There may have been a sense of predictability about Foden's top section success in Blackpool (they remain unbeaten since 2015), but 'Contest Music', as well as the contest music making in the other sections at the Winter Gardens proved to be anything but.

The Sandbach band retained its monopolistic grip on the Championship Section trophy (as well as the silverware for winning conductor, secretary and 'Best Trombones') with a degree of competitive comfort, although as conductor Russell Gray later admitted to 4BR, there were times when they were forced to batten down the hatches on the tempest challenges of Wilfred Heaton's score.

No margin for error

"I don't think we were at our very best today,"he said. "But that's because 'Contest Music' is such a difficult piece to master. We dug in at times, but the band has such quality that we got through."

He added: "I've really worked hard on the preparation, conducting through the piece time and again at home. There's no margin for error. It's a great work that demands the utmost respect."

That was echoed by the remarks of judges Bob Childs and Anne Crookston, with Bob summing up his observations of Foden's rendition by writing: "A top quality performance — outstanding trombone section and bravo all soloists. Nice reading by MD. Just one or two minor blips."

Anne concurred: "I thoroughly enjoyed this. Great understanding of the music and depiction of these 3 beautiful sketches."

Detailed appraisal

Few disagreed with their pre-results addresses either; Anne giving a detailed appraisal of the issues they looked out for in the box — especially the character of each movement, from clarity and precision to tempi and balance.

Bob confirmed that there had been one "outstanding"performance with two or three other "good ones", whilst he felt the performances had "made it pretty easy to judge"- from qualifiers to those who suffered "fairly serious accidents".

Traps

That was certainly true in a contest where the traps in Heaton's fearsome score were stepped on with alarming regularity, although the classily impressive Leyland and an inspired Oldham (Lees) produced performances of high quality substance to claim the Albert Hall qualification spots.

The clearly defined approach by Thomas Wyss elicited admirably secure, stylish playing from his charges as they returned to the Albert Hall for the first time since 2019, whilst John Collins managed to skillfully mould the disparate elements of his star studded band to claim their first ever London appearance.

There was much debate (and rumour) about the allegedly costly appearance of the likes of Lode Violet (who won the 'Best Principal Cornet' award), Jamie Smith and Shaun Crowther etc in the ranks, but whatever the truth, it still took considerable insight to draw together such a cohesive ensemble performance. Their qualification was fully deserved.

Behind them, a finely judged reading from Sarah Groarke-Booth inspired Rainford into fourth, whilst a curiously aggressive WFEL Fairey was fifth; the approach of Adam Cooke splitting opinion in the hall, but not the box. The final top-six place went to a solidly portrayed account from Pemberton Old.

Few complaints

The rest of a variable field had few complaints, although Wingates were perhaps unlucky that an engaging account didn't finish higher than eighth. Milnrow eventually edged the out in seventh.

The bottom four though found structural solo and ensemble difficulties in mastering the acute challenges posed, with an accumulation of unforced errors, miscommunication, and nerves (some or all in part — including a curious false start from Wardle) undermining approaches that at times were held together by threadbare cohesion.

First Section:

If the demands of 'Contest Music' were well known, then those of Gilbert Vinter's 'Spectrum' surely should have been too.

Perhaps they were, but as Alan Morrison expertly pointed out in his pre-results remarks (a subtle variation on the theme he illuminated the day before in the Midlands), it was the detail, especially in the transitions between colours so clearly indicated by the composer way back in 1969, that was at times was so obviously missed by the bands that ended up outside the prizes.

Not so Ashton-Under-Lyne under Martyn Evans, who claimed victory by presenting Alan and fellow adjudicator Glyn Williams with a number 1 marker that couldn't be matched by the 14 rivals that followed.

Richly coloured

It was bold and richly coloured with character; reminiscent of the hallmarks that made the pairing such a successful force both here and at the National Finals in the late 1990s. On this form they will be confident of rekindling yet further title success.

Joining them at Cheltenham will be the Acceler8 Band led by Jef Sparkes. He also used the years of accumulated top section experience together to mould a calibrated dynamic performance that offered an intriguing contrast in interpretation to Ashton, but still found favour in the box.

Just missing out was Longridge, who certainly impressed with their approach under Mark Peacock but who may have just smudged the colourings a couple of times too often to have claimed a Cheltenham berth.

Unwary and underprepared

The remaining top-six slots went to Silk Brass, with an approach not too dissimilar to Acceler8, Eccles Borough, whose forensically laid out rendition may just have lost a little excitement in the cavernous acoustic of the Empress Ballroom, and Manx Concert Brass, who caught the judge's ears as the last band of the day.

Elsewhere there could be few complaints, as Alan and Glyn ensured the bands knew just where they had faltered on a piece whose challenges may well be familiar but still can surprise the unwary and underprepared.

Other bands should also take note, as Alan is in the box in Yorkshire this weekend with Andrea Price (who wrote a very interesting appraisal of the work in Brass Band World magazine this month).

