2006 Australian National Championships

Retrospective A Grade

Brisbane, Queensland was the setting for the Australian National Band Championships this year. 4BRDU takes a look at the A Grade performances over the Easter weekend.

Test: Variations on an Enigma (Philip Sparke)

The premier event – A Grade Brass Bands – was a veritable homage to Philip Sparke, with his Variations on an Enigma chosen as the Test, and no fewer than four Sparke performances in the Own Choice section. The Test proved to be an exciting work that presented challenges to every section in the band.

The scene was set for a showdown of our region's top bands, with seventeen bands from three countries. Expectations were high and the excitement was building for weeks beforehand.

A Grade was held in the Main Auditorium of Brisbane City Hall; a wonderful historic building, but with some interesting acoustic problems. An interesting challenge for all bands in this hall was the swirling air conditioning. Many bands either had music blown off their stands or opted for pegs in scenes reminiscent of a gig down at the local park.

Brisbane Excelsior - Australian National A Grade Champions

Brisbane Excelsior Band

Brisbane Excelsior Band, conducted by Howard Taylor, were the winners of A Grade for 2006. They had the highest points for all on-stage performances, with a total of 486 points.

Where does one start with Excelsior's musical mastery over the weekend?

The band's Hymn – Light of the World (Goffin) – was a stunning performance. It had lovely euphonium playing, a beautiful cornet solo and rich sound from the horn section. Soft passages were delicate and very expressive. From the soprano to the tubas, the band's tone was just gorgeous and tuning and intonation was flawless.

From the moment Excelsior commenced their Test, the performance was stamped with class. The Brillante introduction was indeed brilliant, with excellent semiquaver work throughout. The cornet section in Var I was balanced and all parts were clear and precise, particularly at 81 and again at 101. Var II was florid and graceful from the flugel and tenor horns, and all three trombones in Var III were fantastic. Ash Gittins and Riki McDonnell – surely the euphonium dream team – owned the cadenza at 200 and through Var IV. This was simply breathtaking playing. The muted accompaniment in this section was sensitive and effective, and the cornet solo from Paula Russell was gorgeous. The ppp at 221 was just stunning! Bravo xylophone in Var V and the tubas demonstrated the technical facility of cornet players. The subito pp effect in bar 294 was just amazing. The fugue section in Var VI built effectively and 378 to the end was very exciting. This was a sensational performance in every respect.

On Saturday, Brisbane Excelsior dominated the stage again with Music of the Spheres (Sparke). Steve Ridler proved his status as a world class player in the opening. The trombones were superb, and there were glorious sounds through the middle of the band. Excelsior's dynamic contrast was electric. There were beautiful solos from tenor horn and euphonium, and Brent Hoy on soprano played with gorgeous tone. Paula Russell's cornet playing was again characterised by beautiful tone, tasteful vibrato and artistic phrasing. The back row cornets were fantastic and percussion was never obtrusive. A minor blip in this performance was the unison trombones being not quite in unison. The coda was very exciting and rounded out a magnificent performance. Bravo!

Excelsior chose ORB (Anderson) as their Stage March. Paula Russell's cornet solos were tasty and there were great tremolos from the soprano and repiano. This was a very classy, stylish and entertaining performance (I challenge the band to reproduce that incredible dynamic contrast on the street parade!).

Excelsior was a convincing winner in A Grade, but not without a few close contenders. Without detracting from the undeniable talent of individual players, this band was simply a class team. There were no weak links and Howard Taylor was a captivating and inspiring director. Congratulations.

Brisbane Excelsior, led by Champion Drum Major Rick Casagrande, was placed Second in the Parade of Bands.

St Kilda Brass

St Kilda Brass, conducted by Peter Adams, were placed Second with a total of 481 points.

Expectations were high about St Kilda Brass from Dunedin (New Zealand). Fresh from their success at the Otago Southland regional contest, and with John Lewis and Steve Miles on the key cornet and euphonium seats, this band was always going to be more than just a dark horse.

St Kilda's Hymn – The Day Thou Gavest (Wilby) – had a delightful opening with lovely cornet and euphonium solos. The tune in the big end was very effective. A minor detraction was the tam tam obliterating the subito p effect.

The opening of the Test was stunning. The cornets in Var I were just great, particularly at 55, and again at 73 and 81. The cornets again had terrific balance at 101 and the horn section in Var II was balanced and stylish. Variation III revealed a terrific trombone section – very exciting playing to 200. The euphonium cadenza and moving into Var IV was stunning, with a beautiful cornet solo from John Lewis. The band was stunning again in the ppp section from bar 221. Euphoniums were brilliant at 230 and the tubas were a particular highlight in Var V – sensational playing. Var VI really took off, but the section was well contained, with very exciting playing from 333 to 344 and again at 353. The giubiloso marking was definitely achieved from 378 and marimba was terrific at 389! The performance built brilliantly to a fantastic finish. It was a shame to hear all of the mute noise – it was really quite distracting.

St Kilda played Montage (Graham) as its Own Choice selection. This performance had a great start from euphoniums, baritones and horns, then cornets. Trombones were terrific, with solo cornet and solo trombone standout performers, and soprano cornet was stunning. There were occasions when the cornet sound was a little harsh, possibly a result of some over-blowing. To round out the first movement, the soprano, flugel, tenor horn then baritone did some great work. In the second movement, the muted cornets and trombones worked together well. A lovely cornet solo was followed by euphonium, both with artistry and delightful rich tone. The percussion section was very sensitive, yet powerful when required. It was clever to place the soprano with the Eb bass at the commencement of the final movement, producing exactly the result required. This movement really motored along – quicker than marked – but the playing is very exciting nonetheless. A huge band sound is achieved in the final moments, with terrific contrasts, great trombones and building to an exciting finish.

