Williams Fairey Band

Conductor: Sian Edwards

RNCM Festival of Brass, Manchester
9th February 2002

A great deal of curiosity surronded the Williams Fairey Bands contribution to the RNCM Festival of Brass. One wondered how the "new" players would fit into the Stockport based band which is now looking to stabalise itself after a number of changes over recent months. Ian Porthouse and Morgan Griffiths took their seats to complete a trio of former YBS Principals (Nick Hudson - Solo Trombone) that now occupy the corners. But perhaps the most intriguing aspect however was that the band was being directed by Sian Edwards, as current MD Howard Snell was away on European duty in Norway. A former RNCM student, Sian has established a very fine conducting CV since winning the Leeds Conductor's Competition 18 years ago. She has been at the helm of some of the worlds finest orchestras and so it was interesting to see how Faireys took shape under her guidance. The un-official all-male policy adopted by the band added further interest!

All the positive intrigue was confirmed with the programme opener: Shostakovich's "Festive Overture". The band seemed to dance effortlessly through this at nearly orchestral pace. Some fluid playing from the horns, baritones and euphoniums during the passionate theme demonstrated the bands enormous ability to change sound and adapt to different repertoire. Kevin Crockford's high C (?) that signalled the end of the cornet fanfare and start of the quick 2/2 section, was quite breath taking.

Robin Holloway who is described as "one of country's foremost composers" was present to hear his "Two War Memorials". This music was written in memoriam and tribute to the youth who fell during the World Wars. Unfortunately, the structure of the piece meant the first memorial ended with such beauty and poise, that the flow and thought behind the music was disrupted by innocent applause. The music came from playing that was of the highest order, as Sian Edwards coaxed phrases of real beauty out of the band. The second movement entitled "From Hills and Valleys" also had vitality without ever becoming rushed and it was a superb reading from band and conductor alike. "Russian Funeral", presented in the second half, was in a similar vein and Sian Edwards orchestral influence brought the best from the band on these particular works.

Sandy Smith premiered the Ellerby Horn Concerto with Faireys in 1999 and the current Solo Horn of the band, Owen Farr is building a reputation as a one of the leading exponents of the instrument. He was soloist at last years festival and currently studies at the Royal Northern under Sandy himself. The work is presented in three movements with the first being right out of "Tristan Encounters": fragmented and at blistering pace and the band at full stretch. The best playing for me was the central movement where Owen demonstrated some wonderful phrasing in upper register. He is really making his mark on the band world at present and even though I felt the band over powered him a little in the foot tapping final movement, it didn't take away from a memorable performance. The audience (full of friends and colleagues from the RNCM) showed their appreciation with an ovation and long cheers. Well done Owen!

Another curious element of the night was the inclusion of the latest Heaton work to be discovered: "Five Pieces". This relatively short suite contained all the original Heaton touches and has been brought to light by Paul Hindmarsh. Howard Snell recently performed the work in Norway with Eikanger Bjorsvik, so the band certainly were not strangers to it. The finale reminded me of moments in "Vivo" from Contest music. Although the quality of the music shone through, there was a feeling that the band was not completely at ease with it. There were some moments of discomfort summed up by the front row of cornets "scratching" of certain passages in Movement III "Cantabile" and though this was by no means a bad performance, it was still a little disappointing in light of the quality of the ensemble and the conductor.

Their finale was a different story though. "The Year of the Dragon" by Philip Sparke was a piece of music that you sensed the band was completely at home with. The technical and stamina demands contained with the music suited them and was in my opinion, it was good as any contest performance I have heard. Both the "bassy" and bright sound of Faireys was in evidence and backed up by some stunning ensemble playing from the cornets and trombones in particular. Nick Hudson silky smooth "Interlude" was a real delight and set them up for a stunning ending. Sian Edwards strict but fluid beat ensured the pace never let up until the final crack from the percussion section.

There could have only been one encore: and it's one that has been used countless times by this band but has never been so well-timed. The conductor thoroughly enjoyed directing the band (and singers, headed by Flugel horn player Neil Hewson) through "There's nothing like a Dame"!

A good night in, I am sure there are any people who would like to see the red-headed Ms Edwards (it really was very red!) back in front of Faireys. Perhaps with the contesting retirement of Howard Snell, we may not have seen the last of this dame.

John Ward

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