To the winners the spoils: The rest can make their own arrangements.

The old Mortimer maxim never rang so true as it did at the close of a weekend of competition at the Yorkshire Championships.

Black Dyke retained the top section title, and with silverware in hand began celebrations that were to last long into the Huddersfield night. Meanwhile, depending on affiliations, others had either started their own or were heading for home in forlorn bewilderment.

Hammonds and Rothwell Temperance will now enjoy making travel arrangements for long awaited Albert Hall appearances. Grimethorpe, Carlton Main and Brighouse & Rastrick (for the first time since 2009) will be looking at ways to fill an unexpected empty weekend date in their calendars.

Rejuvenated confidence

An engrossing contest was won by a Queensbury band that continues to perform with rejuvenated confidence under Prof Nicholas Childs.

Their fifth win in six years was thoroughly deserved; the MDs appreciation of the 'Contest Music' score embossed by an immense since of authority, the precision and clarity of the ensemble playing enhanced by superb solo cameos.

The middle movement was a paean of melancholic loss. Subdued and tender, the dynamic contained, it focused the emotion inward from the moment the solemn trombone trio laid the foundation on which the cornet line played with defined expression. Richard Marshall's elegant solo climax rose and fell like a leaf on the wind, the final chord dying into the ether.

By the time the final section, laced with energy came to its pulsating close, Pondashers and dyed in the wool rivals alike knew that they had perhaps produced a successful title defence.

And so it proved. 21 years on from their first Yorkshire success together, Prof Childs led them to a ninth with such a renewed musical mandate that they now seem poised to return to the winner's enclosure at the major Autumn championships for the first time since 2014.

Own history

Enthused and delighted, he certainly thought so. "This has been coming for a while,"he told 4BR. "I'm so excited with this team, the talent, the commitment and the desire to make their own piece of Black Dyke history.

I think this is the start of something special, as they give me everything a conductor can ask for. Richard Marshall (who claimed the 'Best Principal Cornet' award) was incredible today, and the newcomers now know just what it's like to taste a Black Dyke victory."

Hammonds delight

Equally delighted was a conductor who has also given years of service in search of major championship rejuvenation.

Morgan Griffiths' commitment to Hammonds has been longer than that of his Black Dyke counterpart (as player and MD) and has seen him overcome set-backs and challenges with an incredible fortitude of spirit.

In the last few months he has attracted a core of experienced players who have injected a communal confidence to boost the youthful talent he has so carefully nurtured.

The result culminated in a performance of substance and artistry; not error free, but deeply impressive and thoroughly deserving of its London qualification for only the second time since 2007.

The focal point was the incredible display from Kirsty Abbotts on the famous cornet solo (something of an 11 second homage to her mentor Philip McCann to win the 'Best Soloist Prize'), but overall it was much, much more than that; the ensemble quality brimming with potential title winning promise.

Not quite as it turned out, but their place at the Royal Albert Hall was unquestionable. You sense there are more accolades to follow on this musical trajectory.

Rothwell determination

The second qualification place, and their first since 2012, also went to a MD and band that has endured a fair share of bad luck at this event over the years.

David Roberts and Rothwell Temperance has missed out by narrow margins on numerous occasions. Covid challenges have also caused difficulties over the past 18 months (resulting in some imported help here), but their renowned communal determination has seen them through.

Theirs was an impressive number 1 marker. Just a few uncomfortable moments in exposed sections chipped at the veneer, but the detailed approach and a final section played with powerful panache gave the judges the high bar level that held its own through to the end of the contest.

Bewilderment

Delight then for supporters of Dyke, Hammonds and Rothwell; a shrug of acceptance you felt from those with allegiances to Grimethorpe and Carlton Main; bewilderment from those who had listened to Brighouse & Rastrick.

A misfiring Grimethorpe were never really at the races. Fourth place was somewhat flattering. Despite David Thornton's well-judged interpretative template, the error count was noticeable. Better performances from them than this will gain lesser reward.

