Brass on Sunday Gala Concert

Black Dyke, BAYV, Fodens Richardson, BB of Central Florida, Sandwell Youth, Symphony Hall,
Birmingham,
Sunday 18th September

It is said that the morning after the Lord Mayor's Show can prove to be somewhat of an anticlimax, but expectations were high at Symphony Hall as, following an excellent day's contesting, the audience gathered to listen to three of the placed bands, including numbers one and two, as well as the guests from across the pond, who had already won many friends during their brief stay.  For those who arrived early enough, there was a foyer concert given by the Sandwell Youth Band under Andy Culshaw, who showed considerable maturity and refinement in their programme, which included Peter Graham's "Windows of the World" and "Gaelforce".

First on stage were the Brass Band of Central Florida, with their charismatic conductor Michael Garasi – is it merely a co-incidence that, like Sir Simon Rattle, they are both percussionists?  Be that as it may, the audience in Birmingham had certainly taken to him, and he showed in his leadership that you don't always need to be energetically waving your arms about to exert control over a band. 

Indeed their opening number, Michael's own version of Ravel's "Bolero" was performed without a conductor at all.  The percussion was set up on stage, with stools in front of them for the basses and two side drums in the centre of the platform.  As the side drum took up the familiar rhythm, players entered, either individually or in groups, moving smoothly into position, sometimes joining the main formation and sometimes coming centre stage for solos and duets. 

With front action tubas and with the solo horn playing his instrument left-handed, the playing and presentation was full of confidence and conviction, with some particularly fine playing from the trombone section.  As the music rose in intensity, and following a spectacular cymbal clash, the MD came onto stage and took up the rhythm on the second side drum, leading the music on to the final climax, complete with coda tagged on just to catch the audience out as their applause had already started.

As Frank Renton continued to give some background to this young band, which was only formed in 1999, stands and chairs were set up in big band formation, cornets at the rear, trombones in the middle and the lower instruments seated at the front, with the vibraphone set prominently stage left.  Christopher Sharp has provided several arrangements for the band, including Weather Report's "Birdland".  Various sections rose to their feet as they took up the melody, first horns then baritones and euphoniums, and there were solos from soprano cornet Dee McAfee – clearly one of the band's "characters" - and trombonist Herb Bruce, a familiar name to aficionados of the trombone group "Spiritual to the Bone".

Also from the pen of Chris Sharp was "Malaguena", starting quieter than some arrangements, with close harmonies, and Latin American flourishes moving round the band.  The whole cornet section proclaimed the tune in unison before the trombone took up the melody.  Solos this time were shared between Herb Bruce and Gail Robertson, the band's solo euphonium and a talented arranger in her own right.

Following these two rather exuberant numbers, there was a total contrast in the form of Micheal Garasi's own arrangement entitled "'Tis a gift", which was presented as a gift from the band to the audience.  The shaker melody "Simple gifts" was used by Aaron Copland in the ballet "Appalachian Spring" and subsequently turned into a stand-alone setting.  Two cornets, one either side of the stage, presented the theme, and were then accompanied very effectively by a combination of glockenspiel, vibraphone and xylophone. 

The percussion set up an ostinato figure as first baritones and euphoniums and then trombones and cornets joined in.  Following a crescendo roll on the timpani the whole band produced a broad, full sound before transforming themselves into a wordless chorus.  The opening was reprised by the two cornets, with the piece ending quietly with the percussion.

The name of Ron Nelson may be unfamiliar to a brass band audience, but he is one of the leading writers for wind bands in the United States.  His "Rocky Point Holiday" is in a long line of similar celebratory overtures, capturing something of the American free spirit.  Following a lively opening there were prominent parts for marimba and soprano, and an extended Latin American section.  On this occasion the audience was treated to some very energetic conducting as Michael guided the band through to its triumphant conclusion.

It seems that no programme by an American band is complete without a Sousa march, and on this occasion it was the ever-popular "Stars and Stripes Forever", with another chance to showcase Dee on soprano.  Taken at a fairly measured pace, and with two side drums prominent, the "piccolo" solo was carried off with panache, only for Michael Garasi to move to the edge of the stage, returning with who else but Peter Roberts and Alan Wycherley, who joined in on the reprise, much to the enjoyment and amusement of the audience. 

