Saturday 12, 03:39:30
...
Swiss Nationals
Sunday 25, 23:49:13
Goodnight from Montreux...
That's it for another memorable Swiss National Championship, where Valaisia Brass Band won the Excellence Division National title for a fourth time in a row — equally the record of four successive wins of Brass Band Berner Oberland between 1990 and 1993.
As they are the defending European Champion, they will be joined back here in Montreux in May next year by Brass Band Burgermusik Luzern — and what a formidable duo they will be in representing their country.
Our thanks as always go to the outstanding team from the Swiss Brass Band Association led by President, Ariane Brun. The welcome is so warm and supportive — and the meal provided for us at the hotel on Sunday night was superb.
We can't wait to come back again.
Now for some kip and a relaxing trip back home by train...
Swiss Nationals
Sunday 25, 19:38:29
Results:
Excellence Division:
Adjudicators: Ian Porthouse, Glyn Williams, Mark Wilkinson (Set Work)
Adjudicators: Philip Harper, Tom Davoren, Stephen Roberts (Own Choice)
Set Work + Own Choice = Total
1. Valaisia Brass Band (Arsene Duc): 1/3 = 4*
2. Brass Band Burgermusik Luzern (Michael Bach): 3/1 = 4
3. Brass Band Treize Etoiles (James Gourlay): 2/4 = 6*
4. Brass Band Fribourg A (Maurice Donnet-Monay): 4/2 = 6
5. Brass Band Berner Oberland (Corsin Tuor): 6/6 = 12
6. Ensemble de Cuivres Valaisan (Francois Roh): 5/8 = 13
7. Liberty Brass Band Ostschweiz (Stefan Roth): 8/7 = 15*
8. Ensemble de Cuivres Jurassien A (Blaise Heritier): 10/5 = 15
9. Oberaargauer Brass Band (Christoph Luchsinger): 7/12 = 19
10. Ensemble de Cuivres Melodia A (Vincent Baroni): 9/11 = 20
11. Musikgesellschaft Risch-Rotkreuz (Luca Frischknecht): 11/10 = 21*
12. Constellation Brass Band A (Yvan Lagger): 12/9 = 21
* Set Work placing takes precedent
As 2018 European Champion, Valaisia Brass Band will be joined at the 2019 European Championship by Brass Band Burgermusik Luzern
Best Soloist (Set Work): Flugel — Brass Band Treize Etoiles
Best Soloist (Own Choice): Trombone — Brass Band Burgermusik Luzern
First Division:
Adjudicators: Ian Porthouse, Glyn Williams, Mark Wilkinson
Set Work: Excalibur (Jan van der Roost)
1. Brass Band Fribourg B (Maurice Donnet-Monay) -94
2. Brass Band Harmonie Neuenkirch (Manuel Imhof) — 92
3. Brass Band RosAlp (David Bonvin) — 91
4. BML Talents (Patrick Ottiger) — 90
5. Ensemble de Cuivres Ambitus (Francois Roh) — 89
6. Brass Band Kirchenmusik Fluhli (Armin Renggli) — 88
7. Oberwalliser Brass Band A (David Lochmatter) — 86
8. Brass Band Konkordia Busserach (Christoph Bangerter) — 85
9. Regional Brass Band Bern (Manuel Renggli) — 84
10. Brass Band Schotz (Urs Bucher) — 82
11. Feldmusik Knutwil (Gian Walker) — 81
Best Euphonium: Brass Band Konkordia Busserach
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So if like us you value a strong, independent perspective on the brass band world - then why not consider becoming a supporter and help make our future and that of a burgeoning brass band movement more secure.
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Swiss Nationals
Sunday 25, 17:56:13
Own choice round up and overall prediction
You have to hand it to the 12 bands here — they provided wonderful competitive entertainment with their own choice selections.
Quick and to the point though.
Valaisia were a class apart — quite stunning and should top the table, followed by a fine Treize Etoile on top form under Jim Gourlay and another high quality account from Fribourg. Brass Band Berner Oberland in fourth for us followed by the exotic Luzern and a solid Valaisan.
