Brighouse & Rastrick

RNCM Festival of Brass
Conductor: Alan Morrison
Soloist: James Gourlay
Saturday 26th January

At an event such as the RNCM Festival of Brass there is bound to be a bit of pretentious nonsense going on now and again. 

Last year it was Hakan Hardenberger playing a piece of twaddle that had him stamping his foot on a piece of wood on the floor of the Haden Freeman Theatre, whilst at the same time, imitating what sounded like someone having their throat cut  from ear to ear – a bit like Sweeny Todd meets Trumpton’s Chippy Minton.

This year there was a bit of old twaddle from Edward Gregson, who possibly had us all believe that he had not only discovered the compositional talents of both Peter Graham and Philip Sparke almost single-handedly, but given the chance would have also gone on to find the source of the Nile, Penicillin and Wayne Rooney too. 

The last bit is made up (of course), but you get the drift. There are some pretty ‘precious’ egos in the academic world.

Thankfully James Gourlay isn’t one of them. Any bloke who can bound on stage dressed in a tee shirt emblazoned with the logo, ‘I’m not dead yet’ across his chest is the type of chappie you can take an instant liking to. It also helps that he is a quite phenomenal player.

The Scotsman was the soloist with Brighouse & Rastrick on a night when both he and the band came away with well deserved plaudits. 

A great deal was being asked of both parties too. A heavy old programme that started with ‘Comedy’ and ended with ‘Harmony Music’ was a tough ask for any band, whilst Jim had the honour to première the new 'Tuba Concerto' from Bruce Fraser. 

Brighouse had certainly put the work in under Alan Morrison, despite losing a couple of rehearsals due to the bad weather up in West Riding in the last week or so.

That was immediately evident with their confident and delicately balanced performance of the Ireland test piece, which was full of warm rounded ensemble sounds and just the right pinch of chirpy wit as the composer takes us around the sights of London on the number 21 bus.  It was a fine performance. 

Meanwhile, Bruce Fraser’s ‘Tuba Concerto’ was a delight of transparent modulation and tuneful lyricism - all with the added bonus of a true romp of a finale with a Scottish flavour every bit as intoxicating a fine 15 year old malt whisky.

Gourlay was stunning – the sound he projected was at times immense, allied to a quite frightening technique. His stagecraft was also an object lesson to any performer too – drawing the audience into the music through his evident bubbling osmosis of pleasure. It was one heck of a show – all topped off with a delightful little jig as both he and the composer accepted the generous applause of a well satisfied audience.   

Peter Meechan’s ‘Macbeth’ also received an evocative reading from Alan Morrison and his band, with a palpable sense of unfolding drama that once again showcased a piece of considerable appeal and inventive musicality.

The second half on a whole didn’t quite maintain the very high standard of the first, although there was still plenty of impressive playing on show.

Ralph Vaughan Williams’s ‘Variations for Brass Band’ never quite settled and lacked for consistency in places, although there was admirable solo work from the bands end men, with Michael Howley, Stephen Wilkinson and Martin Irwin in particular, on fine form (as they were all night in fact).

The one major disappointment though was the much anticipated ‘Suite of North Country Folk Tunes’ – a supposed ‘hidden treasure’ from the pen of William Gillies Whittaker.  Found and expertly realised from incomplete sketches and ideas by Ray Farr 75 years after it was ‘lost’ so to speak, it had been cut from its original 20 minutes down to around 12 for the evening – a blessing if truth were told.

This was a quirky curio – nothing more, nothing less. There’s a saying in Wales about dubious historical parental lineage – ‘Lloyd George knew my mother”. Well William Gillies Whittaker must have known Gordon Langford’s mother then, for this was almost a 1930’s prototype of his work. Not a ‘hidden treasure’ after all, despite Ray’s fine efforts in resurrection. Some things are perhaps better left dead and buried.  

Talking of gems though – James Gourlay returned for a romp through Leslie Condon’s ‘Celestial Morn’ which was played as per copy with the notable exception of the super high run up to end. It was a superb bit of work from the soloist, full of vibrancy and precision.

That just left a decent run through ‘Harmony Music’ – understandably a little tired in places perhaps, but sensibly laid out by the MD in both style and tempi. There was also more solid solo playing plus a true old thumper of an ending to boot. 

With just enough lip left to send the anoraks amongst us home happy, Brighouse rounded off the night with a swagger through ‘Blaze Away’ that left a smile on face of an audience who had enjoyed a band on very good form, a conductor who continues to enhance his growing reputation and a soloist who was simply a joy to behold.

It was a fine nights entertainment all round – and not one ego was put out of place in the making of it too.  

Iwan Fox

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