2007 Australian National Band Championships

Report: A Grade Hymn and Test

A report covering the Saturday performances of the A Grade Hymn and Test.

Adjudicator:  Ken MacDonald
Test:  Terra Australis, Martin Ellerby

Moreland City Brass
Hymn: "Hymn from "A Gallimaufry Suite"- Harper

A sluggish start but a nice blend, would have liked to have heard a little more shape in the softer more lightly scored sections. 

Test Piece:

Moreland gave us a performance of the test that showed some merit in terms of covering the basic rhythmic drive and contour of the work, but weren't able to realise the more intimate details within the score.  Some of the slower, more sparsley voiced sections seems to lack a focus and balance, with a greater need for the band to listen across for more confidence in terms of intonation.

With some their softer dynamics on the louder side in volume, this didn't give them enough space within which to bring out the drama within the work, and the solos, which will perhaps polarize the bands' potential to be at the top of the ratings at the end of the day, weren't assured in touch or occasionally in accuracy of pitch. Still a performance with merit, it will be the bands that bring out these finer points that will get them in for a greater chance of winning in this section.

Midland Brick

Hymn: Crimond

Just a little too fast here, as the band seem to want to soak up the legato nature of the opening. Second verse, the speed has increased here, leaving the solo and soprano obligato not enough room to move. Third verse- a nice warm sound here, and we would have liked to have seen a bit more length of attack here to sustain the legato sound as the fairly quick delay seemed to give the band a slightly harsher attack than was wanted.

Test:

An exciting start, with some good attention being paid to the quick changes in articulation and dynamics, but that excitement was interrupting the regular pulse of the piece, and just lightened the excitement factor through here. Again, some of the volumes in the slower passages, partiuclarly in the accompanying figures, just didn't give the soloists enough space to really sing their parts, even though it was apparent that they were. Although better than the previous band, the Brittenesque solos didn't seem to speak to us clearly, especially in the later entries of this section (Section T). 

The return of the faster-paced material involved some nice blends from the trombones and solo horn, the just occasionally some intonation issues would interrupt the flow through here. Another passage which we feel will separate the good bands from the outstanding ones is section BB, where a sensitive performance will discover the alternating focus between the sections of the band, rather than taking the literal view of making the whole band interpret this section as a homogenous forte passage. It's only a small passage, but it seems to be the one that sets up the finish without it taking the audience, or the band, by surprise.

Brisbane Excelsior
Hymn: In this Quiet Moment

Nice sonorous start here, with good shaping from the melodic parts. Cornets- make sure your cascading parts don't drag the band. Nice crescendo, and well prepared entry to the hymn. Would have liked the accompaniment here just a little softer for the flughelhorn. Second verse - good variety here in terms of dynamics. Third verse- good balance here between the cornet and the backing figures. Baritones and Euphoniums just on the verge of dragging with your scalic figures- but only slightly.

Fourth verse- Legatissimo is lovely, and a nice build. Well controlled forte, and great subito change to finish the arrangement.

Test:

Some outstanding moments throughout this performance, but we felt that it was a little uneven in some places. Some excellent playing from leaders of the various section soloists, particularly the principal cornet and euphonium.  We felt it just took a little while for the band to settle into the piece, but once there they featured some well thought out balance - particularly in the middle sections - and some nice interaction between the soloists. 

Our favourite sections - section T (with the free solos) and BB (with its special balance requirements), weren't as close to mark as we would have hoped for. Of particular note was the softer sections after T, with the slow hypnotic pulse of section U being wonderfully realised here, and slowly lifting in atmosphere, in preparation for the busy finish.  A more convincing end compared to the previous two competing bands, with us just feeling a little uncertain about the last beat in the percussion, but otherwise a strong and rewarding performance.

We later learn that the timpanist broke the skin of the timpani on the last strike - creating the extra beat or sound the we heard when the stick was extracted from the timpani!  The player was later heard saying, "..and I thought I couldn't split a note"

Cairns Brass No.1
Hymn:  Crimond

A strong performance, myabe just a little too loud, clipped at times, but certainly plenty of drive and raw energy. The band's tuning was a little out at times, in both the higher and lower dynamics.

