Despite severely limited opportunities to take to the concert stage during the Covid-19 pandemic, Cory has still managed to engage in a proactive performance approach.
Their series of bite-sized online productions have brought a smile to the face of fans as well as gaining an invaluable level of profile.
This though was a welcome chance to showcase their talents on a wider stage – literally so thanks to the expanse offered by St David’s Hall, which allowed them to sit in extended Covid-19 regulated formation.
The venue has retained its popularity as a fine concert hall since opening in 1982, with an acoustic to match (it hosts the bi-annual Cardiff Singer of the World competition). It is also one that suits the sound of a brass band even when its 2,000 plush velveteen seats are empty.
Unleashed urgency
Expertly produced by the World of Sound recording team, you could feel the unleashed urgency in the opening ‘Brass Machine’ opener, followed by the colourful joyousness of Rimsky Korsakov’s ‘Capriccio Espagnol’.
Contrasts came with the delicate formality of the ‘Minuet’ from Ireland’s ‘A Downland Suite’ and Philip Sparke’s ‘Sanctuary’, written for the Eastern Bay of Plenty Band in New Zealand – a musical landscape painting, broadly textured, enhanced by flowing cameo solo lines.
Expertly produced by the World of Sound recording team, you could feel the unleashed urgency in the opening ‘Brass Machine’ opener, followed by the colourful joyousness of Rimsky Korsakov’s ‘Capriccio Espagnol’.
Surface serenity
Tom Hutchinson and Helen Williams exuded quality on Eric Ball’s playful ‘Glory to His Name’ and the MD’s own touching ‘Song for Rhiannon’, and it was great to hear from a true Cory stalwart in an interview with Phil Harris, who has just retired from ‘active service’ after 41 years of outstanding dedication.
One of the band’s concert fizzers in ‘La Suerte de Los Tontos’ set pulses racing before the balletic finale of Phil Harper’s ‘Fantasy Overture’ take on Tchaikovsky’s ‘Swan Lake’, which glided with stylish surface serenity whilst the players paddled furiously below the waterline to stir up the musical drama and arabesque virtuosity.
Iwan Fox
