Tredegar’s ongoing ‘Residence’ association with Birmingham Conservatoire continues to be utilised to fine effect in engaging ‘end of term’ concert projects.
After a joint performance of ‘The Planets’ a couple of years ago came ‘Brass Enigma’ - and a chance to hear the combined forces perform Eric Ball’s rarely heard arrangement of eight of the fourteen variations of Elgar’s masterpiece, as well as a long overdue revival of Philip Sparke’s ‘Variations on an Enigma’.
Conundrum
The conundrum of Ball’s disappointingly anaemic realisation is obvious: As much as the music suits the lyrical mindset of the brass band, the colour palette is frustratingly limited to prescriptive shades of beige.
Ball’s inherent conservationism and obvious reluctance to experiment with timbre makes for a rather one-dimensional listening experience; the initialled portraits devoid of depth of character, despite the subtly shaped approach of MD Ian Porthouse and the neat execution of the combined band.
It’s a work in desperate need of a thorough overhaul - and a much less circumspect arranger’s hand.
Superb homage
Not so Sparke’s superb homage to the compositional brass band greatness of Wilfred Heaton. The enigma here may be more easily deciphered, but it is the way in which the composer ensures its linear mechanics are intricately, essentially intertwined that makes the whole thing a much more rewarding musical experience.
There is no pretence on display - just a cracking old test piece of insight and craftsmanship. It was directed and played as such too.
Quixotic
Rob Foster’s quixotic ‘Fantasy for Double Brass’ also revealed its compositional riddles soon enough - a neatly constructed paradox of ideas inspired by John McCabe’s ‘Cloudcatcher Fells’. Short, bold and brimming with an eager pulse, it was a vibrant snapshot portrait of the imposing Patterdale area of the Lake District.
Talented bunch
The first half belonged solely to the students - and a talented bunch they were revealed to be.
After the bravura of John Williams’ ‘Sound the Bells’, the acerbic wit of Gilbert Vinter and the sharp Iberian banter of his ‘Alla Bulesca’ quartet. It was played with mature authority by Isobel Rutherford, Mitch Sivitar, Jennie Brown and Tzu-Hsiang Lin, conducted precisely by Harrison Williams.
Louise Franks delivered an equally measured rendition of the cornet solo ‘Hailstorm’, with Keiko Abe’s ‘Memories of the Seashore’ played with subtle musicality by Stephen Plummer on marimba.
Christopher Bond’s ‘Islands in the Sky’ also brought out the best in a well balanced euphonium quartet of James Adcock, Hal Walker, Josef Douglas and Tzu-Hsiang Lin.
Ever inventive
With Mike Pilley’s funky ‘Red Planet’ and Charles Anderson’s famous old ‘ORB’ march giving the programme contrast of genres and style, it was a first half that provided plenty of evidence of the quality work that is being spearheaded by an ever inventive Brass Department under the guidance of its Head, Chris Houlding.
There was no enigma riddle in that at all.
Iwan Fox
