All over here in Bergen and now the wait for the results.

It's been a long old contest, but the playing of all ten bands made it a delight at times. Great to hear some rarely played music — and so well too.

Can't see Eikanger being beat this weekend — they were a class apart and should clean up without too many problems. They were not perfect today, but there were times when they still took the breath away.

Second place could be a close run thing though, with Manger turning the tables on Stavanger today, but with both performances riddles by expensive errors. Oslo could be the surprise package and beat them both. Molde produced the goods today and that could force them into the prizes, whilst the final top six is between Krohnengen and Sola for us.

Our top 6:

1. Eikanger
2. Manger
3. Stavanger
4. Oslo
5. Molde
6. Sola

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Saturday 6th February

Own Choice:
Adjudicators: Maurice Hamers, John Wallace, Torodd Wigum

14:45: Eikanger-Bjørsvik Musikklag, Dr. Nicholas J. Childs, (Titan’s Progress)

Dark and brooding opening has musical elasticity to go with the technical security. The playful episodes are shaped with a delicate, witty sense of style.

There are occasional little moments of unease in some solo lines, but the musical picture is just the right mix of Mahler bombast and Pallhuber humour. Euph and cornet excel with touches of undiluted class — the music flows with rich viscosity. This is such good playing and directed with pinpoint precision.

The final run for home is delivered with frightening clarity in the tubas and although it gets a touch scrappy in places, the sense of excitement grows and grows. Last few bars pin your backbone to your seat. The depth and balance of sound is so impressive.

Overall: This will take some shifting. Not quite perfect in places, but such a well defined musical account played with a sense of champion winning authority.

15:10: Ila Brass Band, Thomas Rimul, (The Trumpets of the Angels)

Powerful opening has real substance and the first of the Angels nails it good and proper. Thereafter a few have their wings clipped, despite some sterling efforts. You need all seven to be on tip top form for this to really shine and the errors do detract.

Ensemble playing is good but this seems to be a slightly over ambitious choice. Where Angels fear to tread unfortunately, as the Archangel lead himself experiences more than a few moments of discomfort.

The power of the musical message is undeniable, but the delivery never held the same persuasion, with a rather weak finale. This is a great work for brass, but as a test piece it seems a seven trumpet solo feature with band accompaniment, that needed more than this to have come off.

Overall: Full of promise and good intentions, but also full of errors that took the sheen off the performance.

15:40: Sola Brass Band, Selmer Simonsen, (Music of the Spheres)

Great opening leads into some truly committed playing that has a bravura style .

There is so much to enjoy with this at the moment. Portrayed in the broadest strokes of colour it lacks that pin point ensemble precision at times, but it is very persuasive stuff. The whizz bang playing is of real quality but it gets a little questionable in the more exposed sections – the asteroid belt catches a few out.

It’s an exciting bit of playing but the last quarter lacks refinement – it’s all a touch raucous. A rocket fuel ending just about ignites the fireworks, but it sounds strained too.

Overall: Never quite lived up to its opening promise, but it came close at times. A decent effort on a tour de force work.

16:05: Tertnes Brass, Philip Hannevik, (Prague)

Powerful opening has that dark menace and sense of imposing atmosphere. The playing has ensemble authority even if some of the lead lines are not in the same class.

Charles Bridge is wonderfully evoked and there is an air of mystery about the way the music unfolds. The MD gives the music time and space to develop with a persuasive sense of style. Not everything comes off but that austere darkness is still at its heart.

This engaging rather than absolutely engrossing, but its well delivered with a sense of musical purpose.

Good bold ending rounds things off.

Overall: A brave choice and well delivered. It was good to hear a fine work played with understanding.

16:35: Manger Musikklag, Peter Sebastian Szilvay, (...Dove Descending)

Manger pull out the old Joanna for this one in the shape of the mobile organ. Not usually heard on this piece for contest purposes.

Great start is carried through fanfares and solo motifs. This is so broadly set out and so musical too. Impressive playing draws you in.