For their Stage March, St Kilda Brass chose the ageless Praise (Heaton). As adjudicator Garry Cutt said in his remarks, this piece needs to be played at no more than 112 bpm and St Kilda achieved this. The march had a fantastic clear sound, with rich tone throughout. There were some minor intonation problems in the solo cornets and a few blips here and there. Flugel and tenor horns were very tight, and the accents around the band very effective. The percussion was always complimentary and at no stage dominated.

St Kilda was a stunning band at this contest, with dynamic soloists. It was interesting to note the use of three euphoniums. The band had a world class sound, and played with style, flair and conviction.

St Kilda Brass, led by their Drum Major Peter McHenry, were the winners of the Parade of Bands.

Dalewool Auckland Brass

Dalewool Auckland Brass, conducted by Nigel Weeks, were placed Third with a total of 479 points.

The most anticipated band of the contest did not disappoint.

Dalewool's Hymn – Lord of all Hopefulness (Downie) – was a captivating performance, characterised by gorgeous tone throughout the band. There were some minor intonation problems in the horns and back row cornets, but overall the playing was delicate and artistic.

In the Test, Dalewool commenced with a very exciting opening, with attention to dynamics and articulation particularly evident. The cornet section was excellent throughout Var I, with 55 being very secure, clear and well balanced. Bar 81 and onwards was stunning from the back row cornets. The entire cornet section was motoring from 101 with excellent balance and rhythm. There was lovely florid work from flugel and tenor horns in Var II and trombones were just terrific in Var III. Euphoniums were magnificent in the cadenza at 200 and there was an enthralling conversation between cornet, baritones and euphonium throughout Var IV. Bar 221 could have been much softer. Wow, xylophone was amazing! At Var V, tubas were terrific and the cornets were effective in the use of outward-facing bells. The percussion section was a little loud for the tubas at 266. The dynamics were breathtaking between 288 and 297. Each statement of the fugue subject was clear, and cornets were crisp and unhurried. The section from bar 333 was top stuff and the effect of outward-facing bells by the trombones again was electric. The piece closed from 378 with very exciting effect.

Concerto Grosso (Bourgeois) was pure entertainment, commencing with a tight, precise opening. Ken Cant's euphonium solo was just superb and Ryan Peni on Eb bass was stunning. This performance was very exciting playing, with sublime, delicate passages interspersed. The interplay between soloists was enthralling and a wonderful picture was painted. Articulation was observed well and used to great effect around the band. The tone was rich through the middle of the band and tuba pedals just awesome. Mason Elliot's playing on flugel was absolutely gorgeous. Muted trombones were very tasty, and solo lines artistic, unhurried and lyrical. There were some slight intonation problems in tubas and euphoniums on occasions. Percussion was always complimentary. The fun in this piece was brought out very effectively, and the players also clearly enjoyed it. The close was extremely exciting.

ORB (Anderson) was Dalewool's choice for the Stage March. It had an exciting opening and delightful cornet solo, but some untidiness in the trombones. The dynamic contrast in the trio was excellent and the performance was even better on the DC.

Overall, Dalewool was a stunning band, with an amazing sound in all respects. Superb soloists, magnificent band sound and masterful direction from Nigel Weeks.

Mason Elliot, Flugelhorn for Dalewool, was the winner of the Open Champion of Champions.

Champion of Champions event: Garry Cutt, Mason Elliot, Bryan Hurdley

Brisbane Brass

Brisbane Brass, conducted by Greg Aitken, were placed Fourth with a total of 464 points.

Greg Aitken and his team have achieved an amazing result this year.

Their Hymn – The Day Thou Gavest (Wilby) – opened with lovely tone from Bill Barker on euphonium and Kaid Normington on cornet. There were some times when the vibrato in the baritone was adversely affecting the intonation in the first verse. The band achieved a very effective change of style in the next verse. There was a wonderful grandioso style achieved on the key change. The flugel was a little flat at times, but a lovely harmon muted section led to a beautiful finish by the euphoniums.

Brisbane's tenor horns were just terrific in the opening of the Test. There was excellent work from the cornets in Var I – clear and well balanced, with dramatic back row cornets. Flugel and tenor horns were very lyrical in Var II and the trombones clearly had a ball in Var III – bravo bass trombone! The euphonium cadenza was beautifully shaped, and the delightful euphonium playing continued into Var IV. From bar 221 could have been much softer in the muted cornets, but the tenor horns and trombones were better. A cracking speed was set at Var V, however the xylophone was brilliant. Tubas were crisp and stylish throughout this variation and the fugue section in Var VI was clean and well balanced. Bar 333 onwards was very exciting and 353 – wow! Bar 378 was fantastic, marimba was great at 389, and 397 to the end was top notch.

