Results:

2019 Elite Champion: Eikanger Bjorsvik

Elite Division prize winners

Elite Division:

Adjudicators: Joseph Parisi, Rieks van der Velde, Kjell Inge Torgersen

1. Eikanger-Bjorsvik Musikklag (Reid Gilje): 10 + 99 = 109
2. Krohnengen Brass Band (Garry Cutt): 9 + 96 = 105
3. Manger Musikklag (Martin Philip Winter): 10 + 94 = 104
4. Stavanger Brass Band (Allan Withington): 10 + 93 = 103
5. Jaren Hornmusikkforening (Lars Erik Gudim): 7 + 95 = 102
6. Bjorsvik Brass (Frode Amundsen): 7 + 91 = 98
7. Oslo Brass Band (Kai Grinde Myrann): 7 + 90 = 97
8. Tertnes Brass (Sindre Dalhaug): 6 + 88 = 94
9. Kleppe Musikklag (Trond Helland): 6 + 87 = 93

Best Soloist: William Grov Skramsett (cornet) — Manger Musikklag
Entertainment Prize: Manger Musikklag

2019 First Division Champion: Askoy Brass Band

First Division:

Adjudicators: Morten Fagerjord & Stan Nieuwenhuis

1. Askoy Brass Band (Svein Henrik Giske): 9 + 94 = 103
2. Hasle Brass (Robert Solberg Nilsen): 7 + 95 = 102
3. Musikkorpset Gjallarhorn (Rune Hannisdal): 8 + 93 = 101
4. Rong Brass (David Morton): 8 + 91 = 99
5. Ila Brass Band (Bjorn Breistein): 7 + 90 = 97
6. Montebello Brass (Prof Preben Nicolai Kragh-Riesling): 8 + 86 = 94
7. Oslofjord Brass (John Philip Hannevik): 5 + 85 = 90
8. Flesland Musikklag (Arvid Anthun): 8 + 82 = 90
9. Sola Brass Band (Gwyn Evans): 7 + 80 = 87

Best Soloist: Kjetil Anundsen (horn) — Musikkorpset Gjallarhorn

2019 Second Division Champion: Radoy Brass Band

Second Division:

Adjudicators: Les Neish & Anne Crookston

1. Radoy Brass (Torstein Aagaard-Nilsen): 8 + 94 = 102
2. Haukas Musikklag (Egil Magnussen): 9 + 92 = 101
3. Oster Brass (David Morton): 7 + 91 = 98
4. Bergen Brass Band (Thor-Arne Pedersen): 7 + 89 = 96
5. Fjell Brass (Joseph W. Cook): 6 + 88 = 94
6. Sagvag Musikklag (Christopher King): 7 + 87 = 94
7. Skui Brassband (Tormod Flaten): 6 + 86 = 92
8. KOS Krohnengen Old Stars (Rune Hannisdal): 6 + 85 = 91
9. Tysnes Musikklag (Yngve Nikolaisen): 6 + 82 = 88
10. Alexander Brass Band (Morten E. Hansen): 6 + 83 = 87*
11. Agder Brass (Thomas Swatland): 5 + 81 = 86
12. Folleso Musikklag (Thorgeir Thunestvedt): 6 + 80 = 86
13. Sorum Musikklag (Sebastian Haukas): 5 + 80 = 85

* 2 point time penalty

Best Soloist: Anne Britt Hermansen Vetas (trumpet) — Radoy Brass

2019 Third Division Champion: Gjesdal Brassband

Third Division:

Adjudicators: Frank Brodahl & Selmer Simonsen

1. Gjesdal Brassband (Jonas Skartveit Rogne): 7 + 94 = 101
2. Seim Musikklag (Torstein T. Holmas): 6 + 93 = 99
3. Stangaland Brass (Paul Hughes): 6 + 92 = 98
4. Laksevag Musikkforening (Fredrick Schjelderup): 7 + 90 = 97
5. Lindas Brass (Vidar Nordli): 7 + 89 = 96
6. Lyshornet Brass (Christian Breistein): 6 + 88 = 94
7. Stavanger Kommunes Korps (Morten Ovrebekk): 6 + 87 = 93
8. Hetlevik Musikklag (Sturle Berntsen): 5 + 86 = 91
9. Rosendal Musikklag (Yngve Nikolaisen): 5 + 85 = 90
10= Randaberg Musikkorps (Pal Magne Austnes-Underhaug): 5 + 84 = 89
10= Tysvaer Brass (Martin Kinn): 5 + 84 = 89

Best Soloist: Arne Stain Aarrestad (euphonium) — Gjesdal Brass Band

Fourth Division Champion: IMI Brass

Fourth Division:

Adjudicators: Adam Cooke & Lee Rigg

1. IMI Brass (Halvor Gaard): 9 + 90 = 99
2. Sotra Brass (Ben Hirons): 8 + 88 = 96
3. Indre Torungen Brass Ensemble (Lars Bjornar Strengenes): 7 + 87 = 94
4. Tasta Brass (Morten Ovrebekk): 6 + 86 = 92
5. Norheimsund Musikklag (Patrik Randefalk): 6 + 85 = 91
6. Riska Brass Band (Espen Westbye): 6 + 84 = 90
7. Langhus Brass (Tomas Austestad): 7 + 82 = 89
8. Klovheim Brass (Oddvar Nostdal): 5 + 81 = 86
9. Musikkorpset Heimdal (Linas Dakinevicius): 6 + 79 = 85
10. Fitjar Musikklag (Svein Roger Koppang): 5 + 79 = 84
11. Jorpeland Musikkorps (Paul Farr): 6 + 78 = 84
12. Karmsund Brass (Steinar Andsnes): 6 + 77 = 83

Best Soloist: Torunn Asebo (horn) — Norheimsund Musikklag

Final round up and prediction:

As always there has been plenty to talk about with the performances in the Elite Division today.

Entertainment comes in many different forms — and it doesn't all have to be sugar coated, flash bang wallop. That said, we have had a fair surfeit of that type of stuff today — and very played it has been too, but the bands who went on on a musical limb and really tried to do something different (and had the resources and players to do so) made their mark.

The big three offered such intriguing contrasts in their thought processes — and there is a good case for anyone of Eikanger, Manger and Stavanger taking the ultimate accolade.

The most complete and coherent performance came from Manger, the most moving from Stavanger and the most inventive from Eikanger. Each contained playing of the highest quality.

For us it may well be Manger from Eikanger and Stavanger — but by the narrowest of margins and with personal preference at its heart.

4BR Prediction:

1. Manger
2. Eikanger
3. Stavanger

Elite Division:

Tertnes Brass
Conductor: Sindre Dalhaug

From America with Love

All Night Long (Lionel Ritchie Arr. Leigh Baker)
I Get Along Without You Very Well (Except Sometimes) (Hoagy Carmichael Arr. Systad & Ertvaag)
Soloist: Alice Fagerdal (horn)
Cuban Sugar (Tchaikovsky Arr. Sverre Indris Joner)
El Camino Real (Alfred Reed Arr. Frode Rydland)

A nod to the great musical lands far across the waves as Tertnes take inspiration from America (even if some of the links are like Donald Trump's hair — tenuously brought together)

The Lionel Ritchie opener is just in need of an energy boost, but it gets its message across, whilst the tenor horn solo is splendid — played with such a level of assurance and stylistic maturity. Super playing that.

'Cuban Sugar' is also a hoot — backed by a wicked perc section that could have been brought in from a back street Havana Bar called 'Che Guevara's' . Great cross over styles that worked a sugary treat.

It's all rounded off with a touch of Saturday morning picture house action-packed drama — all daring do and senoritas with loose morals and heavy bosoms to hide hidden Mexican treasure under.