Second Section:

If 'Contest Music' and 'Spectrum' were of diamond level hardness on the Mohs scale of test-piece difficulty, then 'The Aeronauts' by Goff Richards was something of an attractive piece of coloured quartz.

Although bright, accessible and transparent it retains a cleverly concealed cutting edge beneath its breezy exterior that can inflict terminal traps to qualification chances. It was a cracking choice to sort out the 16 bands in the Pavilion Theatre.

It also made for an enjoyable contest — one headed by a winner in Pemberton Old Wigan DW B that raced into a last furlong lead to pip rivals as the final band of the day.

Dazzler

It was a dazzler of a performance; full of bright, warm tonality, rhythmic accuracy, verve and brio (especially their superb solo cornet) — all inspired by their excellent MD, Jay Hall.

Little wonder Mike Kilroy and Andrea Price waxed lyrical about it in their written remarks. "I very, very much enjoyed your performance. Just excellent", wrote Mike, whilst Andrea stated, "This what we have been waiting for. Fantastic."

No doubting the winner, and little doubt either about the fellow qualifiers in the judge's opinion from Tyldesley conducted by the experienced Robert Taylor and Poulton-le-Fylde under Alexander Webb.

Kilroy gripe

Both gave them just what they had been looking for, and which Mike confirmed later on his Facebook page by stating that although everyone "should be proud of their performances", his "overarching gripe was with some MDs that went for tempos that were far too fast for their players to cope with."

And whilst he noted that "speed kills", in terms of an aviation analogy, it was some of the landings back to earth that caused the damage to qualification hopes.

Just missing out on a trip to Cheltenham was Delph who posted a fine account off the number 1 draw to eventually finish fourth, with Hazel Grove, who caught the ears of many in the hall with their approach and Allerton Brass filling the top-six.

Behind them there was still so much to enjoy from bands and MDs who sought the lightness of the music even if some took off on their airborne travels a little too quick for comfort.

Third Section:

The printed appearance of Gordon Langford's 'Facets of Glass' score may have caused concern to the 14 competitors before the contest day in Blackpool, but there was little doubt that the musical substance once the obvious errors had been sorted out made for a fantastic test of qualification character.

Performances varied in standard, but each had rich merit — from the winner in Skelmersdale Prize all the way down to Sale Brass in fourteenth.

That was certainly down to the conductors — all of whom looked for the detail without sacrificing the musical flow that permeated the score from start to finish.

Skelmersdale best

The best came from Skelmersdale led with aplomb by Benjamin Coulson off the early number 3 draw. It was a super show; confident and controlled, neatly defined and stylishly delivered. It was the worthiest of winners.

Their celebrations would have surely filled a glass or two with champagne if they could have got it at the Galleon Bar in the Winter Gardens, after stating on their Facebook page; "We're so pleased to have been placed 1st... securing a place at the National Finals!

We've thoroughly enjoyed rehearsing 'Facets of Glass' and today the hard work and commitment of the band and MD Ben has paid off with a fantastic performance…"

Pushed

It had to be, as they were pushed all the way to Cheltenham but a fine account from Formby under the experienced Louise Hough MBE, who played with an admirable sense of collective and solo confidence, led by a top class euphonium contribution.

Just missing out (and it must have been close) came City of Chester, who gave the judges a high bar marker off the number 1 draw, whilst the remaining top-six places went to Whitworth Vale & Healey, Greenfield and Greenall's.

There really wasn't much between them all, so it was little surprise that David Roberts and Sheona White took their time collating the results before telling the audience of their admiration of what they had heard.

They were not wrong, all the way down the results table.

Fourth Section:

Stephan Hodel's 'Argos' provided the tastiest of musical aperitifs before the heavyweight tastebuds tackled 'Contest Music' later in the day in the Opera House.

At just over 8 minutes in duration and written with such a skilful appreciation of test-piece technique without losing essential musical inventiveness, it brought the best out of the 16 competitors.

Joy

It was a joy; from the nod to a Greek 'What's it All about Alfie' musical orthodoxy to start, followed by a touch of lyrical Nana Mouskouri that led into a Eurovision back beat foundation of sit-com theme tune playfulness to close.

It packed a great lightweight punch and gave the bands and MDs something to get their teeth into, with the players (principal cornets, horns and perc teams in particular) able to showcase their talents.

Morecambe was an outstanding winner. Led by Andrew Porter they delivered a performance imbued with light touch character, verve and brio, classy soloists and an ensemble security that wouldn't have been out of place a couple of sections higher.

Adjudicator Brian Rostron wrote that it was "a very controlled performance in style, dynamics and tuning", whilst, Nick Garman agreed, thanking them for their "attention to detail"in a performance that had "so much to enjoy".

They will head to Cheltenham as one of the short-priced favourites, especially given the determination of the MD who later told 4BR; "I want to build something lasting with the band in the Morecambe area. There is so much potential and the players give me so much commitment and enthusiasm."

Excellent

Behind them came a batch of excellent accounts, with Dobcross Silver led by Jason Smith eventually getting nod with a super show to edge out Thornton Cleveleys and the remaining top-six finishers of Stalybridge Old, Red Admiral Brass and St John's Mossley.

