Result

Test Piece: Symphony in Two Movements (Edward Gregson)
Adjudicators: Ian Bousfield; Dr Stephen Cobb; Prof Rob Wiffen OBE

1. Desford Colliery (David Morton)*
2. Black Dyke (Prof Nicholas Childs)*
3. Flowers (Paul Holland)*
4. Whitburn (Chris Shanks)*
5. Brighouse & Rastrick (Prof David King)
6. Hepworth (Ryan Watkins)
7. Tredegar (Ian Porthouse)
8. Ebbw Valley (Matthew Rowe)
9. the cooperation band (Katrina Marzella-Wheeler)
10. Oldham Band (Lees) (John Collins)
11. Foden's (Russell Gray)
12. GUS Band (David Thornton)
13. Leyland (Daniel Brooks)
14. Aldbourne (Glyn Williams)
15. NASUWT Riverside (Stephen Malcolm)
16. East London Brass (Jayne Murrill)
17. Zone One Brass (Richard Ward)
18. City of Hull (Jonathan Beatty)
19. St Dennis (Darren R. Hawken)

Best instrumentalist: Kevin Crockford, Desford Colliery
*Top four pre-qualify for 2026 National final

Final round up and opinions

Well, what a thoroughly absorbing day — with no band really bolting the door closed on their rivals in their bid to claim the title.

Interpretations varied with the best — all engaging and genuine, and all with their huge positives and little minus clips.

It seems to be a four way fight between Black Dyke, Foden's, Brighouse & Rastrick and Flowers — all worthy of being crowned champion, with Hepworth and Tredegar making up the top-six.

The dark horses may come from Aldbourne, Desford, the cooperation band and Whitburn.

Steven Mead goes for:
1. Black Dyke
2. Brighouse & Rastrick
3. Foden's
4. Flowers
5. Hepworth
6. Tredegar
Dark Horses: Aldbourne and Desford

Christopher Thomas goes for:
1. Foden's
2. Black Dyke
3. Flowers
4. Brighouse & Rastrick
5. Tredegar
6. Hepworth
Dark Horse: the cooperation band and Aldbourne

Josie Sleigh goes for:
1. Black Dyke
2. Foden's
3. Flowers
4. Tredegar
5. Brighouse & Rastrick
6. Hepworth
Dark Horse: Whitburn and the cooperation band

19. St Dennis (Darren R. Hawken)

I Toccata: St Dennis returns to the Royal Albert Hall after several decades of trying and delivers an opening Toccata that is highly creditable in its execution. Admirably, the band is aware of the sound it needs to make to fill the hall and whilst not entirely consistent in detail, this has been a driven and purposeful first movement.

II Variations: The chorale is painted in glowing colours, capturing the changing moods of the melody as it builds with insight.

Variation 1: Not all of the detail is clear, with some of the opening semi quaver figures uneven in dynamic and clarity. Yet much of what follows is played with abundant determination.

Variation 2: There is a sense that things are starting to unravel a little as the ensemble becomes scrappier as the variation progresses.

Variation 3: The going is getting tougher and tougher now as the exposed soloists fall prey to errors and the domino effect follows around the band. Huge credit to the band's soprano player though who shines through and one can sense the musical intentions even if not matched by execution. The close is nicely done.

Variation 4: The band seems to find a renewed seam of energy at the opening of the variation but the mistakes soon return and there are moments where the tempo rocks as players try desperately to get in their parts in. There's enough energy left for a final vigorous flourish though.

Overall: A creditable and brave attempt from St. Dennis but one that ultimately proved too much for the band today.

Christopher Thomas

Technical accuracy: 17
Rhythmic precision and clarity: 18
Control of full dynamic range: 17
Ensemble precision: 17
Tuning/intonation: 18
Band sound quality: 19
Balance/clarity of textures: 19
Quality of soloists: 18
Overall understanding: 18
Total musicality from the band: 18

Total: 179

A very fine spirited performance to close the day. Some rather uneven sounds at times, but this was secure, well directed and well intention. They should be very proud of this. Some magnificent sounds to close the day with a full voice ending full of clarity. One or two small exposed sections in the middle just revealed one or two uncomfortable moments but overall this was super, thanks so much.