For their Own Choice, Brisbane Brass played Tallis Variations (Sparke). It had a great opening with terrific trombones. The vibraphone and harmon-muted cornets were very effective. There was absolutely beautiful playing from flugel and tenor horns, and intonation was spot on. The big end was impressive and fat!. Occasionally there were intonation problems in the back row. The flugel soloist was outstanding in the in the ¾ section. Percussion was consistently unobtrusive and sensitive to the brass. Some untidiness crept in from the back row cornets in spots, but the solo cornet was artistic and the tenor horn had a huge sound. Solo cornet at the jubiloso section was fantastic and the whole band was very exciting. The piece built to an electric climax. Snare drum seems to get behind towards the end, however this could have been an echo in the hall. The soprano and tenor horns were fantastic up to the high B's. The band showed tremendous control with rich, full sound despite the very soft dynamic.

The band's Stage March was Arabian (Rimmer). It was very tight and stylish, with loads of character. There was a gorgeous cornet solo and the band has a huge big end (don't take that personally!) Bravo bass trombone, and tubas and trombones were fantastic. Finger cymbals were a nice touch!

Brisbane Brass produced some great performances over the weekend, with relatively young players in the cornet chairs. There was some very delicate and artistic playing as well as being big rich and brassy as required.

Brisbane Brass, led by Drum Major Steve Lawrence, was placed Third in the Parade of Bands.

Waratah Brass – Newcastle

Waratah Brass – Newcastle, conducted by Ron Prussing, were placed Fifth with a total of 464 points.

Waratah's performances this weekend were simply tremendous.

The band's Hymn was Light of the World (Goffin). This had a lovely opening, and was well balanced throughout. The solo cornet and soprano were sensitive and had lovely tone. Intonation and tuning were excellent throughout.

The opening to the Test was a little wooly in spots, and the euphonium missed every high D and C. The trombone section was very good at bar 22. Cornets were together in Var I and the big end was together and extremely energetic. The cornet section was great at 55, and again at 96-98 and 101. The flugel and tenor horns were confident in Var II, with delightful florid style. There were some minor intonation problems (flat) in the flugel at the top of the stave. Trombones were sensational in Var III, with a particular bravo to the bass trombone. The accompaniment tremolos were a little heavy for the euphonium at 200, but Var IV was just lovely. Great work solo cornet, baritones and euphoniums through this section. The muted section at 221 was very effective. The xylophone was excellent at Var V. Great tubas and the band showed effective use of dynamics and articulation. The soprano was super at 286-288. Var VI really motored along but was under control always and well executed. Bar 333 was smokin' and trombones were great at 345. This was very quick and an exciting climax to the performance as the band built up to 378 and through to the end.

The band chose St Magnus (Downie) as its major work. This had a great opening from soprano and repiano, and the overall band sound was rich and beautiful. There was some very delicate playing contrasted by big full ensemble sound. Tuning and intonation were absolutely spot-on throughout. Solo cornet unison playing was exceptional, sounding as one, with great intonation, style and oneness of tone. Beautiful florid passages from soprano and solo cornet and a spectacular high D from soprano! The euphonium cadenza was outstanding. In the middle section, all soloists were secure and artistic. This was a truly stunning performance in every respect, raising the bar for the day. Percussion was sensitive and complimentary throughout. The highlight of this band's performance was definitely the soprano. Waratah's performance of the mammoth St Magnus was truly world class.

Waratah selected The Cossack (Rimmer) as their Stage March, and what a ripper! Tha band had great sound from the outset, with terrific dynamic contrast. Trombones and tubas were masterful, and cornets very tasty. The bass solo was fantastic, with particular note of the massive sound from the bass trombone. The trio was a striking and tasteful contrast. On DC, the band was even tighter and more precise.

Waratah never fails to impress. They have a huge sound, accurate technical work, soloists always secure, terrific ensemble playing and always well balanced. This is certainly one of our region's leading bands.

South Brisbane Federal Band

South Brisbane Federal Band, conducted by Trevor Bremner, were placed Sixth with a total of 460 points.

This band has gone ahead in leaps and bounds this year under their new MD.

Nottingham (Richards) was the Feds' choice for Hymn. The first chord was just awesome – so rich and full. Balance was exceptional throughout and the big end was magnificent.

In the Test, South Brisbane Federal started with a very energetic opening and unison trombones were secure at 22. Cornets were great through Var I, but not quite together at 101. The flugel and tenor horns were very tasty in Var II, and trombones were terrific in Var II, with bass trombone particularly enjoyable. Euphoniums were outstanding in the cadenza at 200 and into Var IV. Andre's circular breathing produced good result of continuous phrasing. The cornet solo at 210 and interplay with euphoniums and baritones was delightful. The ppp dynamic at bar 221 muted section was excellent. Good work xylophone in Var V and tubas were big and rich. The electric subito effect at bar 294 was particularly good and 297/298 energetic. Var VI was tidy and showed good attention to dynamic contrast. Bars 333 to 343 were great and 353 sensational. The piece builds through to an exciting climax, 378 was very jubilant, demonstrating rich tone, balance and technique.

In the Own Choice, South Brisbane chose Dances and Arias (Gregson). There was fantastic depth of sound throughout with super dynamics. The cornet section was not always together, but trombones, euphoniums and baritones worked very well together. Percussion was effective an unobtrusive. The muted cornet section was very well done, and there were some very big sounds coming from the middle of the band. The euphonium solo had expressive tone and shape. Harmon muted cornets added a real colour and the euphonium continued in fine style through to a big fat pedal. The flugel duet was delightful and a real highlight was the antiphonal effect between cornets and trombones. The piece built to a scintillating climax. The trombones and percussion were top class.

