A brace of contrasting historical test pieces balanced by an intriguing pair of significant solo works provided an appreciative audience with much to enjoy and consider from this purposefully delivered concert in the heart of Birmingham.

Emotional heart

Dean Goffin’s ‘Rhapsody in Brass’ still retains its ability to reach far into the emotional heart of the listener – and was given a considered performance of musical understanding by the MD and his band.

Its defined structure has a complex melancholic feel – not surprising as it was written while the composer (then aged 25) was still on active service after facing Rommel’s Afrika Corps in the sands of the Libyan Desert.

Darker undercurrents

The rhythmic patterns of the opening section, touched by darker undercurrents, were neatly revealed, whilst the detached beauty of the central interlude - reflective rather than purely emotive, was effectively moulded, with fine individual contributions from the main solo lines.

To close, the energetic flourishes of the finale were captured with the same mix of relief and joy the composer must have felt on completing the work amid the safety of a weekend’s recuperative leave in Egypt in 1942.

It was a fine reminder of a composition that still retains considerable resonance over 70 years after it was first written.

Featured soloists

The featured soloists were Dewi Griffiths and Gavin Pritchard of Tredegar – the Conservatoire’s ‘Band in Residence’.

Both were on splendid form: Dewi giving a performance of Dr Peter Meechan’s ‘Manchester Concertino’ of subtle excellence; full of vibrant precision and the ability to provide nuanced colour and effect to his cornet timbre in each of the three contrasting movements.

Gavin’s clever arrangement of Michael Docherty’s ‘Raise the Roof’ - for seven timpani, was an intriguing delight; the soloist giving a remarkable display of technique and musicality which drew the listener in.  

His marimba encore was a luscious piece of reflection.

Virtuosic

To close, a chance to reacquaint with Philip Sparke’s virtuosic ‘Year of the Dragon’ – although rather surprisingly the composer himself still feels it is a work that lacks compositional balance.  

The opening ‘Toccata’ with its ‘Billy the Kid’ overtones led into the elongated ‘Interlude’ played with flowing musicality and solid solo contributions, although an understandably tired 'Finale' just had its scrappy moments or two.

It rounded off a concert of musical significance and appreciation – and a real credit to the Conservatoire, its talented students, featured soloists and engaging MD.

Michael Ames