It's played with flair and steamy verve too — richly coloured and passionate. The finale is given the whip hand and it fairly flies home to the bodega and glory.

Ay, caramba!!!

Elite Division:

Jaren Hornmusikkforening
Conductor: Lars Erik Gudim

The Quincy Jones Experience

Quincy's Big Band (Quincy Jones Arr. Lars Erik Gudim)
Soloists: Benjamin Mortensen (cornet), Andreas Fossum (flugel), Arne Bilden (trombone), Rolv Olav Eide (drums)
Grace (Quincy Jones Arr. Christer Olofsson)
Soloist: Benjamin Mortensen (cornet)
Ironside (Quincy Jones Arr. Lars Erik Gudim)
Soloist: Arne Bilden (trombone)
On the Street Where You Live (Frederick Loewe, Quincy Jones Arr. Niclas Rydh)
Soloist: Rolv Olav Eide (drums)

Well this has been delight — fizzing with energy and dollops and dollops of style — all underpinned and driven like a steam engine by the inexhaustible kit player.

The cornet team also work like Roman galley slaves and there is a rich texture to the sound that weaves its way deep into each of the pieces — from piercing piccolo to oil-well deep tubas. All the soloists played with aplomb.

'Ironside' was a touch of 60's hammed up funk — from the great way in which they mimicked the famous opening theme to the vicious cross clashes at its close.

Don't quite know how Eliza Doolittle would have danced all night to the Quincy Jones treatment of 'On the Street', but Rex Harrison as Henry Higgins surely would have approved — he was the type of chap who never said no to a late night jaunt on the east end cobbles.

Gaw'd bless you guv' and MD — that was a set that made a mark.

What a pity so few people where in the hall to hear it.

Elite Division:

Bjorsvik Brass
Conductor: Frode Amundsen

Something old, Something new, Something borrowed, Something blue

Ruslan & Lyudmila (Glinka Arr. Robert Childs)
Song of the Night Sky (Christopher Bond)
Soloist: Camilla Sj'vold (cornet)
O Magnum Mysterium (Morten Lauridsen Arr. Philip Littlemore)
The First Circle (Pat Metheny Arr. Ray Farr)

Out with the old first — and a cracking whip through the Glinka that got the blood and adrenaline racing through those experienced lips around the stands. Stylish playing that — not over indulged or over egged.

A bit of a heart stopping moment as the soloist's part goes awol — but its found — much to Frode Rydland's obvious relief. Head full of toys sop players...

It's a lovely bit of playing from the soloist to follow on a piece with perhaps a not so 'new' subconscious nod of appreciation to 'Where is love?' from 'Oliver!' — so tender and refined.

So too the approach to the 'borrowed' Lauridsen, which sometimes can be over sentimentalised — but not here thanks to the MDs musical instincts. Bravo to him and his players — all using their noggins. One of the highlights of the contest.

A happy clappy touch of Pat 'Crystal' Metheny to close — as cool as Steve McQueen in a turtle-neck jumper driving the chase scene in 'Bullitt'.

Forget something blue, this was sub-zero chic and sophisticated to bring a really engaging set to a frisky, grooved close.

Elite Division:

Stavanger Brass Band
Conductor: Allan Withington

Emigration — Integration

Prologue: (Stan Nieuwenhuis)
Fear: (Stan Nieuwenhuis)
Soloists: Per Illguth, Elisabeth Aarrestad, Karianne Flatene Nilssen
Desire: (Stan Nieuwenhuis)
Security: (Stan Nieuwenhuis)
Soloist: Per Illguth
Correctness: (Stan Nieuwenhuis)
Soloist: Lena Soyland, Frida Gilje, Tom Christensen, Henrik Kleveland
Anger: (Stan Nieuwenhuis)
Loneliness: (Stan Nieuwenhuis)
Soloist: Frank Braafhart
Love: (Stan Nieuwenhuis)

An intensely relevant and moving tale told in the first person through the voice of a 17 year old Syrian refugee called Alma — fleeing the horrors of her homeland only to be faced with the equally terrifying challenges that come with identity and integration in a new land.