It may sound like a cliché, but all were winners — and it was also great to hear the debutants of Onchan Silver over from the Isle of Man and playing with such verve and enthusiasm, as well as Port Sunlight Lyceum who returned after a decade or more away.

It all amounted to a cracking contest on a weekend excellently organised by Richard Milton and his team of indefatigable volunteers.

Iwan Fox

That was certainly true in a contest where the traps in Heaton's fearsome score were stepped on with alarming regularit4BR

Results:

Championship Section:

Test piece: Contest Music (Wilfred Heaton)
Adjudicators: Robert Childs and Anne Crookston

1. Foden's (Russell Gray)**
2. Leyland (Thomas Wyss)*
3. Oldham (Lees) (John Collins)*
4. Rainford (Sarah Groarke-Booth)
5. WEFL Fairey (Adam Cooke)
6. Pemberton Old Wigan DW (Ben Dixon)
7. Milnrow (John Doyle)
8. Wingates (Paul Andrews)
9. Blackburn & Darwen (Daniel Thomas)
10. Boarshurst Silver (Jamie Prophet)
11. Roberts Bakery (Paul Lovatt-Cooper)
12. Wardle Anderson (Brad McCulloch)

**Pre-qualified for National Final
* Invite to National Final

First Section:

Test Piece: Spectrum (Gilbert Vinter)
Adjudicators: Alan Morrison and Glyn Williams

1. Ashton-Under-Lyne (Martyn Evans)*
2. Accler8 (Jef Sparkes)*
3. Longridge (Mark Peacock)
4. Silk Brass (Tony Wyatt)
5. Eccles Borough (Marieka Gray)
6. Manx Concert Brass (Ian Clague MBE)
7. Flixton (Matthew Ryan)
8. Mossley (Duncan Byres)
9. Haydock (Mark Quinn)
10. Freckleton (Matt Shaw)
11. Bollington Brass (Peter Christian)
12. Marple (Stephen Curtis)
13. Middleton (Kevin Gibbs)
14. Old Hall Brass (John North)
15. Eagley (Chris Wormald)

*Invite to National Final

Second Section:

Test piece: The Aeronauts (Goff Richards)
Adjudicators: Mike Kilroy and Andrea Price
The Pavilion Theatre

1. Pemberton Old Wigan DW B (Jay Hall)*
2. Tyldesley (Robert Taylor)*
3. Poulton-Le-Fylde (Alexander Webb)*
4. Delph (Phil Goodwin)
5. Hazel Grove (Nigel Beasley)
6. Allerton Brass (Adam Taylor)
7. Valley Brass (Haydock) (David Chadwick)
8. Diggle (James Garlick)
9. Besses Boys (James Holt)
10. Uppermill (Jamie Cooper)
11. Farnworth & Walkden (Paul Dalton)
12. Besses o'th' Barn (Trevor Halliwell)
13. Haslingden & Helmshore (Joshua Hughes)
14. Pilling Jubilee Silver (Steve Hartley)
15. Eccleston Brass (John Wood)
16. Blackpool Brass (Alan Seymour)

*Invite to National Final

Withdrawn: Cheshire Constabulary (TBC)

Third Section:

Test Piece: Facets of Glass (Gordon Langford)
Adjudicators: David Roberts and Sheona Wade

1. Skelmersdale (Benjamin Coulson)*
2. Formby (Louise Hough MBE)*
3. City of Chester (Ewan Easton)
4. Whitworth Vale & Healey (Alan Widdop)
5. Greenfield (Denis Hadfield)
6. Greenall's (Russell Prescot)
7. Lostock Hall Memorial (Ryan Broad)
8. Hawk Green (Adam Neild)
9. Hoover Bolton (Craig Mann)
10. Rode Hall Silver (Nigel Butler)
11. Douglas Town (Ken Mitchell)
12. Trinity Girls (Anna Hughes Williams)
13. Darwen Brass (Len Charnock)
14. Sale Brass (Neil Venables-Greaves)

*Invite to National Final

Best Soprano: City of Chester

Withdrawn: Rivington & Adlington (Malcolm Wilson)

Fourth Section:

Test Piece: Argos (Stephen Hodel)
Adjudicators: Nicholas Garman and Brian Rostron

1. Morecambe (Andrew Porter)*
2. Dobcross Silver (Jason M Smith)*
3. Thornton Cleveleys (Steve Tarry)
4. Stalybridge Old (Dave Chapman)
5. Red Admiral Brass (Stuart Barton)
6. St. John's Mossley (Paul Towle)
7. Onchan Silver (David Karran)
8. Cadishead Public (David Holland)
9. Littleborough (Joe Marsden)
10. Golborne Brass (Joshua Hughes)
11. Dobcross Youth (Seth Livingstone)
12. Blackley (Adrian Smith)
13. Brindle (Matthew Balson)
14. Port Sunlight Lyceum (Simon Hartharn-Evans)
15. Stacksteads (Frederick Bowker)
16. Ramsey Town (Robert Quane)

*Invite to National Final