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2003 Norwegian Brass Band Championships -
a retrospective view
7th and 8th February
Grieghallen, Bergen, Norway
With the European Brass Band Championships due to take place in
Bergen in Norway this May, 4BR took the opportunity to follow the
exodus of British MD’s to check out the current state of banding
in the country – and we came back very impressed indeed.
First and foremost though let’s get over the myths and anxieties
that people have about Norway itself. Yes – it is an expensive
place. No – it isn’t expensive and difficult to get
to. Yes – the people are friendly, efficient and invariably
the women are good looking. Apart from that, Norway and Bergen is
just like any medium sized city in Europe – it has it’s
great bits and it’s not so great bits – from the excellent
hotels to the usual muck served up by Ronald MacDonald. Not even
the Norwegians have escaped trashy fast food Americanisation.
What you have to bear in mind though is that the average wage in
Norway is the equivalent of £45,000 a year, so all prices
etc are relative, and if you go to London on a regular basis then
paying £3.00 for a sandwich, £6.00 for a beer and £12.00
for a MacDonald’s isn’t that too exorbitant, plus you
get good service and someone who takes the time to speak to you
in your own lingo.
Norway, and Bergen in particular is a nice place; a bit chocolate
box, snow capped fjord, dinky characterful houses type of thing,
but with a very modern, clean and efficient infrastructure of communications
and amenities. Bergen itself is about 45 minutes from the main airport
and it costs about £5.00 on the bus to get from right outside
the main terminal into the centre of Bergen. That may sound a little
steep for a bus ride, but a taxi will cost you close on £35.00.
Actually getting to Bergen is easy, with a return airline ticket
(from Cardiff to Amsterdam to Bergen return) £180.00. That’s
cheap, especially when you bear in mind a return train ticket to
London is close on £120.00. Once you are there though, the
weather is damp and not too cold and Bergen has plenty of things
to do and see if you want a break from the bands. It is well worth
a visit.
Back to the banding though.
The Norwegian Championships celebrated its 25th anniversary this
year and it is now a very important cultural event within Norway.
So much so that the Government itself through the Norwegian Music
Federation oversees the future development of the brass band movement
in the country through its employment of 14 full time staff. Allied
to over 30 other full time staff employed to oversee wind band and
youth music development, the brass band scene in Norway is both
financially and organisationally secure. On our arrival 4BR was
met by Tone Saele, the Press Officer for the NMF who took time to
explain exactly what was going on, and what future plans the organisation
had for banding in the country. Impressive indeed.
We were also fortunate to meet up with Oyvind Strorheim, the event
manager and music advisor for the Norwegian Band Federation who
will be charge of things come the European in May. Again, this impressive
man outlined the details of what had already been organised and
how the whole European event was planned out for May. Again, nothing
was left to chance and a very coherent timetable was being followed
to ensure that the event will take place with as few hiccups as
possible. It made you wonder about some of the things that go on
in the UK banding world.
The Nationals themselves took place in the superb Grieg Hall in
Bergen, built we were informed for the Eurovision Song Contest a
few years back, and even forgiving that, it is a mightily impressive
structure both outside and in. It looks a little like the Bridgewater
Hall on the outside and St. David’s Hall in Cardiff from within,
and is five minutes walking distance from the centre of Bergen.
It’s built to the IKEA style – functional rather than
beautiful, but thankfully not the MFI style – functionless
and falling apart and the concert hall itself is clam shaped in
design, opening out from a very large stage area (over 100 feet
in width and 70 feet plus in depth) straight up to fanned out banked
seating.
The red roof looks like the tongue from the Rolling Stones “Forty
Licks” album, but the important thing is that the hall gives
a very true and secure sound from the stage for the bands. Reverb
is not noticeable and detailed playing is clean and clear to the
ear. The judges box is placed about half way up the hall and is
a black sheet over a tubular frame. With the judges light on you
can actually see in, but you cannot see out – we checked.
Don’t buy a seat in the rows behind it though as it is quite
big and your view may well be obscured.
