As befitting the venue, the band's programme commenced with two items from the Salvation Army repertoire.
William Himes 'Festival Prelude on Ellacombe' made for a bright opener, revealing a full sound, especially at the bottom end. Although loud at times, accents were tempered to suit the acoustic.
This was followed by the march 'Torchbearers', taken at a suitably stately pace, with some particularly fine work from the trombones and basses in the 'Out there' motif.
Shakespeare anniversary
On a weekend when Shakespeare's legacy was being widely celebrated, it was a good idea to include the 'Lament' from Peter Meechan's 'Macbeth'. There was some lovely controlled playing, with Alex Maxwell's flugel melody emerging from the slow-moving textures. The cornets are only used quite sparingly, allowing the listener to savour the tone-colours of the lower brass.
World premiere
Kit Turnbull has only written a few pieces for brass band, and his 'Kinesis' was receiving its world premiere. Full of energy, there were frequent changes in metre, with 10/8 being used very effectively.
Steven Bulla's setting of 'Melita', taken from 'Images for Brass', made for a fine contrast with its reflective nature and sustained lines. It was conducted by principal cornet Ryan Broad, the winner of Salford University's conducting competition.
The opportunity was then taken to present the Roy Newsome conducting prize to former student Andrew Crompton, who is now continuing his studies in London.
Trombones to the fore
Due to player illness, Brett Baker was standing in on top trombone and he led the five-man section in a sparkling rendition of Trevor Sharpe's 'Blades of Toledo'. Castanets added to the feel, and there was some lovely unison playing in the middle section: It was easy to see how they had won the recent ensemble competition.
Touching memorial
Dan Price's 'Tydi a Roddaist' was receiving its UK premiere. This setting of a funeral hymn was commissioned by Dalewool Auckland Band and dedicated to Murray Carey, who passed away before the piece could be performed.
The tension was palpable as the music built up to a climax, with a striking unison melody suddenly emerging, before a quiet coda, and a telling BBb bass pedal in the final chord.
Theme park finale
The band closed with 'Whistle-Stop Tour' - described by composer Barrie-Jon Knight as a journey through a theme park.
Opening with a fanfare, a sea-shanty depicted the pirate-ship before galumphing tubas heralded the transition to the haunted house, with muted cornets and trombones to the fore. An oasis of calm led by the solo cornet followed before the final section, a flight simulator, with music in a more modern idiom, and a final fanfare.
A large audience was present to enjoy a nicely varied programme, with some first-class playing on display.
Peter Bale
