2004 All England Masters Championship - Adjudicators Concise Remarks

5-Jun-2004

Find out what Messers Newsome, Read and Scott thought of the performances of the prize-winning bands.


Yorkshire Building Society, Dr David King
Position 1
Order of play 16         

Good introductory section of sensitive work from soloists at (C). (E) all quite impressive. Great basses after (G). (H) - fine technique and good balances. (J) well handled, with fine soloists (L) excellent work all round and a beautiful link. (N) fine cornet soloist and a good trio.

(O) - a quality sound and beautifully expressive. (P) - wonderful euphs and  barits - with fine support from basses.  Didn't quite make the ‘p sub' - but very time expressive playing from all.

(R) - a magical moment - ‘pp sub' well done, then a moment of insecurity.  Still - wonderful artistry. (T) one of the rare instances of an effective section here. (V) - stunning technique all round.

A fantastic dynamic range and everything sounds so easy.  (AA) - a great apotheosis and then it really was ‘calmer' and ‘even calmer'.

(CC) was another effect of sheer magic, with an absolutely marvellous ending.

A brilliant interpretation, superbly played.

Roy Newsome

Impressive start, most of the detail heard as it should be. (C) Well done and especially into (D). No problems and I enjoy the drama in your music making especially from (J).  Well done euph and solo horn.  (M) Good link (N) fine playing particularly from solo cornet (O) so expressive, fine euph playing and so well supported.  So well shaped by conductor.

(U) Again so impressive, such depth and also clarity.  Rhythmic particularly from (Z).  (AA) just right I would like more to be of pp subito.

A very musical and sinister performance so well directed.

A fine climax, excellent percussion.

David Read

An opening with clarity, and some dynamic detail. (C) well handled by all. (E) rhythmically strong and accurate. (H) and (I) was well controlled as was (J) and (K)! Excellently balanced lead into (N). Where cornet plays so expressively, and this musical shaping goes on throughout, with such good tonal support firm basses.  The subitos work!

Good build to the reprise at (V) where again there is such conviction - fine trom section melodic fine at 286. Cornets build to (AA) so well, and here there is power and control. Horn/flu beautifully poised into (CC) and the unison was paced so well.

A performance of stature.

James Scott

Brighouse & Rastrick, James Gourlay
Position - 2
Order of play  - 12

Excellent introductory section. Wonderful playing and atmosphere from (C). More excellent and detailed work from (E). All sections superb. (H) brilliant technique. (J) - a very effective section with fine soloists and great attention to detail.

(M) - brilliant links.

(N) - a very moving section, with magical effects from (O). (P) excellent - bravo euph - at last a real ‘p sub'.

(R) - sheer poetry, this. Not quite perfect before (S), but never loses the artistry, (T) - very interesting.

From (X) - could we have a little more bass? Great build up and superb climax at (AA). (BB) - beautiful, and a great ‘pp sub'.

A fine finish to a great performance. The second ‘dream' performance for me.

Thank you.

Roy Newsome

Good opening. I could take more in bas 4. Excellent detail and clear too! (C) Well done all through to (D). No problems, first class solo cornets at (H), I sit back and enjoy it. (M) Good link to (N).

(N) confident and well shaped, (P) so expressive by all soloists and so well shaped by the conductor. I so enjoy your pp subito, you take the risks and they come off. (T) Effective.

(U) Dramatic playing, all detail is clear. A wonderful sound from tenor/bass line from (Z). The playing is so sensitive. Again I admire your pp subito. (CC) Excellent and fine climax.

A very musical performance throughout.

David Read

An opening of power and clarity. (C) was well shaped. (E) - was rhythmically cohesive and detailed dynamically. Fine cornet section work from (H) - and unison with horns after (L).  Very musical playing from (N) - with cornet adhering to the non-vib marking! (O) excellent individual work from here ( and a fine ‘lower' sound to support. Euphs subito p (227) so well done - as was cornets at 244 on the pp with euph.

Good build to the reprise of tempo primo at (U). Where there is much detailed work - done with such conviction. Fine ‘build' by cornets to (AA). Here there is a power which has control and (CC) to the close was quite superb.

