The final concert of an excellent day of top class music making came from the RNCM Brass Ensemble, Black Dyke and Foden’s - all of whom were on fine form.

After Howard Snell had led the RNCM Brass Ensemble through a clarion call 'Festmusik der Stadt Wein', it was the turn of Black Dyke to perform the first of three pieces in the presence of the composers.

Powerful rendition

With Arthur Butterworth, who was 90 last August, sat in his seat, the English National Champion delivered a powerful rendition of his 'Passacaglia on a Theme by Brahms', burnished by balanced ensemble playing and neat solo contributions - none more so than from Benjamin Richeton on soprano.  

Class

It was followed by Richard Marshall as the featured soloist in the UK première of Martin Ellerby's 'Cornet Concerto' - a work that certainly asked the most demanding of questions of even a soloist of the Dyke principal’s class.

However, the technical and musical assurance he displayed throughout the three contrasting movements was so well defined that by the time of its restless, pulsating conclusion, the clarity of the composer’s elegant musical thought process had been revealed layer by layer by a performer on the very top of his game.   

Lone Wolf

The only world première came from the pen of Simon Dobson, with his homage to the great Hungarian composer Béla Bartók.

'Journey of the Lone Wolf' is his tribute to his musical and political life story - from peasant folksongs to jazz inspired anti-facist rebellion. In three continuous movements, the audience was drawn into a musical hinterland that with Dobson’s creativity offered a remarkable palette of enticing originality.  

We shall surely hear this work time and again in the future.  

Dry wit

It is a great pity that Gilbert Vinter was put off calling his concise sequel to the more flamboyant ‘Variations on a Ninth’, ‘A Matter of Seconds’ - and instead gave it the rather misleading title of ‘Triumphant Rhapsody’.

With its dry wit and dislocated rhythmic pulse it was the composer at his peak of creative thinking (topped only by ‘Spectrum’) and was given a richly rewarding reading from the MD who revelled in its glorious vibrancy.

Joy to behold

The much anticipated appearance of Howard Snell to lead Foden’s proved to be joy to behold as two years after their last appearance together at this Festival they revelled in the opportunity to perform on the concert stage once more.

Whilst not flawless throughout, it was yet another timely reminder that there are not many conductors who can bring such well defined layers of clarity, timbre and nuance out of a brass band.

Masterful

Elgar's 'Froissart' Overture was delivered in masterful fashion, whilst Eric Ball's nostalgic 'A Kensington Concerto' was full of deft contours, pastoral colours and emotional yearning.

Showstopper

David Childs made his second concert appearance of the day with a brace of impeccable performances.

First up was the lollipop showstopper, 'Zigeunerweisen' played with the type of electrifying brilliance that very nearly popped the lightbulbs in the hall’s space age lightening rigs.

That was followed by the simply chilling beauty of Snell’s, 'Oration' - a composition of profound understated emotional loss. You could have heard a pin drop in the hall. 

All that remained was a fabulous tour de force account of Sparke's 'Variations on an Enigma' - the final section of which was driven at a pulsating pace that it overtook your racing heart beat, whilst Wagner's 'Procession to the Minster' very nearly took the roof off.

There was no need for an encore, but they bid farewell with Ball's march, 'Star Lake' which brought to an end, not just a thoroughly enjoyable concert, but a fabulous day of top class music-making.

Malcolm Wood