Stanley Wainwright Memorial Trophy: Tom Hutchinson (cornet) — Cory Brian Evans Memorial Trophy for Best Soprano: Ashley Marston (Brighouse & Rastrick) The Geoffrey Whitham Memorial Trophy for Best Euphonium: Chris Robertson (Brighouse & Rastrick) Phillip McCann Trophy for Best Cornet: Tom Hutchinson (Cory)
* Brighouse & Rastrick will receive an invitation from Brass Bands England to represent England at the 2027 European Championships in Montreux, Switzerland
** Oldham Band (Lees) and Whitburn are relegated to the Grand Shield
Saturday 6, 18:48:04
Final thoughts from the pundits
Chris Thomas and Steven Mead give their final thoughts on the day as well as their personal predictions on the outcome of the contest.
Impressions in the hall...
The second half of the contest certainly added further levels of quality to what has been a day that has grown in musical stature and excellence.
Brighouse's account set the marker, chased by the likes of Foden's, Treize Etoiles and Cory for many in the hall, with worthy mentions for Flowers and Grimethorpe too. Others may come in the mix from the first half too, but it seems the quality at the very top end was defined and the winners should emerge from that heavyweight quartet.
Malcolm Wood
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Saturday 6, 18:25:23
18. Grimethorpe Colliery (Michael Bach)
Grimethorpe's opening is one of raw intent. Huge sounds and equally impressive contrasts, underpinned by latent energy.
Fluidly enunciated cadenza one from cornet and euphonium and the initial sense of purpose returns in the Vivace and Precipitato, with the deftly handled Vivace followed by an adrenalin fuelled romp through the Precipitato. That is big boned and at times verging on the aggressive, yet it's immensely involving and exciting at the same time.
The off stage voices are no less impressive — secure, tight and carefully placed for maximum effect.
By the time we reach the Allegro Pesante the band is on a very clear musical trajectory: One which is no holds barred, up front and with Michael Bach squeezing every ounce of musical energy from his players.
The Adagio perhaps just loses its way a little and there are one or two uncomfortable moments of intonation, but the affirmation wrought from the closing moments of the work are delivered in emphatic style. A fine way to end the contest capping an emotive, passion fuelled account by Grimethorpe.
Christopher Thomas
Technical accuracy: 18 Rhythmic precision and clarity: 18 Control of full dynamic range: 19 Ensemble precision: 19 Tuning/intonation: 19 Band sound quality: 19 Balance/clarity of textures: 19 Quality of soloists: 20 Overall understanding: 20 Total musicality from the band: 19
Total: 190
A superb way to end the day's contesting here in Symphony Hall.
A performance of total commitment by the Grimethorpe Colliery Band, displaying unbelievable amounts of stamina in the closing minutes. This was a tidy and well organised performance.
It had its untidy moments also, but thoroughly impressive overall. Some outstanding solo moments by solo cornet, both euphoniums and the trombone section. Could easily make its way into the prizes today.
The conductor was revelling in the energy and passion of this music, make no mistake!
Steven Mead
Saturday 6, 18:01:28
17. Oldham Band (Lees) (John Collins)
A measured, yet powerful opening from Oldham, and Roger Webster is eloquent alongside the solo euphonium in cadenza one.
The lightness of touch is well found in the Vivace, and the Precipitato has a real presence about it — heft and momentum in equal measure.
The offstage work is deftly handled and this is growing into a solid, well considered and generally cleanly executed account from Oldham.
The euphonium duet is again stylishly delivered and securely despatched with the Allegro Pesante solid, big boned and with an underlying grind of conflict. The band tires to a degree in the final paragraphs and it all gets a little turgid, but there has been so much to commend here in a performance that really found some fine musical moments and momentum.
Christopher Thomas
Technical accuracy: 17 Rhythmic precision and clarity: 18 Control of full dynamic range: 19 Ensemble precision: 18 Tuning/intonation: 18 Band sound quality: 18 Balance/clarity of textures: 18 Quality of soloists: 19 Overall understanding: 17 Total musicality from the band: 18
Total: 180
Some very impressive moments in this performance, which had a good flow, good energy and some outstanding solo performances. One or two loose moments with the ensemble and a clear tiring at the very end.
They should be proud of this, a tough piece and at the end of the day, they brought it off well with outstanding playing from the flugel, solo cornet and first trombone.
Steven Mead
Saturday 6, 17:34:43
16. Cory (Philip Harper)
An opening of huge purpose from Cory: crushingly powerful and laced with so much menace and foreboding. Cadenza one is beautifully done. Sweetly intoned on the top D and elegant in shape and style.