A very fine performance indeed, with such control.

James Scott

Reg Vardy (Ever Ready), Ray Farr
Position - 3
Order of play  - 10

A good opening section. From (C) a lapse in intonation, but good soloists.  A fine technique throughout the band, and some wonderful effects from percussion. Excellent work from (E).

(J) - another great section - excellent soloists and ensemble. (M) - simple and beautiful. (N) - splendid control, but sop going a bit sharp on high F. Lovely shaping from (O) and all playing as one.

(P) - a moment of magic here -some really fine playing, with only the tiniest of blemishes.  The shaping and phrasing is real ‘top drawer'. You even make (T) interesting! (V) - all of this is quite fantastic.

A ‘dream' of a performance. Thank you.

Roy Newsome

Good opening.  All detail heard clearly. (C) Well done all, particularly into (D). Perc plays a good part. (H) Excellent (J) right mood portrayed, excellent soloists. (N) Just right! The music is so well shaped and controlled. (P) Beautiful playing by soloists particularly euph. (Q) A bump here what a pity.  However the music is so well shaped, phrases are so well defined. (T) Well done. I sit back and enjoy the cornets first class from (Z). (BB) Well done for attempting the pp subito. A first class performance and directed so well by conductor.

Fine climax.

David Read

An opening with clarity, and strong rhythm.  Good from unison sonnets in melodic lines.  Well handled soloists at (C). (E) - well controlled - as is (H) - cornets.  (J) fine individual work here.  Controlled lead into (N) - where solo cornet adheres to the non-vib marking with ease! Subsequently there is very musical shape, and (P) is a good example of this. From (R) there is serenity indeed.

Good build from (T) - and the reprise at (V) is so very convincing, in its purpose and control. The ‘build' from cornets (from (Y)) is so rhythmic and powerful - to (AA) where there is a very fine sound - and your final unison stays in tune through the <!

A performance of great merit - so well played and directed.

James Scott

SWT Woodfalls, Steve Bastable
Position - 4
Order of play  - 7

An impressive opening section. Good soloist from (C). Good detail from (E), all sections doing well. Not quite tidy at (H) - but good rhythmical feel. A bit 'comfortable' from (J) - but cleaner from (L). Slight hesitation after (M), but some great quality playing and great atmosphere created. Gorgeous sounds from (O) - oh, what character! Quality euph playing despite the blip. Finely shaped and balanced by all soloists from section (Q). (R) - a real 'serene and tenderly' section. Slight mishap before (T)! (T) - very effective and purposeful. (U) - quite spectacular. (Y) a wonderful build up to a marvellous apothesis at (AA). Excellent control from (BB) and a great finish.

A fine performance. Thank you

Roy Newsome

Exellent start, all detail heard clearly (C). All parts heard - well done Eb Bass especially into (D) . (E) A little loose. Fine playing spoiled just a little by uncertain pitching as at (H). Confident through to (N). (N) Well shaped and good balance. Very musical from (0). Exellent Solo Euph.

(R) Mood just right and I admire your attempt at pp subito. (T) Very effective. (U) Again all detail heard clearly as before. The Tallis Canon motif is so well done. (AA) What power! (BB) Tastfull playing and so well shaped. Dont go out of tune!! (at (CC) ).

Fine climax. A musical performance - not without flaw.

David Read

An opening of clarity with a positive and dynamic approach. (C) - is handled musically. Slight looseness in the 'middle' players at (E) - and (F) ! (H) - is not absolutely immaculate in the 'top' of the band - but generally this is so very rhythmical and positive in its approach. Cornet handles the non-vib markings at (N) with ease - and warms the sound later when appropriate. All soloists are so accomplished musically as you progress - with a notable 'lower' sound to the ensemble. (R) is indeed serene. This section of the piece has been so musical. The reprise at (U) once again is dynamic and convincing. Fine build to (AA) - which has control - at last I hear a subito pp at 343! Horn/flu not quite in tune in their unison at (CC).

This was a very fine performance.

