The Great Northern Brass Arts Festival 2004
16-Sep-2004The Great Northern Brass Arts Festival 2004
Sponsored by World of Brass
The Bridgewater Hall, Manchester
Saturday 4th September 2004
Supported by Yamaha-Kemble Music (UK) Ltd., Besson Musical Instruments Ltd. and BBC GMR
Featuring:
Black Dyke Band, Dr Nicholas Childs
Brighouse & Rastrick Band, James Gourlay
Corus Brass
Euph4ria
Fodens Richardson Band, Major Peter Parkes
Grimethorpe Colliery (UK Coal) Band, Richard Evans
Healey & Smithey Bridge Primary School Bands, Wardle Year 8, Lee Rigg
Household Troops Band, Major John Mott
Marsden Band, Glyn Williams
North Central Divisional S.A. Band, Gordo Kirsopp
Rochdale Borough Youth Band, Eric Landon
Guest Soloists: Simon Bates, Richard Marshall, Alan Morrison, Carl Saunders, Roger Webster, Glyn Williams
Compere: John Maines
This is a festival that just gets better and better. Firmly established in the banding calendar in early September, Philip Biggs Brass Festivals Ltd brought together an array of performers that excelled throughout, and it was a day that just about had everything you could wish for.
Two world premieres and a British one, two performances of test pieces from by-gone days at The Open when at Belle Vue (remember the festival was launched to maintain banding's former 'day of the year' in Manchester) the sheer brilliance of Richard Marshall, Alan Morrison, Carl Saunders, Roger Webster and Glyn Williams; Yorkshire rivals, Brighouse & Grimethorpe making there long-overdue debuts in the festival (and they were the bands of the day). Within the twelve-hour marathon, four individual pieces also stood out whereby performances were given off the highest order, of which more later, and 4BR even managed to be on stage as well as off it. As with the RNCM Festival held in January, this day its non-competitive, and the opportunity for the bands on offer to provide a mix of entertaining music, with plenty for the connoisseur to go with it, without a judge in sight.
Audience figures were excellent throughout the whole day, and it was good to see the inclusion of Brighouse & Grimethorpe to this event. Now in its seventh year, the festival is consistent with some of the bands on offer, and having variation and giving them the chance to shine at the event, surely has to be a good thing?
The day would not be possible without the continuing support of World of Brass, Besson Musical Instruments, Yamaha-Kemble, BBC GMR, whose presenter of the long-established 'GMR Brass', John Maines, once again, compered the day in fine style, in his informative and entertaining manner.
If you have never been to the event, do what you can to attend in 2005, if not for all of the day, just the odd concert, it really is an experience and all the participants enjoy it.
Entertainment was given before things got going inside the hall from Marsden Band (with a number of established 'deps' from Black Dyke, Fodens, YBS) under Glyn Williams and the North Central Divisional Salvation Army Band, and in between concerts in the main hall, Corus Brass & Euph4ria kept everyone entertained, but the concerts got underway at 12 noon in one of the best concert halls, around, Bridgewater Hall.
Rochdale Borough Youth Band (Eric Landon, Guest Soloist, Carl Saunders)
Following the band's superb debut at last years festival, they returned to demonstrate twelve months on, what great ambassador's for youth banding they are.
Peter Graham's 'Windows of the World' was a fantastic opening to the concerts on the day with some wonderful playing throughout the band. Narrated by Charles Foster, the audience was taken on a music journey that was extremely high in musicianship and stage presence. The soloists' showed no nerves (not just in this but the rest of the programme) and in particular, 'The Rising Sun', 'Drums of Thunder' and 'Earth Walk' stood out.
The first soloist of the day was Carl Saunders, the Salvationist who could quite frankly sit on any end chair in the Uk's top bands. Carl provided the first 'wow' factor of the day with his rendition of 'The Amazing Mr Leidzen' by Peter Graham. Control of the instrument, tone, flair, it was all there, as Carl displayed why he is so revered in Salvation Army circles.
The rest of the Rochdale concert had a circus theme attached to it, with Charles Foster acting as Master of Ceremonies, and conductor, Eric Landon, suitably dressed in circus attire. A lively 'Radestsky March' was followed by the trombone antics of Fay Wilson in 'The Acrobat'. Some delightful cornet playing from Richard Goulding in 'Sunshine of Your Smile' was followed by the percussion team (including the two Mills brothers who play with Pennine Brass) having an absolute ball in the 'William Tell Overture', performed on Xylophone.
Michael Goulding is a talent for the future without any doubt. Last year, the soprano soloist, knocked everybody sideways with 'On With The Motley' and this year, it was the post horn, in 'The Post Horn Galop'. What playing, and if the post horn wasn't enough, Michael finished off playing the kitchen sink.
