. Hepworth
1.15
Hepworth (Michael Fowles), 10
What a fine start. Neat and tidy, bold and confident too. It's a bit nuts and bolts in places but the solidity of execution is high class nonetheless.
MD allows flow and is rewarded with some lovely playing in return. Euph does well and repeats it in cadenza. Another A,A,A,A,A,A choice and each is played with real solidity.
Mutes!!!! Why or bloddy well why????? It was going so well and this sounded so, so wrong. Lyrical interlude ends well, but what a chance missed.
Finale is pacy and a bit scrappy, but MD keeps that drive and despite the odd moments of discomfort there is much to admire about the sense of control. Just loses stamina to close, but was controlled and balanced to the very end.
Overall: A fine one this — so much to admire. The huge black mark was the use of mutes — so, so obvious and rather brainless in the context of the quality of everything else.
12.55
Zone One (Richard Ward), 9
Scrappy start gains a head of steam, but it isn't locked into the most precise mode. The balances and dynamcis are displayed, but it is not always cohesive.
Well done euph, but ensemble surrounding things around here is variable at times. Cadenzas are all straight A choices — A,A,A,A,A,A — but only a few get top grades.
Lyrical interlude is so nicely shaped though — with subtle musical elasticity. Not all comes off in execution, but musicaly this was lovely.
Final ride for home is tired and scrappy. Energy remains but it is so untidy. Just enough — and we mean, just — to get to the finishing line.
Overall: Had all the elements but not the cohesion. A fine reading by MD saved it. A low midfield?
12.35
Woodfalls (Gareth Pritchard), 8
Neat start is full of precise detail and balance. Confident playing just starts to lose its focus at times, but this is well structured.
Loses impetus and clarity as it porgresses. Perc keeps things on track, but ensemble is messy, especially in the middle, and solo lines are blurred.
Euph copes well on both occassions and the cadenzas are A,A,A,A,A,B — some better than others with tuba the star.
Lyrical shaping is nicely done but little weaknesses are exposed too, despite no mute policy.
Reprise is messy — very at times. Stamina means the lactic acid has hit lips. This gets strained and untidy. MD pushes the tempo on with drive and purpose (fine xylo), but it is harsh. Just has enough to make it to the end.
Overall: One that didn't quite live up to its opening promise. A brave effort that just faded away. A midfielder.
12.12
Fairey (Geneva) (Russell Gray), 7
Super start. Great xylophone, but what about the balance with ensemble — its very bold? Not quite secure in the odd line, but this is high class playing. Careful troms add colour and well balanced weight.
Euph is classy and next cadenza is the same quality. Sublime flugel! Cadenza varients are A,B,A,A,A,A and nearly all come off — and they are given time to shine by MD.
Lovely musical shape to lyrical interlude. It seeped with emotion.
Ride for home is 95% of top pace. Scrappy in some solo lines, but it builds with purpose and drive. More very fine playing keeps this ticking with purpose and there is just enough stamina in the tank for the close.
Overall: A high class one from Fairey — not without its discomforts, but a very fine musical performance. In and around the top six mix.
11.54
EYMS (Alan Morrison), 6
Good start is light of touch and has a neat flow. Detail doesn't always present itself at the forefront, but it has a vibrancy. Just loses focus at times.
Bravo euph — very classy indeed — and follows this with equal authority in cadenza. A,A,B,A,B,A approach is hit and miss though — not all sound comfortable.
Lyrical approach is smoothly delivered to start but just gets edgy by its close. No mutes again — bravo!!
High paced close sees the lactic acid hit the lips. Loses drive and becomes scrappy and untidy. MD drives it on to the close, and it just has enough juice left in the tank to make it over the line.
Overall: Had its moments but it was a struggle in too many places too. Tired considerably to close. Low midfield?
11.32
Tredegar (Ian Porthouse), 5
Great start — pacy and detailed. The balances are heard in each section and this is so vibrant. Drive and energy seeps through everything.
Euph is a standing, no music delight. Follows this with superb cadenza too. A,B,A,A,B,B follows. Little clips in some, but again the sense of vibrant life is so clearly defined.
No mutes and lovely touches of lyrical musicality stand this out. Just the odd blip, but euph closes this so well as does supreme horn.
It motors along now — just gets a tad scrappy in places and in some lines but this has been high class playing. Drives with such purpose to a thumping close.
Overall: A class apart so far. So much to admire about the approach and top notch execution. A contender without a doubt.
11.10
Beaumaris (Gwyn Evans), 4
A fine start, just spolit by the occassional nasty slip in some lead lines. Bright and breezy in style this — and the balance is good too. Control and detail is heard.
Euph is superb. He follows this with a cadenza of rare quality, but those that follow the A,A,A,A,B,A are variable. Some great, others edgy.
Euph is a star here (does the bari spade work?) and the musical intentions work (no mutes). Much to enjoy despite the nerves in some lines.
Bold closing pace is scrappy — and starts to lose focus as stamina fades. Just gets harsh and we question the huge pause timp roll to close. Well managed though.
Overall: A brave and musical show this. Euph was a star. One to be proud of and should more than hold its own today.
10.50
Co-op Funeralcare (Dr Nicholas Childs), 3
A neat start has the clarity and balance in neat style. Sounds a little re-scored? The balances are different from what we hear so far — a lighter feel to everything. Troms elongate things too. Different.
Breezy playing, with tasteful euph. Ensemble not same class though.
Cadenzas are the B,A,A,A,A,A variety and are a variety in execution too with euph getting trom help?
Never quites sits comfortably this despite the fine musical intentions. Little clips hurt.
High pace again has the clarity, but not everything comes off — some lines are dislocated. Warm sounds are heard and there is plenty in reserve for the thumping climax.
Overall: Don't know. Different in approach and style. Not everything came off as they would have hoped but it was decent stuff. Midfielder?
10.28
Redbridge (Jeremy Wise), 2
Bold opening is full of vibrant colour (the cornets are stood in two choirs at each side of band). It works and there is detail to be heard. Gets scrappy in places with the desire to excite, but it has a real flow this.
Struggles in solo lines — but B,A,A,A,B,B choices are scrappy but not a disaster and horn is outstanding on both features.
Bravo cornet as well, and the no mute policy is to be applauded. Just gets messy and the detail is lost.
High pace home run starts to lose focus as stamina ebbs away. It sounds harsh at times now and the little errors are starting to hurt. A pity — the flow and colour remain to the thumping close.
Overall: Decent one this — full of excitement, but it didn't quite keep the quality throughout. High midfield finish?
10.07
Thoresby Colliery (Philip Harper), 1
Sparky start is bright and breezy, but it is niggled withy little clips. Real detail is finding difficulty being heard, but there is some fine work going on here and there.
Nearly euph at P is followed by a cadenza option of A,A,B,A,B,A from euph, Flugel, sop, trom, bass and horn — some fine some not.
Bravo solo cornet — so tasteful, but its is being milked a tad by MD. No mutes — bravo!!!!
High paced finale is scrappy — very in places. Stamina is being leaked away like French resistance against Wales (hopefully). Keeps its shape to close but it does become a struggle.
Overall: A brave one. The first signs of what may be to come with a lot of bands today. Low midfielder at the very best.
