2023 Scottish Open Champion: the cooperation band

Prof Philip Wilby presents the trophy to the cooperation band

2023 winners: the cooperation band

Runner-up: Hepworth Band

Third place: Whitburn

Fourth place: Dalmellington

4BR Best Soloist: Clare Taylor — principal cornet of Hepworth

Best Euphonium: Chris Flynn of the cooperation band

Ken Ramsay Memorial Award for Best Basses: the cooperation band

The composer Philip Wilby thanked the bands

Result:

Adjudicators: Alan Fernie and Sheona Wade

1. the cooperation band (Mike Fowles): 196
2. Hepworth (Ryan Watkins): 193
3. Whitburn (Prof Nicholas Childs): 192
4. Dalmellington (Alan Friel): 191
5. East London Brass (Jayne Murrill): 190
6. Dalkeith & Monktonhall (James Chamberlain): 189
7. Easington Colliery (Stephen Malcolm): 188
8. Fishburn (Duncan Beckley): 187
9. Elland Silver (Daniel Brooks): 186
10. Bon-Accord Silver (Anne Crookston): 185
11. Kingdom Brass (Thomas Wyss): 184
12. Rainford (Sarah Groarke-Booth): 183
13. Kirkintilloch Kelvin (Martyn Ramsay): 182

Best Soloist: Clare Taylor — (cornet) — Hepworth
Best Euphonium: Chris Flynn (the cooperation band)
Best Basses: the cooperation band

Round up and opinion

A super piece from Philip Wilby that reveals more and more about itself the more you hear it — and especially when it is played with an acute appreciation of its musical as well as technical intent.

Three bands really did that for us today — although very much in their different ways.

The control and refinement of the cooperation band may just get the nod by a nose over the passion and zestfulness of Hepworth for us with a slightly misfiring but still high quality Whitburn in third.

A tight fight for the remaining top-six places though — with Elland, Dalmellington and Kingdom and Rainford as our dark horse.

1. the cooperation band
2. Hepworth
3. Whitburn
4. Elland Silver
5. Dalmellington
6. Kingdom Brass

Dark Horse: Rainford

13. East London Brass (Jayne Murrill).

Another well directed and thought out account that sought the detail and balance of Wilby's score to create the musical picture — right from the lean opening chords that had made a significant but not overwhelming mark.

Some intonation issues just caught the ear, but so did the detailing in all the parts and the pulsating drive of the rhythmic clarity.

'Deep Field' had a sprase, cold emptiness and understated distant hynam quality that had an elegiac feel not many have captured so effectively today. Bravo cornet — played perfectly in that context.

'Black Hole' just takes its time to find its engulfing menace, but when it does it has a malevolent presence and a swirl of danger that is only missed by such a well paced 'Nebula' sidestep that then really pulsates with fizz and glow.

Great build to 'Ad Astra' — bags and bags of drama and fearfulness, that is replaced by a majestic vista of those huge pillars of sound and an energised drive for home.

Just a little over excited and dynamically ripe, but there was more than enough heft to draw a finely structured account to a quite splendid close.

Iwan Fox

12. Bon-Accord Silver (Anne Crookston)

A great deal to admire in the musical approach and execution of this performance — and right from the start with the lean, meaty chords which were marbled in textured balance. The pacing and dynamic that followed also allowed the detail to be heard (including the best trom of the day).

Not quite as settled in 'Deep Field', but the slight stresses and moments of unease came as a result of adhering to the clear intentions of the score. It did detract at times, but the overall musical picture was not tarnished and tasteful cornet and atmospheric perc closed things so well.

'Black Hole' inched ever closer with its shark eyed menace — deliberate and unyielding and then all engulfing. It was only assayed by the fleet footed sparkle of a 'Nebula' paced with just the right hint of edgy danger.

Just lost a little cohesion as the lactic acid hit lips in the 'Ad Astra', but once again the intelligent pacing and defined dynamic steps gave the music a lean muscularity that punched above its weight and had a enough in reserve for a grandioso finish of note.

Iwan Fox

11. Dalmellington (Alan Friel)

A performance set out on a well defined template by an MD who directed with a libero command from the podium — one minute wielding a metronomic baton then quickly allowing freedom for the players to shine.

It made for engaging listening — the opening bold but not forced with well balanced tonal pillars backed by a tempo that allowed the inner forensic detail to come through.

Super moments of expression in 'Deep Field' — led by the understated finesse of a very fine solo cornet and atmospheric perc which then drew the music forward with a precise military drum beat to 'Black Hole'.

Everything was so well controlled, yet pulsed with a dark menace that was only assayed by the arrival of a sprightly 'Nebula'.

Perhaps it just needed an extra bit of TNT to really explode but you appreciated the reserve when it came to the build to 'Ad Astra' and the band's ability to draw deep into their dynamic reserves at just the right time.

The second set of monumental chords were not tonally brittle either and heralded a controlled race to the denouement to round off such a well structured account from MD and band.