The finale was the popular 'Can-Can' including dancing girls. This was another fantastic performance by the band, and superbly directed by Eric Landon, one of those unsung heroes, who works tirelessly in pursuit of musical excellence.
Household Troops Band (Major John Moot, Guest Soloist, Carl Saunders)
For the third year in a row. The Household Troops performed a concert at the end of their summer tour. The band is made up of premier players across Salvation Army Centres throughout the UK, and in summer, performs in various towns and cities. After a lively opening fanfare entitled 'To A God Like This', the band launched into George Marshall's popular march, 'Soldiers of Christ', good tempos, and nice playing from within the band.
Carl Saunders will soon have a solo CD that everybody who wants to can enjoy. Carl returned to the stage to perform yet another top performance of Norman Beacroft's 'Song of Exultation'.
Goff Richards' 'Shepherd's Song' was followed by 'Great & Glorious', the title track from the bands new CD by George Marshall. Inspired by a trip to the top of the Grampian Mountains, one Easter Sunday morning that a deep, reflective piece was written in very quick time, afterwards. It was in this piece (along with the Tchaikovsky later) that the band was at its best during the performance.
A complete of change of mood and some swing in 'Soon and Very Soon' before the aforementioned, Tchaikovsky offering, in Bramwell Coles', 'Treasures of Tchaikovsky', a mix of all the great and glorious of the famous composer, and the band were simply brilliant.
Peter Graham's ' arrangement of 'Crimond' that includes snippets of 'Resurgum' brought the bands contribution to and on the stage, before displaying there skills outside before the start of the Gala Concert.
Healey & Smithy Bridge Primary School Bands, Wardle Year 8 Band (Lee Rigg)
The world has been rocked in recent days by the atrocities that have happened in Russia. The arrival on stage of eighty-three brass musicians all around the age of the children that have had there lives taken from them, certainly put the whole day into context, a series of brass band concerts, full stop.
The band paid tribute during its mini-concert to the Russian disaster with the hymn tune, 'Lloyd', as well as 'Breakdance', 'Concert Overture', 'The Great Escape' and 'The A Team'.
To see the stage full of young players is simply marvellous, and Lee Rigg along with colleague, Gwen Diggle work tirelessly in encouragement of these youngsters (the youngest being seven) and the fact that they have appeared at this festival three years in succession, speaks volumes.
Brighouse & Rastrick Band (James Gourlay, Soloist Simon Bates)
This was a programme that had the most contrast in styles throughout than any other one on the day. Brighouse were absolutely superb and the B & R/Gourlay partnership is certainly paying dividends. A top class performance at the area, followed by another one at The Masters, have given them so much confidence, and if this concert is anything to go by, it wouldn't be a surprise to see some silverware back in the bandroom very soon.
The first 'Open' test piece of the day, was Eric Ball's 'Festival Music'. From the opening bars of the opening 'Overture' the sound was sublime, and the middle movement (Romance) was one of the four highlights of the whole day. At the end of the movement, a spontaneous round of applause broke out in the auditorium, as we had just heard seven minutes plus of 'jaw-dropping' playing. It was absolutely fabulous stuff. James Gourlay was inspirational bringing out some wonderful playing from within the band, especially, Alan Morrison & Steven Miles. The 'Impromptu' brought to a close one of the finest live performances that many people have heard in a long time. Looking at the structure of the programme, it was a surprise that Festival Music was the first major piece of Brighouse's concert, but with a performance such as played here, it didn't matter too much.
Rodney Newton is another composer that is prominent at the moment. Rodney's 'King of Elfland's Daughter' will test the best of Section One at Harrogate; Buy as You View Band premiered his 'Echoes of the East' at the Europeans, and Brighouse gave the world premiere of Respighi's 'Church Windows'
This was a colossal performance by the band in an arrangement of the Respighi work that lasted some thirty minutes. The title reflects 'church windows' and everything that you see and imagine whenever you look into one. Music of course, is a visual form, and this piece certainly pushes the boundaries back of what the composer was portraying. The first 'window' entitled 'Flight into Egypt' lasted around ten minutes, and is certainly descriptive and atmospheric.
The second movement (Saint Michael the Archangel) was dramatic in style finishing with almighty clash of the cymbals. 'The Matins of Saint-Claire' is very much in the mould of a Morning Prayer. Quiet, reflective and peaceful, what beautiful playing from everybody involved.