The story is brought to life with such subtle, well defined contrasts by composer Stan Nieuwenhuis — lighter in texture and drama than you may at first think. This is music that reflects personal desires too — sensual as well as materialistic — each having character and purpose.

There is an overt sense of the theatrical about the presentation for sure (including the clever use of young dancers) but it is the musical substance that drives the story on. The depiction of loneliness is heart wrenching in its tenderness.

Optimism and love conquers all to close — embracing and humane — as is the music — tender but as big as a new home, a new family and a new country for a unique person, but someone like everyone of us too.

The audience signing to embrace Alma is such a moving ending — quiet and totally fulfilling.

Very different this. So brave in concept and utterly compelling in its message. Entertainment of a very different kind today.

Elite Division:

Manger Musikklag
Conductor: Martin Philip Winter

Moon landing?

Van Allen's Belt (Martin Winter)
Soloist: Preben Johansen (soprano) & Birthe Carlsen (euphonium)
Clair de lune (Debussy Arr. Martin Winter)
Soloist: William Grov Skramsett (cornet)
Where Have The Stars Gone? (Martin Winter)
Soloist: Ole Martin Hauan, Sigurd Olsen & Torgrim Halse (percussion)
The Wind and The Moon (Martin Winter)
Deet Darh (Nick Walters & Nick Walkley)
Soloist: William Grov Skramsett (trompet) & Havard Svenkerud Brustad (bass trombone)

The horniest old chestnut of all conspiracy theories in the world: Did man step foot on the moon in 1969... even the announcer called Buzz Aldrin a name from another planet...

The opening music is rocket fuel of the time — high energy gasoline (with a neat nod to Twinkle Twinkle Little Star) to fire the afterburners, with jazzy 'improv' solo spots adding to the feeling of late 60's cool and expectation.

The cornet solo is as icy veined sub-zero cool as Neil Armstrong on the rung of the lunar lander — suave playing that, subtly nuanced jazz inflections adding interesting contours to the musical picture.

The perc led feature that follows has a hint of the old 'Star Trek' theme to it, but its witty and clever, although surely you can't hear 'wind' in the vacuum of space. Only a fart in a spacesuit...

No problem, this is luscious music making and so atmospheric — a moment of real magic from the MD and his players.

What a great ending — almost a rap version finale inspired by Neil Armstrong's famous words — and then its back to the great late 1960s music — with the drive of some of those legendary Quincy Jones scores to Ironside and the like — full beanz, biffer and a groove as deep as the Marianas Trench.

Head's gone... Head's gone... Head's gone...

Brill.

Elite Division:

Eikanger Bjorsvik Musikklag
Conductor: Reid Gilje

Magic!

Magic! — The opening act (Reid Gilje)
Magic! — Act 1: The Handkerchief (Kjetil Dj'nne)
Magic! — Act 2: The Rope — Buckin' Bronco (Frank Macchia Arr. Sebastian L. Torjusen)
Love.. Magic with a capital M (Frode Rydland)
Soloist: Gyda Matland (flugel) & Vidar Nordli (trombone)
Magic! — Act 3: The Card (Reid Gilje)
Rise from Nothing (Kjetil Dj'nne)
Illusion (Fredrick Schjelderup)

It's show time — and the big, brash Las Vegas style musical intros that were the staple diet of the 'strip' in the late 60's and 70's. All that was missing were the leggy showgirls and Elvis getting ready back stage in his rhinestone jump suit.

The first and second act sees the magician on stage — neatly choreographed with the music.

There is plenty of substance to the musical 'accompaniment' though — more than enough to ensure that the rather tame tricks with handkerchief and then a rope do not detract. He's no Las Vegas David Copperfield for sure, not as funny as Tommy Cooper either, but better than Ali Bongo...

