Expectations were high for the return of Black Dyke to Norwich, whose last visit was five years previous. 

Following an earlier workshop at Norwich Citadel led by Richard Marshall and Gary Curtin, the concert, organised by Prestige Promotions in support of the North Norfolk Hospice, took place in front of a capacity audience.

Iconic

Fears about excessive reverberation in the Cathedral were allayed in the opening number, as the band’s iconic signature march ‘Queensbury’ was delivered with vibrancy and clarity of detail. 

Dyke also took the opportunity to showcase their technical contesting prowess: The 2014 Area set-work, ‘St Magnus’ is arguably one of the most demanding works for brass band, but Dyke executed its myriad of challenges confidently; demonstrating an exceptional range of dynamics and colour. 

Attractive

The attractive ‘Tico Tico’ enabled Richard Marshall to attest that he is very much at the top of his game, whilst moments of solace came through ‘Crimond’ and the solo ‘Be My Love’, which afforded Katrina Marzella ample opportunity to demonstrate a full, rich sound with remarkable projection.

An enjoyable first half concluded in cinematic, explosive style with ‘Stabat Mater Suite’ and ‘Vitae Aeternum’.

Energetic

The second half got underway with an engaging rendition of ‘Softly, Softly’ - the energetic theme from a 1960s TV crime drama.

Dr Childs steered the evening through with humour and grace and this was evident in his acknowledgement of esteemed musician John Gibson, former Bandmaster of the Norwich Citadel Band who was present. The playing of ‘Deep Harmony’ in his honour was both a fine salute and a lesson in the art of hymn tune playing. 

Jaw dropping

A further three soloists were featured: Brett Baker was at ease as he bustled through ‘Brave’, especially written for him by Alan Fernie; Jonathan Bates proved he is an outstanding horn prospect with the fiendish last movement from ‘This Wicked Struggle’, and Gary Curtin’s jaw-dropping technique in the comical ‘Carnival of Venice’ - trumpeter Allen Vizzutti’s madcap interpretation of the famous air-varie solo - was simply astonishing. 

Stamina

The penultimate segment was a ‘Big Band’ set of ‘Song of the Boatmen’, ‘Wonderful World’ (featuring Ian Yates on euphonium and bass trombonist Adrian Hirst), and ‘Sing, Sing, Sing’, before the finale of ‘Grand Overture 1812’, which further demonstrated the band’s wonderful sound and stamina. 

Bass player Matthew Routley’s assured introductory narrative added poignant insight to the music. 

The surprise encore was ‘I’ll Walk with God’ (arr. Richards) which not only brought the evening to a thrilling conclusion, but was a fitting choice for this historic place of worship. 

Martin Cordner