Not for the first time, and surely not for the last, Cory redefined future contesting parameters in securing their sixth European Championship title success at the Nouveau Siecle Concert Hall in Lille.

Under the baton of Philip Harper, stunning renditions of the set-work, 'Fraternity' by Thierry Deleruyelle and their own-choice of Philip Sparke's latest opus, 'Raveling, Unraveling', saw them claim the famous Christopher Milton Steven trophy by a commanding five-point winning margin — the widest at the contest since 2009.

Manner

However, it was the manner in which they secured the banding world's ultimate prize that will have sent rivals home with plenty to think about before they try to wrestle it from their steely grasp in Ostend in 2017.

One of those not be able to do that will be Black Dyke, despite the defending champion giving their all to end in second place — tied on points (but gaining the nod on the set-work) with the mightily impressive Valaisia from Switzerland.

Meanwhile, the Belgians of Buizingen secured a well-deserved fourth ahead of the fancied home nation favourites of Paris Brass Band and a rejuvenated Brighouse & Rastrick, with a raft of other high-class rivals left languishing in the Welsh band's wake.

Imbued

Cory's performance of the engrossing set-test on Friday evening; imbued in traditional contest-winning detail, balance, spotlight features and passion, placed them pole position heading into the Saturday own-choice discipline.

'What a band. What a reading' wrote adjudicator Michael Bach. 'Bravo!!! Magnifique!!!' added Fabrice Millischer.

An 'inspiring performance' was the summing up of Michael Forsyth of a rendition of a composition that was also an evocative reminder of the almost forgotten tonal textures and balanced dynamic contrasts that only the very best brass bands can create.

Overall quality

They later confirmed that their order — which saw Cory lead the way by a two-point margin from Black Dyke, with Buizingen, Valaisia, Brighouse & Rastrick and Provincial Brass Band Groningen behind, was 'a fairly easy one to make', adding that, '...the overall quality of the performances identified the very best'.

And although few people would have disagreed with their overall findings, the antiquated award of points in a contest that features two separate adjudicator panels meant that in essence, some bands chances of success were already dead in the water.

There was a little to choose between many performances — even though there was a greater variance in the artistic approachs (from Stavanger's dark and passionate take under Allan Withington to Oberosterreich's symphonic sweep under Ian Porthouse and Whitburn's neatly delivered account with Michael Fowles) — although some also revealed noticeable ensemble imbalances and a lack of subtle dynamic contrast.

It raised the question that surely placings are a more equitable way of deciding matters at this level?That may be a decision that also needs to be made to redefine the contest in a different sphere in future as well.

Defining moment

For the time being though, how Cory built on their lead may well come to be seen as a defining moment in the contest's future musical direction — and perhaps the beginning of the end of the current 'blockbuster' era of e-number packed trickery and effect-laden compositions that have been such a feature in recent years.

Off the number 8 draw they produced a sumptuous premiere of Sparke's personal 'act of reverence' to the great French composer Maurice Ravel: Such was the impact of the superbly crafted search for his famous 'La Valse', that the final note was met by a tantalising moment of silence before the audience showed their overwhelming appreciation of an act of inspired contesting bravery.

New course

Where others had tried to claim victory treading a well-worn path of kaleidoscopic over-worked technical wizardry, Cory simple charted a new course — one based on style, refinement and linear musical development.

Led by their fleet-footed MD, they literally waltzed their way to victory.

Not since YBS heralded the era of bespoke leviathan commissions at the event with 'Music of the Spheres' in 2004, had a such a major shift in musical emphasis elicited so many varied opinions and viewpoints — from rivals, supporters, critics and neutrals in the audience alike.

Redundant

However, it was in the box (which was surely the most redundant structure in any banding contest such was the fevered vocal atmosphere in the hall) where it mattered most: Michael Ball, Reid Gilje and Ivan Meylemans loved it.

'...authoritative playing of a very high order', 'This is world class!' and 'Musical tension and beautiful phrasing from note A to the end. Brilliant!' were just some of the superlatives in their written remarks. 99 points was the verdict — the title of 2016 Champion Band of Europe the overall result.

Mighty close

Not even a stunning performance of 'Trance' from Valaisia (who were many people's choice to claim overall victory) could beat it — although it came mighty close.

Behind them home favourites Paris also delivered a foundation-rocking rendition of 'Hypercube' to finish third ahead of Black Dyke's bravura 'Trumpets of the Angels', featuring a 'Best Instrumentalist' contribution from Gareth Small — the principal trumpet of the Halle Orchestra.