The weekend started off with the Second Division contest and we
sat through 13 very good standard performances from bands that had
chosen some ambitious own choice works.
At times, the ambition was greater than the ability but overall
we felt that these bands were playing to a level that wouldn’t
have gone a miss the First Section in the UK. The judges though
had to make do with a very Fourth Section means of indicating that
they were ready for the next performance to start as they had to
clang an old triangle as no bells, buzzers or whistles were on hand.
It sounded like the call for dinner at a primary school.
Test pieces included “Ballet for Band”, “Triumphant
Rhapsody”, “Trittico”, “Dances and Arias”,
“Connotations”, “Firestorm”, “The
Present Age”, “London Overture”, “Firestorm”,
“The Plantagenets” and “Excelsior” and the
bands gave real bravura performances of each of the works. The one
thing though that you immediately noticed was that great pride was
taken in overcoming the technical aspects of the works, whilst the
musical content was secondary. Thus many performances were “cold”
to the ear and lacked musical shape. They were fine shows, but not
one really had the warmth of colour and tone we associate with bands
in the UK and so you were impressed, but possibly for the wrong
reason. It was a bit like watching the All Blacks play rugby –
powerful, technical and a bit lacking in verve, with the result
being ground out through efficiency rather than joyful abandonment.
The top three though were very good, with Brottum the winners with
a powerful performance of “Dances and Arias” followed
by Orskog under Michael Antrobus who gave a willing account of “The
Plantagenets” and Oslo who also gave an efficient showing
of “Connotations”. Each of these bands would have held
their own at a higher level, whilst below them nearly all had more
plus points than minus ones, but could have done with a bit good
old fashioned heart felt emotion to go with their efforts. It had
whetted our appetite for what was to follow though.
The Elite Division contest was split into two sections –
one a set work and one an own choice. The first was to take place
on the Friday with the second the next day. It will be the same
for the European and at first we were a little sceptical about it,
but were won over by the way in which it gave both bands and audience
chance to regroup thoughts and lips and made the day a less arduous
musical marathon. It is a good idea and will benefit all the bands,
but there are still some reservations from us about the need to
have comfort breaks in a contest of just 10 bands after the fifth
band plays and when the judges come out of the tent when the audience
are still in the hall. If there were twenty bands, yes, but just
the ten and on a short test piece – there wasn’t really
a need. In the other sections it made more sense, and for the own
choice section it has a place, but not for the set work.
The Norwegians had to get to grips with Eric Ball’s “A
Kensington Concerto” and to put it mildly most of the bands
found it as easy to get to grips with as an eel covered margarine.
Just the one band really did it justice – and that was Stavanger,
whilst the rest somehow either didn’t understand the music
or just had a variety of “off days” at the office. As
there were seven Brits directing affairs, this made it seem even
more disappointing, especially as all of them would have had considerable
experience of playing or conducting Ball’s works.
Most performances were littered with individual errors, but almost
all were too aggressive in style, hard in tone and lacked the gaiety
and wit that the piece celebrates. Right from the very start of
the piece, the troubles began, with cornet players choosing to play
the simple introductory theme in a variety of styles. Some choose
to play it in one phrase and paid the penalty of running out of
breath, whilst others split it into two or three chunks that killed
the flow. Only two – Stavanger and Oslofjord did it justice.
Thereafter the piece took it’s toll of victims as the heavy
aggressive style of playing spoilt what could have been fine shows.
There is surely a place for aggressive playing, but for the most
part Eric Ball isn’t one of them.
Stavanger gave the class performance of the mini contest. David
King gave the music time to breath and flow and his players were
on top form. It was a performance of understanding and insight and
deservedly headed the first half of the overall competition with
98 points. Behind them came the other heavyweights, Eikanger who
played last and entered the stage with the look of authority about
them. However that was gone within the opening bars as the usual
impeccable solo cornet ran out of breath at the end of the opening
statement. Thereafter the band was uneasy with itself and as hard
as Nicholas Childs tried his band didn’t respond. The music
was there but the execution was flawed too often for comfort.
