Wormshead Brass

Band Stand Concert
Millennium Centre Foyer
Cardiff
Sunday April 3rd

On Sunday afternoon, Wormshead Brass ensemble took to the stage to provide the ‘Band Stand' concert at the incredible Wales Millennium Centre. This concert constituted the official debut of Wormshead Brass and would be the first time the public could hear this new addition to the musical scene and brass playing fraternity of South Wales.

The Millennium Centre foyer is a large space surrounded by balconies that sport the exit doors from the auditorium. The stage is small and portable but raises the ensemble up sufficiently for the audience all around the foyer to be able to enjoy the performances that are put on. At one hour long the concerts have no prerequisite for an interval and this can prove quite challenging for a brass band or ensemble, and although no programmes are provided, Wormshead Brass distributed some postcard size business cards giving the sizable audience to hold onto.

Surrounded by the bustle of the Millennium Centre foyer restaurants and shops, members Bob Ferriman, Laurence Davies, Nick Smith, Jonathan Pippen and Simon Howell launched themselves into the brass quintet favourite ‘Die Bankelsangerleider', a baroque classic, arranged by Robert King, which was followed immediately with the Overture to Purcell's Opera ‘Dido and Aneas', arranged by Andy Duncan.

The opening of the Overture displayed tuba and trombone in octaves and the double dotted rhythms in the trumpets were flawless. Attention grasped, the allegro was underway and the calibre of the ensemble became clear. Ensemble and intonation were excellent, and perhaps helped and certainly not hindered by the acoustics of the Millennium Centre, whose acoustic seemed to suit a small ensemble. There was plenty of control, and none of the players ever stood out – the balance was very neatly portrayed, and it was obvious that we were listening to an ensemble of seasoned professionals.
 
Scott Joplin's music featured next in his ‘New Rag'. Alan Hathaway joined the ensemble on drum kit for this number which although delivered splendidly some how didn't come off the page like the overture. This was certainly not down the playing however as Bob Ferriman on trumpet was a classy performer indeed. Needless to say a completely clean performance by Bob helped to affirm the level of musicianship and competence the ensemble had.

A more classical genre in the form of the Holst ‘First Suite in F' arranged by David Sabourin followed. Jonathan Pippen picked up the euphonium for the first movement and was featured playing the extensive solo from the original. Some controversy for the purists here as Jonathan played without the use no vibrato, but in this genre, it suited the music so well. No points in a band contest perhaps, as it would have been described as a ‘bit cold' but here the orchestral euphonium sound was right at home.

Simon Howell and Jonathan Pippen then played tenor and bass tuba in octaves which give the audience a very powerful almost organ like quality to the bass line. The second movement ‘Song without Words' is a trombone feature, and the third ‘Blacksmiths Song' lets us hear Mr Hathaway on the Anvil (or was it a car wheel??).

Finished off with the most famous movement ‘Fantasia on the Dargason' the fourth movement, with a predominant horn part giving the melody, went without hitch, with the styles of quavers interlocking and mirroring each other all the way through. The Holst is quite a long work for a gig like this, but it was conveyed with conviction and obvious enjoyment.

An in house arrangement by Nick Smith of ‘Can't Take my Eyes of You' featured the silky flugal sound of Laurence Davies. Laurence had stepped in at the last minute to cover for Terry Lax who was ill, and delivered this number with the skill and conviction that we have come to expect from such a master of the trumpet. .

Another Nick Smith arrangement followed, this time of a Scarlatti ‘Sonata,' which returned us back to the classical quintet repertoire and style, which was excellently delivered. Wormshead Brass seem to have tapped a valuable resource in Nick Smith as his arrangements seemed to be well constructed, skilfully orchestrated and suited the players of this ensemble down to the ground.

‘My Heart Ever Faithful' by J.S Bach took the ensemble still further back in time to the Baroque with the horn and trombone in perfect balance but as always when playing with a French horn the trombone needed to be extra careful in the extremely quiet dynamics.

Steven Roberts arrangement of ‘A Nightingale Sang in Berkley Square' featured every member of the ensemble. The melody switched between instruments and the guys obviously worked very hard to ensure togetherness at all times. More of a contrast with the ‘Toreador's Song' from Bizet's ‘Carmen' and this was quite obviously a trombone solo - although it would have been nice to see the soloist stand up. However this didn't detract from the music, although we detected perhaps a little discomfort in some if the semiquaver accompaniment.

An hour later, the last number was an arrangement of ‘Come Follow the Band' and the players proceeded to plug the ensemble's website and thank everyone for listening to the ensemble.

‘Come Follow the Band' was a fitting ending to an entertaining hour of music from this ensemble that is perhaps already is one of the leading ensembles in the Principality. A brass ensemble made up of players of this standard, who are not tied down to full time orchestral or teaching jobs is something very rare and may give Wormshead Brass the edge they need to rise above the rest in their field.

This was a fine concert delivered by professional musicians who were obviously enjoying the job they were doing. An eclectic mixture of experience and youth has lead to a musical presence that sounds interesting and exciting while remaining completely controlled and professional. We will watch these guys with interest in the future.

Mike Hughes

You can visit Wormshead brass at: www.wormsheadbrass.com

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