Iwan Fox

10. Rainford (Sarah Groarke-Booth)

Imposing vertical pillars of sound in the 'Ice & Fire' opening had a dark, Nordic edge of drama and mystery, and although the dynamic calibrations thereafter seemed 'healthy', the detailing runs and effects were still heard with a sharp edge.

'Deep Field' evoked a cold emptiness, with the void filled with distant hymnal pleadings. Just the occasional waver in intonation and individual stress, but so well shaped by the MD — nothing overdone and so musically defined.

'Black Hole' segue edged and edged forward with menacing appreciation, despite the odd gremlin to reach 'Nebula' with spot on pacing. This was super stuff — flashes and sparkles of motifs, runs and effects that all came through the heavy scoring.

Fine build to 'Ad Astra' which was delivered with an appreciation of the opening dynamic, although it did lose some cohesion as the adrenaline raced on the perc and lactic acid seeped in the lips.

The dramatic close though certainly left the right stamp of musical authority on the mind to round off a well thought out and structured performance.

Iwan Fox

9. Elland Silver (Daniel Brooks)

Cultured sounds hallmarked an imposing opening section — deep and round edged, and whilst not all the following detail quite made itself heard, the reserve and refinement was still in keeping with the 'monumental' requirements.

'Deep Field' occasionally lost focus and textured cohesion, but again the sense of controlled passion stood out in the MDs welcome approach. The tonality in lead lines (great euph) and ensemble had a lean, plumby richness — and solo cornet was such a classy focal point.

Just the odd moment of textured unevenness in the segue through 'Black Hole', but 'Nebula' was super — a champagne sparkler, with its 'Vinter' rhythmic pulse enhanced by the dynamics and pacing.

The MD admirably kept the lid on excess to in 'Ad Astra' but lost nothing of the dramatic tension or drive in the process with all the running detail heard (and not many have been able to do that today).

Enough in the tank too for a standing blast finish from the back row and an unloosening of the hitherto snap-tight dynamic leash for a grandiose end to an intelligently laid out performance.

Iwan Fox

8. Hepworth (Ryan Watkins)

An opening hewn from slabs of Yorkshire limestone set the tone; monumental yet porous enough to allow the inner marbling to be heard and for the forensic detail to seep though, despite the imposing dynamic leveling and vibrant percussion colouring.

'Deep Field' followed suit — almost hymnal in the passionate approach taken by the MD to the score. The flow was shaped so musically and had an endearing quality of richness.

Very different eyes interpreting Wilby this — but refreshing and respectful nonetheless. Bravo soloists — led by an excellent solo cornet. The segue into 'Black Hole' was the best today — and so too the build to 'Nebula' which again was led by great lead lines (sop this time)

A bit shock and awe with the fireworks but the effect pinned you in your seat and the build to 'Ad Astra' sent you through the wall. Got a little ripe in dynamic and tonality but be heck it made its mark — and the monumental chords were stanchions of certainty drilled deep into your temple.

The uber-passionate close (standing cornets) was meaty and majestic — nothing left in the tank for sure with a performance and reading that squeezed every bit of inspiration out of the score and the players.

Iwan Fox

7. Whitburn (Prof Nicholas Childs)

So much authority about the opening — 'monumental' pillars of chordal sound, but each with clear horizontal texturing. It gave way to a detailed weave of flowing lines and dynamic effect that drew such a defined sense of purpose to the music.

'Deep field' was uneasy though to open (not helped by a percussion malfunction), but it recovered its poise. MD drew a warmth to the mysterious emptiness — like a faint glow of a dying star in the vast distance. Cornet was superb but there was unevenness in other places.

'Black Hole' drew a depth of militaristic menace (great drum work) that notched up in intensity and malevolence before sparkling like a firework in the night sky in 'Nebula'.

Super stuff that, and followed by huge organlike sounds — rounded, dark and textured like molasses. 'Ad Astra' had so much detail on show — especially in the middle band which has not be heard today.

MD has urged his band to draw out everything from the Wilby score — and they really responded in a magnificent final section. All bells up and out to round off a very high quality show but one not without its moments of unease.

Iwan Fox

6. Easington Colliery (Stephen Malcolm)

Clear certainty in a neatly handled opening section gave balance to the monumental chords followed by the precision to the ensemble work. Dynamically safe maybe but it was laid out with a bold sense of purpose.

'Deep Field' never sounded at full ease — the dynamic spectrum was narrow and didn't quite capture the cold emptiness of space. Bravo sop and an expert bit of thunder sheet effect though.

The 'Black Hole' upped in tempo and menace — again led by fine sop and perc to a dramatic climax. The 'Nebula' was a little heavy but had a sharp edged fizz to it that had character and ignited the sparkle that drove through to 'Ad Astra'.

Full throttle to close — the MD bringing controlled urgency to the fore that had a stamp of authority. A fine close that to a performance that mixed excellence and inconsistencies together.

Iwan Fox