Lyrica

One of the up and coming bands in Belgium provides plenty of evidence that they are heading for the top under their star conductor.

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Brass Band Heist
Conductor: Bert van Thienen
(No information on Production Company or serial number)
Total Playing Time: 62.52 mins

Bert van Thienen is probably best known as the soprano cornet player with current European Champions Brass Band Willebroek, but he is also kept busy conducting and with his solo career. 

He has led the Belgian band Brass Band Heist since its foundation in 2004, winning promotion to the Second Section after becoming the Third Section champions in 2005 and 2006. He also conducts the fanfare band Koninklijke Fanfare Onafhankelijkheid Wiekevorst and the Dutch band Brass Band Limburg. Bert performs two solos with the band, and is joined by one of his Willebroek colleagues, trombonist Walter Hoeks, in the “Concerto Grosso” by Jan van der Roost. 

Since 2001, Bert has held the position of first trumpet with the Symphonic Wind Band of the Belgian Guides, and he shows in his solo items that he is able to switch between cornet and trumpet without compromising anything in terms of tone or style of playing. 

On trumpet, he produces a scintillating account of the “Harry James Trumpet Concerto” (arr Elgar Howarth), capturing the style of the music well, and with a spectacular finish. In Stijn Roels’ new composition “Lyrica” he ably demonstrates the pure, silky soprano cornet sound that has contributed greatly to Willebroek’s success, and which has led to guest appearances with top bands around the world.

In the other solo item on the disc, Principal Euphonium Glenn van Looy presents the old favourite “Lucy Long” in a new arrangement by Luc Vertommen, proving that, in the right hands, the euphonium can cope as well as the bassoon when it comes to leaping between high and low registers.

Edward Gregson wrote “Variations on Laudate Dominum” for a 1976 tour by the London (Ontario) Band of The Salvation Army, conducted at the time by his brother, Bram. It has become a popular selection in Own Choice contests, and the composer has recently revised it to include two new variations, although it is the familiar earlier version that is recorded here. 

There is some very refined playing, with close attention to the dynamics and excellent contributions from the various soloists. The percussion are also on the ball, although the slightly steady tempo chosen for the final section makes it all seem rather too calculated – all the notes are there, and it is well played, but it just seems to be lacking a little something.

The other major work is the “Concerto Grosso”, by Jan van der Roost, whose “Albion” was used as the test piece at the Royal Albert Hall a few years ago, causing some consternation at the aleotoric writing for groups of cornets. 

There is nothing too challenging for the listener in the three-movement “Concerto Grosso”, and the two soloists are supported by some fine, sympathetic playing by the band, under the direction of the composer. The choice of trumpet and trombone as protagonists works well, and the solo lines stand out clearly from the accompaniment.

The two marches, “Muehledorf” by Derek Broadbent and Major G H Willcocks’ “The Champions”, produce some crisp, balanced playing, with notable contributions from Jan Guns on soprano, and good observance of dynamics.

The remainder of the programme consists of familiar arrangements by such luminaries as Alan Fernie, Alan Catherall and Sandy Smith: they all understand how to bring out the best from a brass band, and Bert and his players take as much care and attention over these items as they do with the more substantial works.

The recording is attractively presented, with several photographs of the band in action and a sleeve note in Dutch, although an English translation is provided of the sections relating to the band and conductor. 

The playing is of a high standard in all areas, with very few lapses in ensemble, and it is easy to see how they have been working their way up the Belgian rankings. If there is a criticism, it would be that the playing seems a little safe at times, and one would like to feel that they could stretch themselves more, which could add an extra frisson of excitement to the overall effect.

Peter Bale

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