The Vivace crackles with detail — wow this really does motor, and the Precipitato that follows is shot through with dynamism. Boy does this fly along, but the textures are so clear with an accuracy of execution that is startling.
The off stage cadenzas are fabulous: Balanced and nuanced to perfection and with an innate awareness between the soloists and the band. Cadenza three is no less impressive as the euphoniums coalesce admirably culminating in a soaring top E.
The Presto that follows seems to have a life of its own; mercurial and fleeting, with the accuracy of ensemble again to be marvelled at. The Allegro Pesante finds the heart of the orchestral original, the tread menacing, grim and relentless.
A slip at the beginning of the Adagio is noted (horns?) but this has so much poise and elegance of line with Philip Harper allowing the music to flow with space and breadth.
The approach to the final bars is inexorable, measured and paced with such mastery, and culminating in a stunning final emphatic outburst of triumph.
Christopher Thomas
Technical accuracy: 18 Rhythmic precision and clarity: 19 Control of full dynamic range: 20 Ensemble precision: 20 Tuning/intonation: 19 Band sound quality: 20 Balance/clarity of textures: 19 Quality of soloists: 19 Overall understanding: 20 Total musicality from the band: 20
Total: 195
An astonishing and memorable performance from Cory.
Some of the most beautiful and well controlled soft playing we have heard all day — it brought a tear to the eye.
And the normal Cory brilliance on full show too; so well directed by Maestro Harper. Just a couple of moments that just took off the supreme glass off the performance, but at this time of the day, what a way to deliver a superb performance.
Nerves of steel, let's hope the judges reward it.
Steven Mead
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Saturday 6, 17:23:50
Saturday 6, 17:05:59
15. Leyland (Daniel Brooks)
An opening of unalloyed power from Leyland which is immediately tamed by a cadenza that sees (uniquely so far today) the principal cornet and solo euphonium seated alongside each other. It's a tactic that clearly pays dividends as they deliver a well executed, if slightly heavyweight reading with admirably secure top D's to boot.
The Precipitato is muscular, yet at the same time admirably direct and powerful in its delivery. It hits between the eyes, but it is gritty, dark stuff at times that drives powerful lines between the feuding dynamics of the story behind the music.
The off stage cadenzas are uniformly secure, very impressive in fact, and the Presto is driven, almost demonic in its impact. There is a dramatic intent behind this as well as a collective attitude that seems to suggest that the band has simply told itself to 'go for it'.
The same attitude is clearly audible in the Allegro Pesante, but as we reach the Adagio it all goes somewhat awry as there are uncomfortable moments for solo cornet and tuning issues start to seep through with alarming consistency.
A great shame, as until the final quarter or so of the performance this could have figured so much higher than we suspect it ultimately will.
Christopher Thomas
Technical accuracy: 15 Rhythmic precision and clarity: 19 Control of full dynamic range: 18 Ensemble precision: 19 Tuning/intonation: 19 Band sound quality: 19 Balance/clarity of textures: 18 Quality of soloists: 14 Overall understanding: 18 Total musicality from the band: 17
Total: 176
A very creditable performance, but lost its way near the end in some exposed solo playing. This was a real pity as there was some stunning stuff on the way. What a great band sound and generally excellent ensemble. Just a little over blown at the end, but maybe in frustration!
Clearly, Leyland Band have a great deal to offer and they'll take comfort in 95% of what they did was outstanding today.
Steven Mead
Saturday 6, 16:43:03
14. Foden's (Russell Gray)
The opening chords hit home immediately in their raw, dissonant power, although there is just a hint of tuning unease in the ppp bars.
The top D's of cadenza one are safely delivered, although the line could perhaps be a little more elegant. What follows is hugely impressive, yet not without slips, as the odd clip and splash appears through the textures. By the Precipitato however the dust has settled and this is purposeful, driving stuff, potent in its impact and impressively tight in its execution.
The off stage parts are no less impressive, and after a slightly uneasy opening the band is now in another gear, exemplified to telling effect in the Presto which chatters and flies along in headlong fashion. This is great stuff.
The Allegro Pesante is weighty but possibly without that last degree of heft that has been heard amongst the very best today. However, the pacing and gradual cranking up of the final paragraphs is simply masterful in its gradual build to a blazing statement of affirmation.
A fine, musically informed reading from Foden's that perhaps ultimately lacked that little bit of special magic.