4BR Own Choice prediction:
1. Valaisia
2. Treize Etoile
3. Fribourg
4. Berner Oberland
5. Luzern
6. Valaisan
Overall prediction
Over the two days we have enjoyed we have linked up our placings to bring you our overall possible results...
1. Brass Band Valaisia
2. Brass Band Fribourg
3. Brass Band Berner Oberland
4. Brass Band Treize Etoiles
5. Brass Band Burgermusik Luzern
6. Ensemble de Cuivres Valaisan
Swiss Nationals
Sunday 25, 17:23:36
Excellence Division:
12. Ensemble de Cuivres Melodia (Vincent Baroni)
Perihelion — Closer to the Sun (Philip Sparke)
'Perihelion' is in essence a concerto for brass band (although played in one continuous movement).
It is abstract in inspiration and entitled as such due to the date on which the composer began writing it: January 2nd 2013.
This was the day of Earth's perihelion — the point in its orbit when it is closest to the sun.
Sparke describes the work as weaving between 'moments of brilliant optimism and dark shadow, both of which can be the result of bright sunshine'.
It opens with nervous energy before developing with the trademark hallmarks of Sparke's craftsmanship — florid lines of pulsating energy with echoes of Wagner, Dukas and Ravel as the music either dips into darkness or emerges into sparkling light.
Passion and drama, robust positivity and subdued introspection play off each other as the work moves towards its finale — a bustling, bristling virtuosic fugue (with a neat nod of appreciation to Holst) that gathers unstoppable momentum to a shattering close.
Iwan Fox
A long but engrossing day is rounded off with a splendid account of the less famous of Philip Sparke's celestial body inspired works.
It's a crafty choice, as the band show vibrant relish for the music — playing with a joyfulness in the quicker sections and rich passion in the lyrical elements. Some super solo playing (bravo baritone) and the other lines pick up on the inspiration. The usual Sparkian tropes are all brushed off with a touch of nonchalance.
MD has got this one by the scruff of the neck and is wringing the juices out of it with a great deal of musical nous. The tinkling of the stars is a delight before the race to the end — one which builds with its higgledy-piggledy rhythmic patterns to a glorious close. A tasty one that to end.
Swiss Nationals
Sunday 25, 17:02:22
Excellence Division:
11. Oberaargauer Brass Band (Christoph Luchsinger)
Harrison's Dream (Peter Graham)
Peter Graham's work takes its inspiration from a naval disaster of 1707 and the ceaseless 40 year endeavour of the clockmaker John Harrison to produce a timepiece that could be used to measure Longitude, and thus enable ships to navigate safely.
The increasing loss of naval lives pushed the longitude question to the forefront of the national consciousness and precipitated the Longitude Act. Parliament funded a prize of '20,000 to anyone whose method or device would solve the dilemma.
For carpenter and self taught clockmaker John Harrison, this was the begging of his life's ambition.
Graham's work reflects on aspects of the epic tale. Much of the music is mechanistic in tone and constructed along precise mathematical and metrical lines.
However, the central core is very human — and reflects on lives already lost and would be lost before Harrison could find the answer to the problem. The sound of different bells toll for the countless souls lost to the abyss of the ocean deep.
The work ends in triumph — the answer found at last.
Iwan Fox
So good to hear this fine test piece being given an airing — and to hear it played by a band and an MD who, like the story, built up the tension and expectation before the final glorious release of triumph.
Not everything quite had the razor sharp precision of the very best Swiss watches in these parts in the opening, but it was still good. Lots of mechanical drive and a sense of collective propose to the music making brought things back on track, and the central section was played with tactile tenderness.
The bells didn't quite evoke the souls of those lost at sea and the top lines just got a little strained in places, but the reprise was excellent — building incessantly to its climax.
The final sense of repose and then the long chord to the end as Harrison reflected on his life's work was played with elongated, dynamic control.
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4BR wants to ensure that the brass band movement remains vibrant and relevant. We also want to be able to question, challenge and critically examine those who run and play in it, producing high quality journalism that informs as well as entertains our readers.
So if like us you value a strong, independent perspective on the brass band world - then why not consider becoming a supporter and help make our future and that of a burgeoning brass band movement more secure.
So one less cappuccino then?