We would add though that the highlight of the day came within Eikanger’s
performance when Martin Winter gave a cameo eight bar solo that
made the hairs on the back of your neck stand on end. The simple
echo to the soprano just before the final section of the work was
so beautifully played that it was well worth coming to Norway just
to hear that. No one else got even close to it.
We had Oslofjord in third place (but the judges had them 8th) and
we though Robert Childs really brought out the music in the piece.
It was an old fashioned performance, full of rubato and delicate
pulse and was the one rendition you could say that was the most
traditionally “British” in it’s execution. We
liked it, but we weren’t in the box, so they had to be disappointed
with what they got. It deserved better.
The actual third place went to Alan Morrison and Molde who gave
a solid and uncomplicated account of the piece without ever suggesting
they actually enjoyed it. It sounded a bit cold and lacked the feel
of gaiety, but the judges liked it and gave them third. Sandefjord
Brass Symposium were the only other band to really get to grips
with the work and Garry Cutt directed a performance that had its
moments but was let down by individual errors that spoilt the overall
musical picture. 4th spot was about right, although they looked
disappointed when they left the stage.
After that though and the performances fell away. None of the rest
of the bands found form or comfort in the music and we were left
with a series of performances that lacked warmth in tone and colour
and surprisingly for us lacked precision and technique. It isn’t
the hardest of pieces to play, but these bands fell foul on numerous
occasions to small technical fences that in a modern piece would
have been jumped over without a thought.
At the end of the 10 performances we had the feeling that Eric
Ball had come out on top, without ever having to ask too much of
the bands. Just one band did him justice, whilst the others found
the work somewhat “alien” to them. There is no real
tradition of playing these types of works in Norway and so the players
lack the experience of performing works that need musical insight
to read if you want, “between the lines”. Playing the
notes is never enough with Eric Ball’s music, and as the bands
found out, if you can’t understand what isn’t written
then you will never enjoy playing the great mans compositions. It
was a harsh lesson for many on that Friday.
The other Division held on the Friday was the Third and once more
the own choice selections revealed plenty of ambition. Again, the
standard was more towards the upper reaches of the Second Section
in the UK, but once more the achilles heel of the bands was their
inability to combine technical competency with musical nuance. Time
and time again, we were left with admiration for the edifice that
was the external structure of the performance, only to question
what was actually inside. It was if the heart and soul of the music
was missing. The notes were being pumped around but the lifeblood
was lacking.
It takes a decent band to perform work such as “Salford Sinfonietta”,
“Connotations”, “John O’Gaunt”, “Resurgam”,
“Rhapsody in Brass”, “Royal Parks”, “Saga”,
“Vizcaya” and “Purcell Variations” to name
but a few and for the most part we were given good playing. All
we wanted was that “missing” extra. Still, congratulations
to the bands for giving it their best – it was very enjoyable.
Fraena Muikkorps conducted by Jens Kristian Mordal came out on
top with a fine rendition of “Purcell Variations” and
they beat Gjorvik ByBrass directed by Roar Bjerkehagen by a point.
Their performance of “Occasion” by Edward Gregson was
the highlight for us and suited the bands style and approach, but
they had to be content with the runners up spot this time. Third
place went to another solid performance, this time of “A Salford
Sinfonietta” by Rong Brass conducted by Oddvar Nostdal. All
three performances were a touch classier than those below, but still,
the standard even down to the bands that occupied the bottom placings
was commendable.
Friday night finished about 9.30pm and that gave 4BR time to have
a look around the town. There is a feeling of safety in Bergen even
in the dark, so a look about is enjoyable and there was plenty to
see – and the odd bar to have a drink in before bedtime.
Early up next morning for a 9.00am start of the First Division
and 11 bands with ambitions to try and gain entry into the Elite
Section. Just like the First Section in the UK though, the difference
in quality between the two sections is quite large and on the evidence
of what we heard, none of the bands could quite at the moment, bridge
it.