Test:

Cairns Brass displayed some raw energy in their performance, with certainly some powerful high volume dynamics being on show.  We would have liked to have seen a greater variety of contrasts between the higher dynamics (ie fortes and fortissimos) and with their attacks. This section T seems to give all bands so far some sort of grief, with both of us wanting for a more consistent approach between the soloists and the phrasing of each of their solos. What is interesting, however, is that none of the bands seem to be getting the tam-tam note in the last bar of section S.

Some of the sections that required a warmer and rounder forte dynamic were just a little too harsh.

Kew

Hymn: It is well with my soul

The band started with a lovely delicate introduction, followed by a well shaped first verse. They continued this sensitive approach, displaying a nice fluency throughout the sections- perhaps getting a little too loud a little too early. Kew move well together as an ensemble, and provided an enlightening performance.

Test:

Kew gave us an excellent and steady start to the work, really making the most of the fp markings, although losing a little time when the dynamics came down. Some of the tempi in the slower moments gaves us some concerns, with some attractive rubato being employed, but arguably this would not be appropriate in a contest situation. The andantino at M was taken just a little too fast to capture the moment, and we would have liked a little more interaction between some sections.  The cornets seemed to struggle with a couple of passages, namely the muted scalic passages in section D, and their distant fanfares in section U. An enjoyable performance nonetheless.

Waitakere

Hymn:  I'll walk with God

The band gave us a good demonstation of their dynamic flexibility with this hymn, with some nice confident tutti soft playing in the middle verses, and although giving us a warm forte also in the middle of this arrangement, they just got a little too loud at the end to complete the. The band had some troubles playing together at some key points, which also was noticeable during their performance of the test piece.

Test:

Waitakere gave us a great start, but were having issues moving together, and maintaining tempo.  Although some good individual playing present, there some issues with regards to balance in the slower sections, and we would have liked to have seen a few more of the finer details of the score realised. In the later passages we heard some differences in attack in the tutti sections, and occasionally the upper part of the band overshadowed the rest of the ensemble in the faster forte passages. All the bands so far have demonstrated an enthusiasm for this piece, but not all are giving us the discipline needed to bring all the treasures off the pages to our ears.

Warringah Concert Brass

Hymn: Meditation: The light of the world

It was good to see Warringah back in A grade, and provided us with a hymn which was slightly hesitant in its flow, but provided us with some nicely blended sounds, and generally in tune playing.  The band gave us some warm mid and high range dynamics, but we would have liked to have seen a little less volume in the softer dynamics.

Test:

There were some very  pleasing moments with Warringah's performance, and we were treated to a steady start to the work, with the rhythmic drive being well maintained.  Some of the finer details, such as articulation and balance would have helped to give clarity to some sections, in particular the gentle interplay between the soprano cornet, solo cornet, flugel and trombone during section K. However, there were some rather tidy moments, such as the hypnotic section at U, and the build up at BB into CC was quite well constructed.  Despite some inconsistencies amongst the soloists, the interplay between the soloists at section T was one of the closer realisations that we had heard so far on the day.

Willoughby

Hymn: Prelude on Deep Harmony

Willoughby provided us with a lot of warmth during this hymn, with some very well shaped phrases, sensitive interplay between the lighter scored participants, and a depth of sound appropriate to this piece in the fuller louder dynamics. Just early on did they appear to have a little difficulty getting the freedom of flow melodically, but otherwise a sensitive and well thought out performance.

Test: 

Willoughby gave us a good account of the test, with some exciting moments and solid playing. Another strong starter, they were only hampered in the first section by some not quite so confident playing in the softer and more exposed passages. In the middle slow section there were some well balanced and sensitive moments, such as in section M, but a little more interplay between the soloists would have provided us with even further musical interest.  Otherwise, this was an enthusiastic performance, with some interesting moments, and plenty of energy.

The South Brisbane Federal Band.

Hymn: On a Hymnsong of Phillip Bliss

After a slightly unsteady start to the hymn, the feds gave us a performance of the hymn that displayed good movement, and phrasing. A little more warmth in the sound would have provided them with a greater variety of sound, which would have only complimented the good ensemble that they presented on the day- particularly within their smaller ensemble passages.