Swiss Nationals
Sunday 25, 16:26:34
Excellence Division:
10. Valaisia Brass Band (Arsene Duc)
Glass (Simon Dobson)
'The Glass Bead Game' is a novel written in 1943 by Swiss born author Herman Hesse.
It surrounds the lives of Joseph Knecht, the Magister Ludi (master of the game), and his monk-like colleagues who live, research and play the game as members of a utopian society in the far future.
Initially driven to write a work about Knecht, Dobson developed the idea to encompass his own thoughts of playing the game — inspired by texts on sacred geometry, sonnets by Shakespeare, Bach chorales, manifestos by Nietzsche and Goethe and works of Pythagorus and Plato.
One continuous piece split into five 'Moves' — each related in form of what subject 1 is to subject 2, as subject 3 is to subject 4' etc.
For instance: What human observation of the natural principals of structure and growth are to the observations of space and the design of buildings in architecture.
The work therefore contains themes, motifs and rhythmic/ harmonic structures that traverse throughout but are often meant to be hidden.
Move 1: The Monochord as a Model of the World.
Move 2: Variations in the formation of snowflakes.
Move 3: Architecture is like frozen music (Goethe c.1802-3)
Move 4: Kepler 22-b
Move 5: The Kalachakra Mandala
Iwan Fox
We have been treated to a masterclass in brass band balance and cohesion here in a very reflective, absorbing work from the pen of Simon Dobson. The opening appeared from nowhere from the standing horn — it was simply sublime — and that was just one note.
There is such detail on show, but it is the balance of the ensemble that stuns you — layer upon layer, each easily identifiable yet never standing out by an atom. Even when they have to sing in harmony it never changes.
It's gives the band such an incredible sound. Hats off to the soloists — from the horn to flugel, cornet and euph. The artistry on display was a joy and the writing of the score was so immersive — and all at middle level dynamics.
We were hearing such defined levels of mf, mp, piu forte. When the ovens were stoked it hit you like sledgehammer. My word this was exceptional playing — no other word for it. What a build to the close — all to a point of singularity.
We have enjoyed plenty of high class playing here today, but that was in a different sphere.
The musicianship on show from the MD and his band was quite something. You cannot imagine the title will be heading anywhere else but back to their bandroom. It will be richly deserved.
Swiss Nationals
Sunday 25, 15:58:42
Excellence Division:
9. Ensemble de Cuivres Valaisan (Francois Roh)
Myth Forest (Hestefallstjonn) (Stig Nordhagen)
When you look into the abyss, the abyss also looks into you — Friedrich Nietzsche
Nordhagen's evocative work is inspired by the unworldly mystery of a Stygian-like frozen lake near to his home, called Hestefallstjenn.
It is a reflection on the feelings that permeate the conscious and subconscious mind when standing on its edge, peering into the dark, tar like waters that seem to have no end.
It is a crepuscular journey to the margins of a gloomy, malodorous body of water bubbling with a menacing miasma of sulphurous intent — and with the corpse of a frozen, putrified dead horse floating in it too.
And that is what the music portrays — with hooves on.
Individual lines of thoughtfulness and icy expression laced with impending fears of personal terminus — as if you are being drawn, like that poor beast, inexorably towards your own frozen death — your last breath freezing before your eyes as you slowly sink below the surface.
Iwan Fox
For the second time in two days Valaisan and Francois Roh display a finely wrought sense of musicality on immensely challenging, but diverse repertoire.
The Nordic emotion bubbled under the surface here — dark and rich, but also icy cold too. The band sound was so well balanced and the solo lines were played with an artistic reserve. Solo cornet and euph especially shone, but they were able to do so as MD allowed the music the time to find its lanquid, natural sense of flow.
The creation of such a melancholic atmosphere takes some doing, but here it was created so well — you could almost feel yourself being drawn inexorably towards the edges of that blackened, dead pool of no return. Nothing over played either — MD let the music create its own very peculiar evocation.
What a tremendous performance. Won't be going skinny dipping in Mr Nordhagen's back garden pond any time soon that's for certain.
