2006 RNCM Festival of Brass: Fodens (Richardson) Band
2-Feb-2006Conducted by Garry Cutt
Soloist: Ian Bousfield
Saturday 28th January
Over the past couple of years at this event, Fodens have been in imperious form under Bramwell Tovey and produced some of the most memorable moments in the Festival's history.
Once again Fodens under the baton of Garry Cutt produced some outstanding moments, the most memorable of which came from guest soloist, Ian Bousfield. The band itself was in decent form on the night, but it was the trombone maestro, who really stole the limelight.
Ian's contribution to the night was one of the major highlights of the whole weekend and you sensed that many of the audience could have listened to him all night, as his command of his instrument made for invigorating listening.
His reputation of course is second to none, and he demonstrated why during his two contrasting performances; the first, Buxton Orr's 'Trombone Concerto' and the second, 'La Petite Suzanne'.
The Orr Concerto was originally composed for Denis Wick and it has a lyrical feel about it, which the instrumentalist made sound so easy, coping with the technical challenges of the piece with the same consummate ease.
'La Petite Suzanne' gave the soloist an opportunity to perform a rarely heard Arthur Pryor work that has been arranged by Bram Gay. Here, the band had plenty to do in accompanying the soloist but they never overshadowed him at all. Ian's superlative performance brought a wonderful ovation at the end and hopefully he will return as a guest soloist at this event, very soon.
Foden's had opened up the concert with what was arguably their finest bit of playing, courtesy of Mozart's overture to 'The Magic Flute'. The sound of the band was reminiscent of an orchestra; so clean, tight and precise in its delivery and it also benefited from intelligent direction from the MD, who kept a tight rein on the balance of the dynamics.
After the Orr Concerto, Fodens performed Michael Ball's ‘Whitsun Wakes', first performed by Black Dyke in May 1997. This performance certainly had its moments of real quality (the elegy section that pays homage to Belle Vue in particular) and it served as a reminder that the Grand Shield contenders in May will need all of their soloists to be on the top of their game to produce a performance of real stature.
Sir Richard Rodney Bennett's ‘The Flowers of the Forest' was performed in a new version for the first time after some adaptations by Paul Hindmarsh. The series of variations on a Scottish folk-song lament is a lovely work, and the band gave a fine interpretation led by Principal Cornet, Mark Wilkinson, whose solo playing was so engaging to listen too throughout Fodens entire performance on the day.
Sir Arthur Bliss's ‘Kenilworth' was the band's final major contribution of the night and as with Hansel and Gretel and Moorside Suite (both heard during the weekend) it was a reminder that these older works that have served as test pieces, still can be a test to play today.
Fodens gave an authorative reading throughout that had a real touch of panache in the concluding march section and it brought their contribution to a commanding end.
It was another march that brought the night to its conclusion with the familiar signature tune ‘The Cossack' which had a lovely swagger and fair bit of poise too. It summed up Foden's contribution to the Festival in fact.
Malcolm Wood
