Result:

Championship Division:

Test Piece: Rococo Variations (Edward Gregson)
Adjudicators: Dr Robert Childs; Katrina Marzella-Wheeler; Jan Van der Roost

1. De Bazuin Oenkerk (Jaap Musschenga): 96
2. Provinciale Brassband Groningen (Richard Visser): 95
3. De Waldsang (Rieks van der Velde):94
4. Soli Brass (Anne van den Berg): 92
5. Brass Band Schoonhoven (Paul Holland): 91
6. Brassband Rijnmond (Luc Vertommen): 90
7. De Spijkerpakkenband (Paulus de Jong): 89
8. Altena Brass (Ward De Ketelaere): 88
9. Brass Band Limburg (Renato Meli): 87

Best Instrumentalist: Soprano Cornet, De Waldsang

Championship Division round up and opinion

What a fine contest we have heard this evening with the nine bands truly embracing what is a magnificent set work in Edward Gregson’s Rococo Variations.

We have heard myriad approaches to both interpretation and technical execution, but it is the bands that have embraced and captured the stylistic contrasts of the wonderfully characterised variations that are the heart of the music that will surely come to the surface in what will have been a demanding job for the judges.

For bands that chose volume over subtlety (and there were a few today), disappointment might be the order of the day. But at the top of the pile were a clutch of performances that were both musically insightful and technically commanding in execution.

Potential title winners...

1. Brass Band Schoonhoven (Paul Holland)
2. De Bazuin Oenkerk (Jaap Musschenga)
3. De Waldsang (Rieks van der Velde)
4. Provinciale Brassband Groningen (Richard Visser)

Dark Horse: Soli Brass (Anne van den Berg)

9. Brassband Rijnmond (Luc Vertommen)

The opening theme is beautifully done, not only in terms of its shape and colouring, but for allowing the tempo to flow naturally, lending it a gentle grace.

The Toccata is managed with impressive accuracy and the rhythmic interactions between the sections are both precise and controlled dynamically, with terrific sounds from the cornet section and trombones. The Siciliana as a handful of slips unsettle the surface of what is otherwise a flowing lilt, with a beautifully transparent muted interlude at its centre-point.

The Waltz gets increasingly untidy as it progresses and there is now an increasing edge to the sound that tends to over compensate for moments where the cohesion of the ensemble is not entirely comfortable. That excessive dynamic level is also evident in the Moto Perpetuo, where the sound edges towards the strident.

The Lament is a weighty, emotionally charged affair however and this has a real heft, reaching an apex that reaches deeply into the darker corners of the score.

In the Fugal Scherzo the energy levels and excitement are undeniable, with a drive and momentum that is almost frantic in its propulsion. But again, the sheer volume of the closing bars tends to push the boundaries of a performance that had so much merit both musically and technically.

Christopher Thomas

8. Soli Brass (Anne van den Berg)

The opening note doesn't quite speak together but otherwise this is a stately, but not overly fussy account of the theme. And arguably all the better for it. There is a graceful simplicity about its delivery.

The Toccata is workmanlike. Taut and rhythmically precise in its execution, but this doesn't play to the crowd and is again, a straightforward and admirable delivery of what is written on the score.

There are hints of strain in some of the solo lines in the Siciliana, including soprano and euphonium'minor points but magnified with the margins for victory so finely defined today. Otherwise, this is allowed to flow well with a shapely lilt to the rhythm and style.

The Waltz is just a little untidy in places, but the Moto Perpetuo comes to life and is followed by a lament that reaches a high point of. Fabulous Eb bass solo, this is beautifully done, although cornets are not uniform in the quote from Contest Music and soprano again struggles in the upper register.

The Fugal Scherzando sets off energetically but becomes a touch frantic as it progresses. In full flight they sound of the band is mightily impressive and at times, there is admirable detail that penetrates the textures, including the horns who have done a fine job from the middle of the band.