The problem it seems lies in the fact that just like the UK, the
top section itself is split into three “mini sections”.
The top three bands of Eikanger, Stavanger and Manger seem to be
in a class of their own overall (although not all this particular
weekend), whilst there is a group of four or five bands below them
that are battling it out amongst themselves with the realistic ambition
of a podium placing if they perform above themselves and one of
the top three perform below par. After that comes a bottom two or
three that hold their own, but aren’t quite good enough to
mount a strong challenge over a two part contest. They are however
on this evidence a good distance ahead of the “wannabee’s”
in the First Division, and this was brought home by the playing
in the morning.
The bands once more choose very ambitious works to showcase their
talents, but we were disappointed by the overall standard of technical
and musical playing and we were left with the impression that the
gap between the bands in the Second Division here and the First
wasn’t that large, but the between the First and the Elite,
was. It was playing on a par with good standard First Section in
the UK, but nothing more.
The choices played varied and included “Ballet for Band”,
“Between the Moon and Mexico”, “Endeavour”,
“English Heritage”, “Firestorm”, “Leonardo”,
“Paganini Variations”, “Tallis Variations”
and “Variations on an Enigma”. All good quality pieces,
but for the most part, just a touch too hard for the bands.
The winners were Tertnes under the very eloquent direction of John
Hinckley and they gave a powerful performance of “Enigma”
that suited the aggressive style of the band. The quiet moments
had them struggling a little, but it had its moments of quality
throughout. We had them down for second place, but once more we
were proved wrong and the judges gave them 97 points and promotion
to the top section. How they will get on against the bands there
we will have to wait until next year. On this years form, it could
be a bit of a struggle.
Second place went to Tomra under Arnfinn Dalhaug who put up a brave
and committed show on “Paganini” that gained 95 points.
The flugel horn was good, and stood for her solo and the other solo
lines were well handled, but as with so many bands on the weekend
it became a bit of a blast at the end, which robbed for us some
of the character of the music. We had them down for 5th, so it shows
what we know.
Third place went to Askoy who were another band that gave an aggressive
account of themselves that could have been so much better if they
stepped off the gas a little. “English Heritage” is
a difficult piece and we thought they didn’t quite make it
come off. They also took a few liberties (the difficult quick cornet
solo was split and finished off noticeably by the sop) but overall
it was a pretty good effort. We had them 7th – once more way
out!
We liked Sola Brass under the direction of Steve Bastable, who
we thought might have won with a neat account of “Moon and
Mexico” that was perhaps penalised for too many individual
errors, and Oster (who we had third but came 11th!) who gave a nice
rendition of “Leonardo” without it every quite sparkling.
After that it was a tale of too many bands making too many mistakes
(Radoy for instance had a lovely musical content in Tallis, but
suffered a breakdown of some technical sort just about very twenty
bars) and the bottom few performances didn’t really come up
to the pre match mark of expectation. Overall the First Division
was the disappointment of the weekend.
We only managed to catch a glimpse of the Fourth Division as it
coincided with the First, but a very nice man by the name of Nils
Nikolaisen, who has adjudicated both here and at the Europeans informed
us of how a number of bands played. A very knowledgeable man, Nils
thought that the overall standard of the new section was good, although
some of the choices of own choice works were beyond the bands. “The
Plantagenets”, “Entertainments”, “Quintessence”,
“Vizcaya” and “Variations on Laudate Dominum”
take some playing by bands higher up the banding tree, so it came
as no surprise that he felt one or two were a teeny weeny bit ambitious
for their own good.
Tormod Flaten though is a class act – with euph and with
the baton, here is a young man with a very big future ahead of him
and he demonstrated a fine understanding of Gilbert Vinter to gain
an impressive three point win with a performance of “Entertainments”
that was really head and shoulders above the rest with his band
Tertnes Amatorkorps. They won’t be out of place in the higher
section next year. Second place went to Grenland with a sturdy showing
of “Quintessence” whilst third place was taken by Skui
Brass Band who performed “The Plantagenets”. These three
we were informed were good value for their winning positions.