Simoraine (Barraclough) was the on Stage March choice. Dynamics were a bit narrow on the cornet side, but trombones and tubas were excellent. Euphoniums and baritones were not always together in the trio and some rushing was evident in the cornets. The bass drum was generally too heavy.

The Feds have a lovely rich sound. The band's soloists were exceptional as were the trombone and tuba sections.

Kensington & Norwood Brass

Kensington & Norwood Brass, conducted by Bruce Raymond, were placed Seventh with a total of 459 points.

K&N commenced with the Hymn, Reflections in Nature (Redhead). This had an expressive cornet opening. The dynamics were a little narrow and the tempo felt a little rushed, however the band demonstrated a warm sound throughout.

In the Test, K&N had a strong opening with excellent cornets. The semiquaver work in Var I was not always there across all parts, but the back row was terrific at 81. Flugel and horns played with a decorative, grazioso style in Var II. Trombones were precise at the opening of Var III, however 1st trombone wasn't secure at 154. Bravo bass trombone at 167, and trombones were tight up to 200. There was very expressive playing from euphoniums and cornet in Var IV, however baritones were a little light in tone through this section. Glad to see the hotel hand towels came in useful at 221 cornets – very effective result. The xylophone at Var V was stunning – well done! Percussion was also excellent at 266, although maybe a little heavy for the tubas. The dynamic contrast was electric from 286-298. The fugue section was handled effectively and the playing from 333 to the end built in intensity and excitement. Outward-facing bells added an effective additional element to the band's dynamics.

Tallis Variations (Sparke) was the band's Own Choice. The piece had a very effective opening with excellent balance throughout and the intonation was always secure. Muted cornets and horns together with the vibes was beautifully done. Bass trombone was just great, as were the tubas. Despite a minor blip from one of the trombones, the piece was most enjoyable. The flugel horn in the ¾ section was very classy. The middle section continued with a little untunefulness in the baritones and a bit of a slip on soprano. Euphoniums and cornets were very expressive. At times the cornet solo sounded a little forced, but was artistic and stylish. The jubiloso section was exciting, although there was some over-blowing at times which detracted from the building of excitement. Bravo horns and soprano on your high B's. Final entries were not always together.

For their Stage March, K&N chose The Champions (Wilcocks). This was very entertaining with excellent contrasts throughout. The band has a huge big end (not literally) and the trombones were outstanding.

K&N had some great sounds. There were some odd moments of over-blowing which detracted from the own choice, however the band worked very well as a team. Balance was consistently good, and tuning and intonation were secure. There was some very artistic solo playing.

Darebin City Brass – Preston Band

Darebin City Brass – Preston Band, conducted by Jason Mears, were placed Eighth with a total of 456 points.

There was much anticipation about this band's attendance, and they didn't fail to impress. Their Hymn, Crimond (Graham), began with some nervousness, but had some glorious trombone and tuba work. The tempo felt a little quick and the playing sounded unsettled at times and the glockenspiel was behind. Wonderful playing as the band reached the climax, but the closing section could have been softer.

In the Test, Darebin demonstrated excellent attention to the detail, with accents well observed. The big end was awesome in Var I and cornets very neat and well balanced. Flugel and tenor horns did some lovely florid work in Var II, although there could have been greater dynamic contrast. Trombones were tight in Var III and bravo Crabby at 167. Tremolos at 200 were too heavy for pp, but it was very tasty work from the euphoniums, with some beautiful soaring playing into Var IV. This section had some delightful cornet playing. 221 could have been much softer, particularly from horns and trombones. Var V was played with great style by cornets and trombones, and xylophone was very well done. The tubas were terrific from 272 and the subito pp effect at 294 was stunning! Var VI was clear and precise, with particular mention of the awesome tubas again. From 356 the performance bubbled nicely and 378 to the end was enthralling.

Darebin's Own Choice was the popular Paganini Variations (Wilby), which commenced in style and was very controlled. There were some intonation problems from the flugel and the muted section could have been much softer. There was stunning work from the bass trombone and soprano. The running semiquaver passages were very well done from cornets and then by euphoniums, baritones and tubas. Percussion was complimentary at all times and worked well with the brass. The middle section was just delightful, with artistic playing from the euphonium. The flugel solo in the ¾ section was very tasty and the soprano played with gorgeous tone. The bass trombone was sensational, and trombone glisses very effective. The piece built to an exciting climax.

The band's Stage March was The Contestor (Powell). The cornet solo was stylish, and the band played with very tight and balanced sound throughout. The bass solo was a particular highlight. The trio was very delicate with stunning cornet solo again.

Darebin definitely lifted a few notches at this contest. The band has superb soloists and an overall impressive band sound. Undeniably, the star player for the weekend was George Melitsis on soprano!

Jennifer Magoulas, Solo Cornet for Darebin, was the winner of the Junior Champion of Champions.

Junior Champion of Champions event: Kevin Jarrett MBE, Jennifer Magoulas, Philip Davis

City of Holroyd Band

City of Holroyd Band, conducted by Mark Strykowski, were placed Ninth with a total of 456 points.

Holroyd's Hymn was In Perfect Peace (Downie), which commenced with beautiful tone from flugel and horns. The balance was excellent throughout. Soft passages could have been a little softer. The new triangle was just exquisite!

