What an engrossing contest. The overall quality was mixed it must be said, but the bands at the top end really brought the piece to life, packed it with character, drama and gory excitement.
It's going to be a very tough one to call — with five or six that could snatch the title and deserve it in their own way. There wasn't one that really murdered the opposition as well as the one old king.
That said we have to put our neck on the line so to speak so we go for a top-six and dark horse of:
1. Thundersley 2. Newtongrange 3. Freckleton 4. Michelmersh 5. Unite the Union 6. Diggle
The first of the final three bands today is the West of England contender Michelmersh Silver who certainly gave the judges food for thought with Kevin Smith's considered appreciation of the Bliss score.
There is a touch of elegance to the opening; neatly designed and choreographed with the playing have a stylish malevolence and preening hubris. One of the best today that.
The 'Ceremony of the Red Bishops' isn't far behind either — controlled and understated, but not in any way losing its sense of atmosphere. The solo playing is of a high quality too — enhancing the overall aesthetic.
Much to enjoy in the finale too — driven with a determined purpose rather than OTT freneticism towards its final goal. The pace was spot on, the murderous glint in the eye pin-point and perfectly placed to bring things to a surgical conclusion with the stabs in the ribs. Bravo — that deserves a mention off the stage at least.
The long wait to perform today didn't dampen the drive or enthusiasm of Audley as they delivered a purposeful account packed with energised dramatic impulses right from the start.
If there was a question mark to raise it would be about the balance — it seemed out of kilter even though the style of prancing, high jinking horsemanship was spot on.
Tenderness as well as passion on show in the central 'Ceremony of the Red Bishops' — balanced in style nearly perfectly, although the balance in some of the chords wasn't. A pity as it captured that essence of reflection so well.
A finale that fairly thumped along with its exciting drive, but once again the question of balance is raised. The low brass are on fine form and the perky sop is like a stiletto in pinpointing the right place to aim. The finale denouement is too perc heavy and it loses its cohesion even if the last few swipes to the old King's noggin could have taken the top off Blackpool Tower.
The final 'Checkmate' moves of the day are provided by Raunds Temperance under John Hudson.
Their 'Four Knights' prance and preen to fine effect — pacy it must be said, but still with a sense of dark mischief about them.
It's not as comfortable in the following 'Ceremony of the Red Bishops' but despite the occasional smear and clip the sense of tenderness and mystery remained.
The last finale today lost nothing in its sense of dramatic pull as any that went before — the music pitched at 144 and not missing a beat.
There was clarity in all the main lines and although they didn't possess the biggest ensemble sound it had enough heft to make its point — the timp going into overdrive.
The final moves were played out so well; no mercy, no second thoughts. Just 20 straight stabs of bold sound that cut a sharp swath in the air of the hall to lend the final chords an added edge of finality.
Three young guns after the older hands of contesting now with Adam Taylor, Jonathan Pippen and Matt Green — all talents ready to make a lasting mark here.
Adam Taylor certainly led Freckleton in a performance of considerable quality and note — backed by a fine structure to the ensemble sound that never wavered, and classy solo lines.
The opening had a spiky presence that captured the stylised dislocated movements across the board of the four knights as they preened and sneered in dark menace.
The 'Red Bishops' were cloaked in calm and consideration too — the sound of their prayers tender and balanced. Some fine lyrical solo lines added to the misty incense atmosphere too.
The finale was a controlled murder by design — noting overloaded to shock, just an even paced harrying of the Queen's prey — never less than 144 and methodically even.
That control was maintained to the final denouement — and then the meaty chords that signalled death by 20 cuts and four sword swipes that closed a performance of high quality from start to finish.
A sightly different take from Jonathan Pippen with Kidlington — one that had a pacy opening where the Knights almost sprinted across the stage at times. It worked, but sounded just a tad frantic.
The central section certainly did — wonderfully so with its tenderness allied to the sense of mystery — the lone bell perfectly pitched. Bravo soloists — and MD. That was one of the best today.
Back to speed though to close — just a notch or two above the perfect pacing. It sounded frenetic rather than harrying, the music losing the essential cold blooded inference of a murderer on a prescribed course if action. This hacked at things a bit too much, and the gore a bit too much, although the final extended bars were fabulously OTT. May surprise us that.
