Regionals 2007

International Staff Band, Black Dyke, Scottish Co-op, The Fairey Band, Newstead Welfare, Black Dyke Mills (circa 1957)
Conductors: Stephen Cobb, Nicholas Childs, Allan Ramsay, Duncan Beckley, Simon Stonehouse, Major George Willcocks
Doyen Recordings: CD

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It may sound a bit strange, but the most eagerly awaited CD release of the year is surely the one that features the five test pieces chosen for the forthcoming year's Regional Championships. Artistically it may not be up there with the likes of say ‘The Heaton Collection – Volume 4' but it is the one release players, conductors and brass band supporters really want to get their mitts on.

As in past years, the ultimate revelation of the selections from the Music Panel of  Brian Buckley, John Maines and Richard Evans come in for a fair degree of fevered debate, criticism and Chinese whispers (‘Salute to Youth' was very much the bookies favourite for the top section this year), and even though they have got it wrong a few times in the past, this year they seem to have come up with a nice blend to encourage and interest the performers and perhaps get a few more bums on seats at the Regional contests themselves.

Those hoping to hear a series of brand spanking new renditions of each of the works will perhaps be a touch disappointed to find that not all the choices are fresh as daisies (‘Isaiah 40'and ‘Sinfonietta' come from back catalogue recordings), but they will surely be delighted that three of the others are, and that there is a real archeological musical treasure unearthed in Black Dyke's 1957 recording of Helen Perkin's ‘Carnival'.

This is a well put together release, with a lovely added bonus and quality production values throughout including some well researched sleeve notes by John Maines.  

'Isaiah 40' by Robert Redhead makes a welcome return to the contest stage after it has spent a decade occupying the dusty shelves of many a top section bands library since its last major use at the 1996 National Finals. For some reason it was a piece that didn't quite capture the imagination at the time and although it was used elsewhere (the Norwegians used it as their top section test piece in 1997) it rather disappeared off the contesting face of the earth.  

A decade later it returns enhanced, its subject matter based on hope and redemption, relevant. Its technical challenges will test the best bands and should enable the judges to make those all important decisions clearly, whilst the musical challenges may well be even more difficult to successfully overcome, especially in the pressure cooker atmospheres of the contest stages around the country. It is given a fine reading here by the ISB on good solid form under Stephen Cobb.

Eric Ball's ‘Sinfonietta – The Wayfarer' is the test for the First Section bands and although it is not one of the composer's greatest works (he himself said that by the time it was written in 1976, four years after what was perhaps his valedictory statement with 'Kensington Concerto', he had little left to say in musical terms). It is still a finely structured work however, even if much of the thematic material is slightly prosaic, and will perhaps ask more questions in terms of style and interpretation than it will of technique.

'Carnival' by Helen Perkins has really been unearthed from the mists of time – it was used as the set work at the 1957 British Open. It reveals itself to be a sprightly, modernist work however, somewhat out of step of its original time and is an ensemble work of delicacy and good manners, three movements that demand a respectful approach and understanding of balance and tonal quality as well as style.

That is highlighted even more by the welcome inclusion of the 1957 recording by Black Dyke under Major George Willcocks, with a stylistic approach (especially to the amount of vibrato playing on show) that today would seem almost reckless. The playing really does belong to a different age, and although you can admire what is on show, it would take a brave MD to try and replicate its style hoping for success. It's a great example how the brass band, as we know it today has evolved and Newstead's well delivered rendition is neatly presented.

It is a piece however that will test the bands at Second Section level to the full, even if many may well turn their noses up at it at first glance.   It could well be the inspired choice of the entire championships.

Darrol Barry has long been a fine composer of works aimed at the lower sections (although it would be nice to hear something from him aimed at the top tier of banding) and his ‘Prelude and Jubilate', given a well managed and respectful performance here by Scottish Co-op, should prove to be a popular choice.

There is nothing here that cannot be managed by a competent Third Section band, although as we have heard over the last couple of years, much of that will depend on the quality of the MDs in front of them. There is enough musical rope on show for many an unwary conductor to hang himself and kill off his bands chances of qualifying for Harrogate. 

Finally, Philip Wilby's expertly laid out ‘The Seasons', which was the Fourth Section Finals set work in 2000. It was a very enjoyable yet demanding test piece then, and it is sure to be so again for bands all around the country. Each of the three movements asks for the basics to be put in place before the music can be set free, but once more its lyrical sense of style and neat sense of wit should make it a popular piece for the bands to work on in rehearsal and to perform on stage.  Fairey's give it a powerful work out, but also show that it shouldn't hold any fears for those prepared to put in the hard graft.

2007 may be a few months off in the horizon, but you can bet that the hard work is already starting to done at all levels as we speak. Come March next year these pieces will be seared into the minds (but perhaps not all the hearts) of literally thousands of players as they bid to produce 12 minutes or so of contesting glory and book their place at London or Harrogate. It all starts here.   

Iwan Fox

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