Greater Gwent Youth and Training Brass Band

Musical Directors: Nicholas Childs & Sean O’Neill
Guest Soloist – Roger Webster (Cornet)

County Hall, Cwmbran
Sunday 5th January 2003

The Greater Gwent Youth Brass Band meets during the Christmas break for its Annual Course, culminating with a Concert featuring a Guest Conductor and Soloist. The Black Dyke combination of Nicholas Childs and Roger Webster filled those roles and the Youth Band were joined this year, for the first time, by the Greater Gwent Youth Training Band, under its new Musical Director, Sean O'Neill.

The Training Band got proceedings under way with a rendition of Langford's "Men of Harlech", played with great energy and accuracy. This was followed by Dave Chapman's "Bandilero, Calypso, Calapso" which suited this young band very well and their enjoyment of the music was tangible. Next up was Roger Webster, playing another Gordon Langford arrangement, "Londonderry Air". As usual, the soloist was on top form and it was good to note that the band were not over-awed by their task of accompanying such an eminent instrumentalist and played with great sensitivity.

The serious side of the programme was the first movement from Edward Gregson's "Voices of Youth". The style here was very good and the players responded to Sean O'Neill's clear direction, with great enthusiasm. To follow, the Band performed Colin Moore's arrangement of that old favourite, "Deep Harmony", displaying a very sonorous and mature tone quality for such a young ensemble. The finale, "Ticket to Ride" arranged by Alan Fernie, was an obvious hit with players and audience alike and this was performed with zest and a real sense of fun.

This brought the first half to its conclusion and was a great demonstration of how the Gwent Music Support Service structure has been so successful. There are three County brass bands within the system, each holding its own courses and concerts, beginning with the Intermediate Band, then the Training Band and finally the Youth Band.

Given this infrastructure, it is not surprising that Gwent has provided many fine players to the brass band movement over the years, including this year's Guest Conductor, Nicholas Childs, the course tutors Owen Farr (Williams Fairey - Horns), Steve Miles (Brighouse – Euphoniums and Baritones), Dave Mitchell (BAYV Cory – Percussion), Jonathan Pippen (BTM & Ex Brighouse – Trombones) and Matthew Routley (Black Dyke – Basses). Add the Youth Band's Artistic Adviser Robert Childs, to the equation and you have a formidable coaching team, homegrown.

The second half was devoted to the Youth Band, who commenced with Eric Ball's "Star Lake", chosen to commemorate the Centenary of the composer's birth. This set out the Band's stall and displayed tight ensemble and fine dynamic control throughout.

The next piece performed was Gregson's "Occasion", which the Band will also perform as the test-piece for the National Youth Championships in Manchester next month. This work presents many different challenges to the performer, but the Band made light of this and turned in a very slick and musical performance, giving the listener the impression that it was all very easy.

Roger Webster then made his second appearance of the afternoon, performing two old war-horses from the Cornet repertoire, in the shape of "Napoli" and "Alpine Echoes". It is easy to see why Roger is regarded as one of the greatest exponents of the instrument today and the ease with which he performed "Napoli" had the audience wondering whether it really was a "hard" piece or not.

Basil Windsor's solo certainly had novelty value, with Roger using an Echo Cornet, complete with a late 19th Century extension. Again, the soloist's technique was quite breath taking. Special mention should go to the Band, for it's excellent accompaniment in both solos.

The next offering came in the shape of Philip Sparke's "Land of the Long White Cloud", written for the Centennial Championships of New Zealand. Despite its familiarity to us all, this remains a stern challenge to both players and conductor alike and its difficulty has not diminished over the years. This was also chosen by the Band, in readiness for the National Finals in February, therefore this was as much an opportunity to give it a test-run. Given that the band had only had four days to prepare this piece, along with all the other works, this was a truly supreme effort and their labours were rewarded with a thoroughly commendable performance. There were admittedly the odd moments of insecurity, but the constant time changes and technical challenges were handled with great aplomb. This was all treated and nursed with great clarity and precision by Dr. Childs.

Following a brief awards ceremony, where Ellis Reed (Cornet), Joanna Begg (Soprano Cornet) and Rhian Linney (Cornet) were recognised for their achievements, during the Course and the previous 12 months, the band re-formed to play Peter Graham's "Summon the Dragon" and three movements from "Windows of the World". As with anything that Nicholas Childs does, the presentation was second to none, with all concerned knowing what to do and when. This however was not at the expense of the music and each item was performed with style and commitment.

Roger Webster returned for his final spot, performing "Herje Kati" on a Cornet reminiscent of the great Dizzy Gillespie, complete with up-turned bell. This had real style and didn't disappoint the audience, which was wowed by the break-neck tempo taken. Boosey and Hawkes provided financial support for both Roger and Nick's appearance and were certainly well represented on this occasion by two great ambassadors.

The Grand Finale was a new arrangement by Robert Childs and dedicated to the Band, of Tchaikovsky's "1812 Overture". This placed great demands on the Band, given the items already performed; therefore, any blemishes or minor indiscretions caused by tiredness (which were few) could easily be forgiven. The arranger also included optional parts for two small off-stage bands (performed by the Course tutors) including bells, organ and cannon effects, plus narration, delivered with great authority by Matthew Routley.

This was as rousing a finish to any concert you could wish to attend and was as much a visual spectacle as an audible one. Next year's Concert will certainly have to be very special to follow this, but somehow, we suspect it will be.

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