Championship Section

Set Work
Saturday 19th January
Venue: Centre Stage
Draw: 8.15am
Commence: 9.30am

Entertainment
Sunday 20th January
Venue: Centre Stage
Draw: Saturday night
Commence: 9.00am

Test Piece: 'A Tale as Yet Untold' — Philip Sparke
Adjudicators: Dr Robert Childs, Michael Fowles, David Read MBE

4BR Halfway prediction:

Two bands stood out from the rest today for us, with a performance of real maturity from Virtuosi GUS playing of the very highest standard.

John Berryman really produced the goods with his band and they lead the field for us in the press box.

Close behind though was a polished, powerful performance from Flowers, which really keep them right in the hunt for a hat-trick and triumph tomorrow.

It's much closer to call behind this with the dramatic approach of Woodfalls perhaps edging out the likes of Carlton Main, Wingates and Thoresby.

Marsden, Desford, Redbridge and EYMS just end ahead of Unite, Imps and East London at the end of the first day.

4BR Prediction:

1. Virtuosi GUS
2. Flowers
3. Woodfalls
4. Carlton Main Frickley
5. Wingates
6. Thoresby
7. Marsden
8. Desford
9. Redbridge
10. EYMS
11. Unite the Union (City of Sheffield)
12. Yorkshire Imperial Urquhart Travel
13. East London Brass

Bands

13. Redbridge (Jeremy Wise)

A powerful stamp of precise ensemble playing is heard to open — this is bold stuff. Just a bit messy in some areas, but the MD is looking for the drama and richness in the score. Lacks a bit of control and just hurries towards its close, but this was playing of passion and urgency.

More flowing musicality. MD is really shaping this boldly. Players respond too with bravura cadenzas played from heart. The lovely hymn to follow is subtle. Just gets a tad overwrought maybe in the climax, but the control returns for the close.

Scrappy start to final section takes time to gain clarity and precision but it then bounds along at a vibrant lick. The noticeable errors in some lines do detract though — just taking the gloss off the finish. It's got a bit edgy in the search for that extra tad of excitement as it flies to the close — which really is banged out with finality.

Overall: an interesting and engaging one this. Lots of drama and energy, but also a high minor error count too. That may just cost it a few places.

12. Woodfalls (Paul Lovatt-Cooper)

What a bold start — a real pinger with the dynamic contrasts. Its big and bold but scrappy too in the ensemble and some lead lines. You have to say it is very dramatic and colourful though. Great sop really tops things off before final blemmer of a final bar.

MD is taking risks with the approach which is elongated and stretched like elastic. The players revel in it. The substance is open to a bit of question but the style hits a tempting mark. This is a very brave approach that could come off big style if liked in the box.

More drama and technicolor playing that certainly excites despite the scrappiness. The vibrancy of the music shines through and the build to the finale is handled deftly. The motor is turbocharged for the last fling, which draws real excitement from the whole band. Cracking close.

Overall: An interesting one this — a bit of an acquired taste maybe but certainly excitingly, colourful and dramatic.

11. Unite the Union (City of Sheffield) (Derek Renshaw)

Bold and purposeful playing this, but it needs more precision and controlled accuracy to capture the feeling of vibrancy. Perhaps a touch too aggressive in places, but it does require a sense of commitment to make the music come to life. It's all in there though even if it is scrabbling to speak at times.

More considered approach in second movement works well with sublime trom and solid solo lines a feature. MD intelligent approach allows the music to emerge with tasteful clarity. Lovely close.

Just a tad too lacy to start but it finds its natural speed and horns give a robust edge to texture. There is a great deal exciting playing on show even if it is scrappy in places. It retains that sense of vibrancy thighs all the way to the close, despite the occasional nasty clips and blemishes. A real thumper of a close.

Overall: Unite pinned their colours to the mast with this one — bold, exciting and scrappy, but one that made the right impression with its musical approach.

10. East London Brass (Jayne Murrill)

A hesitant start sounds just a tad nervous, but it soon recovers its poise and has a free flowing musicality. Just the odd blemish deters but the musical picture is clearly defined and set out with considered appreciation. It grows in confidence.

The musical shape of the music is so well laid so despite the little scrapes and blemishes the flow isn't stopped. Cadenzas are well handled. All the basic elements are in place — all it needs is that extra dash of confident panache. Fine close.

Sensible tempo allows the music to sound clear and defined even if it just starts to sound tired in place. Great xylophone is a feature and perc plays it part in full. Now we get the brio and vibrancy as we head for home. Great build to a super finish.

Overall: an enjoyable performance based on intelligent leadership and appreciation of strengths and weaknesses. May not feature but not out of place in this company.

9. Desford (Russell Gray)

A messy start takes time to find the necessary accuracy but it is high paced and thrilling. Despite the inaccuracies the musical approach is so clearly defined and shaped and shows the music off to fine effect. Just those sloppy moments detract.

More lovingly crafted phrases and lines, aided by a batch of artistic soloists. Horn in particular stands out. Just those messy ensemble moments mar all the fine work. The ending is a thing of beauty though — sends shiver down the spine.

More of the same — great shapes and flow marred by scruffy individual lines and incoherent ensemble. What a pity as this is a reading that makes so much sense. Bold finish has so much to commend, but comes too late.

Overall: A frustrating one from Desford. So much quality evident but it sounded about 2 rehearsals from being a belter.

8. Virtuosi GUS (John Berryman)

What an impressive start — a truly magnificent ensemble sound full of rich warmth. The detail and precision is so good too. So much to sit back and enjoy with this — the music flows with vibrant musicality. Superb sop is thrilling.