An exciting and dramatic account inspired by Matt Green and his band from the West of England.
It was red blooded from the off; the 'Four Knights' of the heavyweight variety in every sense. It perhaps needed more balletic grace but by heck they made themselves heard.
More of the same with the 'Ceremony of the Red Bishops' — played with a rich seam of confidence and tonality. The mystique was a little absent you have to say, but not so the solidity although the staccato reiteration before the end sounded a little like a prayer given in morse code.
The finale was a real hoot — breathless and breathtaking. The sop hit a bullseye to open that set the tone and feel of what was to come. Crikey this had more blood splatter than a local abattoir on Xmas turkey overtime.
You have to say it was played with such bravura, eye-pooping gutsiness that you were completely drawn into the gory ending — the queen chopping her prey up like liver for the dogs.
A trio of the most experienced conductors in the banding business bring all their nous and know-how to their band's performances here.
A nearly one this from Old Silkstone — a battle from beginning to fully master but one that was moulded by a fine reading of the score by the MD. He also expertly manoeuvred his pieces across the musical chess board too — right from the opening that was played out at a knightly trot rather than preening canter.
It got a little messy though at times, but it recovered with the refined sentiments drawn by the MD to the central 'Ceremony of the Red Bishops'. There was a quiet dignity to the playing here that was good to hear.
The finale was understandably tired and a little loose, whilst the murderous intent was lacking in the X-rated blood and gore department. Good solid, well led stuff though all the way to the end.
There was a touch of Machiavelli as well plenty of Bliss as Melvin White brought sensibilities as well as sensitivities to bear on a very fine rendition from Thundersley that had a balletic grace as well as power to the playing.
There was a lean, preening pomposity to the opening; 'Four Knights' light of hoof, but heavy in menace. The playing was neat, sharp and controlled.
The 'Ceremony of the Red Bishops' that followed had a mystical sheen of other worldliness about it, and well as real tenderness of understanding. The solo lines were exemplary, the little play on the rhythmic emphasis like the words to a liturgy.
There was a controlled bite to the finale too — as if the MD didn't wish to spill the claret of the old King too soon. The dynamic contrasts added to the tension before the Queen stepped forward and started on her murder spree.
That drive was gloriously macabre — a cowering old King stabbed to bleed like an old colander, the final few notes setting the seal on a very finely worked and delivered performance.
Tylorstown also displayed their chess/ballet credentials in impressive fashion under Nigel Seaman.
This was another controlled opening — just a notch or two down from top speed, but still with enough energy to drive the Knights forward with menace in their step.
A little more contrast may have just brought it to full technicolour life, but it certainly captured the atmosphere.
So too with the 'Ceremony of the Red Bishops', played with tender pulse and lyrical underpinning. The euph is glorious and the playing had a refined quality of stately grace.
Just lost its way a little in the finale, not quite knowing if to harry or not, whether to stand and fight or flee. As a result it rather plodded towards its denouement when it really needed to draw energy from the drama.
The Queen did her stuff though — great stabs of sound into fleshy belly of the old King, gutting him like a trout before the final notes saw her chuck his husk to the dogs and claim the throne for herself and round off a performance of great merit.
Section 1Saturday 13, 18:18:52
Adjudicator break
We are just having a half time break here as the judges take off for a quick cup of tea.
A contest that is offering food for though here and not just about who may have tickled the fancy in a first half when the dramatic musical intent has come with a bucketful of viscera mistakes, clips, rawness in dynamics and passion.
It certainly made for exciting listening though.
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Section 1Saturday 13, 17:37:15
Checking in with the judges
7. Tyldesley (Neil Samuel); 8. Unite the Union (Jonathan Beatty); 9. Cockerton Prize Silver (Andrew Hunter)
A bit of a War of the Roses for the battle for the crown with Tyldesley and Unite the Union, with the Red Rose contenders really displaying their solo and ensemble credentials in impressive fashion.