Test:

The Feds gave us a good dramatic start to their rendition of the test piece, with some accurate playing and tight rhythms. It was only when the band got to section J, with the staggered bass entries, that the pace started to drag a little. Generally we felt that the slower sections could have been a little softer, and even slightly more transparent in some sections. 

Section Q has been an area  that has seen quite a few bands come undone with their intonation, and we felt that this also applied to the Feds as well. Section Z also came as a bit of a surprise to us, with the band including an accelerando with their crescendo into section AA. This isn't in the score and although it seemed like an attractive thing to do, we were concerned that the band may loose points for this. Overall, the Feds, like everyone else that we've heard today, demonstrated an enthusiasm for the piece, which was obvious to all present.

Hawthorn

Hymn: At the cross there is room

A very theatrical performance by Hawthorne of their hymn, with some very high volume dynamics in evidence.  The band just seemed to lose the flow especially during the louder tutti passages, where a more consistent approach regarding articulation would have helped the band to achieve a greater blend throughout.

Test:

As with their hymn, Hawthorne tended to overplay their louder dynamics, especially within the upper cornets, which also started to affect their intonation quite dramatically. What was evident on the days is that those bands that approached the middle sections with a sensitivity to the material, and an emphasis on the interplay between the soloists, where going to be the bands that would be somewhere near the top of the list than the others. 

This band, like several others needed to refine their approach to this middle section, which also required that the soloists involved be confident within themselves, but also more aware of how their line intertwined with the other players of interest.  Standing the back row cornets up during the performance, and standing them next to the basses so that they were pointing their bells directly outwards to the audience, only added to the issues of balance.

Glenorchy City

Hymn: The Great Redeemer

The glenorchy band commenced their hymn with their cornet section offstage, and down on the floor with the audience. A little on the brisk side, and certainly strong on volume, which didn't seem to give them much room in which to move, except to up the volume. With the trombones going offstage at the end for a 'fade out' ending, we all felt a little undecided on how to assess this as a choice for a hymn.

Test:

A good sense of balance during the first section, and with some steadiness of pulse, but lacking those details- such as making the difference between the different dynamic and articulation markings- that really make this opening section not only a driven one, but an exciting one.  Some more sensitive playing within the middle sections of the test would have also helped, and again the difference between the bands on the day was in how they approached this middle section. Still, they gave us a driven finish, with plenty of excitement, which put them in stead with many of the other bands on the day.

Interesting note:- so far we haven't seen one convincing performance of the soprano cornet solo just before section L.

K&N

Hymn: Almighty God Thy Word Is Cast

Just lacking a little in shape and flow, a nice warm sound and some ensemble evident, but we felt that the performance was missing an end point that would have given it a focus for the band and the listeners to aim for.

Test:

There were some very tidy moments from K&N during their performance of the test piece, and it was apparent to us that some time had been put aside to work on realising the finer points of this work.  This was apparent in all sections of the work, from the differences in attack and dynamics throughout the first section, and the band's overall balance.

It was good to see some confidence and interaction amongst the soloists in the middle sections, and that things didn't get out hand towards the end of the performance. There were, of course some moments that did require some more attention, for example the basses at section J- where the band began to lose a little of their drive. Otherwise, an enjoyable performance.

Footscray-Yarraville

Hymn: Mid all the Traffic

Nice solo from the principal and soprano cornets. An even flow throughout, and we were only left wanting for a little more depth in the sound of the band. An enjoyable performance.

Test:

F-Y got off to a very good start with the test, providing us with plenty of drive, and some good subito dynamic changes and swells. The tongues for the first batch of semiquavers were a little sluggish, but it didn't take too long for them to sharpen up for the opening section.  Despite some unsteadiness in the cornets during their muted scalic passages in section D, F-Y set up an exciting atmosphere for the audience to listen to. 

They continued with some sensitive playing throughout the middle section, with some nice interplay present between the various soloists, but occasionally covered by some of the tuned percussion. Some of the volume levels for the lower dynamics through this section were perhaps a little too loud, but the balance was just consistently well thought out despite this. The same thought patterns must have gone into the preparation of the last section as well, as there were some excellent passages building up to the final bars, with good balance and warmth of sound being maintained consistently.