So too Carlton Main, with Allan Withington's informed reading never really executed upon (despite the fine flugel playing of 'Best Instrumentalist' Sam Fisher). They ended fifth, but it never quite sounded as if it could have come higher.

Not so Brighouse & Rastrick.

For many (4BR included) theirs was a performance of complete understanding and execution under Prof David King; one deeply anchored by the Australian to the Heaton intentions of the score. The ensemble playing, especially from the cornet section was superbly uniform, the soloists (notably solo cornet and flugel), considered and artistic.

What moments of unease were heard were ephemeral, what musicality that seeped through was engrossing.

In the box it was a different matter.

Eyebrow raised

Before the announcement of the results, adjudicator Chris Wormald gave an analysis that filled time, but revealed surprisingly little. What he did say was that both he and Sheona Wade felt that there had been "five really, really good performances" and that "one really stood out".

That may have not raised an eyebrow at the time, but it certainly made them stand rigid when it was announced that the West Riding band had come sixth.

Speaking at length to 4BR later, he admitted that what he meant to have more clearly said was that there was one performance that stood out, and five that were really, really good.

Little comfort

That will bring little comfort to Brighouse fans, as was his assessment that they also felt that Black Dyke was "a clear winner — so clear and precise". "That was fantastic, and the middle movement was in particular," he said. "There was no gloss for gloss sake about their performance."

He added, reflecting on performance experience signalling imparted to him by the eminence-grise of adjudicators, David Read: "We felt tingles for parts of Hammonds, Rothwell and Carlton Main, but not from Brighouse. It was an interpretation that didn't necessarily work for us. It was very good playing but had the wrong emphasis."

Others will have disagreed fervently, pointing to the overall quality of ensemble cohesion, nuance and inflection that tickled the synapses of their musical sensibilities and tastes.

It was still one heck of a surprise.

Only opinion

Behind the top-six, few would have disagreed with the outcomes — from a mature Elland in seventh down to Hatfield in twelfth. It was as Chris Wormald added about the set-work, "a contest with six bands on it and six bands trying to master it."

Although disagreement abounded after the contest, as Harry Mortimer knew all those years ago, the only opinion that counted in the comparison contesting environment, was the one that came from the confines of the box.

And despite the rumours of conspiracy theories and confederacy, the reality was that the history of contesting has always relied upon subjective opinion.

It is what keeps us all enthused, engaged and even enraged (in the best possible way) — although the good grace of Brighouse players and supporters we spoke too, was a mark of their acceptance that on this occasion fortune had not shone on them.

First Section:

A contest of authentic First Section substance made for an enjoyable prelude to the Championship Section action that followed on Sunday afternoon.

'Spectrum' posed the sternest of tests, but as adjudicators Andrea Price and Allan Morrison confirmed before the results, the overall quality from "a bunch at the top" made for a "tough decision".

They were not wrong. After the travails of Corby and Blackpool, this was an encouraging display of musical competency aided by MDs who had either sent spies to listen to Alan's detailed appraisal at those events, or who had done a great deal of informed personal preparation.

As Alan stated, the decision between three or four bands could really have gone in a different way on another day, although eventually winner Stannington and fellow qualifier Marsden Sliver, had in their opinion, qualified "with distinction".

Fine weekend

That was particularly true of Stannington led by Sam Fisher (who had a fine weekend) with a performance infused with confidence, colour and an informed appreciation of pacing — especially in the accelerando opening and all important transitions between sections.

It was a high quality playing from a band that will head to Cheltenham as a short priced each-way bet for further silverware.

Joining them will be Marsden Silver. Their neatly constructed rendition under Andrew Lofthouse was full of well-defined moods and shadings, topped by super individual lines from 'Best Soloist' winner Jonathan Corry on soprano, as well as the solo cornet and percussion.

Fluorescent colourings

Just missing out were Old Silkstone and Yorkshire Imperial with their energised accounts full of 1960s fluorescent colourings and textures. Just a little more confinement of the dayglo intentions may have seen them head to Cheltenham.