Christopher Thomas
Technical accuracy: 18 Rhythmic precision and clarity: 20 Control of full dynamic range: 20 Ensemble precision: 20 Tuning/intonation: 19 Band sound quality: 19 Balance/clarity of textures: 18 Quality of soloists: 19 Overall understanding: 20 Total musicality from the band: 19
Total: 191
An imperious performance by Foden's Band, expertly lead by Russell Gray once again. Just missing a little bit of magic perhaps and the small extra title winning touches, despite the conductor's obvious understanding of the original.
Much to admire, but quite a few slip slips and little moments that didn't work perfectly. In this company today it could just cost.
However, if stylistically it's what the composer Stephen Roberts and his colleagues are looking for, then it'll make the elite prizes.
Steven Mead
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Saturday 6, 16:17:57
13. Flowers (Paul Holland)
An opening of grating, grinding dissonance and raw power from Flowers. Mightily impressive in its impact and followed by cadenza one that is elegantly played bar the slightest moment of unease at its peak.
There is a balletic grace and lightness of touch about what follows, and the contrasts of dynamic in the Vivace and Precipitato are magnificently spaced, adding latent drama to the performance allied with impressive levels of clarity and detail.
The off stage cadenzas are delivered with cohesion, the dynamic level perfect and with cadenza three finely executed by the euphoniums.
The Allegro Pesante seems to lack that essential menace and the dark, relentless tread that has marked out the most searching performances today, although there is something left in the tank for a blazing final affirmation of the soul.
A fine performance without doubt from Flowers, but one that might not have done quite enough to see the band at the very top end of the results.
Christopher Thomas
Technical accuracy: 18 Rhythmic precision and clarity: 19 Control of full dynamic range: 20 Ensemble precision: 20 Tuning/intonation: 20 Band sound quality: 20 Balance/clarity of textures: 19 Quality of soloists: 19 Overall understanding: 18 Total musicality from the band: 19
Total: 192
An impressive performance by Flowers. So many brilliant players around the stand, and so much to admire in this thoroughbred rendition of the test piece. At the end though something tells me that something was missing — although difficult to put a finger on what it was.
Just some atmosphere missing perhaps in the final five minutes or so; not quiet enough passion, love and emotion. Mostly a very clean and precise performance, but not without blemish in a few spots.
It's a 'nearly' one performance for me and perhaps the judges.
Steven Mead
Saturday 6, 15:56:32
Two trios either side of the comfort break
The contest is serving up a real feast: From great individual and ensemble playing to a conducting masterclass from Allan Withington.
How wonderful to see EverReady back on the stage at the British Open after an absence of over a decade led by an extremely dapper looking David Morton. There was a buzz of excitement when they took to the stage about the players.
KNDS Fairey under Phil Chalk took everyone to a comfort break with an engaging reading that just pulled the listener in, with any post break doziness blown away by Prof David King rolling back the years to deliver a stunning account from Brighouse & Rastrick. They were mesmerising.
All this and there is still more to come.
Malcolm Wood
Saturday 6, 15:52:39
12. the cooperation band (Katrina Marzella-Wheeler)
A huge opening from the Scots and one that makes a striking impression before cadenza one which is slightly marred by a slip at its snowy peak. It settles, but there are a number of slips amongst the perils of the Vivace that follow, despite a stylistic approach that is very much at one with the music. It's been a matter of execution rather than artistic insight this.
Fine solo cornet to open the off stage cadenzas which are excellent from both a delivery and a positional viewpoint.
Euphoniums excel in cadenza three and the Presto lifts off the page with sheer momentum and energy. There is no holding back here and to the band and MD's huge credit, we are being given a driven, adrenalin fuelled reading just marred by occasional slips and clips.
The Allegro Pesante is delivered with weight and solidity, with dynamic levels carefully managed and the grim, relentless character of the music captured in dramatic tones.
The Adagio transition could perhaps move along a little more, but the build to the closing paragraphs is built with impressive purpose and pacing to a final triumphant proclamation of affirmation. A fine show from the cooperation band, but not without its inconsistencies.
Christopher Thomas
Technical accuracy: 17 Rhythmic precision and clarity: 18 Control of full dynamic range: 18 Ensemble precision: 19 Tuning/intonation: 18 Band sound quality: 19 Balance/clarity of textures: 19 Quality of soloists: 18 Overall understanding: 19 Total musicality from the band: 18
Total: 184
Another incredibly consistent performance by this band — expertly led.
There could've been elements that were more stylish, but the full band sound is indeed exciting and thrilling as they demonstrated at the end. Just needing a few more stylistic moments to really elevate this to the next level — but there were moments of light, wit and real passion at the appropriate moments.