Sloppy opening to second movement is such a let down, but it soon recovers with that balance and security of musical purpose. Cadenzas are so well handled too — with solo cornet and trom the pick. MD allows the music to flow with real elegance.

A little messy to open but it finds its natural pace and that sparkle to the ensemble comes right across too. There is something in reserve for the final flourish too — played with purpose but also control. That big warm sound is never edgy even in thumping close.

Overall: GUS really upped the ante with this one. This was a high class rendition of a very classy interpretation from the MD. So much to enjoy.

7. Flowers (Paul Holland)

An opening that means business leads into playing of high quality in both solo and ensemble lines. It's powerful stuff at times and perhaps just needs more contrast and texture, but the sense of confidence, flair and poise is unmistakable.

More quality — if a little robust in the dynamics. All soloists nail cadenzas — with bravura horn and baritone and very classy cornet. Sop thrills. More bold musicality follows, but it is anbitnrednin tooth and claw.

This is good stuff — great xylophone features. The band is playing with real panache now and the stamina is impressive. Just gets untidy at full bore, but it is thrilling playing and the close has a thump that hits you back in your seat.

Overall: A high class, powerful rendition that leads the field but could just have benefitted from a touch more considered musicality and dynamic contrast.

6. Thoresby (Brian Grant)

Neat start is full of control and lightweight touches. MD is keeping the lid on dynamics and we get to hear contrast and texture. Nice solo cornet adds a lovely strata of warm musicality. Boldness comes at just the right time.

More control and delicacy feature even though not everything hangs together in places. cadenzas are well played if a little pedantic in places. Again solo cornet adds that extra touch of class. The shape of the close was so well moulded.

Just the odd problems in everything being heard as they should. Sounds a little tired in places but the shape of the music is very persuasive. Just gets a bit out of kilter at times and we lose the core quality. Recovers in time for a decent close.

Overall: Much to like with the very musical approach although the messy finale movement may just cost today.

5. Wingates (Andrew Berryman)

Fine start leads into detailed ensemble work that has musical flow and technical consistency. Lovely little elements come through much to the benefit of the music. Sop is excellent and euph has stamp of class.

More flowing musicality and lovely touches from soloists in cadenzas. Bravo one and all- especially baritone and horn. This has been the best of the day. The quality shines through and has control too. Just the odd nasty moment detracts.

Final section starts messily and takes time to find control and precision. Just lost its focus this — and it's a pity. Gains more of a foothold as it goes along but the scrappiness continues. Has something in the tank to rouse itself for a bold close.

Overall: A very enjoyable performance that just fell away in the final section — although not be much. A good one that should feature — and deservedly so.

4. Marsden Silver (Glyn Williams)

Neat start has all the detail and sense of forward drive. MD keeps the music flowing and we hear little inner detail for the first time today. Trims are excellent and the back row plays it part in full too. Great close — so well managed.

This has that extra touch of quality too — with. Fine solo contributions from all lead lines with sop adding touch of extra quality. Euph is a star and the ensemble backing adds contrast and texture. Just the odd moment here and there but these were minor quibbles.

Bold, detailed and purposeful -!this really does flow with purpose and intent. Lots to admire about this playing and the way in which he has the feel of reaching a climax of purpose and accuracy. Spot on stuff and a fine finale too.

Overall: A classy well worked performance this — nothing overdone but the playing always had purpose and clarity. Impressive.

3. EYMS (Alan Morrison)

Solid opening sets out its stall in no nonsense fashion. Doesn't sparkle but the clarity of the main lines and ensemble is evident. Nothing overdone or over fashioned here — just purposeful playing that flows so well.

Lovely start just loses its focus in places but we hear a super euph and quality lead lines. Sop adds touches of class. Just a little artistry would give this the sense of cultured aplomb but the artisan virtues have stamp of authority.

More good playing delivered with musical and technical sensibility. MD keeps the control, but it could do with a little bit more sparkle. Lots left in the tank for a finish that signalled real intent.

Overall: As solid as they come — nothing overdone or misplaced. The reins could have been slackened in places but this was consistent and controlled.

2. Yorkshire Imperial Urquhart Travel (Dave Nesbitt)

A decent start to the opening but it then seems muddied and inconsistent, Not all the inner detail comes through and it just doesn't sound at ease. It becomes a bit of a battle in places to sound controlled.

Some lovely touches in places, but once agin you feel as if it is on the edge of the ensemble and solo limits. Cadenzas are given bold renditions but don't quite come off. The latter part of the movement flows neatly to close

Scrappy ensemble robs the feel of purpose and drive. Again — it just doesn't quite knit together with the precision that is really needed for this to shine. Plenty of stamina in the tank for a bold and powerful close.

Overall: A bit hit and miss this. The good stuff had that stamp of authority — but there just wasn't enough of it overall

1. Carlton Main Frickley Colliery (Leigh Baker)

What a good start — so detailed and precise. This makes a real impression. Just the odd moment or two that doesn't quite shine as well, but these are minor quibbles.

Second section starts with warmth and the quality of the main solo lines has a stamp of authority and artistry. Bravo euph and especially trom. MD has allowed this to breathe and flow.

Scruffy opening to third section is a disappointment and it takes a while to find its feet. It seems caught between two stools here. Recovers well though and there is plenty in the tank to round things off with a real flourish.

Overall: A solid marker that had extended moments of class and quality. It's a good marker but is beatable

Jackfield (Elcock Reisen), (Simon Platford)
Withdrawn