Black Dyke, directed by Dr Robert Childs, got the 2013 Gala Concert off to a flying start with a detailed account of Peter Graham’s ‘Prelude on Tallis’, before launching into the ‘Ruy Blas’ overture, in a rendition that made much of the contrasts between the delicate solo phrases and full-blooded tutti playing.

Soloists to the fore

Richard Marshall sparkled in ‘Tico Tico’, which was followed by some fine sustained playing in Fibich’s ‘Poem’, dedicated to the conductor’s father, John.

‘Sing, Sing, Sing’ saw Kieran Johnson take centre stage on kit, with the whole percussion team relishing the opportunity to let their hair down.

Intense

Black Dyke concluded their contribution with three movements from the ‘Suite from Stabat Mater’.  

After the vibrant ‘Sancta Mater’, the expressive ‘Cantus Lacrimosus’ featured a quartet of cornet, flugel, horn and euphonium.  A percussion interlude led into the uplifting ‘Paradisi Gloria’, the music building in intensity.

Cory 

Cory, directed by Philip Harper, opened with ‘The Contestor’, written by former MD, TJ Powell.  

Following a crisp opening, the bass solo was led with panache by the trombones, and lovely sustained playing in the trio it set out their stall well.

Outstanding young trombonist

Bass trombonist Josiah Walters, Radio 2 Young Brass Player of the Year, played his own arrangement of ‘James Brown in the Twilight Zone’, from Chris Brubeck’s ‘Concerto for Bass Trombone’.  

Ably supported by the band who held together the somewhat fragmented accompaniment very well, he astonished the large audience with his playing across the full range of the instrument.

White in exceptional form

‘The Witch of the Westmorlands’ was full of atmosphere, before Matthew White knocked everyone for six with his performance of ‘Blue Heat’, from Philip Sparke’s, ‘Euphonium Concerto No 3’.  

Band and soloist slipped into the jazz-influenced style so well that there was little indication of the work’s inception with a wind orchestra backing.  

The exchanges between soloist and the unison cornet line were particularly effective.

Chick Corea’s lively ‘La Fiesta’ preceded ‘Dreamtime’, commissioned from Dan Price for Cory’s recent tour of Australia.  Complete with didgeridoo impressions and narration, this colourful score depicted the Aboriginal creation story.

Foden’s

Foden’s debut appearance under Allan Withington, commenced with the precision of ‘Psalm of Praise’ and continued with ‘Let the Bright Seraphim’, sensitively played by husband and wife duo Richard and Lesley Poole.

Joseph Turrin’s ‘Hymn for Diana’ elicited some seamless playing, and there was much to enjoy with Andy Scott’s ‘Madiba’, written in Afro-Cuban style, and inspired by the Xhosa title given to Nelson Mandela.

Sublime flugel

Flugel soloist Helen Williams presented ‘Domen’, demonstrating her total control of the instrument, with excellent support, whilst the band closed with the ‘Finale from Daphnis and Chloe’, bringing out the excitement of the writing as well as the impressionistic aspects in a totally convincing reading. 

Centenary commemoration

For the final four pieces, Cory returned to to join Foden’s, initially under the baton of Philip Harper.  

They made an impressive sound in Percy Fletcher’s march ‘The Spirit of Pageantry’, chosen to mark the centenary of the writing of ‘Labour and Love’, before featuring Glyn Williams in ‘Suo Gan’ from Philip Sparke’s ‘Celtic Suite’.

Allan Withington then took over for ‘Nimrod’, in a performance that was kept flowing and ‘Le Corsaire’ was a breakneck finisher.

With the three compères all in good form it bodes well for the future of this event, much of the credit going to the Artistic Director, Bram Gay. 

Peter Bale