Thanks to everyone for following the comments today. It's been a long day and we've done our best from our vantage point here in one of the boxes. It's been a great test piece and the audience has also demonstrated great stamina throughout. I believe it's between four bands, Black Dyke, Foden's, Brighouse and Flowers, in any order. But our esteemed judges, from their vantage point will come up with the definitive order. Thanks for following and hope you've enjoyed the day wherever you are.

Steven Mead

Finally, 19th in the draw, St. Dennis band produced a solemn yet decisive opening to the Toccata. A few rogue notes were placed, though they continued with passion and heat. Into the second movement, the variations each had their own journey, but did not manage to connect into the wider narrative of the work. The presentation of the chorale theme grew majestically into a gleaming wall of sound. Whilst the faster sections were not always delivered with absolute clarity, they each had unmistakeable raw excitement. An atmosphere of brooding menace was created finely in the second variation whilst the following variation unfortunately suffered from a series of mishaps in some of the solo parts, but was guided to a climax imbued with a sense openness. This performance was struck with a formidable sense of defiance and heart.

Josie Sleigh

18. Flowers (Paul Holland)

I Toccata: An opening that stamps an immediate impression of purpose and deep seated solidity. The relaxed interlude is beautifully done as cornets glide and the clarity of the inner band parts is exceptional as the dynamics are exploited to maximum effect. This has been an opening of technical security and impressive musical insight from the defending champion.

II Variations: A chorale that radiates luminosity and again the dynamic contrasts are just beautiful, with such impressive security at the very lowest levels.

Variation 1: Boy dies this fly. The opening bars crackle with detail and once again, we hear so much invaluable detail as parts and effects file out of the textures.

Variation 2: The sense of menace here is palpable. But it is the pacing as it builds and accelerates toward the final climax that really carries us along…

Variation 3: This is allowed to flow with such ease, grace and space. And it is that sense of space that has defined the very best of the performances of Variation 3 today, where the soloists have been given reign to float their solos with freedom as they are here. Luke Barker excels on solo cornet with wonderful touches of colour from Paul Richards on soprano.

Variation 4: A powerhouse of a finale. Crackling with energy and precision, allied with an inexorable build up to the final triumphant statement.

Overall: Flowers could hardly have done more in the defence of its title. As it is, the result is going to be a very close call indeed.

Christopher Thomas

Technical accuracy: 19
Rhythmic precision and clarity: 19
Control of full dynamic range: 20
Ensemble precision: 19
Tuning/intonation: 20
Band sound quality: 19
Balance/clarity of textures: 20
Quality of soloists: 19
Overall understanding: 19
Total musicality from the band: 19

Total: 193

Super performance from Flowers. That just about ticked every box. Some consummate virtuosic playing, no question. So difficult to call this contest. For me, it was stunning but just missing something of the structure that Gregson perhaps was looking for. Was it Symphonic? No but it was certainly exciting and at times mesmerising. Super solo cornet , soprano, euphoniums, trombone and horn. We will find out soon the preference of our three judges! Bravo Flowers, an impressive show.

Steven Mead

Defending champions, Flowers, opened with a resonant, weighty sound, puncturing the acoustics of the Royal Albert Hall. With forceful drive, they powered through the opening gestures with no sense of trepidation. The basses rumbled like distant thunder underneath shimmering cornets, and with dynamics carefully managed, the result was a unified first movement. The second movement opened with pleasant, flowing tempo and a first variation emerging from shadowy darkness. The second variation had one or two minor slips, but Flowers powered through to produce a sublime third variation, with presence and depth even at the softest levels. Finally, the fourth variation was a complete demonstration of virtuosity in the service of unity. This performance had astonishing interpretive courage up to the final chord which left a lasting impression in the hall.

Josie Sleigh

17. Ebbw Valley (Matthew Rowe)

I Toccata: A quality opening from Ebbw Valley. Solid, purposeful and driven, with a smooth cornet section and a clear musical intent at its heart. It lost its way in terms of ensemble and clarity at times with some detail lost within the textures, but much of the Toccata displayed a confidence that impressed.

