The Great Northern Brass Arts Festival 2007

Sponsored by World of Brass, Yamaha-Kemble Music (UK) Ltd, Besson Musical Instruments Ltd.
Organised by Philip Biggs Brass Festivals Limited
The Bridgewater Hall, Manchester
Saturday 8th September

Black Dyke Band - Dr Nicholas Childs
Bones Apart
Brighouse & Rastrick Band - Alan Morrison
Fairey Band - Philip Chalk
Fodens Richardson Band - Garry Cutt
Household Troops Band - Major John Mott & Carl Saunders
Marsden (Ossett Brewery) Band - Glyn Williams
North Central Divisional S.A. Band - Gordon Kirsopp
Scherzo Brass
Tempus Brass
Wardle Junior Band, Healey, Smithy Bridge and St James Primary School Bands - Gwen Diggle & Lee Rigg
Soloists:  Melvyn Bathgate, Martin Blessett, Helen Fox, David Hebb, Leslie Neish, Andrew Piper, Lisa Sarasini, David Thornton, Steve Walsh, Roger Webster, Damien Wileman.
Compere: John Maines 

The compere for the Great Northern Brass Arts Festival, John Maines commented at the opening of the day’s events that it didn’t seem like a year since the event had last taken place. Time though certainly has flashed by as this was the tenth occasion that promoter Philip Biggs had organized an event which continues to remain a firm favourite in the calendar for both players and audience alike.

Fortunately in a summer that everyone will remember for the fact that the UK hasn’t had a summer at all, the weather was fine and dry to allow the outdoor activities to take place.  These included a street march to the esplanade outside the hall by the bands of the North Central Divisional SA and Household Troops whilst the latter gave a marching display prior to the Gala Concert in the presence of a very appreciative audience.

The twelve hour marathon event, like everything else doesn't take place without financial backing.  This year's sponsors were World of Brass, Yamaha-Kemble Music (UK) Ltd and Besson Musical Instruments with everything linked together throughout the day by John Maines and the whole thing is made possible by Philip Biggs who is already looking ahead to 2008.

Once again, there were numerous highlights, most notably, as was the case last year, the standard of the solo playing. From the opening delights of Helen Fox through to the sensitive sound of John Doyle, all excelled themselves. 

It was Marsden (Ossett Brewery) conducted by Glyn Williams and the trombone quartet, Bones Apart who got the proceedings underway with a fine programme that had something in it for everyone. Marsden have had an active role in the festival in recent years but this was the first time they had had the privilege of performing on the stage of Bridgewater Hall.

A large percentage of the band's programme has recently been recorded for the imminent release of a CD and throughout their contribution here (split into two to allow Bones Apart to perform) they gave an excellent account of themselves.

Having opened in fine style with Derek Broadbent’s ‘Riverhead March’ - especially written for the band, and a controlled interpretation of ‘Le Domino Noir’, the audience got their first ‘solo treat' of the day from Helen Fox in the 2nd and 3rd movements of Darrol Barry’s ‘Flugel Concerto’.

Commissioned for Black Dyke’s John Doyle, Helen’s performance during the concluding challenging movements of Barry’s concerto was exquisite; exceptional control, wonderful technique and that ingredient that all of the best soloists have - the ability to communicate with the audience.

Helen later returned dazzling the audience with ‘The Very Thought of You’ and ‘My Ain Folk’, dedicated to her mother, and which was followed by the obligato solo in Barrie Gott’s ‘Lightwalk’.  Marsden’s performance of Friedman’s ‘Slavonic Rhapsody No.2’, Paul Lovatt-Cooper’s ‘Horizons’ and a sensitive renditione of ‘Hine e Hine’ dedicated to Stuart Pullin who died just a few days before the festival were very good indeed, whilst Peter Graham’s ‘Crimond’  and Curnow’s ‘Blenheim Flourishes’ rounded off an enjoyable, but somewhat long, opening contribution.

Interspersed with Marsden was the brief appearance of Bones Apart who royally entertained the audience in their own inimitable style with ‘Three Spanish Renaissance Dances’, music from Tchaikovsky’s ‘Nutcracker Suite’ and a slick interpretation of some of the most popular ‘Russian Dances’.