In the Test, the opening was exciting. Var I had a little untidiness evident from cornets who sounded a bit frantic at times, however 2nd and 3rd cornets did a fantastic job. Var II was delightful from flugel and tenor horns, and the bass accompaniment was sensitive. Trombones were terrific in Var III, with particular mention of the bass trombone. Muted cornets didn't quite make it to ff after 187. Var IV was delectable euphonium playing, and the cornet, baritones and euphoniums work well through to 221. The ppp section at 221 was excellent. Bravo xylophone at Var V and great work from the tubas. The fugue section at Var VI was handled well, with 333 very exciting playing. The piece builds well from 356, although seemed to lose a bit of steam towards the end. Cornets were a little light at times, but the band had some great sounds and exciting playing.

Dances and Arias (Gregson) was very exciting at the opening, with tuning and intonation secure. The big end was very strong and trombones had some real bight. There was some delightful cornet solo work, but a little uncertainty at times from the trombone. Tuba solo was fantastic, and the muted cornet and tuned percussion accompaniment was very effective. There was some tight ensemble work and the back row cornets were excellent. The euphoniums, baritones and tenor horns played with beautiful rich sound. The euphonium solo was outstanding, demonstrating terrific range, tone and artistry. The flugel also played with a super tone. The piece finished in energetic style, with articulation and dynamics well observed.

Knight Templar (Allan) set off at a cracking tempo. The band had a great sound, with very pretty cornet solo work. Occasionally the accompaniment was a bit heavy, but otherwise the dynamics were well done. At times the bass drum was too heavy and obliterated the big end. Cornets were very tasty in the trio, although some rushing was evident. The performance was even better on the DC.

Holroyd has great depth in their corner chairs, together with excellent ensemble work. Inner parts are excellent, assuring good balance throughout.

Kew Band

Kew Band, conducted by Mark Ford, were placed Tenth with a total of 454 points.

Kew's Hymn, Crimond (arr Graham), had a sensitive and secure opening. Trombones and tubas were sensational, with particular note of the awesome pedals. This hymn had a warm sound throughout the band. Flugel and tenor horns were excellent, but the cornet obbligato was a little heavy at times. The trombones and tubas were awesome at the end.

In the Test, the band commenced in style, and cornets were super from 12. Cornets were clear and balanced in Var I at 55, and top work from back row at 81. Ostinato at 101 was excellent work throughout. The flugel and tenor horns were well balanced through Var II and played with graceful ornamentation. Var II was terrific work from trombones, with a powerful finish into 200. Matt van Emmerik was very classy on euphonium at the cadenza and into Var IV. Cornet solo was not secure, but baritones were confident. The dynamics at bar 221 were awesome, with great work on timpani also. Xylophone was sensational at the start of Var V. This variation continued with stunning dynamics and articulation from 286-290. Shot notes at 297 and 298 were electric! Var VI was confident and secure all the way, and excitement built steadily from 356. From 378 the lower cornets and trombones were outstanding. This was an exciting performance.

For their Own Choice, Kew selected the modern masterpiece – Extreme Make-over (de Meij). There were some intonation problems (flat) in the lower cornet part at the opening, but otherwise the opening section was secure and well played. As the piece developed, the mood changed effectively and there was exciting playing throughout the band. The dynamic contrasts were spectacular, and the soft staccato section from tubas and trombones was excellent. There were occasions when the percussion was too heavy and detail in the cornet line was lost. When the band is in full flight, the sound is awesome. The gamelan effect from bottles, marimba and xylophone was spellbinding – the audience was captivated. The fugue section was impressive, and the band unison section was stunning. Percussion was just sensational throughout.

In the Stage March, Kew selected The Champions (Wilcocks), and this opened in grand style. Dynamics were terrific, but again some cornet detail was lost. This march was big, bold and brassy – and full of attitude!

Kew Band had a big sound and very good balance throughout. Kew has always been a strong performer at this contest; innovative and prepared to take risks. The band's soloists were fantastic this weekend and the band had a brilliant overall sound. The percussion section was particularly stunning.

Willoughby City Band

Willoughby City Band, conducted by Andrew Snell, were placed Eleventh with a total of 453 points.

Willoughby commenced with their Hymn, Just as I am (Heaton), and this began with a lovely opening. Some minor intonation problems were evident in the horns, but cornets were secure. There was delightful playing from trombones and euphoniums, and occasionally the cornet sound was a bit cold. The percussion was a little overpowering. The soprano cornet was brilliant.

Willoughby's Test began with a confident opening, although the dynamic contrast could have been greater. Some clarity in the cornets was lost in Var I at 55, but otherwise the balance across the band was very good. Nice job flugel and tenor horns in Var II and the trombones were terrific in Var III, although frantic at times. The euphonium cadenza was tasty at 200, but the 2nd euphonium was a little under pitch. Interestingly, the euphonium sounded a little distant during Var IV, possibly because of the position behind the horns, but this was lovely playing nonetheless. The ppp at 221 could have been softer. The euphonium was soaring beautifully through this variation. There was very exciting playing from xylophone, cornets and trombones in Var V, with a moment or two when the percussion was racing. Bar 288 was sensational and the drop to p very effective. Bar 294 could have been more dramatic at the subito pp. The cornets in Var VI were again a bit frantic, but trombones were great at 344. 356 built nicely and 378 was very effective. The piece came to an exhilarating finish.

