With Bramwell Tovey unavailable due to an engagement with the Chicago Symphony Orchestra, the National Youth Brass Band’s summer course was led by Major Michelle Rakers, assistant conductor of the ‘President’s Own’ Band of the United States Marine Corps.  

Right from the outset it was clear that she had an excellent rapport with the young players, and her spare, elegant conducting style was a joy to observe.

Tempered

The playing of the ‘National Anthem’ allowed the band, which filled the platform of the Regent Hall Rink, the opportunity to adjust to the somewhat unforgiving acoustic, and throughout the evening dynamics were tempered so as not to be too overpowering.  

‘A Downland Suite’ received a sensitive and stylish reading, with sweeping lines and long phrases, and some particularly delicate playing in the sublime ‘Elegy’.  Reducing the scoring aided clarity in the finale, despite some untidiness probably largely due to the spread of the band.

Sparkling soloist

Accompanying Major Rakers was Staff Sergeant Amy McCabe, who produced a sparkling account (on Eb trumpet) of Bruce Broughton’s ‘Excursions for Cornet and Band’.  

The conductor did well to ensure that the busy accompaniment did not overwhelm the soloist through the varied moods of the music, whilst the simple encore, ‘To A Wild Rose’ was a real gem.

Classic test piece

A real test for the band followed with ‘Harmony Music’; the performance quickly settling down after a little untunefulness in the opening, and with some fine solo work throughout the band, particularly from Illiam Quane and Daniel Morgan on cornet and euphonium respectively.  

The emotional intensity towards the end was palpable, but was never allowed to become too overwrought, before the first half closed with ‘Stars and Stripes Forever’, featuring a fleet footed Jack Wilson on soprano and with the trombone section standing for their countermelody towards the end.

Across the pond

More American music opened the second half, with the first section of Steven Bulla’s ‘Sinfoniette’, in which the band produced some well-balanced playing, whilst  ‘California Legend’ which followed displayed a neat range of styles, from tribal music through to elements of the Wild West, with a quieter central section.

Elgar Howarth’s ‘Tombeau’, written in tribute to Maurice Murphy, was the most challenging music of the evening for both players and audience, with its spare textures and exposed entries.  

Despite a little nervousness, the young musicians coped well with the angular lines and unfamiliar chords, and the solo line conveyed the heroic nature of Maurice’s playing.  An expansive yet flowing ‘Nimrod’ to follow was an equally fitting memorial to Rod Franks.

Iconic

The band had premiered Peter Graham’s ‘Metropolis’ at its Easter Course, but it was good to give the London audience the opportunity to hear it.  

Inspired by Fritz Lang’s iconic silent film, the subject matter gave ample opportunity for contrasting styles of writing, and it was especially good to see the fine percussion team given their head.  

Encore

As an encore, the band played ‘The Cossack’, although the inclusion of timpani seemed rather out of place.  For the final sections, the players abandoned their instruments and performed a vocal version - despite the tenors being rather strained at times!  

The evening closed with ‘St Clements’, with the middle verse played by those attending their final course.

Whilst the hall was not full, particularly downstairs, a respectable audience of family and brass band cognoscenti (including composers Philip Sparke and Peter Graham) enjoyed an exquisite evening of music from some very talented players.

Peter Bale