An exceptional concert given Black Dyke kicked off the annual Spring Festival at Newbury Corn Exchange.

A capacity audience were provided with an entertaining and varied programme by the English champions on outstanding form under Dr Robert Childs.
 
Impact

An immediate impact was made with the vibrant delivery of the famous signature march 'Queensbury' led precisely by Richard Marshall on solo cornet. 

It was followed by one of Suppe’s lesser known overtures, ‘The Beautiful Galatea’ – which was a gem; played with a delicacy of touch, warm ensemble and artistry from the featured solo lines.  
 
Panache

Brett Baker was the first soloist to be featured, delivering Edward Gregson’s ‘Trombone Concerto’ – with a controlled panache. The exposed passages in particular were played with an imposing sense of authority.

Edvard Greig's 'In the Hall of the Mountain King' was a neat interlude of darkened frenzy before Sheona White gave a blistering rendition of Bellstedt's 'Capriccio Brilliante' that literally took the breath away.

The first half closed with 'Echoes of the East' – an intelligent, witty pastiche of genres by Rodney Newton. 
 
Cinematic

Paul Lovatt Cooper's cinematic 'When Thunder Calls' was a great way to start the second half, before sop star Paul Duffy wowed in his own New Orleans version of 'Oh When the Saints' – played with a boggling mixture of range, flexibility and stylistic nuance.

Katrina Marzella beautifully lyrical 'Donegal Bay', was a wonderful balance, whilst principal euphonium Gary Curtin delivered the 'Herdmaiden’s Dance' with a virtuosic stage swagger. What a showman!

Contrast

In contrast, the mood was changed with a beautiful interpretation of 'Abide with Me', arranged with delicate beauty by Karl Jenkins, which gave way to the enjoyable lollipop of  ‘A Black Dyke Spooktacular'.

The intriguing creativity of Dan Price’s arrangement made this such an engaging section to their programme, with the added narration by Dr Childs linking together the spooky movie themes such as ‘Jaws’, ‘The Omen’, ‘Casper the Friendly Ghost’ and ‘The Addams Family’.
 
Finale

The finale was the Wilby version of the Saint Saens ‘Organ Symphony’ which showed off a remarkable degree of stamina as well as the fantastic 'mattress of sound' (as described by Dr Childs) of the Dyke bass section.
 
It left the capacity audience in no doubt whatsoever about the quality of music making they had experienced.

Jonathan Corry