Willoughby's Own Choice was introduced as 'Cloudcatcher by Fells'. Indeed it was Cloudcatcher Fells (McCabe). This work commenced beautifully. Horns were not in tune the first time, but much better second time. Muted cornets, horns and baritones were very effective. A great mood was created with some extremely nice flugel playing. Cornet sounds were rich and well balanced, with consistency of tone throughout the section. The percussion was exciting and complimentary to the brass. Cornet work in the fast section was stunning, and the double-tonguing was clear and crisp. The band produced some awesome tone colours and dynamics were used to great effect. The piece rounded out with superb big chords and percussion.

For their Stage March, Willoughby played The Australasian (Rimmer). This began in style with great dynamics and articulation. Cornets in the trio were very tasty, and trombones had plenty of bight. Percussion was always just the right balance.

Willoughby produced rich, balanced sounds. The solists were confident and artistic. There was some rushing from the cornets in the test, but was well controlled in the own choice. There is quite a different sound emerging at Willoughby under their new MD.

Osaka Harmony Brass

Osaka Harmony Brass in the Parade of Bands

Osaka Harmony Brass, conducted by Atsuhiko Okamoto, were placed Twelfth with a total of 452 points.

It was truly a privilege to have Okamoto-san and Osaka Harmony Brass at the Australian Nationals in Brisbane.

Osaka chose Just as I am (Heaton) for their Hymn, and this began with a secure opening that was balanced and rich in tone. There were some minor intonation problems in trombones and tubas. The overall sound was a little top heavy, but full and rich.

In the Test, the band commenced with an exciting opening, although the accents needed more attention and dynamic contrast could have been greater. In Var I the band demonstrated a big tuba sound, and playing was technically accurate, with excellent balance in the cornets through the semiquaver work. Flugel and tenor horns were very tasteful and well balanced in Var II. The trombones were excellent and tight up to 200. The euphonium cadenza was well executed and it was clever use of both euphoniums in the first 6 bars of Var IV. The discussion between cornet, baritones and euphoniums was very effective. Bar 221 was too loud for ppp, but trombones and horns were better. There was great work again from euphoniums at 229. Xylophone was excellent at Var V, although the tempo was under 144 bpm. Percussion was too loud for tubas at 272. Tubas were a little muddy at Var VI, but there was scintillating playing from 333-349. From bar 378, the playing was excellent with a very big sound, particularly in trombones and back row cornets. Overall the sound is a little top heavy. It was a very accurate performance, but sometimes a little square.

Osaka's Own Choice was Paganini Variations (Wilby). The piece began well although there were many slips. Harmon muted section was very effective. Soloists played with expression. The semiquaver work by cornets was well done, as it was with euphoniums, baritones and tubas. Every single cornet played the unison semiquaver section – awesome! The tuba quartet was mysterious and very effective. The euphonium solo was soaring and there was great solo work from tenor, flugel, soprano and solo cornet. The flugel solo was nervous, but well done. The soprano had a great sound, and the high notes were sensational. Bass trombone was fantastic and the trombone glisses effective. The piece finished with a full band sound throughout.

Osaka's Stage March was The Contestor (Powell). The opening statement was fantastic, moving into a brilliant, stylish and accurate cornet solo. The band had a big full sound, the bass solo was tight, and the solo cornet was sensational again in the trio. Trombones were terrific.

Osaka Harmony Brass members with their participation plaque

Osaka is a disciplined group. Overall the sound was top heavy, or rather lacking in bottom end. There performances on Saturday were a big step up compared to Friday. Technically the band is producing great sounds and the corner players are confident.

St Mary's Band Club Brass Band

St Mary's Band Club Brass Band, conducted by Ken Bradley, were placed Thirteenth with a total of 446 points.

St Mary's chose I know Thou art Mine (Ballantine) for their Hymn. This was not quite together at the opening, and intonation problems were evident in horns. The big end was very rich in tone, particularly the bass trombone. The grandioso passage was very exciting, and the use of outward-facing bells was effective. The band had a gorgeous close to the hymn.

The Test opened with excitement, although there really needed to be more dynamic contrast. There was great soprano work in the opening, with excellent cornet work in the semiquavers, and balance across the cornet section at 101 was top class. Var II was beautifully handled by flugel and tenor horns, but the flugel was a little under pitch occasionally. Trombones were outstanding in Var III, and bravo bass trombone! Euphonium cadenza at 200 was very classy, and playing continued with feeling and emotion into Var IV. Bar 221 could have been softer, and was better in horns and trombones and the euphoniums and baritones were very stylish at 229. Var V was great work from the xylophone, supported by excellent cornets and trombones. The big end used accents to great effect at 272. The fugue in Var VI lost some clarity at times with the addition of each section. Trombones were electric at 333. The section from 356 started building quite early, and the melody at 378 was overpowered a little by the semiquavers in the upper cornets.

For their Own Choice, St Mary's selected Lowry Sketchbook (Wilby). This had an exciting opening, and the mood was established well. The difficult semiquaver work was handled with conviction and executed with flair. The band had controlled balance throughout the first movement, and intonation was secure. Bass trombone was a star and the muted section with xylophone and glockenspiel was very effective. The 2nd movement was one of the absolute highlights of the A Grade contest. The scene was created beautifully by the upright instruments and flugel. The playing was captivating, with organ-like chords and was well controlled. The 3rd movement had an electric opening, with sensational cornets and trombones. Tubas and euphoniums were tremendous and bravo to the back row cornets! The soprano was stunning and the ending was super.

The President (German) was the Stage March choice for St Mary's and it set off at a cracking pace. There were a few blips here and there, but it was stylish and had excellent dynamic contrast. The trio section was entertaining and the cornet duet very neat. The euphoniums and tubas were smokin'.