Behind them the top-six was completed by the considered approach of Horbury Victoria (aided by 'Best Euphonium' and 'Best Soloist' award winner Michael Dodd), and the more vibrant appreciations of Chapeltown Silver.

An equally energised Hade Edge led the rest of the field in seventh, with each, from Hebden Bridge down providing the judges with performances of encouraging merit.

Second Section:

The opening salvo of the weekend came with a cracking Second Section contest.

Judges Alan Fernie and Christopher Bond told the audience how much they enjoyed their time in the box — and those outside it were in full agreement.

Both praised the efforts of the 10 contenders and the interpretations of their MDs, which as Alan pointed out with a wry smile, although a little fast and percussion heavy at times, was of a high quality on what he said was "such an attractive work".

Right level

Pitched at the right level, 'The Aeronauts' certainly encouraged more than just 'note bashing', with the winning performance ticking interpretive aviation metaphors and analogies as well as the basic musical requirements the duo were looking for.

It came from Meltham & Meltham Mills off the number 1 draw (something of a regular occurrence over the years here) who produced a cohesive marker of well-judged dynamics and pacing led by their encouraging MD, Tom Haslam.

He later told 4BR: "I'm over the moon and we've worked incredibly hard. The piece is great. I recall Goff conducting my big band at school and he sat at the piano and improvised his latest brass band work. I wanted to create the same kind of relaxed approach here."

However, the victory on such an uplifting piece came with a sober dedication to quite incredible dedication. "Our player Andy Carr recently lost his son in a tragic road accident, and he still came to every rehearsal. We all hope this has given him and the family some comfort."

Youth and experience

Joining Meltham at Cheltenham will BD1 Brass who followed the winner on stage.

Packed with a mix of youth and experience they delivered a super account full of energy and vitality under Jonathan Bates that also booked its qualification place with substantial aplomb.

The final podium spot went to Slaithwaite directed by Leigh Baker. Their deliberately lightweight approach offered a fascinating contrast with the two bands that eventually pipped them. On another day they may just have got the nod.

There was also a great deal to enjoy with the remaining top-six finishers; with a heart on sleeve Barnsley Brass, a lightly textured Emley and a quick paced Kippax, whilst the remaining bands all brought character and substance to their renditions.

Third Section:

The Yorkshire Regional Championships can always be relied upon for drama.

The top section had more than enough to keep tongues wagging, but the rather surreal occurrence of a woman meandering to the front of the stage to disturb the performance of Huddersfield & Ripponden perhaps topped the lot.

Seemingly troubled by alcohol, her interruption was treated with care by the stewards and by remarkable fortitude and concentration by MD, Adam Bell and his players.

The end result will hopefully be that she will be given appropriate care and attention, whilst for the band, their deserved qualification will forever stick in the memory banks.

Compact display

With just seven contenders the contest was a compact display of varying quality, with judges Alan Morrison and Martin Heartfield stating that they had "enjoyed" their time in the box as they looked to pick out the bands that managed "to put together four consistent movements".

Alan hit the nail on the head when detailing the need to get performance basics in place on Gordon Langford's 'Facets of Glass'; emphasising the requirement to "play the right notes correctly and in tune." He added: "Do that and you won't be far away from winning a contest at Third and Fourth Section level."

As has been the case with his remarks throughout the Area series, he was bang on the mark.

Sound advice

It was the type of sound advice that bands at all levels sometimes forget about in their search of the higher echelons of a hierarchy of performance.

Here though the best did that and more.

All brought something out of the music, and there was much to enjoy from the approaches of third placed Clifton & Lightcliffe, Gawthorpe Brass '85 (whose excellent flugel player took the 'Best Soloist' award), Garforth Brass, Maltby Miners and Dinnington Colliery (who took to the stage reduced numbers but not in spirit).