The close is a powerfully emphatic blaze of triumph that plays magnificently to the fine sound of a highly disciplined band.

Christopher Thomas

7. De Waldsang (Rieks van der Velde)

The defending champion commences in elegant style with an opening theme of poise, shape and atmosphere. This is so well nuanced and moulded.

The Toccata opens with impressive cohesion and a tight that underpins a fine band sound that is used sparingly'but when unleashed it is a powerful tool indeed.
The Siciliana is allowed to move along with fluidity and is all the for it. There are just the slightest of insecurities here and there'and they really are minor'but the style of this is so engaging and pliable in its line and shaping.

The Waltz is again so cleverly wrought and the MD allows the band to breathe life into the rhythms and lilt of what is ultimately a dance'something that some bands have forgotten today. The Moto Perpetuo is a model of detail and again, the control of the dynamics is a crucial feature here as the carefully layered balances allow the key parts to be projected with clarity.

The lament is searchingly and achingly powerful in its emotional breadth...the keening of the solo horn, cornet and euphonium creating a haunting, disturbingly deep emotional impression. This really does get to the heart of the music.

A bristling taut Fugal Scherzo is delivered with such swashbuckling energy and bravura. A little too much so at times but it gives way to a bracing, majestic conclusion that puts the final seal on a performance that found so much in the hidden recesses of the store.

A strong defence of its title from De Waldsang. But the band has tough competition on a day when the standard has been extremely high.

Christopher Thomas

6. De Bazuin Oenkerk (Jaap Musschenga)

A darkly honed, emotionally reaching statement of the opening theme is both elegant and richly sonorous.

The Toccata opens effectively with no sounds forced or overstated. Rhythmically this is tightly underpinned and there is a stylish sophistication about the delivery that impresses. This has been an impressive.

The Siciliana has a gentle lilt that transforms into a watery muted sound world and emerges into light again with a gently eloquent solo cornet and soprano that is perhaps mighty heavy but always secure. This has been a subtle, thoughtfully nuanced take on the Siciliana.

A deft transition into the Waltz and again, nothing is forced here. it is restraint that it is the order of the day. The benefit of that restraint comes more sharply into focus in the Moto Perpetuo, which is impressively precise in its rhythmic accuracy. What a thoughtful approach to the score this is turning out to be'intelligently conceived by the MD and shaped from the middle with an absence of histrionics.

The eerie calls through the darkness of horn, cornet etc are chillingly done and this such a potent atmosphere about it. The sudden gravitas of the climax comes settles down as Eb bass calls out and the cornets deliver the austere melody from the central movement of Contest Music. This has really made a powerful impression.

The Fugal Scherzo commences its diabolical assault with searing power and there is so much detail and clarity from the cornet section. Allied with such a clever layering and balancing of the sounds. Something that has been a feature throughout this performance.

The majestic ending is beautifully measured and paced'a fitting close to a performance of exceptional musical insight.

Christopher Thomas

5. De Spijkerpakkenband (Paulus de Jong)

A beautifully shaped and nuanced opening theme has a touching sense of pathos and the transition into the Toccata itself is nicely done.

An excellent opening to the Toccata. This has a spiky precision about it and sets the scene for an appropriately gentle lilt and stylistic awareness, also sees a handful of insecurities in solo and key support lines.

The Waltz again finds the shape of the music well and the contrasts between the variations are being careful shaped and thought out. This is not always matched by consistency of execution however, yet there are also touches of brilliance from several key players including soprano and euphonium.

The Moto Perpetuo drives on with impressive purpose and momentum, whilst the Lament grows and mutates into something that that is crushingly powerful in its menace and scope. The transformation of mood in the closing bars is deftly done and although ensemble is not always pristinely crisp in the devilish Fugal Scherzo, the ending is majestically done. A closing apotheosis of blazing triumph.

So much to admire in this intelligently conceived account, but one that also tended to heavy dynamic levels at times.