The Nativity has a tremendous soprano lead played with such tenderness and security. Bravo son! Not quite as good elsewhere as there are moments when both ensemble and lead lines falter.

Recovers for a full throttle finale (with a Welsh Dr Phibes on the organ by all accounts) and there are massive sounds. A bit overcooked at the end though with drawn out finish that very nearly came to a standstill.

Overall: Much like yesterday. So exciting but it went a little OTT in places too. A fine effort on a massive piece though.

16:55: Pause

17:20: Oslo Brass Band, Frode Amundsen, (Seid — Version B

A bold and forceful opening is just as intended, and leads to excellent ensemble playing that creates that austere, dislocated, cold feel in the music.

Reflective moments are delivered with nuance and subtle tone colours and balance, but it is with the harder edged playing that really brings the music to life. There is an orchestral brass ensemble sound that lacks misplaced vibrato on display – and that is just right here.

Great bass trom and euph are star performers here, but others are not too far behind.

Reflective ending has been added to with a massive cacophony of elemental sound and lung bursting codetta – but it doesn’t sound misplaced.

Overall: An interesting and strangely engaging performance this. Something very fine playing and a reading of real breadth.

17:50: Molde Brass Band, Russell Gray, (Brass Blot)

Lovely opening sets the stall out and there is a persuasive broadness to the musicality on display.

The drive and rhythmic pulse is deep seated and purposeful and the lead lines and ensemble playing is of real quality. There is no lack of warmth though with a fine bit of cornet playing and neat euph leading the way. It feels strangely sensuous even in this opaque writing – helped by the MDs insistence on musical breadth.

Fine internal balances allow little nuances of colour to emerge and flower and the control of dynamic and tempi gives scope for that extra push in the finale. This is played with drive and purpose right to the final few chords.

Overall: A real good one this – helped by a great interpretation by the MD and classy playing by all the performers.

18:15: Stavanger Brass Band, Allan Withington, (Masquerade)

A ripper of an opening is full of life, precision and drive (neat lager bottle too). It has its moments of unease though, which just take the patina off the high class musical sheen. Cornet fanfare is nearly perfect — and that seems to be the story here.

The bluff, gruff Falstaff is brilliantly portrayed, but so too his faults. Euph has a wobble or two and troms don’t always speak clearly in quicker sections. Perc is on the aggressive side at times as well.

Great moonrise and the character of the music is so well drawn, but those little faults are mounting up.

Round and round he goes and the build to the close is fab – so exciting and massively played. All bells and whistles climax is riveting, but the MD giving the stand a playful kick at the end gives the game away – a real chance for glory just slipped through their hands.

Overall: Very nearly a performance that could have won them the title, but the nasty slips will surely mean they have just missed their chance.

18:45: Oslofjord Brass, Simon Dobson, (Sounds)

A neat start has purpose and free flowing style to compliment the precision. MD allows the music to find just the right tempi and it benefits.

Good quality solo and ensemble playing is heard and the lyrical episodes are played with shape and understanding. Somethings don’t quite knit as they should in places and the odd nasty moment rears it head, but the colours and tones are transparent and that flow remains.

Just the odd clip here and there and the band just tire towards the end.

A neat reprise though gives a lovely lift to a well managed climax.

Overall: A fine account of an under rated piece this. Suited the band and the MD in what was a performance of considerable merit.

19:10: Krohnengen Brass Band, Gary Peterson, (Montreux Wind Dances)

Super start has that light on the toes feel coupled with a touch of the blues and those impressive underlying swells. The filigree work keeps the music bubbling along and the MD keeps a lid on the dynamic. Fine playing.

Second section is warm and fruity with that deep south feel of the dislocated blues. Perc keep the tempo moving with a busy pulse. Not everything is technically secure in some lines though and there is a loss of focus as we come to the end.

Final section doesn’t quite come off – dancing on the hot sands in bare feet music this. Just the odd stubbed toe, but there is much to admire. Great old finish is played with panache.

Overall: An enjoyable performance. Just lost focus in a few too many places, but a fine account and good reading by the MD of a very difficult work.