There was a stamp of quality about the opening — four knights all in their finery showcasing their finesse and virtuosity for all to hear — led by a cracking sop. There was a neat nastiness to this that never wavered.
Real contrast came with the arrival of the 'Red Bishops' — played with a mystical tenderness that even the old Pope would consider for sainthood. That was high quality playing — the middle and low brass showing warmth even at the dynamic extremities.
Talking of which — what earth got into them for the finale? This was beserker stuff — the lack of dynamic control and balance robbing the music of clarity and building, harrying tension.
The weight of the percussion obliterated at times. It all got overwrought and overblown by its close — murder by volume not malevolence.
Don't quite know why this ended like it did. Will feature perhaps, but all that classiness could count for nothing.
The more considered overall approach of unite the union was clear from the beginning — a sensible tempo, safe dynamics and a tempo that allowed the knights showcase with a touch of poise to their preening. Some good contest stage management also ensured no high-wire scrappiness and a secure finish.
A central section of good manners and sensitivities too — no high church ornate glory, just simple and effective playing. These were Yorkshire Bishops all right — Wakefield and Bradford not Rome or Florence. Super trom led the penitents and the tenderhearted ensemble in prayer.
Bravo for the finale — a controlled murder if ever there was one. Planned like an assassin and undertaken with a Falcon's eye to hit the target with 20 rib ticklers from a well aimed sharp blade and four final swipes with a Yorkshire sledgehammer to round off an impressive show.
Not as bloody and visceral as some this, but one equally effective in positioning themselves in the mix for the title.
Cockerton made sure its a triptych fight for glory with a wickedly prancing opening — nasty in its neatness and consideration of detail that had a preening self justification to it that was perfectly pitched by the MD and his players.
The northern Prince Bishops lead their flock in prayer with tender affection as well as the old magic biscuits and incense tricks to lead them to salvation. Again, it is so well positioned by the MD and delivered by his players — led by the angelic trom. So nicely done that.
The finale just sees the wheels wobble as lactic acid surges through the veins and lips. It loses its balance and cohesion, if not dramatic impulse and murderous intent.
Those final 20 stabs are administrated as if by Zorro — quick and to the point, and final four killer blows take every ounce of energy to round off a fine account.
The latest trio to try and wrestle the crown to fit their heads come from a place with a mythical kingly connection, the valleys of Wales and northern racecourse country.
Glastonbury are a leaner sounding outfit than those we have heard so far — and it pays dividends in a neat, sharply pointed opening that has that essential preening showoff style of the horsey types at a murderous gymkhana in Wiltshire.
Nicely done — getting darker and more serious as we go on, with sop doing so well all the way to crack of the whip hand to close.
The central section doesn't quite settle though — the 'Red Bishops' making their diagonal entrance accompanied by pawns who forget their lines. It recovered well, with a tender message conveyed in the heart of the music through the middle of the band. Lovely perc adds to the atmosphere of misty incense.
The finale heads off at speed, but it just loses pace and intensity the longer it goes on. The Queen seems to taking pity on her foe — not really vicious this. It stabs and slashes but never cuts to the bone.
There is something in the tank though for a revitalised final frenzy — a bit of a haywire close that hits and misses in shock and awe, chord balance and accuracy. Fine close though ensures death and a new monarch.
Another cruiser-weight monarch in waiting from the Welsh of Parc & Dare — and again, that lean cut figure works splendidly well in an opening that has the four knights posing, preening and strutting across the board like drag queens with their nails out.
Bravo sop and top end — played with finesses at speed that.
The Bishops sound a little like Methodist preachers with their lines — all a bit fire and brimstone. It just lacked a little mystery and repose although the middle bands displayed a sumptuous sound.
The finale has a wicked sense of dramatic pulse — not overdone, so the detail is heard, but still with the weight of punch to hurt the old adversary. Some super playing on show, even if it gets noticeably tired towards the end.
A few broad swipes and the balanced stabs bring the close that has a sense of malevolent purpose in what was a performance of note.
Ripon City completes the trio of cruiserweight challenges — and shows a neat sense of stylish jiggery and horsey showmanship in the opening.
It gets darker when required and the careful appreciation of dynamics was noted (as was the careful commission of some higher filigree lines).