However, it was Lofthouse 2000 led by Lee Whitworth that eventually topped the table with a performance, that although not error free, gave the judges just what they wanted from a score that held its challenges in plain sight.

Balanced, controlled and flowing with musicality (and with a 'Best Percussion' section) they secured the title in style. After coming seventh at the Third Section National Final last year, they will be confident of landing further up the prize list this time around.

They are a band to listen out for, as is Huddersfield & Ripponden — although hopefully by fans who remain in their seats in Cheltenham. That said, the standing ovation that came after they finished their performance was richly deserved.

What a memorable way to qualify though.

Fourth Section:

The foundations stones on which Yorkshire banding is built are sparsely laid at present.

Only seven bands performed Stephan Hodel's engaging 'Argos' set-work — an ideal choice by the Music Panel, despite its percussion requirements.

How more bands can be persuaded to return here next year remains to be seen, but hopefully some outreach work by the Yorkshire Committee, and test-pieces such as this will get them back in sustainable numbers.

Admirable efforts

Personnel numbers fluctuated in those who did perform — all producing admirable efforts on a work that brought the best out of the players and their encouraging MDs.

Sheona Wade and Chris Wormald were also sympathetic in their pre-results remarks — encouraging as well as constructive in their observations.

What they had been looking for was "everything", Chris said — although that all-encompassing analysis came with a more detailed critique in their written remarks.

Joyfulness

The best came from Oughtibridge, short on numbers in some areas but certainly not in detail and sheer joyfulness.

The calming nature of MD, Gavin Somerset who has done so much over the past decade to stabilise and develop the band was marked as they secured a first ever Yorkshire Regional title — although you suspect things were a little less calm with the post contest celebrations.

"I'm chuffed to bits for everyone," he told 4BR with admirable understatement. "They've really knuckled down in recent weeks, put the work in and it's paid off. Prior to the pandemic we had a group of youngsters who've grown up and are now very much at the heart of the band."

He added: "They did everything on stage I asked of them and I couldn't be prouder — that also includes the duo on bass who worked tirelessly. I'm so grateful."

Fine and funky

Joining Oughtibridge in Cheltenham will be Barnsley Metropolitan after a fine and funky number 1 marker under Alex Francis, that also saw them claim the prizes for 'Best Soloist' for their excellent principal cornet, Pete Cotton, their super 'Best Percussion' team and 'Youngest Player', Glyn Stokes aged 9.

It was enough to hold off the challenges of well organised and confidently delivered rivals.

Just missing out was the considered approach from Dodworth Colliery MW, with Linthwaite (and their great solo percussionist) in fourth, ahead of Friendly Band (Sowerby Bridge), Deepcar Brass and the returnees of Loxley Silver.

Splendidly organised

After nearly two years away Yorkshire banding returned in fine spirit (the flags were out literally), even if there remain some concerns over numbers participating at Third and Fourth Section levels.

Splendidly organised by Robert Turnbull and his team (with the excellent catering gaining top marks again), it showed to the world that the heartland of the banding movement is as welcoming, vibrant and occasionally contentious as ever.

Iwan Fox & Malcolm Wood

I think this is the start of something special, as they give me everything a conductor can ask for. Richard Marshall was incredible today, and the newcomers now know just what it's like to taste a Black Dyke victoryProf Nicholas Childs

Results:

Championship Section:

Test Piece: Contest Music (Wilfred Heaton)
Adjudicators: Christopher Wormald and Sheona Wade

1. Black Dyke (Prof. Nicholas J Childs)**
2. Hammonds Band (Morgan Griffiths)*
3. Rothwell Temperance (David Roberts)*
4. Grimethorpe Colliery (Dr. David Thornton)
5. Carlton Main Frickley Colliery (Allan Withington)
6. Brighouse & Rastrick (Prof. David King)
7. Elland Silver (Daniel Brooks)
8. Hepworth (Ryan Watkins)
9. City of Bradford (Jonathan Bates)
10. Unite the Union (Jonathan Beatty)
11. Skelmanthorpe (Martin Heartfield)
12. Hatfield & Askern Colliery (Stanley Lippeatt)