Household Troops Band

Major John Mott and the Household Troops Band once again returned to the GNBAF to give a fine performance from a programme heavily influenced from music within the Salvation Army. 

The opening three items (‘To a Gold Like This’,’ Let Everything Praise’ and ‘The Lord is Gracious’) featured the band settling into the acoustic of the hall with ease.  Their first soloist was Clarinettist, Andrew Piper in William Himes’ ‘So Glad’ that features the words ‘I am so Glad that Jesus Loves Me’.  Whilst this was an unusual combination, it was one that was extremely effective with the band’s bass player quite at home on the woodwind instrument as he proved in the encore with music from ‘Schindler’s List’. 

’He is Lord’ was followed by Eric Ball’s ‘Constant Trust’ of which the words ‘Trust and Obey, for there’s no other way, to be happy in Jesus, but to Trust and Obey’ play a prominent role within the music.  The final section of Dean Jones’ ‘Glorifico Aeternum’ is music that bands from outside the Salvation Army have performed on the contest and concert stage.  Here the Household Troops under the direction of Carl Saunders, the well-known SA cornetist, gave a performance of Jones’ work in its entirety and it left this reviewer wanting to hear the work in full again.

Either side came vocalist Damien Wileman in ‘We are the Reason’ and Martin Blessett on Eb Bass performing the old warhorse, Monti’s ‘Czardas’ before the band wrapped everything up with the march, ‘Montreal Citadel’ written by Norman Audoire who was Bandmaster at Montreal Citadel in the 1930s.

One of the traditional highlights at the GNBAF is the mini-concert given by young musicians during the afternoon.  John Maines described it as the highlight of the festival for him and this year saw the return of Wardle Junior Band, Healey, Smithy Bridge and St James Primary School Bands conducted by Gwen Diggle and Lee Rigg.  It’s a real sight with over a hundred musicians loving every single minute of their experience on stage in a short programme that included ‘Hawaii Five O’, ‘Young and Swinging’, ‘Jurassic Park’ and ‘Toccata in D minor’.

For Faireys,Brighouse, Fodens and Black Dyke, this Great Northern event is the ideal opportunity to continue preparations for the Open and get rid of any post summer cobwebs.

Faireys were in fact returning to the GNBAF for the first time since 2003 and were conducted by a former stalwart of the band, Philip Chalk.  If this concert is anything to go by, then the band and Philip should work well together. Philip knows Faireys inside out and appears to have that real desire to get the band where he believes it should be. 

Having opened with their signature march, ‘The Beaufighters’ which the band dedicated to its former euphonium star, Marcus Cutts who died recently and the overture, ‘Poet and Peasant’, guest soloist Roger Webster took centre stage to give the first of two impeccable solo performances.  Firstly, William Himes’ ‘Jubilance’ where the band and soloist weren’t completely together particularly in the opening sections followed by Stanley Boddington’s arrangement of ‘Silver Threads Amongst the Gold’.  The Stockport-based outfit then performed three pieces that they’d aired at last year’s Brass in Concert.  ‘Impossible Dream’ , ‘The Trolley Song’ and most impressive of all, a sextet of three flugels and trombones in ‘Sunshine of my Life’.

In addition to Roger Webster, the band’s principal trombone, Lisa Sarisini gave a fine account of herself in the 3rd movement of Thomas Wyss’s arrangement of Larrson’s popular ’Corcertino’, whilst Steve Walsh stepped up to the plate during his performance of the ‘Allegro’ from Mozart’s ‘Bassoon Concerto’. George Wilcock’s arrangement of ‘David of the White Rock’ was one of the quietest bits of playing of the whole day - a total contrast from the closing excerpts from the ‘Firebird Suite’ and some Strauss for the encore.


Gala Concert

And so to the Gala Concert where all three of the bands played very well whilst still keeping more than a little in reserve for the British Open.

It was the reigning Brass in Concert and Yorkshire Area Champion, Brighouse and Rastrick (Alan Morrison) who commenced with ‘Brighouse Flourishes’ written by Leigh Baker, the band’s composer-in-residence to commemorate a new embellishment to one of the town’s roundabouts in which the band played at its grand unveiling earlier in the year.  The short work incorporates snippets of music associated with the band such as the ‘Floral Dance’ and ‘West Riding’ whilst the hymn tune, ‘Rock of Ages’ also appears.