Christopher Thomas

4. Provinciale Brassband Groningen (Richard Visser)

An elegantly poised opening theme gives way to a Toccata that opens impressively, with the rhythmic interplay well captured and the dynamics kept under taut control.

The Siciliana opens a little hesitantly until Lode Violet on principal cornet delivers a gloriously flowing cornet solo'how beautifully done this is. The personification of lyricism. Soprano before solo cornet once again adds a little touch of magic to proceedings.

The Waltz finds the contrasting style of the variation admirably, although the intricate underlying euphonium line is sometimes overpowered by the band. But this is a performance of musical insight that is really delving deeply into the composer portraits that are buried within its heart.

The same can be said of the Lament, which grows in anguish and anger to a powerfully wrought outpouring of grief. This is haunting, eerie even in its atmosphere. No less impressive is the control of the band sound which is all the more impressive for being used with restraint at louder dynamic levels.

Excellent euphonium to open the Moto Perpetuo and this flies along in hair raising fashion with a terrific solo cornet line adding detail and an added dimension to the soundscape. The pacing of the build to the final jubilant pages of the score is managed with skill and the band clearly leaves something in the tank for an organ like final chord.

Christopher Thomas

3. Altena Brass (Ward De Ketelaere)

On one level, the opening theme is beautifully shaped. But it is also on the slow side and possibly loses a touch of its courtly elegance as a result.

The Toccata lacks punch and impact, but is also delivered with broadly tidy ensemble.

The Siciliana has a nice lilt and there are moments of limpid delicacy. There are also a handful of clipped solo entries fine work from solo cornet who is already proving to be the band's star player.

The Waltz is safely despatched without major incident but in the Moto Perpetuo that follows the band suddenly a seam of confidence and this is so much more impressive. Fine work from the trombone section and the final climax hits new dynamic levels for the performance before Lament commences darkly with a telling atmosphere of foreboding. The horn, cornet and euphonium calls are possibly a little 'polite' but the Heatonesque hammer blows that follow are anything but and this seems to be the motto of this performance. In its best moments, it really does impress but those moments are not maintained consistently throughout.

The horns are audible throughout the Fugal Scherzo and that clarity in the middle of the band is something that has been noted at a handful of key moments.

The ending loses its momentum but there have been moments of real quality and atmosphere in this highly committed reading from Altena Brass.

Christopher Thomas

2. Brass Band Schoonhoven (Paul Holland)

An elegantly shaped and nuanced opening theme that admirably sets the scene. This is beautifully done.

The Toccata opens with striking precision and machine like accuracy. Fine control of the dynamics from a band that has a naturally huge sound but i with insight and where necessary, restraint. The intricacies of the middle parts are heard with clarity, even at low dynamic levels and this is playing of impressive presence and stylistic awareness.

What a lovely lilt there is to the Siciliana, beautifully shaped and restrained with delicate, solo entries and touches of colour and texture that beguile and tantalise the ear.

The Waltz is elegant and intricate but with crushing outbursts of power that are underpinned by ensemble work and so much stylistic awareness.

The Motor Perpetuo is stunningly delivered with a searingly accurate and detailed cornet section and dynamics that seem to leap off the page. Wow, this is impressive stuff indeed.

Sonorous basses open the Chaconne (Lament) which then morphs into crushingly powerful hammer blows as the chilling calls of horn, euphonium and cornet cry in anguish. This is eerie, haunting stuff that makes a deep impression before the mood morphs once again at the close.

The Fugal Scherzo is magnificent. What a sound the band has when in full flight and the level of detail through the middle of the band again makes us sit up and listen.

The majesty of the closing bars is capped by the tolling of bells in what seems to be an almost prophetic final statement'we shall see. But this has been a reading of immense insight, technical clarity and magnificent soundscapes from Schoonhoven. Stunning stuff indeed.

Christopher Thomas