II Variations: A luminous chorale that was delivered at an effective tempo and grew effectively into:

Variation 1: Some of the sounds stick out somewhat through the band rather than finding their dynamic level within the textures, the result being that it all sounds a little scrappy and untidy.

Variation 2: As with variation 1, the genuine 'menace' of the score is lost amidst the battle to keep the ensemble neat and tidy. When it comes off, everything settles down but consistency continues to be the undermining factor in Ebbw valley's performance.

Variation 3: There are moments of repose but all too often the flow and elegance of the lyrical melodic lines are fragile. Soloists perform to the best of their ability but the musicality has fallen pray to the demands of the score.

Variation 4: A brave attempt to power through to the conclusion but this has been a tough ask for the band.

Overall: After a promising opening, Ebbw Valley were not able to sustain their early potential, with a performance that fell away rapidly as it progressed.

Christopher Thomas

Technical accuracy: 17
Rhythmic precision and clarity: 17
Control of full dynamic range: 16
Ensemble precision: 17
Tuning/intonation: 16
Band sound quality: 18
Balance/clarity of textures: 16
Quality of soloists: 17
Overall understanding: 18
Total musicality from the band: 17

Total: 169

A fine performance by Ebbw Valley. Well directed with clear information for all musicians. It had its scrappy moments, especially in the top end corners at times. The tuning did trouble at times as well and we needed to hear a lot more detail of inner parts particularly in the technical sections. However, they should feel happy with this and should enjoy their evening in London knowing they couldn't have done much better. Congratulations to them and thanks.

Steven Mead

Assured fortes of dramatic punctuation alongside introspective piano sections: this Toccata had noble contrasts. What followed was a presentation of the second movement that was not as good as the first. Delicate pronunciation of the fragmented themes in the first variation allowed for a well-coordinated build up, though not all passages were executed evenly. There was a sharp-edged, fiery feel to the second variation before settling into the luxurious ebb and flow of the third variation. Full of tenderness and affection; a world in which love is the gateway to fulfilment. The partnerships of motivic material in the fourth variation were attempted well but fatigue could be detected toward the end with some unsettling moments. Some great moments from Ebbw Valley, especially towards the beginning of the piece.

Josie Sleigh

16. the cooperation band (Katrina Marzella-Wheeler)

I Toccata: An incisive and emphatic opening from cooperation with the pulse set quickly and deftly. The effects and dynamic nuances are clear and effects are brought through the denser of the textures with clarity. Careful attention to the balance and quality of the sounds is evident and although there are a couple of fleeting clips, this has real presence and solidity

II Variations: Once again, the approach here is impressive but not without those tiny but telling frustrations. Yet the shaping and flow of the chorale is of the highest quality.

Variation 1: Not all of the quieter detail is heard with pristine clarity, notably at the very opening of the variation and at times the ensemble gets a little untidy…a shame as so much of this is imbued with musical integrity.

Variation 2: The menace here is impressive and the build to variation three again impresses but not without losing those frustrating moments of scrappy sensible.

Variation 3: There are some lovely moments that are truly serene with solo trombone and soprano both contributing admirably to the quality of the soloists. The atmosphere of the closing bars is beautifully done…serene and utterly at peace.

Variation 4: How well measured this is in terms of its pacing and progress. Once again the band is not always able to deliver with absolute clarity but the momentum and triumph of the closing bars clearly resonates with the audience.

Overall: Plenty to admire from cooperation but consistency sometimes proved problematic.

Christopher Thomas

Technical accuracy: 17
Rhythmic precision and clarity: 18
Control of full dynamic range: 19
Ensemble precision: 19
Tuning/intonation: 18
Band sound quality: 19
Balance/clarity of textures: 19
Quality of soloists: 17
Overall understanding: 19
Total musicality from the band: 18

Total: 183

Another fine showing from the Co-op Band Under the authoritative and convincing baton of Katrina Marzella-Wheeler. Some wonderful moments, especially the ending. One or two of the tempos just seemed to stretch the band a little, especially the final fast tempo. Just small matters to concern that's all, most of the playing was very stylish had a lovely flow to it with great quality. Just a little loose endings of starts and ends of phrases, but this was a very creditable performance indeed. Congratulations all.

