National Youth Brass Band of Great Britain

Artistic Director: Dr Bramwell Tovey
Guest Soloist: Les Neish
Bedworth Civic Hall
Friday 8th August

With a touch of long overdue summer in the air, Bedworth Civic Hall hosted the cream of the UK's youth brass band players for the first of their end of course concerts.

During the week the youngsters had worked with leading players as tutors in their respective sections, and then under the guidance of Dr Bramwell Tovey pulled the entire repertoire together for two the concerts. It was once again a mightily impressive achievement. 

Intense 

Dr Tovey devised the intense programme, and whilst some of the finest bands around would have found the repertoire hard on the lips, the youngsters took it in their stride and grew in strength to perform to a very high standard.

Whilst the programme was designed to test the players to a level that reflects their talents, the concerts were also a showcase opportunity too – something that was reflected in the eclectic programme on the night.   

Following the National Anthem, the band went straight into Rimmer’s colourful march, ‘Salome’ that was full of colour and excitement, and which set the musical scene for the rest of the evening. 

Purposeful

Two pieces in the first half came from the pen of Major Leslie Condon.  ‘Call of the Righteous’ was written for the Enfield Citadel Band in the 1960s.  The work which features the song, ‘When the Roll is called up Yonder’ is dramatic and purposeful and the band delivered a fine performance of this classic work.

The second Condon piece came from tuba soloist, Les Neish.  ‘Celestial Morn’ was one of the first composed for solo tuba and it is now an established classic of its genre piece in the Salvation Army repertoire.  Les was on tip top form with an intuitive understanding of the music that exploited the full range of the instrument without ever sounding forced.

Top soloists

In between these works came Gilbert Vinter’s playfully lyrical ‘Variations on a Ninth’, written for the National finals in 1964 where John Berryman, who was a tutor on this course was part of the GUS Band that took the coveted trophy. 

With 2009 marking the centenary of Vinter’s birth, it could well appear at the RNCM Festival of Brass in January where his music will be showcased.  In 1964 it was considered a very demanding work, and whilst it still retains its tricky obstacles Dr Tovey and his troops produced a fine reading.

The main soloists were excellent with Ben Hirons who was leading the band in the first half on principal cornet, soprano, Mark Harrison, horn, Andrew Moore and Matthew White on Principal Euphonium each producing excellent solo cadenzas in particular.

Mixture

For this year’s Summer course two Joint-Principal Cornets and Leaders were chosen - Ben Hirons and James Fountain. Both were exemplary, with 14 year old James, who plays with GUS on repiano, really stepping up to the plate in the second half with a mature display of confidence that belied his age.

During his tenure as Artistic Director, Dr Tovey has not only set his players challenging programmes but mixes new compositions with classics of the genre.

‘Labour and Love’ was such a choice with the MD giving the old warhorse plenty of opportunity for expression. The players did find it a challenge though, with style and concentration lapsing in places, but it was an invaluable insight for them as performers. 

Crackers

The next two pieces have not had many performances, but are absolute crackers.

Firstly, the collaboration from Dr Tovey, Edward Gregson, Michael Ball, Elgar Howarth and the music of Sir Michael Tippett arranged by Paul Hindmarsh entitled, ‘Variations on the Theme of Michael Tippett’.

The work was premiered by Fodens in 2005 under Bramwell Tovey and the idea was to acknowledge landmark birthdays for both Gregson and Howarth and the centenary of the birth of Tippett.

Dr Tovey admitted he was in two minds whether to include the work or not, but in the end the audience got treated to fourteen minutes of fabulous music making.

The opening entitled ‘Processional' was very regal, whereas the ‘Danse des Amis' was a delight. Gregson's contribution was a lyrical ‘Midsummer Song' whilst Dr Ball's segment was touchingly light and almost dainty.  Elgar Howarth returned to the Processional theme and offered musical glimpses from the Tippett opera, ‘King Priam' – all pomp and splendour, whilst the climax came in Wilby's magnificent ‘Birthday Fugue' - a real roller-coaster ride and edge of the seat stuff.

Salt of the earth

Les Neish then returned for Andy Scott’s ‘Salt of the Earth’.  The tuba concerto was given its world premiere back in January at the RNCM Festival of Brass and is a three movement work that tests both the soloist and band to the full.

It’s mix of styles and rhythmic patterns were handles with sheer artistic aplomb by both parties and Les Neish’s interpretation was absolutely nothing short of superb.  Les wasn’t quite finished though as he just had enough lip left for ‘Fnugg’ by Oystein Baadsvik – the must have piece for Eb Bass players to show off their virtuoso talents. And what a talent this man is!

Challenging

The city of Coventry suffered terrible destruction during the war years.   Whilst Dr Tovey was associated with the Rigid Containers Band (now known as Virtuosi GUS) he composed ‘Coventry Variations’ a challenging piece that was used at the Areas in 2004.
 
Based notionally on the famous ’Coventry Carol’ it demands much of musicianship and stamina the underlying trauma of the destructive bombing of the city and its results permeates the work. It was a dignified and very accomplished performance to end the concert.

Encores

The encores for the NYBBGB concerts do have a traditional feel to them.  Firstly, a march, ‘The Cossack’ which was taken at a fine tempo, before the players (with considerable humour it must be said) gave a reprise by humming their parts.

The hymn tune, ‘St Clement’ was much more to their liking with Maestro Tovey once again bringing the best out of his troops and it brought the concert to a fabulous close.

Malcolm Wood

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