And so finally to the climax of the weekend (the brass band party
was yet to come though!) and the Elite Section and their “own
choice” works. Much has been made of the way the Norwegians
approach their contesting – innovative is a word that is used
a lot and this year was no exception, although to many a brass band
traditionalist, innovation can sometimes mean desecration.
Norwegian bands are allowed under their rules to use non standard
brass band instrumentation, as well as play any number of performers
on stage at a contest. Thus you get a lot of soprano players performing
on Eb trumpet (Stavanger’s sop player for instance used both
during the weekend), some principal cornet players playing flugel
horn (and not just in Dances and Arias) and many bands having those
euro style tubas. Lots of bands take the stage with 30 plus playing
members and at least three percussionists, whilst most bands opt
for a line up that includes five basses and four trombones.
For us, it does no harm – the soprano isn’t a traditional
brass instrument out here and so young players especially use the
Eb trumpet as it tends to be more versatile to use in connection
to wind band ensembles etc. The numbers on stage doesn’t cause
a problem either, especially when you take into account that individual
players pay 15 kroner each to perform at the Nationals. That’s
right; the player pays, plus the band, so if you have 30 players
who want to play and who want to pay, so be it. That’s innovative
in our book, but somehow you can’t see it happening over here
can you?
The top bands in the Elite Section though tend to be mirror images
of the UK bands, with perhaps just a couple more players –
an additional bass or an extra trom. What is truly innovative though
is their approach to the own choice works, and on this occasion
we were treated (and that is the right word) to some superb performances.
The challenge of modern music holds no fears (for players and audiences
alike) and so we had 10 cracking shows from the bands of works that
would see many a nose turned up in distaste back in the UK.
Alexander Brass Band kicked things off with “Connotations”
– the most easily accessible work to be heard, but one that
now seems very dated. It was given the best performance of the weekend
(three other lower section bands had a go as well) but the piece
no longer holds enough challenges for top class bands and we were
left with the feeling that Alexander could played something more
testing perhaps. Some nice touches, but against bands at this level
it was found wanting, and they came 10th to go with their 10th on
the set work to come last. If they are relegated though they will
be strong contenders to return sharpish.
Oslofjord were next on stage under Robert Childs and we had placed
them 3rd in the set work after they had given a fine account of
themselves. The judges had them 8th from that though and once more
they didn’t quite like what they heard in a performance of
“Revelation” that started well but just tired towards
the end. The big euph feature nearly didn’t come off and we
detected the MD encouraging flagging spirits throughout. It was
a brave effort though, especially from a young band and they should
take heart from what they achieved here. They were 5th on the own
choice though (we had them 6th) and so they came 8th overall –
one or two places below what we thought they deserved.
Now the first of the real heavyweights and Manger, the reigning
champions took the stage determined to put a disappointing show
on the set work behind them. They were unknown to them in 7th place
after that, so they had a lot of work to do and set out in thrilling
fashion on “Harmony Music” with Allan Withington directing
matters with an understated composure – nothing too flashy,
but with just glimpses of an almost Zorro like swish of the baton
to entice his charges to explode with brilliance. It so nearly came
off as well, with a super bit of euph playing in the immensely difficult
cadenza and an equally fine effort from both horn and cornet. It
was the diddly, diddly stuff that caught them out though and at
times it rocked a bit too much for comfort. The climaxes were huge
though, but things very nearly came a huge cropper at the end when
the sop came in half a bar too early in the cross rhythm section
and things for a moment nearly went belly up. It recovered though,
but the damage had been done and 94 points and third place was the
reward. We had them third as well, but overall it meant that the
2002 champions had to be content with 4th place this time. The Europeans
though will see a strong challenge from this band.