Steven Mead
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Saturday 6, 15:26:09
11. Brass Band Treize Etoiles (Frédéric Théodoloz)
The opening bars demonstrate a potent amalgam of power and balance, with just the right amount of weight relative to the ppp that follows. Impressive stuff indeed. The peak of the cadenza is not perfect but it's a fleeting moment that is lost amongst the quality of what surrounds it.
There is a lovely delicacy about the Calmato, so beautifully and lightly balletic in its execution and deft delivery, and it's followed by a Vivace that abounds with detail and bristles with energy.
The technical execution of all of this is to be marvelled at, but having just listened to the sheer emotion and passion that oozed from every bar of Brighouse's performance, this sounds a little like a purely technical exercise in comparison.
Fine off stage playing is beautifully done, as is cadenza three in which the two euphoniums are so gloriously entwined.
The Allegro Pesante is underpinned by a relentless, yet never overbearing tread, and here the carefully managed dynamic level is thoughtfully and effectively embedded in the musical picture.
The Adagio and its transition into the final paragraphs is so well played, but again we don't sense the sheer passion and emotion that this music commands and Stephen Roberts talked about so eloquently in his You Tube presentation of the work.
Yet, in other ways this is playing that cannot be faulted, delivered with a confidence and level of technical assurance that is borne of a band being absolutely at one with itself and its MD.
Christopher Thomas
Technical accuracy: 19 Rhythmic precision and clarity: 20 Control of full dynamic range: 20 Ensemble precision: 20 Tuning/intonation: 20 Band sound quality: 19 Balance/clarity of textures: 20 Quality of soloists: 19 Overall understanding: 18 Total musicality from the band: 19
Total: 194
Another astonishingly good performance this time by Treize Etoiles. They played beautifully with great long lines, magical precision — really stunning from start to finish.
However, it comes hot on the heels of Brighouse who had all the emotion of the story of the ballet and more.
This was outstanding band playing, but for me, just a couple of points behind — although who knows what the judges are going to go for with performances like this to marvel at. Congratulations to this wonderful Swiss Band — it is sure to be in the top end of the results.
Steven Mead
Saturday 6, 15:01:19
10. Brighouse & Rastrick (Prof. David King)
An opening of balanced power and huge contrasts from Brighouse — albeit contrasts that are aided by the use of unmarked mutes on the horns.
Cadenza one is beautifully done, bar the tiniest of slips on the top D, and the ensuing Vivace bristles and crackles with energy. This flies along with so much precision in the cornets, clarity in fact that is quite astonishing in its focus and unanimity.
The off stage parts are executed to perfection; faultless in their delivery and so beautifully distant yet clear. Exceptional stuff indeed, and on quite another level to what has gone before.
Fabulous work from the euphoniums in cadenza three and the Presto is machine like, motoring in its accuracy yet breathlessly exciting at the same time.
What a wonderful transition into the Allegro Pesante, which is delivered with weight and a grim, menacing power that captures so much of the orchestral style of the original. This is simply fabulous stuff.
The fleeting Adagio is gorgeously simple, limpid and delicate in its love story. In short, it casts a magical spell over Symphony Hall. You could hear a pin drop at the back of the hall. It's just ravishing — there is no other word to describe it.
The sound from the middle of the band as we reach the closing paragraphs is glorious. Everything is measured, balanced and nuanced to perfection. And what an ending!
It truly feels that we have been on a journey here — one that has traversed every gamut of human emotion, adversity and triumph.
Christopher Thomas
Technical accuracy: 19 Rhythmic precision and clarity: 20 Control of full dynamic range: 20 Ensemble precision: 19 Tuning/intonation: 19 Band sound quality: 20 Balance/clarity of textures: 20 Quality of soloists: 19 Overall understanding: 20 Total musicality from the band: 20
Total: 196
A performance to savour in every way imaginable.
The perfect reading by Prof King — and his band absolutely delivered on it. Full of nuance, full of style, full of energy, full of passion — all communicated in such a way that everyone in the hall was thrilled to the core.
Fantastic soloists, especially principal cornet, both euphoniums, the trombone section, flugel too — hard to leave anyone out in fact.
May 16 • We're always happy to hear from anyone interested in joining a friendly and supportive band, whether you're returning to banding or looking for a new challenge.
May 15 • We are seeking an enthusiastic and musically skilled Associate Conductor to lead and develop our band alongside our current Musical Director Phil Goodwin. . Rehearsals are Mondays and Wednesdays, 8-10pm at Delph Band Club.
May 15 • We have a vacancy for a soprano cornet, and with lots of exciting engagements coming up we would love to get this seat filled!. We rehearse every Monday and Thursday 8-10pm at our own bandroom in Tintwistle, under the baton of our superb MD, Jim Henson.
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