Steven Mead

Cooperation had an opening gesture full of dark tension, but a series of mis-pitches threatened to derail the musical vision. Katrina Marzella-Wheeler directed the band through the presentation of the theme for the variations, with masterful pacing into a complex bitonal final statement. The quick tempo in the first and final variation unfortunately didn't allow the expansiveness of the score to be heard in full power. Despite some rocky moments, the third variation carried us on a journey of labour to love with expressive intent and the solos that followed floated off the stage. The final variation was a fine display of agility and flexibility, rushing through to a powerful end and ringing final chord.

Josie Sleigh

15. Desford Colliery (David Morton)

I Toccata: There is a clean, cool and calculated precision about Desford's Toccata under David Morton. The ensemble is generally secure and tight, the more relaxed solo interludes delivered with confidence and elegance. Yet at the same time, it doesn't quite lift off the page with the drama and dark intent of some. The technical quality and accuracy of the playing is mightily impressive nonetheless.

II Variations: This chorale is beautifully shaped and coloured and the darkness of the sound perfectly attuned to the music. This has been a fine introduction to:

Variation 1: The detail once again impresses and clearly points to the quality of the players around the stands in Desford. David Morton's clarity and precision of direction is a key factor here. There is a calm confidence about his presence and direction.

Variation 2: Once again when the angst increases, we are conscious of the quality of the technical execution but sense that maybe it just needs a little more in terms of drama and that latent menace that underpins this variation. Yet so much of this is still top draw stuff.

Variation 3: Some of the solo playing is fabulous, including Kevin Crockford on soprano. Just a couple of slips appear on solo euphonium ruffle the surface, but otherwise this is musicality of a very high level indeed with shades and colours that are often beguiling.

Variation 4: The band leaves something in reserve for the finale which is delivered with purpose and power albeit with a few further untidy moments towards the close.

Overall: A quality show from Desford that clearly demonstrated the abundant quality of the players around the stands, allied with cool direction from the middle.

Christopher Thomas

Technical accuracy: 19
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: 19
Overall understanding: 19
Total musicality from the band: 18

Total: 188

An incredibly accurate and enjoyable performance from Desford. Good precise playing, clear direction from David Morton. This is a fine sounding band, beautifully balanced, and some terrific solo moments most noticeably by solo cornet and soprano with the redoubtable Kevin Crockford still working the magic.

Little untidy moments towards the end of the slow expressive section could count against them, and some colour moments as personified by the Brighouse performance that were not really evident. A great show very enjoyable and this band is always going to be close to the top with it's super line-up of experienced musicians.

Steven Mead

With edge, Desford purposefully marched through the first movement and swiftly on to the second, with an essential fluid feeling. This could have been heightened had they sought out more risk-taking in the dynamic contrasts. The percussion added a great deal to the build of drive in the second variation, in a sinister sound world but with clear forward motion.

The third variation has a degree of restraint which finally erupts into a spine-tingling sonority in the auditorium. Incredibly beautiful sustain which slowly calmed into equally magnificent solo playing. Occasional uneven moments didn't interrupt too much but what shone through most was the musical intent all the way through the final variation with such commitment.

This was a well-structured and dependable interpretation with a crucial sense of grandeur.

Josie Sleigh

14. Brighouse & Rastrick (Prof David King)

I Toccata: The opening statement is bold and weighty but not overstated. Yet the integrity of this stamps itself on us immediately with detail, precision of ensemble and balance all exceptional. What a sound the band makes…this is truly epic in sonority and symphonic in breadth. Magnificent stuff. When played like this every note and marking of the score makes absolute sense.

II Variations: A chorale that bleeds elegance and nuanced shades of mood and colour. How meaningful the band is making this, with moments of pure magic brought about by the sheer brilliance of the control and dynamic levels.