Next up was Weber’s popular overture, ‘The Ruler of the Spirits’ where the band’s soprano injected some nice lyrical touches throughout.  The band’s first soloist was principal horn Melvyn Bathgate who gave a fine performance of ‘September Fantasy’. Here, Melvyn’s full tone allied to his technical brilliance made for an engaging performance.

Brighouse followed with some further Eric Ball and  ‘All in the April Evening’, before finishing off with two items that helped them take the Brass in Concert crown last November.  Firstly, Leigh Baker’s arrangement for David Hebb of ‘Bare Necessities’ where members of the band including MD Alan Morrison try and upstage the bass player who in the end upstages everyone else by coming back on stage with a sousaphone – the audience loved it and the band certainly enjoy the fun and games too. 

Finally, B&R’s contribution finished with Alfred Reed’s ‘Russian Christmas Music’ leaving the audience wanting more but with two more bands to follow, alas it wasn’t meant to be.

Fodens Richardson and Garry Cutt delivered an enjoyable programme that opened up with a tribute to W Hogarth Lear, the pen name of Elgar Howarth.  Three items were played without any introductions from John Maines and it was clear that Fodens were in fine fettle after the summer break.  ‘Pel Mel’ led to the delightful euphonium sound of Glyn Williams in ‘Jeannie with the Light Brown Hair’ before the Howarth tribute was complete with ‘Berne Patrol’.

The band’s principal cornet, Mark Wilkinson paid tribute to Ray Steadman-Allen’s 85th year with ‘Someone Cares’ and Les Neish continued to enhance his reputation as one of the finest bass players around courtesy of his performance of ‘Badinage’ by Kevin Norbury.  The work is lively and lyrical with a concluding section that is full of technical challenges and varying rhythms that the soloist polished off with ease.  Alford’s march ‘On the Quarter Deck’ and Aagaard-Nielsen’s ‘Vitae Lux’ (The Light of Life) featuring Alan Wycherley were performed very well indeed before the closing ‘Crown Imperial’.

As it so often does at this event, the closing musical salvo’s of the day were delivered by Black Dyke and Dr Nicholas Childs.

John Williams ‘Olympic Fanfare’ and music from ‘West Side Story’ were reproduced with almost minimal effort to maximum effect, before David Thornton stepped forward to produce a typical mature musical performance in ‘Fantasie Orignale’ that was engrossing listening from the first note to the last although not for a couple of people in the circle above the cornet section who were intent on talking the whole of the way through to the annoyance of those around them!

The final soloist of the day was John Doyle who stepped forward to produce an effortless bit of flugel playing in ‘That I’ll Do’ from the film ‘Babe’ before the final two pieces of the whole day.

Twelve months ago, Dyke opened up their part of the GNBAF with a new composition by Paul Lovatt-Cooper, the band’s prolific Young Composer-in-Residence entitled ‘Where Eagles Sing’, that became an instant hit not just at Dyke’s concerts but with a good number of bands who’ve performed it since.  This year, another work was to be performed from Paul Lovatt-Cooper entitled ‘Vitae Aeternum’ – which means Eternal Life.  Commissioned by Gerard Klauke, MD of GK Graphic Designs, the piece was given its World Premiere on the band’s recent Dutch tour receiving a standing ovation at its conclusion.

The work has within it three Salvation Army tunes of which one is from within the UK and the other two are Dutch. ‘His Provision’ comes from the UK whilst ‘I Want to Thank You Lord’ and ‘God Came’ are from Holland.  Together they’re entwined in a typical Paul Lovatt-Cooper composition – you know what you’re going to be listening too - descriptive writing that’s audience friendly with a dramatic and exhilarating conclusion. On the evidence of this performance, it promises to be just as popular, and at around ten minutes in length it is a substantial work for band that would fit into any band programme.

As an encore, Dr Childs and the band romped through the finale of ‘William Tell’ to leave the audience very happy at the end of another excellent day’s music making in Manchester.

Malcolm Wood

^back to top