Garry Cutt took the stage with Sandefjord with the knowledge that
his band was in a strong position to really challenge for the top
prizes after doing well the day before. Unknown to them they were
4th, so a tremendous show here on “Men and Mountains”
and they could be in with a shout. It was not to be though and although
they gave a fine account of themselves, the music never really shone
as it could and too many individual errors cost them dearly. The
piece can sound a little boring and at times it was rather monochrome
in colour and you sensed the players may have been too nervous to
do themselves or the music justice. Their reward was 4th again and
4th overall – a fine result, but a possible missed opportunity
to challenge higher.
David King seemed to be in determined mood during the weekend and
once more he directed Stavanger with a clarity of thought and style
that was a joy to watch and listen to. Not a hint of the flashiness
that sometimes comes across when he is in front of YBS, but detailed
clear direction of “Concerto Grosso” that showed a MD
in complete control and understanding of one of the most complex
brass band scores ever. His players responded magnificently, with
the euph and tuba at the beginning outstanding. We did wonder a
little about the gilssandos from the cornet section in places –
they seemed to be manufactured with possible vocal help, but the
rest of the technical aspects were overcome with amazing facility.
The music within the piece is sometimes overlooked amongst all the
pyrotechnics, but not on this occasion and there were some sublime
moments in the quieter sections. A very classy flugel and trom made
the blues section sound just right before a corker of a finish on
the Tico, Tico stuff. It capped a superb show, brilliantly directed
with top class soloists and a security of ensemble that was as good
as any we have heard on this piece. It was a worthy winning performance,
although at the time we didn’t know it was given 99 points.
We spoke to Roy Newsome, one of the adjudicators after the contest
and he stated clearly that he felt it was one of the very best performances
he had heard of the piece anywhere, and that it would have most
probably have won any contest against any opposition given the chance,
anywhere in the world. That coming from an experienced adjudicator
is some recommendation.
Molde and Alan Morrison had the difficult task of following that
and they gave a fine account of themselves on “Dove Descending”
that just tired towards the end and contained a few too many individual
moments of unease in the Nativity section. Alan Morrision though
reminded us of his qualities as a conductor (bands in the UK should
take note) and he gave the players every chance to shine with a
nice flow to the music. They couldn’t quite do it though and
3rd place on the set work had to be allied to 9th on the own choice
– harsh but fair but they still came 5th overall. Well done.
Ila were the next band on stage, and a very brave choice in the
form of “Salamander”. Not your usual fare at an own
choice contest for sure, but having not heard the work for a number
of years it came as something of a welcome surprise once more. It
is a powerful work, with an almost elegiac feel in places and Ila
and Bjorn Sagstad made it into a compelling performance. It perhaps
doesn’t have the technical obstacles to test the very best
bands, and so it sounded a touch “easy” if that is the
right word for it. Nothing much went wrong during a fine account,
but perhaps against the choices elsewhere it was a piece that couldn’t
do itself justice. 7th place was about right and 7th overall was
a fair and accurate reflection of the bands efforts over the two
days.
And so to Eikanger. The rumours had been flying around all weekend
that they were to do something a “bit special” and those
rumours went into overdrive when it was revealed that the piece
they had chosen was Edward Gregson’s “The Trumpets of
the Angels”.
This is a piece that is something different to say the least, but
one that must be seen within the context of the Norwegian Championships
themselves. As we have said, the rules permit bands to play “special
instruments” and to use trumpets, so in that respect the use
of five trumpets for the featured solo lines and an organ for the
piece was completely within the rules - written or unwritten.
In 2002 Eikanger were penalised by the judges for their choice
of own choice “Daphnes and Chloes” and came 7th, so
Nicholas Childs had made an exceptionally brave choice with the
Gregson work. The piece started with the seven trumpets (five trumpets,
one cornet and a sop) lined up on a raised platform behind the band,
whilst the band itself was seated with a choir of horns to the stage
right and Kim Lofthouse stage left on the organ.
It started powerfully with band introduction and with the organ
giving a huge ground swell of sound that made your fillings in your
teeth rattle. Then came the first flourishes from the trumpets themselves
– each player giving small declamatory statements of varying
length. Although this was impressive, the first couple of entries
were not secure, although it soon recovered its poise. Other statements
followed before six players returned to their seats, leaving Martin
Winter to walk slowly to the edge of the stage about a meter from
where the solo trombone usually sits. Then a form of genius appeared.