Variation 1: A level of clarity that just blows us away. Every single note is heard…even in an acoustic like the Royal Albert Hall. This really is quite astonishing.

Variation 2: And when the menace kicks in, it does so with brutal yet crushingly accurate venom. Boy does this drive its way home with purpose and power.

Variation 3: Serene is not the word. This is sublime. What a glorious, array of colours and textures beguile and cajole the ear. There is an uneasy moment on solo trombone but otherwise, this is well nigh flawless with solo cornet and euphonium singing in absolute unanimity. The closing bars are touching in their quietude.

Variation 4: There is just a hint of concentration or stamina levels wavering as a couple of small but noticeable flaws ruffle the surface of the music but otherwise, the control and building of tension and excitement are masterful once again, the ending stamped with authority.

Overall: A performance that oozed quality from Brighouse with breathtaking levels of detail, allied with moments of pure David King magic. It just lost its way momentarily towards the end with a couple of clips and slips….this is getting interesting!

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: 19
Quality of soloists: 19
Overall understanding: 20
Total musicality from the band: 20

Total: 195

A sensational performance directed by Professor David King, once again demonstrating crystal clear clarity with what he wants to achieve with this work. The band were magnificent and to be honest I had them points clear until a few little errors towards the end took off the magnificent gloss that was appearing.

So much style, moments that we hadn't heard before, nuance, colour, flair almost humour. It was so enjoyable to listen to. Outstanding soprano, solo cornet and flugel. This could still easily win the contest of course and the margins at the top are now wafer-thin. For me it's just in second place, but we'll see. Happy to see this take top spot if that's how the judges see it.

Steven Mead

Brighouse and Rastrick had a fine balance of power and precision. There was free flowing lyricism into the second subject with delicate shaping of some of the phrases. Admirably, a feeling of openness was created in the louder moments of the Toccata with homogenised sound. The presentation of the chorale theme in the second movement had crafted weight and convincing narrative. Perhaps some loss of concentration meant it at times became rather heavily compressed and though some moments did not gel how they may have hoped, the architecture was still held with the inner voices flying though and strong pulsating bass.

Quite a number of mistakes in the lead up to the climax of the third variation resulted in fragility and while some of the fourth variation became overtly manic, you cannot fault the driving forward momentum and building depth of sound. Overall, this performance had the strong musical vision and there were some fantastic moments.

Josie Sleigh

13. Tredegar (Ian Porthouse)

I Toccata: The two opening notes define what is a purposeful, potent opening from Tredegar. There is a dark, underlying drama and intent about this as the detail is heard with impressive clarity and the sound of the band comes into its own on what is essential music with an orchestral sonority in mind. The close subsides impressively and deftly into:

II Variations: Not for the first time today, this chorale has reminded me of the chorale from Elgar Howarth's fireworks, but Gregson's is darker in tone and Ian Porthouse masterfully moulds and builds the chorale into something that its at once majestic yet imbued with an underlying sense of menace. This is so well done.

Variation 1: Just a couple of the opening entries are not absolutely crystalline in the acoustic, but when this gets going the effect is fabulous. Terrific detail and precision of ensemble is evident throughout and the music seems to crackle with onward adrenalin and propulsion.

Variation 2: Suddenly the menace is totally to the fore and again, the detail and the darkness are thrillingly combined.

Variation 3: How well the ebb and flow here is managed and moved on with elegant fluidity. Lovely solo playing from cornet, euphonium and soprano excels capped by trombone. The ending is magical and what a treat this variation has been from Tredegar.

Variation 4: The early sense of purpose returns and the careful control of balance is again a key factor here as individual entries and voices penetrate the textures with clarity and confidence. The pacing to the close is finely measured leading to a final statement of emphatic authority.

Overall: A performance of powerful musical integrity from Tredegar. It wasn't free from slips but displayed so much to admire in its clarity of purpose and ensemble.