The band was just a little unsteady getting into the final tempo change, but this didn't detract from a very detailed and exciting performance.

St Marys Band Club Brass

Hymn: I will follow thee

Big but slightly uneven sound, just struggling to maintain a sense of flow during this hymn.

Test:

Plenty of drive from St Mary's and their performance of the test piece, just lacking clarity in their attacks on the shorter note values. Section D is another one of those passages that was an indicator to us in how precise the bands were in picking out the finer points of the score, and we just found the band just a little uneven in balance and little too loud throughout this section. 

There were some enjoyable phrases coming from our respective soloists during the slow section of the work, but this wasn't consistently maintained. Most of the bands, quite rightly, appeared to enjoy soaking up the yummy chords and sounds during the euphonium's anthem in section M, but unfortunately this passage is only marked piano for all of the accompanying figures, and it loses the intimacy by bringing this solo out. 

We felt that St Mary's just let the beast too much off its leash as they returned to the faster material at section CC, and it gave the finish of their performance just a little bit unsteady compared to some of the other performances that we heard on the day.

Darebin City Brass

Hymn: Praise My Soul

A very broad sound from Darebin during the performance of their hymn. We felt a little wanting for the shape of this performance, and the band seemed to lack a general sense of articulation throughout, which undermined the band's ability to demonstrate the free flowing phrasing needed to play this hymn.

Test:

Darebin provided us with one of the slower tempi of the day for the opening of the test, but it was certainly not without drive nor excitement. They were just a little unsteady at first, but got into their rhythm by about section B (about twenty-three bars into the work). We noticed on the day that several bands took to get to this milestone in the piece before they found their way- probably because of the first instance of thinner scoring and longer note values here. It was also the spot where several bands found themselves dragging a little, but this was absent from Darebin's performance. 

However, like many bands, they did start to lose some momentum through section J, with its bass entries. Some of Darebin's playing through the slower sections was a little short of the discipline needed to realise what was required, with some balance and ensemble getting in the way of some of the soloists. There were some exceptions to this with the hypnotic section at U being very well balanced, and with the piano dynamic being very well represented in their performance.

Despite a few untidy moments with the concluding section of this, Darebin provided us with a strong presence, with some well prepared moments and committed enthusiasm.

City of Holroyd

Hymn: Reflections in Nature

Holroyd gave us a chance to enjoy their glowing, warm sound throughout this hymn, which was only marred by some occasionally off-centre intonation. Once they found their pace, they gave us some good ensemble moments in the tutti sections.

Test:

Holroyd were another band to get off to a steady start, with a little unsteadiness with their short note values and scalic passages in the first section of the piece. There was also some inconsistencies with their approach to the fp markings throughout this section. 

We particularly enjoyed the flugel and tenor horn solos throughout the slower sections, but we felt that the accompanying figures throughout the rest of the band could have been a little more sympathetic to what was going on around them. 

There was a nice sense of balance achieved as the performance lead to the finish of the work, particularly at section Z and AA, which also had a good sense of warmth that was appropriate for here.

Closing comments:

At the end of the day, we felt that none of the bands on the day really captured the tone of the work completely, and even though the better bands provided us with many well-presented and thought provoking moments, no-one seemed to be able to give a reading that was thoroughly cohesive and memorable to the extreme. 

It was a matter of looking to the band that not so much captured the piece, but rather the one that was the most accurate in drawing out the details laid out in the score of the piece.  Some bars, such as the soprano solo just before section L, weren't  realised by any of the players on the day, and there were some sections, such as the hypnotic section U - and the euponium solo in section M, that were only realised by a couple of groups.  The requirements of the middle slow sections, with their intimate and intertwined solo parts, were only realised by only a handful of the bands that performed. 

With the exception of a few bands, there was a wide gap between those bands that tried to find the detail in the score, and those who were still grappling with the basic ensemble requirements of the piece - the remaining few bands being somewhere in the mid-field of all of this.

What do we think?

Test:

1. Excelsior

2. Kew

3. Footscray-Yarraville

Hymn:

1. Excelsior

2. Kew

3. Footscray-Yarraville

Adrian Head and Phil Johnston