There is some seriously fine playing going on here (great sop) in the groovy 'Buckin' Bronco' and the flugel and trombone leads play with a lyrical beauty to follow.

The magician is back for a card trick, whilst the band play an extended section of building drama that flows with waves of sound over the audience.

We then head into the final sections, the ensemble taking centre stage to showcase all their magical talents — huge sounds, razor sharp precision and technique.

Back comes the magic man to round things off with a flourish, but you have to say its all a bit underwhelming.

There are usually three parts to a great bit of magic — the pledge, the turn and the prestige. This had plenty of each, but somehow it never quite managed to take your breath away as the sum of its parts..

Elite Division:

Kleppe Musikklag
Conductor: Trond Helland

Travels in Space

Enter the Galaxies (Paul Lovatt-Cooper)
Rusalka's Song to the Moon (Dvor'k Arr: Gordon Langford)
Soloist: Ingrid Westad Hollingen
Cantina Band (John Williams Arr. Tina Kvamme)
Glow (Eric Whitacre Arr. Jacob Vilhelm Larsen)
Summon the Worms (Brian Tyler)
Ride (Samuel R. Hazo Arr. Jonathan Bates)

It's space age travels for Kleppe and they blast off with PLC's Saturn V rocket — full of vapour trails and high G forces.

The cornet solo to follow is tender but just a little lost on occasions amid the heavy accompaniment, but it is well shaped by the lead line. The cut out stars waning and waxing by a silver moon held like a huge dinner plate is a bit off putting, but the musicality wins through.

The boggle eyed head gear tells you where we are heading — right into the heart of Star Wars extras land — and the famous cantina band. Lots of quirky fun this — neatly put together and delivered.

'Glow' does just that — warmly not harshly, a single flame of hope and reflection that casts light into the darkest of souls. Shaped and phrased with understanding this by the MD.

The music from 'Dune' is as filmatic as it gets — all Hans Zimmer meets John Williams. Not as nasty as the worms in the great 'Tremors' film — more the type to stick on the end of a fishing line for trout by the sounds of it.

We end with the exciting sounds of Hazo's 'Ride' — full throttle, leathering it at pace with the countryside flashing by in vibrant colours to bring a well managed set to a thrilling close.

Elite Division:

Krohnengen Brass Band
Conductor: Garry Cutt

Five Greats

Le Corsair (Berlioz Arr. Geoffrey Brand)
Icicles (Anne Grethe Preus Arr. Magnus Bandseth)
Soloist: Henning Anundsen
La Danza (Rossini Arr. Gordon Langford)
Arioso (Bach Arr. Howard Snell)
Rendezvous (Torstein Aagaard-Nilsen)

The Marple Maestro puts his hallmark stamp on things from the beginning — like an assay silver 925 mark engraved into each page of the Berlioz score.

This is cultured, pacy, piratical playing — swashbuckling its way with energy and drive — like Errol Flynn with a cutlass between his teeth jumping aboard Captain Pugwash's 'Black Pig' to nick the booty.

No praise high enough for the soloist Henning Anundsen — playing that deliberately and beautifully sent a chill into the marrow of your bones. There was such tenderness and warmth within the cold exterior of the notes of the score.

Nearly boiling point with the Rossini to follow — if not quite enough to leave a scorch mark on the stage, whilst the Bach brings out the best in the MD and his band — rich, dark tonality coupled with long, tapered phrasing. A little thong of beauty — much like the MD some would say...

A real shift in musical emphasis to close with the dislocated Grieg homage with hints and touches of Faust to fighting trolls. Clever, subversive and highly original in thinking and execution, with a flowing beauty to the music contrasting with a funky bubble of grooved intensity.

Not quite what you would have expected with what went before — but all the better for it to close a high class set that mixed the traditional with the contemporary so well.