Christopher Thomas

Technical accuracy: 18
Rhythmic precision and clarity: 19
Control of full dynamic range: 19
Ensemble precision: 19
Tuning/intonation: 19
Band sound quality: 18
Balance/clarity of textures: 19
Quality of soloists: 19
Overall understanding: 20
Total musicality from the band: 19

Total: 189

A beautiful reading from Ian Porthouse, who absolutely captured the sweep of this Symphony. The band delivered also with only minimal problems towards the end of the work and even those errors were really tiny. It's a hard job for the adjudicators today who have to assess not only the playing strengths of the band but how the interpretations stack up against what they're expecting or what they believe the Composer would like. For me this is a top six performance and I congratulate Tredegar and the conductor for the super reading.

Steven Mead

A clean and confident start to the piece from Tredegar — a real sense of intent from the first chord. A short series of splits distracted from the music making at hand but this was quickly recovered into a urgent falling motifs played with substantial control. The softer dynamics were some of the best we have heard today and this blossomed into a beautifully blended melody on trombones. As the second movement unfolded, the theme shone through majestically with suggestion of motion rather than arrival. With mechanical precision they recalled fragments from the Toccata, well-integrated in the growing musical texture. The third variation was a soothing contrast, with subdued grandeur. In the most transparent moments, soloists shone through full of heart and what followed was a momentous climax that settled into resolution. With the final flourishes, the band glowed in intensity. This performance traversed every emotion and step in Gregson's journey from dark to light.

Josie Sleigh

12. GUS Band (David Thornton)

I Toccata: A fine opening from GUS and one that displays both purpose and a gritty, underlying edge. The dynamic levels are expertly judged and the result is that the ensemble is crisp and detailed, whilst still retaining the inner drive and energy that propels the Toccata onward.

II Variations: The theme is beautifully enunciated here with a majestic solemnity that builds slowly in burnished, increasingly powerful tones. What thoughtful insight we are hearing here with careful attention to the nuances of the score’s markings.

Variation 1: There are just moments here where the clarity alludes, notably on the opening perilously exposed bars, but that aside, the ensemble is again tightly controlled whilst the momentum and inner detail and momentum of the playing is so well judged.

Variation 2: A darkly menacing but brooding transition to the slow music that follows and this builds magnificently.

Variation 3: The shaping and flow of the melodic lines is given freedom and breadth, allowing the soloists time and space to find a serene lyricism. Excellent solo voices from cornet, soprano and trombone and the ebb and flow allied with the highly musical approach has lent telling emotion to the close of this variation.

Variation 4: There are moments when tiredness threatens to intervene and the odd uncomfortable entry is heard, yet the build to the end finds a fresh seam of energy capping a musically informed account.

Overall: A fine show from GUS. Musically this was informed and intelligent at all times, just waning a little in the latter stages.

Christopher Thomas

Technical accuracy: 18
Rhythmic precision and clarity: 18
Control of full dynamic range: 18
Ensemble precision: 19
Tuning/intonation: 17
Band sound quality: 19
Balance/clarity of textures: 18
Quality of soloists: 19
Overall understanding: 19
Total musicality from the band: 18

Total: 183

A very fine and disciplined and tight performance from the GS Band. The band maintains such a high-level with beautiful sounds and tight control. This was in evidence today. For me some of the colours were not ‘big’ enough at least in the first half of the piece, despite the precision.

Just hints of fatigue towards the end of the piece, momentary lapses of concentration. But this was really secondary to the overall impression which was incredibly positive, soprano, solo cornet, solo trombone, euphonium, trombone all excelled.

Steven Mead

GUS began with menace and a well sculpted structure — it was a promising start both aggressive and brave playing. There was occasional hesitation, but this did not derail any of the performance. The first variation emerged from nothing into a flamboyant display of virtuosity. Complex rhythmic fragments were managed with nimble sophistication. A few moments of intonation clashes are difficult to avoid especially in the muted, sustained chords but the climax of the third movement burst into a thrilling cacophony of sound that magically fills the Royal Albert Hall with a tune that is both tragic and consoling. With delicate articulation, they marched on into the energetic scherzo of the 4th movement. This was played with real class, binding the sections through the tempo shifts building with excitement to an electrifying finish with ominous intent.

Josie Sleigh