Martin Winter then proceeded to perform a lengthy cadenza that
started with a treble forte bottom F# (we may be wrong with the
actual notes, but you will get the drift) followed by an equally
loud middle C# and then a huge top D. The sequence was then repeated
and the cadenza grew in complexity.
The soloist was meant to be the “fallen angel” –
all fire and brimstone and the effect was mesmeric. After the first
sequence there seemed to be a pause of silence in which we swear
all you could hear was the thud of peoples jaws as they hit the
floor in disbelief. It was stupendous playing. We were sat next
to Garry Cutt and Steve Bastable and wrote on our pads a two-word
expletive that suffice to say, Mr Cutt didn’t take me up on.
At the end of the performance though there was an immense amount
of debate about what we had heard. It was fantastic playing for
sure, but how could you judge it as a contesting performance? The
weakness of the piece in this context was that it was really a major
concert rather than contest work that centred around the immense
talent of the dominant solo player, Martin Winter. The bands input
seemed to be secondary, as to a point were the rest of the trumpeters.
What we witnessed and heard was perhaps the finest brass band concert
item played on a contest stage – an immense performance from
a soloist and a super performance from the band. The piece had broad
hints of Messian as well as the usual Gregson trademark repeated
isolated quavers, but it still remained a compelling unique piece
of brass writing. Opinion was split to whether it should win or
whether it would be penalised for not taxing the band as a whole
as much as “Concerto Grosso” patently did. The judges
went for the latter and after speaking to many in the Hall afterwards,
it seemed to be a decision that found favour. It was however something
that will live long in the memory banks.
Jaren Hornmusikkforening had to follow Eikanger on, and it says
a lot for the audience at Bergen that the hall did not empty quicker
than is usually the case in the UK after a Dyke or YBS have played.
Jaren chose to play “Riffs and Interludes” by Torstein
Aagaard Nilsen and if it wasn’t for what had gone on immediately
before this too would have created something to debate for those
who hadn’t heard it before. Thankfully the piece has been
played at least twice here before and so the use of synthesised
delayed themes didn’t come across as that strange. The work
is very interesting indeed to listen to and as a piece of contemporary
writing is for us, first rate stuff. Jaren played it well but the
quality of the band wasn’t in the same league as many that
had gone before and at times it sounded strained and too hard. They
were awarded 8th spot and 9th overall, which for us was about right.
Finally, Krohnengen and Ray Farr with a very competent performance
of “Masquerade” that just lacked the deftness of touch
from the players to make the real detail speak. Some super playing
from the euph and the trombones and there was a sense that they
could have just done with a bit more rehearsal time to have buffed
the piece up to a real sparkling shine. It was pretty good stuff
though and well directed in eloquent fashion by the MD. 6th place
to go with 5th on the set work meant 6th overall, and although there
was no repeat of last years win in this section of the contest,
you sensed they were a band that could challenge more strongly next
time out.
So that was that then. The playing was over, and so all that was
left was the short entertaining celebratory concert, the results
and an evening of paying £6.00 a pint for Norwegian lager
at the famous “Brass Night.” All of which was very enjoyable
indeed.
The concert was well directed and entertaining enough to pass the
time, before the results (and we mean all the results from all the
sections) were announced. Some may complain that not releasing the
results from the Friday contests was a bit unfair, but overall it
meant that even bands in the bottom section could be rewarded for
their efforts in front of a full hall. So it was, and the finally
dénouement came with Stavanger being crowned champions for
the first time since 1992 and given the honour of representing Norway
at the 2004 European Championships in Glasgow. It was a very well
deserved win indeed. Eikanger came second and Sandefjord third,
but for us, the Norwegian Championships were the winners. We look
forward to coming back in May for the European and next year for
another dose of the best of banding
© 4BarsRest
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