There was a lovely tenderness to the central section — the 'Red Bishops' manoeuvring themselves on their diagonal axis like papal daleks — hovering on air almost. That was so well shaped and moulded to create the atmosphere of mystery ahead of battle.
An untidy finale is a pity — it never quite got into its murderous stride, despite a brilliant bass trom firing cannonballs from the hip. The lactic acid had dripped though well before the end — but there was still a strong pulse to the music that was maintained with drive and purpose to the final pause.
The last 20 stabs brought an exhausted Black Queen to the throne after a battle to be proud of for the MD and his band.
Even three instead of the four dances from the viscerally dramatic score to 'Checkmate' is sure to tax the bands here today. Whoever comes out on top by committing 17 acts of regicide will have deserved it.
We kick off with two Scottish pretenders to the throne and one from the North West...
Granite City certainly evoked the spirit of the warring clans in places, with their opening 'Dance of the Four Knights' — although the horses seemed to find the going as tough as a boggy field in the Gold Cup.
Nothing really had that sense of Lipizzana preening virtuosity though although there was a dark sternness to the Knight moves despite the scrappy upper lines.
There was solemnity to the following 'Red Bishops' — gliding across the floor to administer penitence ahead of battle. Some intonation problems detracted and some lines faltered, but the incense and mystery was maintained.
A quick witted harrying battle to close — rapid movements and spikey playing that drew the tension at its maintained 144 pacing. Just got scrappy and tired though as the coup-de-grace is administered via 20 quick snappy stabs of murder and four swipes to round off a battling account.
A poised opening from Diggle seemed to deliberately keep something in reserve — the virtuosity played out with good sense to the dynamic and pacing markings and with just little clips and smears in the treacherous upper register.
The 'Bishops' are stately and noble — warm sounding and balanced too in what are triads of sound. Super trom leads into the skies and there was a sense of mystery and repose here. Just the odd moment of intonation, but the Gods looked kindly on the souls ahead of the fight.
That in turn was vicious and striking — the harrying non-stop, but with icy control of its pacing. You could hear the inner detail, and whilst the lactic acid did take hold, the Black Queen was unsated — great meaty chords of sound plunging deep into the old Red King to bring a really solid show to a thrilling end.
Newtongrange come armed for the fight right from start — and displays a heavyweight shire-horse sound that still has a nimble virtuosity about it in its preening finesse and show-off pomposity.
A real display of hard nosed nastiness that — just what it is all about.
Its followed by a slightly overwrought set of 'Red Bishops' — but ones whose message of repentance is loud and clear. Lead lines are heard though and so too the tenderness that then comes in contrast — played with a subtle ease all the way to a fine close.
The finale is a little frantic and frenetic and it loses cohesion in places, but what regicidal drive is maintained — all slashing and maiming at the red enemy. The Black Queen drives through it at the centre — malevolent and murderous as the tension builds.
Great sounds even if it is brash and perc overloaded. Those final stabs are out of 'Pyscho' — great hacks of sound that plunge into the body of the old King to bring his demise and close a super account.
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Section 1Saturday 13, 15:42:47
Draw:
Section 1:
Four Dances from Checkmate (Arthur Bliss arr. Eric Ball) Adjudicators: Nicholas Garman; Dr David Thornton; Mark Wilkinson
Sunday 14 September • Cheltenham Racecourse, Evesham Road, Cheltenham. . *Please note as of 24th August 2023 the date is provisional according to Kapitol Promotions website GL50 4SH
September 13 • Longridge Band invite applications for a SOPRANO CORNET player. We are a friendly, committed band, who enjoy a good balance of concerts and contests throughout the year.
September 11 • Our COMMUNITY BAND are meeting again on Monday (15th) and we would welcome any players who fancy joining us for a relaxed and friendly blow.. All abilities are welcome and meeting with us has no impact on your main band.. Cake and coffee included FREE
September 11 • We have a solo horn vacancy to join our friendly 3rd section band. We have a sensible calendar of contests and concerts.. Situated with close links to the M11/M25 and Central line tube station, with our own band room.. Rehearsals Monday night 8-10pm.