The final movement (Saint Gregory The Great) sounded like a Gregorian style chant, and when the sound of the organ came in from Jonathan Scott, the sound was immense. On a warm day, the players gave everything and the score includes the harp, played by Clifford Lantaf, the celeste (Tom Scott) and some off-stage trumpet playing by Jamie Prophet.
This performance stood out as the highlight of the whole day, and congratulations go to Rodney Newton on a terrific arrangement, Brighouse and James Gourlay, for the amount of stamina on such a warm day. It is understood that the piece will be recorded soon and those who like Rodney Newton's Compositions/arrangements, plenty more to come apparently.
In total contrast, saxophonist (it's a brass festival remember) Simon Bates was featured in 'Evergreen' from the film 'A Star is Born', delightful stuff with a good blend between band and soloist.
Alan Morrison has just launched another solo CD entitled 'Over The Rainbow' accompanied by B & R, and one of the tracks, 'Live & Let Die' was given a virtuoso trumpet performance by the band's principal cornet to officially round off the concert.
Brighouse top-and-tailed their debut at the Festival with the march that opens many a concert 'West Riding' and encored all that had gone before them with the tune that everybody identifies them by, 'The Floral Dance' with MD James Gourlay, leaving the stage, before becoming 'Mr Tambourine Man' in the percussion section.
On the evidence of this concert and the band's reputation, serious consideration will hopefully be given to Brighouse appearing not just in the festival in the future, but elevation to the Gala Concert slot. Without doubt, they are worthy of it.
Grimethorpe Colliery (UK Coal) Band (Richard Evans, Guest Soloist Richard Marshall)
Richard Evans held a party at the Bridgewater Hall during the Gala Concert. At the party were members of the Grimethorpe Colliery (UK Coal) Band, and of course, the packed audience. Quite simply, Richard Evans loved every minute of fronting Grimey in this prestigious event, and the band came to that party and responded to the maestro's musical direction. He simply had an absolute ball!
Opening with two movements from Malcolm Arnold's 'Scottish Dances', immediately everybody was captivated by the sound of the band, that filled the hall superbly. Bass Trombonist, Mark Frost was definitely sober in his solo slot, depicting a slightly drunken Scot.
The overture, 'Cockaigne' (subtitled 'In London Town') was written in 1900 by Sir Edward Elgar. Derek Ashmore arranged this masterpiece for band in 1988, and it was subsequently recorded on a CD entitled by 'Deborence' by the BNFL Band in 1994, conducted by, yes, you've guessed it, Richard Evans.
The music is English in the real sense of the word, and this was a phenomenal performance, to put it mildly. The main musical line appears continuously in many forms during the fourteen minutes, and both band and MD were inspired. It had everything that you'd expect from a Richard Evans performance: bravura, panache and swagger in abundance, fantastic tempos, and what a sound from the band, where Rob Westacott deputising in the principal cornet chair, shone out. The finale is a dramatic conclusion to all that has gone before it, and it was edge of the seat, spine tingling stuff.
The centrepiece of Grimethorpe's programme was the UK Premiere of Phil Lawrence's cornet concerto 'Blaze', having been first heard in New Zealand last year. In a nutshell, this really is about a 'blaze' of sound, and it was the third highlight of the day. What a sound, and what a performance! Richard will be recording another solo CD at the start of 2005 of which 'Blaze' will be featured, and it can't come soon enough. As with the other cornet soloists' earlier in the day, Richard was at the top of his game, and whilst the title might suggest, 'loud noise'/fire like sound', nothing could be further from the truth; it was more a controlled sound where Richard was able to demonstrate why he is the player he is. Breath control, style, sheer power you were spellbound because everybody wanted to hear what was coming next. With the title being as it is, it's quite intense playing and listening, with no respite for the soloist. At the end of the performance, John Maines suggested that everybody had been in the presence of 'greatness', and its hard not to disagree.
To conclude, Grimethorpe and Richard Evans rolled back the years with a performance all about the colours of the rainbow in Gilbert Vinter's, 'Spectrum'. Once again, Richard Evans was in his element, masterminding a performance of music that dates back to 1969, and The Open, won on that day by Grimethorpe conducted by George Thompson. It was fantastic stuff, expressive and full of detail.
In recent times, Grimethorpe have been something of an enigma on the contesting platform, but when it comes to concert performances, they are not just one of the busiest bands in the business, but one of the best, as this concert demonstrated. With no disrespect to the two other bands yet to enter onto the stage, people could have listened to Grimethorpe all night.
Fodens Richardson Band (Major Peter Parkes, Guest Soloist, Glyn Williams)
Fodens had the unenviable task of following Grimethorpe onto the stage to conclude the first half, and under Major Peter Parkes, certainly maintained the high standard that had been set.