St Mary's stepped up a notch for their own choice. The band has several young players. The percussion section did some terrific work, Dynamic contrast, attention to articulation and overall band sound were excellent. The middle of the band was a particularly enjoyable sound.

Glenorchy City Concert Brass

Glenorchy City Concert Brass, conducted by Dean Hunt, were placed Fourteenth with a total of 445 points.

Glenorchy began with their Hymn, The Day Thou Gavest (Wilby). The euphonium started beautifully, but the cornets were a little tentative. The big end was rich and full, but cornet tone was sometimes brittle. Trombones were lovely and percussion was sympathetic to the brass. The hymn finished with delightful tone, although intonation was not always secure in the middle of the band.

The Test had an energetic opening, with unison trombones excellent at 22. The soprano was a bit tentative. Var I was great work from cornets, particularly at 55, but more dynamic contrast could have improved the section up to 99. Var II was florid I style from flugel and tenor horns, although flugel was under pitch on occasions. Var III set off at a mighty tempo, and trombones were super – bravo bass trombone at 167! Euphoniums were very expressive at 200 and into Var IV, with lovely support from baritones. The solo cornet faltered, but then recovered nicely and an excellent discussion was had with euphoniums and baritones. Bar 221 was stunning and unison euphoniums at 229 were wonderful. Augmented 4ths in cornets and trombones at Var V were crisp and well executed and the xylophone was scintillating. Tubas and percussion worked well together at 272. The fugue at Var VI works well with each section being heard clearly. Leading up to 377 was excellent playing, with super accents and dynamics. The performance closed with an exhilarating and energetic finish.

For their Own Choice, Glenorchy played Tallis Variations (Sparke). This opened with top xylophone work. Cornets initially were not secure, but the band settled well. Percussion continued in fine style. Muted playing was effective and tubas were outstanding. Generally, the dynamic range could have been greater. Flugel starred in the solo in the ¾ section – bad luck on the high B. Cup muted cornets were effective and balanced. There was lovely lyrical playing from the soprano, although there were a few intonation blemishes. The cornet solo was delightful and tenor horn followed up with an expressive passage. Euphonium solo was just stunning and the following cornet solo was a real highlight of this performance – bravo! Big end and trombones had a great sound, and the contrasting harmon muted cornets were excellent with good, secure intonation. The jubiloso section was handled very well by cornets, and piece built well to an exciting climax. Fantastic work on high B's from soprano and tenor horns. Trombones and euphoniums were terrific and the piece ended tranquilly with the muted instruments well in tune.

The Stage March, Brilliant (Ord Hume), was excellent and tight at the opening. Soft sections were not always together. The cornet melody and euphonium counter melody were played with style and flair. The bass solo was tremendous with big sound throughout the band. The DC was more confident.

Glenorchy was tight and well balanced. There could have been some extension of dynamics. The frequent mute changes in Tallis were managed effectively with virtually no distraction to the audience. Percussion was sensitive and highly effective.

Footscray-Yarraville City Band

Footscray-Yaraville City Band, conducted by Phillipa Edwards, were placed Fifteenth with a total of 445 points.

Footscray's Hymn was Crimond (Richards), and this began with a lovely cornet sound. The dynamics were quite safe, but intonation and tuning were secure throughout. This was a compact and tidy performance.

The Test opened energetically, with excellent cornets at 11. Var I cornets at 55 were well balanced and style was consistent across the section. This was evident again at 101. There were some intonation problems in flugel and tenor horns in Var II, but this was a decorative and colourful section. Soft passages were consistently at safe dynamic levels. Bar 136 was excellent ensemble from flugel and horns. Trombones in Var III were not always playing the correct articulation, and the <> effects before 154 could have been given more attention. Euphonium cadenza at 200 was very nicely done, and into Var IV. This was supported by tasty cornet and baritone playing. The euphoniums at 213-214 were outstanding. Muted cornets at 221 were too loud for ppp. Percussion was great and trombones achieved a haunting mood and intonation was not secure at 238. Spectacular xylophone at Var V, and the tubas starred in this section. Percussion was too heavy at times, particularly 272 during tuba solo. Bar 294 was extremely effective. There was untidiness in Var VI, but trombones were terrific between 333 and 344. From 356 the piece built with a real sense of purpose. Suspended cymbal was much too heavy at 378 – it was obliterating the theme and upper cornets were inaudible. The close was energetic and exciting.

Paganini Variations (Wilby) was the Own Choice selection for Footscray. This had an exciting opening, except for a little over-blowing from the cornets at times. There was excellent work from the euphonium and trombone. Muted running semiquavers were well executed. Running semiquavers from solo cornet, repiano and soprano were excellent, and again by euphoniums, baritones and tubas – except for one small gap of silence in the runs. This performance grew in stature as it progressed. The unison cornet section was not together and some cornets were over-blowing. Tubas created a mysterious haunting sound and euphonium solo was very good. Bad luck to the soprano, but this recovered well and then shone! The flugel solo was artistic and full of flair, with some minor intonation blemishes at the top of the stave and phrases a little short, but otherwise the flugel was a tasteful highlight. Bass trombone and trombone glisses were very effective and dramatic. The piece built well to the climax, but with a little over-blowing from cornets.

For their Stage March, Footscray chose Simoraine (Barraclough). This was handled very well. Cornets were over-powered at times and this in turn resulted in some over- blowing. The bass drum was too loud. Euphoniums and baritones were tremendous in the trio – bravo! The soprano was terrific in the upper register. Cornets sounded quite trumpety at times.

