2006 All England Masters International Championships

Master Brass (Volume 17)
Rothwell Temperance; Scottish Co-op; Foden’s Richardson
Conductors: David Roberts, Allan Ramsay, Garry Cutt
Polyphonic QPRL 224D
Total Playing Time: Approx 77 mins

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For those present at Cambridge this May, this is a CD recording that will certainly be listened to with interest.  Prior to the results, many in the hall believed that Fodens Richardson had taken the title for their performance of the set work, ‘Paginini Variations', but as it turned out, Rothwell Temperance and David Roberts were declared victors.  Hence, as is the case with any live recording, anyone present can sit back once again and decide for themselves what they think well after the event.

Having not been present though for the contest or the concert at night, your reviewer got the opportunity to listen to a recording which apart from the winning contest performance is made up of light, entertaining repertoire that makes up a good seventy-five minutes of enjoyable listening.  You might not want to play it day in, day out, but if you ever need something a bit different there is enough on it to lift the spirits for sure.  With regards to the test piece, I just sat back and listened without any pre-mediated thoughts on whether it was a winning performance or not – that was an irrelevance: It is a fine performance and very convincing musical interpretation of one of Wilby's early works for band.

It's the 2005 winners, Scottish Co-op led by Allan Ramsay who open up the recording (although they closed the concert) with Joe Cook's march, ‘Keighley Moor' whilst their programme also includes the reflective work ‘Peace' by Kenneth Downie.  The band's principal euphonium player Alison Bonnar is a class player and in ‘The Benedictus' from ‘The Armed Man', is immaculate playing where the soloist displays a beautiful interpretation of this popular piece.

Also featured by ‘The Co-op' is principal trombone, Paul Kiernan in Gordon Langford's ‘Rhapsody for Trombone' that was originally written for Don Lusher, who made a last appearance at the contest before his untimely death.  Thirty-one years after its first performance, it's a work that retains its freshness, as shown by the soloist on this occasion. 

If you really have had a lousy day and don't want to snap at your partner, let alone the kids, play ‘Ol'Man River' complete with some bonkers percussion playing.  It might go on a bit, but it will certainly bring that smile back.

Fodens like their Scottish counterparts are featured with soloists and full band repertoire.  Les Neish has already got a reputation for being a bass player of the highest regard and you get an example of his virtuosity in Fred Muscroft's ‘Carnival for Brass' whilst Glyn Williams demonstrates his versatility by performing his familiar ‘Soloists Showcase' where he plays practically everything he can get his hands on!

Music from the pen of Goff Richards gives you the chance to play spot those North East tunes with ‘Songs of the Quay', whilst Garry and the band literally romp through the 'Finale' from Tchaikovsky's ‘Symphony Number 4'.

Of particular interest is the march ‘Golden Arrow' written by Elgar Howarth and dedicated to Fodens and Peter Fletcher, an ardent supporter of the band for over sixty years who was present for the performance.  It's a cracking march and one of the highlights of the recording.

So what about the winning performance of ‘Paginini Variations'?  It's a robust performance for sure, full of Yorkshire grit and determination – the band sound is very effective on the ear and some of the variations have a real sense of panache about them.  John Ward on flugel is distinctive in the funeral cortege section whilst Andy Marsh on euphonium is like a coil of concentration – good, no nonsense playing that gave him the winning soloist prize on the day.

The latter part of the performance is exciting alright and the performance remains forthright and focussed right until the end before the Rothwell fanatics go wild at their bands interpretation that is musically very satisfying to listen too.  What is clear from the recording is that the band carried to Cambridge the good form that had seen them feature in the mix at The British Open in September 2005 and the Yorkshire Area in March where they qualified for London.

Stan Kitchen and his production team have done another fine job in producing a highlights package of the events in Cambridge although the programme notes are minimalist, and if you're looking for further details on the music played it's a case of doing your own research.

Whether you were present in Cambridge or not though, (and judging from the ripples of applause in evidence for the Gala Concert, there weren't many) there is something on this release for everyone to sit back and enjoy. 

Malcolm Wood

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