Clive Barrowclough's march 'Simmoraine' got things off to a good start, before the band went through Saint-Saen's 'Bachanalle' without too much trouble.
Having heard Cornet soloists and a saxophonist, it was refreshing to get some euphonium playing in the band's solo slot. Glyn Williams chose 'Rule Britannia', Hartman's theme and variations on the traditional tune, and it was a case of 'anything the other soloists can do, I can do as well' - and he did.
'The Elegy' from a Downland Suite' is still one of the nicest bits of band music around. Fodens and Major Parkes performed their piece of the night with some beautiful, delightful playing that really did touch the soul. The basses, along with principal cornet, Mark Wilkinson were just outstanding.
Fodens closed their slot (and the first half) with Eric Ball's 'Journey Into Freedom', in a performance that could be described as a bit quick in places. Some of the detail wasn't as clear as it could have been, but the performance didn't detract from an overall fine show from the Sandbach-based band.
Black Dyke Band (Dr Nicholas Childs, Guest Soloist Roger Webster)
It has become something of a traditional not just for Black Dyke to appear at this festival, but that they conclude it. This year was no different as we had a mix of entertainment and educational music from the West Yorkshire outfit.
The march 'Queensbury' is arguably the most identifiable signature march in the World of Banding, and it got Dyke's contribution off in fine style. Roger Webster's solo CD; 'Passport' is simply magnificent. The Dyke principal cornetist could have chosen almost anything of that disc for his solo slot, and in the end went for 'Carnival of Venice'. What can you say that hasn't been said before? It was just typical of the man, impeccable.
The focal point of Black Dyke's concert was the World Premiere of Peter Meechan's, 'Purcell Variants'. Peter graduated from the RNCM where he received the 'Edward Hecht' prize for composition. In May 2003, Peter took the position of 'Young Composer in Association' at Black Dyke. Peter's 'Three Stories - Three Worlds' was featured on David Thornton's 'Three Worlds'. CD earlier in the year and the Purcell Variants are very much based on the music of Purcell, but it's certainly not your traditional brass band fayre.
The music starts off with players being muted, before a lovely cornet solo. As the piece grew, it reminded me of Stravinsky and evens a jazzy feel as both soprano and euphonium play exposed parts in different parts of the stage. The music has a melodic, dramatic feel to it, as well, and it has to be said, Black Dyke's playing was absolutely cracking stuff, and this piece was the final 'major' highlight of the entire day. The name and music of Peter Meechan is one that will be heard very much in the future, and this was music, that certainly will be heard again (and probably cut on CD) as during the three movements, lasting twelve minutes, there is plenty to absorb.
It would be remiss of me, not to mention Dyke's soprano player on the night, Tredegar Town's and 4BR's Iwan Fox. It's more than likely that Iwan will be a touch embarrassed to read of his name in print, but he shouldn't be. If you play in a band such as Black Dyke in any position, you are nothing but quality and any principal player has to be a bit special, 'dep' or no, 'dep'. Dr Nicholas Childs has known Iwan a long time through Tredegar (in fact they shared the stage at Bridgewater Hall in 1996 on Severn Suite when the band came second), and whilst Iwan Fox is never really mentioned in the same breath as Roberts, Wycherley, Crockford etc, he is a fine voice of the soprano. Iwan blended in well, and his solo work in the Purcell Variants (dropped mute not withstanding!) was pretty typical of what he does on a consistent basis.
The rest of Black Dyke's programme had the emphasis on entertain as oppose to educate. A new CD release in the offering will be The Golden Swing of Black Dyke, and three offerings were given to whet the appetite, so to speak. 'Opus One', 'I only Have Eyes For You' that features bass trombonist, Adrian Hirst and euphonium, John French, and finally, 'Mack The Knife', good quality playing all round.
Flugel John Doyle was showcased in 'Children of Sanchez' (before Children of Sanchez and Concerto D'Aranjeuz', what did flugel players play, one wonders?) and this was followed by bass player, Joe Cook, producing more notes out of his instrument, than what was written in the score in Monti's 'Czardas'.
To conclude, Black Dyke produced a blistering performance of the 'Finale from Symphony Number 4' by Tchaikovsky, before encoring with 'Lucerne Song', a number that gives all players the chance to say goodbye, and leaves the isolated bass player (in this case, Phil Goodwin) to have the stage all to himself, before the rest of the band, blow him off it, literally.
So that was that, another fantastic day that wouldn't be possible without the hard work of Philip Biggs, the bands and other ensembles involved and the sponsors. Thanks to them all and you can be guaranteed, The Great Northern Brass Arts Festival 2005, will be here before you know it.
Malcolm Wood