The band's programme was well received by the majority in the hall: there were those who found them a little loud and brash, but not this listener, and as for those who felt their programme was too American, the words "Basil Fawlty" and "Torquay hotel window" spring to mind.  They had certainly won over many friends, and if they have progressed this far in six years one wonders what the future may hold.

The Buy As You View Band under Robert Childs seem to be a permanent fixture at this event, and their programme was up to their usual high standards.  They opened with John Williams' "The Olympic Spirit", arranged by Christian Jenkins.  Following the opening fanfare from the antiphonal cornets, and the trombones placed centre stage, the mellow sound of the middle of the band came through.  Possibly with a little more of the American high school marching band about it than some of his other Olympic contributions, particularly in the writing for percussion, it nevertheless made for an effective start.

Robert Childs offered congratulations on behalf of the BAYV band to Black Dyke for their win the previous day, and this precedent was followed when Fodens took to the stage later on.  He then introduced music by Welsh composer Karl Jenkins, extracts from "The Armed Man; A Mass for Peace".   Following the example of the medieval "parody" masses, and using the traditional tune "L'homme arme" Karl has written a piece decrying the horrors of war, dedicated to the victims of Kossovo. 

Arranged by Tony Small, father of trumpeter Gareth and conductor of the Penclawdd town band, five movements were presented.  "The Armed Man" set the scene with the rhythm of bass drum and side drum before the theme was presented by muted soprano cornet and trombone, gradually joined by the rest of the band.  "Hymn before action" was more reflective, with gradually shifting harmonies underneath the melodic statements.  "Charge" owed something to William Walton's music for "Henry V", with answering phrases from cornets and trombone.  The use of compound time added to the sense of drive and inevitability, with prominent use of the tom-toms, a gradual crescendo leading to a tumultuous percussion climax. 

"Benedictus" took the form of a euphonium solo, played with restraint and subtlety by David Childs, with the band working very hard to sustain the quiet, sustained accompanying chords.  Through much of the movement the cornets were tacet, only joining in for a few bars at the climax, and this was an undoubted highlight of the afternoon.  The last movement, "Better is Peace", commenced with a unison melody on cornets, trombones and basses, with flourishes appearing throughout the band, before coming to a rousing finish.

For "An Irish Blessing" a quartet of flugel, horn, baritone and euphonium were placed at the edge of the stage, and this time it was an opportunity for Nigel John to shine, together with Joanne Deane, Owen Farr and Susan Thomas.  The opening quartet was well balanced, maintaining the intensity and with no one player dominating the texture.  When the full band entered there was some particularly impressive bass playing.

Introducing Bob Geldard's setting of Harry James' "Trumpet Blues and Cantabile", Robert Childs paid tribute to soprano player Michelle Ibbotson, who had won the inaugural Brian Evans Memorial Trophy the previous afternoon.  On this occasion she led the whole of the cornet section, and although not as dominant as some in this arrangement, the gentle rendition of the central tune was impressive, and it was taken at a cracking pace, with the basses playing their part by lightening their tone and keeping the notes short.

For their finale, BAYV had chosen Ray Farr's arrangement of extracts from Stravinsky's "Firebird".  Commencing with the menace which is the "Infernal dance of King Kastchei" the band dealt with all the music's intricacies, complete with prominent xylophone, trombone glissandi, harrumphing basses and whoops from the horns.  The swells in the accompaniment were effective, and the occasional split note took little away from the overall effect.  The clam before the "Finale" itself was beautifully controlled, and David Child's melody, supported by tremolos on cornet and horn, came across well.  A long, slow crescendo led up to the last section, when the whole band were given their head, with more swooping horns, tam-tam and fierce trills all adding to the effect.