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

Best Principal Cornet: Richard Marshall (Black Dyke)
Best Instrumentalist: Sam Fisher (flugel) — Carlton Main Frickley
Best Soloist: Kirsty Abbotts (principal cornet) — Hammonds
Youngest Player: Josh Skyrme (Elland Silver ) — aged 16

First Section:

Test Piece: Spectrum (Gilbert Vinter)
Adjudicators: Alan Morrison and Andrea Price

1. Stannington Brass (Sam Fisher)*
2. Marsden Silver (Andrew Lofthouse)*
3. Old Silkstone (George Newbould)
4. Yorkshire Imperial (Garry Hallas)
5. Horbury Victoria (Duncan Beckley)
6. Chapeltown Silver (Colum O'Shea)
7. Hade Edge (Jamie Smith)
8. Hebden Bridge (Christopher Binns)
9. Lindley Band (Mike Golding)
10. Drighlington (Neil Robinson)
11. Strata Brass (Alex Webb)
12. Knottingley Silver (Kevin Belcher)
13. South Yorkshire Police (John Davis)

*Invite to National Final

Best Soloist: Mike Dodd (euphonium) — Horbury Victoria
Best Soprano: Jonathan Corry (Marsden SIlver)
Best Euphonium: Mike Dodd (Horbury Victoria)
Youngest Player: Skye Stokes (Strata Brass) — aged 12

Second Section:

Test Piece: The Aeronauts (Goff Richards)
Adjudicators: Alan Fernie and Christopher Bond

1. Meltham & Meltham Mills (Tom Haslam)*
2. BD1 Brass (Jonathan Bates)*
3. Slaithwaite Band (Leigh Baker)
4. Barnsley Brass (William Rushworth)
5. Emley Brass (Tim Sidwell)
6. Kippax (Stephen Tighe)
7. Rockingham (Adam Whittle)
8. Dronfield Genquip (Adrian Wood)
9. Wetherby & District Silver (Michael J. Cox)
10. Wakefield Metropolitan (Frank Hoyland)

*Invite to National Final

Best Bass Section: Meltham & Meltham Mills
Best Soloist: Neil Booth (cornet) — Slaithwaite
Youngest Player: Lottie Savage (BD1 Brass) — aged 12

Third Section:

Test Piece: Facets of Glass (Gordon Langford)
Adjudicators: Alan Morrison and Martin Heartfield

1. Lofthouse 2000 (Lee Whitworth)*
2. Huddersfield & Ripponden Brass (Adam Bell)*
3. Clifton & Lightcliffe (John Clay)
4. Gawthorpe Brass '85 (John Edward)
5. Garforth Brass (John Thompson)
6. Maltby Miners Welfare (Terry Clifford)
7. Dinnington Colliery (Jonathan Beatty)

*Invite to National Final

Best Soloist: Emma Sutcliffe (flugel) — Gawthorpe '85
Best Percussion Section: Lofthouse 2000
Youngest Player: Annabelle Davies (Maltby Miners) — aged 12

Fourth Section:

Test Piece: Argos (Stephan Hodel)
Adjudicators: Sheona Wade and Christopher Wormald

1. Oughtibridge (Gavin Somerset)*
2. Barnsley Metropolitan (Alex Francis)*
3. Dodworth Colliery M.W (Prof. John Morahan)
4. Linthwaite (Matthew Pilcher)
5. Friendly Band (Sowerby Bridge) (Adrian Woodhead)
6. Deepcar Brass (Gavin Brown)
7. Loxley Silver (Thomas Mercer)

*Invite to National Final

Best Soloist: Pete Cotton (cornet) — Barnsley Metropolitan
Best Percussion: Barnsley Metropolitan
Youngest Player: Glyn Stokes (Barnsley Metropolitan) — aged 9