Swiss Nationals
Sunday 25, 15:29:48
Excellence Division:
8. Brass Band Treize Etoiles (James Gourlay)
HorrorShow for Brass Band and Percussion (Simon Dobson)
In November 2015 Paris came under terrorist attack. However, within days France displayed a defiant outlook and its people became unified in hope.
With further intolerant attitudes seeping through the world, Simon Dobson explores the themes of senseless violence that he describes as a 'HorrorShow' — a term he first read in the book, 'A Clockwork Orange' by Anthony Burgess.
The three movement work uses distorted quotes from both Beethoven and Bach which feature heavily in the book and Stanley Kubrick film.
'La Vie — We start from nothing', describes the difficulties of living in a changing world, and attempts to portray a celebration of different peoples living together in an often scary, alien environment.
'La Mort — We return to nothing' is a chorale lament that evokes the memories of the Bataclan nightclub tragedy, whilst ''Mais nous avons des fleurs'' is inspired by the kindness and sense of togetherness that was shown in its aftermath.
It brings to a close the composer's own tribute to those who died, and to the unbreakable spirit of both France and its people that serves as a testament of the good of humanity and its ability to embrace rather than repel change.
Iwan Fox
There is dark and disturbing undercurrent to this score that needs to controlled to retain its sense of ever present menace — and the MD and his band did just that from the very first, emerging note — as if from nothing.
The busy cosmopolitan melting pot of Parisian humanity is drawn by the MD as exotic and exciting — but also inhibiting and insular. The sectional aspects of the music reinforce this — played like mini-portraits of dystopian urbanisation.
A cold chill of melancholy seeps through the air in the aftermath of tragedy — led by cultured euph. MD shaped this with tender respect — like an outsider looking in from afar. It was high quality playing.
The rebuilding of communal trust is just that — throughout the band too. There is so much detail on show in the ensemble that you almost forget that it is driven by a gritty pulse. The acts of kindness emerge in tiny fragments, but build in collective strength — again so well laid out. Simple gifts meaning so much.
The dynamic control on show here has been admirable — and so in keeping with the subject matter — the horror doesn't need to be bludgeoned into the soul. Only with the sense of a triumphant defeat of evil is exuberance shown in full to round off a mature, thoughtful and immensely emotive performance.
Support us for less than a cup of coffee...
4BR wants to ensure that the brass band movement remains vibrant and relevant. We also want to be able to question, challenge and critically examine those who run and play in it, producing high quality journalism that informs as well as entertains our readers.
So if like us you value a strong, independent perspective on the brass band world - then why not consider becoming a supporter and help make our future and that of a burgeoning brass band movement more secure.
So one less cappuccino then?
Swiss Nationals
Sunday 25, 15:07:34
Excellence Division:
7. Ensemble de Cuivres Jurassien (Blaise Heritier)
The Untold Story (Louis Kroni)
Young Swiss composer Louis Kroni's work is inspired — if that is the right way to describe it — by one of the most tragic and mysterious aviation disasters in history — the loss of Malaysian flight MH370.
It's disappearance somewhere on its flight path between Kuala Lumpar and Beijing in March 2014 has never been resolved, or the wreckage found. It remains as the composer states; 'La Grande enigma'.
The work traces the effect on the families left to ponder the fate of the 239 passengers; from the optimism of the 'Night Flight' to the 'Loss of Contact' through, 'Fear', 'Pain' and 'Misunderstanding' to 'Anger' and 'Mystery'.
It is a piece that asks whether the mystery will ever be resolved — or the pain of those left behind ever healed.
Iwan Fox
With such a tragic and still rather immediate tragedy to try and explain in musical terms, it was understandably hard to broach such a subject without demeaning the sense of loss.
However a young and obviously talented composer succeeded without obvious recourse to over-sentimentality or sensationalism of effect. You experienced the opening feelings of growing anxiety to the first stabbing pains of realisation.
The playing was bold but never raucous as the tale unfolded — growing in despair and fear, with the ensemble playing maintaining a cohesive momentum. There was also a chill to the quieter sections that fed on that anxiety, before emotion, raw emotion exploded in anger and final incomprehensible misunderstanding of what had really happened.
The boldness of the playing brought that the fore in a performance rich in texture, control and distinctive character.