After a welcome interval, Black Dyke were due to open their programme with ray Farr's "Intrada on Ein Feste Burg".  Instead, a short flourish from the band heralded the appearance on stage of the band's trophies, to tumultuous applause from the audience.  Ray Farr's piece, when it came, divided the cornets into three groups, one either side of the stage and one in the centre by the percussion.  Solo phrases and canons abounded, with runs then appearing from various sections of the band.  The trombone trio presented the well-known melody and there was some quite virtuoso playing from the percussion, especially the timpani.

David Thornton had been awarded the soloists' prize at the Open, and he was featured in the last section of the concerto written for him by talented young composer, Peter Meechan, "Three stories, Three worlds".  Although a recent composition, the music is readily accessible, with sustained writing for the euphonium and a jazzy feel at times in the livelier sections.  From where this listener was sitting, the soloist came over clearly, although some people seemed to find the band a little strong.  David Thornton's agility was outstanding, particularly in the largely unaccompanied cadenza, complete with lip trills, and it was a first class performance all round, with the composer, bring presented to the audience, seeming suitably impressed.

Grieg's "In the Hall of the Mountain King" was started almost imperceptively while the audience was still applauding the solo.  Once again the basses demonstrated their light-footedness, and there was a gradual build-up in both volume and tempo to a spectacular finish.

Staying with the classics, Leslie Howie presented the "Finale from the Violin Concerto" by Mendelssohn.  Her light tone seemed ideally fitted to the skittish nature of the music, which has much of a "Midsummer night's dream" quality to it.  With clean arpeggios and runs and a sensitive accompaniment, it was quite a tour de force, as audience members puzzled over where she managed to snatch a breath, and marvelled at the double-tongued passages – matched by the players in the band.  The concluding top "C" was preceded by an equally striking one by Peter Roberts on soprano. 

Peter Graham's "Cartoon Music" was written for percussionist Evelyn Glennie, and it was not the first time the band version had been played at Symphony Hall.  On this occasion, however, the band seemed determined to make the most of every humorous element possible, and there were plenty of smiles all round, particularly with the antics of the trombone and percussion sections.  What can at times seem somewhat disjointed was put together smoothly and efficiently, with Brett Baker's "Cat's Duet" extract being one of the highlights, and the trombone section rising up and down in time with the glissandi.

Black Dyke's finale, at least according to the printed programme, was Howard Snell's arrangement of "Elsa's Procession to the Minster".  With a little more rubato than is sometimes the case, it was a well-controlled reading, although if one were nit-picking the crescendo could have been more effective had it started more quietly. 

The climax, when it came, was certainly stunning, and was swiftly followed by an encore, announced by Nicholas Childs as being in honour of the return of the Ashes to England – or as he put it, to the northern hemisphere!  A quartet of cornet, flugel, baritone and euphonium presented "Swing low, Sweet chariot", before Adrian Hirst, on bass trombone, took up the solo line, complete with central duet with the Eb bass.  Wandering round the stage he produced some fruity low notes before the band broke into their final item, Goff Richards' arrangement of "Mack the Knife", rounding off a programme that had demonstrated their versatility and overall musicianship, and left the audience in no doubt that, so far, it is proving to be a good year for the band.

The Fodens Richardson Band had the responsibility of presented perhaps the toughest musical challenge of the afternoon, both for players and listeners.  "Birthday Variations for Brass Band" had been premiered at the RNCM Festival of Brass in January this year. 

Written to mark the centenary of the birth of Sir Michael Tippett, it is based on the "Processional" from his opera "The Midsummer Marriage", with variations written by Bram Tovey, Edward Gregson, Michael Ball, Elgar Howarth and Philip Wilby.  Following the statement of the theme, for which no basses were used, Bram Tovey's variation, "Danse des Amis", a pun on friendship and also the distinguished musician John Amis, had a jazzy feel to it, with fanfare-like interjections. 

Edward Gregson's "Midsummer song" was more lyrical, with the striking use of note clusters, muted horns and soprano, whilst Michael Ball's short "Scherzettino" featured fast and furious melodic figures darting around the band, all the players being muted for several bars.  Elgar Howarth's "Collage" opened with a solemn rhythm set down by the percussion, with sombre chords on horns and trombones.  The theme was presented in a slowed-down version, interrupted by fanfares from Tippett's opera "King Priam". 