Footscray has enjoyed a big improvement since last year. The band is producing some big rich sounds throughout. The bands uniform – little black dresses – were a special highlight for some members of the audience and we expect recruitment to pick up at Footscray! The band generally displayed good balance and intonation. More attention could be given to dynamic markings and articulation.

Moreland City Band

Moreland City Band, conducted by Wally Pope, were placed Sixteenth with a total of 438 points.

Moreland's Hymn selection was The Old Rugged Cross (arr Newton), which featured the euphonium. This performance had lovely tone and the euphonium was exceptional. There were some minor tuning and intonation problems evident in the cornets, but the tone was rich and balance was excellent. Bravo euphonium!

The Test had an exciting opening, with particularly good work from soprano and trombones. Var I was not quite together at 49, but was much better at 55. Back row was top stuff at 81. The cornets had very nice balance at 101. Var II was a feature for the band, with delightful work from flugel and tenor horns. This was very florid and stylish, although the flugel over-powered the tenor horns at times – maybe this was because the flugel was facing directly into the audience. 1st trombone was not quite secure at 161 in Var III. The soprano was hot stuff at 198-199 and the euphonium cadenza very well done and into Var IV. The euphonium continued in artistic fashion supported by solo cornet and baritones. Bar 221 could have been much softer, and this was better in horns and trombones. Bar 229 was not always secure from euphoniums. Xylophone was terrific at Var V, with nice style from cornets and trombones. There was great work from the big end at 272. Bar 294 was an electric effect! Var VI was great work with each section heard clearly. Bar 333 was not really fff. From 356 the piece built in excitement, but the ending was a little uncertain.

Paganini Variations (Wilby) was again the order of the day, and Moreland commenced with a confident opening. There was great work from cornets, then euphoniums and tubas. Soloists were comfortable – secure and accurate. There were some delightful colours being achieved. Muted cornets were excellent, trombones were not always accurate and there was some excellent work from tubas. Cornets did a terrific job in the running semiquaver work, and the back row cornets did very well. Unison cornet section was well executed, although the accompaniment was a little heavy in spots. The euphonium cadenza was outstanding – bad luck soprano – lovely flugel! The muted playing was mysterious and highly effective. Trombone glisses were terrific and the piece built to an exciting climax. The last chord was a corker!

For their Stage March, Moreland chose Praise (Heaton). This was a very tight ensemble. More dynamic contrast could have helped to bring out a bit more excitement. Flugel and horns were stylish. There were some intonation problems in the Repiano and back row cornets, but the trombones were crisp and together. There was occasional uncertainty in the solo cornets, but overall this was a secure and entertaining performance.

Moreland played this weekend with good balance, although percussion was occasionally too heavy. Soloists were excellent, and soft playing was a particular highlight. Euphoniums, baritones and tubas were the standout sections.

Capricornia Silver Band

Capricornia Silver Band, conducted by Dennis Ilott, were placed Seventeenth with a total of 436 points.

Capricornia kicked off the A Grade on Good Friday with their Hymn, The Old Hundredth (Fernie). This performance had a rich, warm tone and was well balanced. The soprano was excellent as was trombone. The band played with a lovely sostenuto style, however there were some minor tuning problems in the horns and baritones.

The Test began with an energetic opening and the semiquaver work in Var I was well handled. There was good dynamic contrast. The percussion was behind at times. Flugel and tenor horns could have flowed more freely in Var II, and there were some intonation problems on the flugel. The soft dynamics could have been softer. Trombone and bass trombone had good drama, although more dynamic contrast could have brought out the energy in this section. Bravo soprano in 198/199 and the euphonium cadenza was great and through into Var IV. Lovely solo from cornet, and 221 needed to be much softer for ppp. The xylophone was stunning at Var V and the tubas were also very good. The band was very tight in 297 and 298. The fugue was managed well in Var VI and each section executed their entry well. From 356 the piece started building with conviction and 378 was an effective and stirring giubiloso. This was a nice performance, and a little more dynamic contrast could have made it even more exciting.

Of Men and Mountains (Gregson) was the Own Choice selection for Capricornia. An ethereal atmosphere was created at the start. There were some intonation problems in horns, baritones and euphoniums, but the balance across the band was excellent. Percussion was very complimentary and unobtrusive. The cornet section did some terrific work. The muted euphoniums, baritones and tenor horns were highly effective and atmospheric. Tubas were producing a huge sound. Trombones not together at times and some intonation blemishes were creeping in. Flugel was warm and expressive, and the cornet solo and euphonium were very lyrical. The band captured the many moods in this piece well. The piece built well to a climax, with lovely sustained playing. The ending was vigorous and energetic. (It was a shame about the baby crying during this performance.)

The band's Stage March was Arabian (Rimmer). The melody was lost a little because the accompaniment was a bit heavy. The band was sounding a bit tired at this stage, and some over-blowing was evident. Generally the style was captured. There was some super work by back row cornets, and the tubas and trombones were excellent in the bass solo.

Capricornia definitely lifted a level for the Own Choice on Saturday. There were some great sounds, stylish playing and confident, secure solo work. Occasional lapses in intonation, tuning and ensemble detracted slightly.

Congratulations to all of the A Grade bands. It was truly a stunning section, with exhilarating music through both days. Thank you for your performances.

Chris Bowman