Stavanger's 'Trance' was fifth with Whitburn's 'Cantata' in sixth, as a series of power-laden own-choice performances came and went — and with them the chance of denying Cory their second European title under the baton of their inspirational conductor.

Delight

With the trophy back in his grasp, it was little wonder then Philip Harper couldn't contain his delight as reflected on the victory ahead of what promised to be a long night of celebration. First though he sought out Theirry Deleruyelle and Philip Sparke — the musical architects behind the victory.

After offering, as well as accepting, the congratulations of the composers who certainly gave Cory works on which they could showcase their brilliance, he told spoke to 4BR.

"It can't be any better,"he said. "We knew we played well on 'Fraternity' — we were absolutely buzzing when we came off stage. Today's performance (of the Sparke) was also very good, but the piece Philip made for us was so quirky and kind of unusual in a way, we didn't know what the reaction was going to be to it."

Risk worth taking

When asked if it was therefore a risk worth taking, his answer was illuminating. "I feel that the trend in the Europeans these days is just to play ever louder, faster, more gimmicky. And in the end you get music which sort of devalues the genre of brass bands. It doesn't matter what notes you play and doesn't matter whether you can play together or in tune particularly."

He added: "We wanted a piece that could demonstrate in no uncertain terms that we could do those things and do them well — and that's why we needed something a little bit out of the norm."

Rivals norm

What the norm will now become for rivals if they are to stop Cory adding further triumphs in the years to come will be interesting to hear — although Black Dyke's decision to perform a new contest edition of Edward Gregson's apocalyptic 'Trumpet of the Angels' may give some indication of what the more innovative thinkers may be looking towards. An era of considered inventiveness may well be upon us.

For the moment though, it was also a delight to hear a set-work that demanded an appreciation of traditional brass band, rather than brass ensemble values, as 'Fraternity' gained widespread acclaim thanks to its equally considered balance of demanding technique and engaging, narrative musicality: It was a tone-poem with a welcome twist that deserves an extended shelf-life at top flight national contesting level.

Unquenchable

As for Cory? Further elite title winning success will surely be within their grasp if they continue to show such an unquenchable desire to define the musical direction of major contests in the years to come.

A new musical European era may well have emerged in Lille — and it is being led by Philip Harper and his band from Wales.

Iwan Fox

We wanted a piece that could demonstrate in no uncertain terms that we could do those things and do them well — and that's why we needed something a little bit out of the normCory MD, Philip Harper.

Results:

Adjudicators:
Set Work: Michael Bach, Michael Forsyth, Fabrice Millischer
Own Choice: Dr Michael Ball, Reid Gilje, Ivan Meylmans

Test Piece: Fraternity (Thierry Deleruyelle)
(Draw): Set Work/Own Choice = Total

1. Cory (Philip Harper) (8/8): 98/99 = 197
Ravelling, Unravelling (Philip Sparke)

2. Black Dyke (Professor Nicholas Childs) (3/10): 96/96 = 192*
The Trumpets of the Angels (Edward Gregson)

3. Valaisia Brass Band (Arsene Duc) (10/11): 94/98 = 192
Trance (Thomas Doss)

4. Brass Band Buizingen (Luc Vertommen) (12/5): 95/93 = 188*
Metropolis 1927 for Brass Band & Percussion (Peter Graham)

5.Paris Brass Band (Florent Didier) (11/3): 91/97 = 188
Hyercube (Oliver Waespi)

6. Brighouse & Rastrick (Professor David King) (9/4): 93/92 = 185
Trance (Thomas Doss)

7. Stavanger Brass Band (Allan Withington) (5/6): 89/95 = 184
Trance (Thomas Doss)

8. Provincial Brass Band Groningen (Richard Visser) (7/2): 92/89 = 181*
From Ancient Times (Jan Van Der Roost)

9. Bayerischen Brass Band Akademie (3BA) (Thomas Ludescher) (6/12): 90/91 = 181
Vita Aeterna Variations (Alexander Comitas)

10. Whitburn (Michael Fowles) (2/9): 87/94 = 181
Cantata (Andrew Duncan)

11. Brass Band Oberosterreich (Ian Porthouse) (4/1): 88/90 = 178
EKSTASE (Thomas Doss)

12. Lyngby-Taarbaek (Michael Thomsen) (1/7): 86/88 = 174
Of Distant Memories (Edward Gregson)

Best Soloist: Gareth Small (Trumpet) — Black Dyke

*Set-Work mark takes precedence in event of a tie