Philip Wilby's "Birthday Fugue" had the trombone declaiming the theme, cutting through the texture, and included references to Elgar Howarth's musical signature and a theme from Gregson's "The Trumpets of the Angels".  The band, under the baton of Bram Tovey, presented the piece with confidence, although it would probably need several hearings to reveal all its intricacies.

For the rest of their programme, for which Garry Cutt took up the baton, Fodens stuck to more familiar fare, beginning with Wagner's "Introduction to Act 3, from Lohengrin".  It was good to hear so much care and attention to detail lavished on what can sometimes be treated as something of a pot-boiler, although this listener finds it hard not to picture the orchestra floating off into the distance as they play, as in the Marx Brothers' film!

Fortunately for the audience, they remained firmly on stage for William German's popular march "The President".  It was easy to see why it has brought them so much success in the Whit Friday contests, with excellent playing from the cornet duettists, contrasts in dynamics and crisp dotted rhythms.

Garry Cutt, who previously had to lower the microphone by a foot or so as he took over from Bram Tovey, reminded the audience of the success Mario Lanza had had with "I'll walk with God", from the film "The Student Prince".  Goff Richards' band arrangement is justly popular, and was marked by particularly sweet-sounding chords from the cornets and horns at the start.  The melody featured some smooth and restrained playing, with some subtle touches from the percussion, and the conclusion brought a good, full, controlled sound.

Glyn Williams, by his own high standards, had not had the best of days on the Saturday, but he certainly made up for it as he presented Hartmann's "Variations on Rule Britannia".  Again, what can sometimes be a bit of a warhorse was presented musically and effectively, with the central section taken at a very slow tempo, showing some fine, sustained playing.  The variations were dispatched efficiently, never allowing the myriad of notes to get in the way of the music.  The absence of percussion, even in the tutti section, seemed to add to the clarity of the performance, which was very well received by the audience.

In contrast, "Blue Rondo a la Turk" (Brubeck arr Edwards), demonstrated the band's skill in a different style of music, the lines flowing smoothly regardless of the shifting emphasis.  If anything, the cornet solo was a little too clean and tidy, but the trombones and Helen Fox on flugel were first class.

Their solo slot concluded with another old favourite in Carl Friedman's "Slavonic Rhapsody No 2", arranged by Denis Wright.  Again, there was much attention to detail, with the changes of mood emphasised, and the runs carefully placed.  In the slow sections the music was given plenty of space and the cornet cadenza was played with panache.

For the "Finale Ultimo" – at least according to the programme! – they were joined by the Brass Band of Central Florida under Bramwell Tovey to play Edward Gregson's "Variations on Laudate Dominum". 

Despite moments of uncertainty at times, it made for a fitting finale, and it was good to hear something other than the usual choices.  When the time came for the driving quavers split across the band things had settled down, and these were well-balanced.  There was some well-controlled playing in the quiet passages and the fugato section kept nicely together, with Bram bringing out the horns for their entry.  The statement of the tune from the basses and trombones was nicely sustained, and the tam-tam at the climax was effective.  Bram then left the stage to collect Michael Garasi, who led the two bands in a lightning-fast performance of Henry Fillmore's march "The Circus Bee", with the trombones in particular having to play their solo at breakneck speed, but rising to the challenge.

It was certainly an excellent afternoon's music-making, if a little on the long side, making it rather unfortunate for the band "drawn" last, as they saw some of the audience leave for their trains and buses.  On the other hand, it would be churlish to complain when one is offered such a feast of music, both new and old, with bands in such good form. 

The presentation was also very good, with Frank Renton introducing the Brass Band of Central Florida, with whom he has had considerable contact since their formation.  He also put in a plug for "Listen to the Band" over the coming two weeks, which will present highlights of the weekend, so if people weren't able to get there, they can listen and make up their own minds!  The other bands were introduced by their own conductors, each in their own characteristic manner, making for a pleasantly relaxed programme.  Roll on 2006!

Peter Bale

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