2005 RNCM Festival of Brass - Part 7 of 7

Black Dyke Band
Sunday 23rd January

Conductor: Dr. Nicholas Childs
Soloist: Brett Baker
RNCM

Black Dyke and Dr Nicholas Childs concluded the Festival on Sunday evening. Those present to hear Fodens had heard something special indeed, but once again, Dyke pushed the musical barriers even further with a concert performance that was nothing short of phenomenal.

The desire, commitment and continual pursuit of excellence within the band is quite extraordinary but this was another concert where Dyke just upped their standard to a level that few , if any can match.  It remains a mystery as to why Black Dyke (Grimethorpe, YBS etc) are not included for consideration for the BBC Proms during any Summer when you hear performances such as this one – perhaps those within the BBC who chose those to be invited and perform (apart from Paul Hindmarsh) will listen to the contributions on air from this concert, invest in a copy of ‘Trumpet of the Angels', ‘Music of the Spheres', ‘History of the Brass Band Series' and realise that brass bands such as these can perform equally as well as any orchestra that appears at the prestigious event.

Opening with the ‘Earle of Oxford's March', the capacity audience heard a quality of sound rarely heard throughout the weekend.  Brett Baker then took centre stage for Howarth's ‘Concerto for Trombone and Band' that was another demonstration from a player who always distinguishes himself with his quality of sound and technique.  Throughout the whole of the weekend, the audience had been treated to a number of wide-ranging Howarth compositions, but this was certainly the most enjoyable solo contribution.

Listening to Howarth's ‘Fireworks', it doesn't half make you wonder what are the fuss was all about in 1975?  The inclusion of percussion did cause a stir, making it too much modern for some (my father included), but without doubt, this is a fabulous work and hearing it for the first time live on the night, it crossed my mind why on earth it hasn't been used for The Regionals, The Masters etc?

Dyke's interpretation was first class with some terrific playing around the stand, including percussion who brought so much into the piece.  The opening Variation for cornets with support from basses and trombones stood out though (for me anyway) along with the Fugato right at the very end.

Peter Meechan is a name that you'll hear plenty more of.  Peter is Black Dyke's ‘Young Composer in Residence' and has written music for the band in the past including ‘Purcell Variants' and ‘Three Stories – Three Worlds' premiered by David Thornton.

This latest work, ‘Pulse Friction' lasts four minutes.  The cornets are (with optional piccolo trumpet and flugel) split into three groups of four around the stand and the middle section (stood at the back of the band) provides a very simple crotchet pulse, whilst the other two groups have a bit of fun with each other. 

The rest of the band also becomes involved, and what eventually evolves is what Peter describes as a ‘triplet pulse', hence the title of the work, ‘Pulse Friction'.  It is quite a battle across the band as to who becomes a ‘who's best' but the cornets return at the end in a blaze of power.  It is certainly different, but certainly won many admirers on the night.  Congratulations to the composer and the band for their efforts.

Gregson's ‘Dances and Arias' has been heard of late at the Scottish Open and at Pontins.  To be honest, if anyone had listened to Dyke perform this work before those contests, there would have been more than a few sleepless nights for many for sure.  Roger Webster produced yet another exceptional piece of cornet work, and the same goes for David Thornton on euphonium, whilst mention has to be made of the percussion who again performed to a exceptional standard.  Dr Childs brought out quite a lot of the subtleties from within the score, drawing on past experiences from performing and conducting the work, in a performance of huge merit.

To conclude the weekend of intense music making and education, Black Dyke performed Gregson's new composition ‘An Age of Kings'.  Having heard it on the CD recording and witnessed it live first hand at its premiere last October, the more you see and hear it, the more you realize this is pure ‘musical theatre'. 
After the nights performance you wondered just how much stamina was left in the tank, but no one need have worried, as this was another performance that left you purring. 

Gregson's music (as with Howarth's) might not be everybody's cup of tea, but the innovation within this composition is remarkable.  This performance reinforced what was said earlier, ‘the continual desire and commitment in pursuit of excellence is quite extraordinary'; nothing is left to chance, and what you get is what was on offer here - pure class. 

It is hard to follow a performance with any encore after Gregson's work, but Dyke returned to where the night began with music of an Elizabethan theme. Dr Childs spoke of his pride at how Elgar Howarth first mentioned about him becoming a conductor and gave him his first conducting lesson.  In tribute to him, Nicholas Childs and Black Dyke performed Howarth's arrangement of ‘Music From Elizabethan Court' that featured a truly sublime ‘Pavane' and the ‘Kings Hunting Jig'.

At the moment, this Festival is the only one of its kind where connoisseurs of brass music can listen to repertoire without any of the constraints that brass bands so often have to adhere too.  If we lose this Festival in years to come it would be a complete disaster for the movement, and the inclusion of educational demonstrations and discussions in addition to the concerts gives the Festival the opportunity to evolve further. Some of the music isn't always to everybody's liking, but the standard of playing just gets better and better.

Those present at the RNCM throughout the weekend but in particular Saturday and Sunday night will never forget what they heard.  It just leaves the question, ‘How can that be followed in 2006?'

Malcolm Wood

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