James Scott

Ransome, Russell Gray
Order of play  - 3
Position - 5

Cornet demisemis not convincing, but improves considerably from (A) - much detail, commitment, and lots to commend.  Slight insecurity from (C) but some time work from (H) and through (J).  Good basses and flugel from (M).

(N) - very atmospheric - con calore well done.

(O) - also, convincing. (P) well done euph. Nice solo work from (Q). Slightly insecure link to (R).

(R) - a promising start but ran into difficulties.

(T) - very unusual effects!

Recap - playing in Intro more confident than at beginning of performance. This is going well and builds splendidly from (Y). Good climax at (AA). A few problems from (BB), though the playing generally maintains a good level, with a fine conclusion.

Roy Newsome

Perhaps a little tame in bar 4 (ferocious) good detail and clarity (C) fine. (55) Well done Eb bass. I enjoy the detail. (H) Well done solo cornets. A confident display of technique.

(N) Sensitive playing by cornets.

Very expressive playing from 209. Excellent euph, sop, horn, baritone.  A good attempt at 244 but does not quite come off. (T) Effective. Bells struck with mouthpiece?  I like the way you control the groupings and also the clarity.  All parts are heard. You have taken risks, I admire you for that - not all of these come off however.

(CC) Lovely effect!

Fine climax.

Well directed.

David Read

There is a hesitant start, but from (A) there is a setting into dynamic detail, with rhythmic clarity.  Good individual work from 32 and excellent detail from (D) - with a good degree of clarity.

Well managed all from (J). (M) was very well bridged into (N) and from here the fargo is very well managed, with musically shaped phrasing.  An atmosphere is being created, with all soloists secure and musical.  Just a little uncomfortable in the few high cornet bais at 244 - but it destructs little. The reprise at (V) is again detailed and rhythmically convincing, - good build to (AA) and (BB) is beautifully done (though the subito pp does not quite come off - (it is so very difficult I know!)

A very good performance indeed.

James Scott

Flowers, Philip Harper
Position - 6
Order of play  - 11

Balance problems in opening bars - otherwise a good introductory section. (C) - good soloists:- Eb bass quite outstanding. (E) for effective (very, very).

(H) just a little untidy and a twitch of intonation. Good stuff from (J) and 1st rate playing from all.

(N) - lacks cohesion - despite the good players. Not totally secure. (O) Some nice sounds and good solo work, but lacking purposes. (P) Good euph, but not quite coming off. Top end uncomfortable before (S) - then good soloists. (T) - some odd effects. Was that a tubular bell?

(U) band has fine technique and is playing purposefully. (Y) excitement building well and good climax at (AA). Anxious moments in high register after (BB).

Chords not well balanced from (CC), but a solid close.

I did not feel this band achieved full potential here.

Roy Newsome

Impressive start - good tune (motif). (C) Well done particularly Eb Bass through to (D). Excellent playing - just the odd dispatch detracts, soloists play a good part - good link to (N).  Slight discomfort and some tuning problems occur - what a pity and we have lost the previous high quality you set for yourself.  (R) Some good moments but not without lapses.

(T) Some strange bell sounds, but secure.

(U) Dramatic you are back to your best and no technical problems.

(AA) Could this be broader? (BB) Discomfort in upper register at PP subito.

(CC) Good effects.

Promised so much but fell away at (N) onwards. Recovered at (U).

David Read

There was a lack of clarity in cornets initial entry, and also in the ‘lower' band at (A).

Excellent Eb solo work from (C).

(E) - was cohesive and rhythmic, as was (H). At (I) there is slight intonation problems in cornets high B natural/Sop F#/Trom B natural.

Cornet begins (N) well - put the 4 bars before (O) does not hang together in shape (cornet section). Watch unison tuning, horns/flu at (O). (R) - while safe - did not quite achieve the serenity of the music.  Tubular bells at (T)?

The reprise of the tempo primo at (U) worked well and cornets ‘built' well to (AA). Here I could have accepted a broader approach.

Some good moments in this performance - but the quality was not consistent.

James Scott

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