Eric Ball's timeless craftsmanship continues to test the musical credentials of bands and conductors at all levels — even those who claim contesting victories.

Harborough's success in lifting the Second Section National title certainly dismissed any ill-founded notion that 'Song of Courage' was any less challenging than other modern test-piece heard at championship events in recent years.

Over that time the Kapitol Music Panel has revived a number of 'vintage' compositions with an aim to reacquaint performers with music that has become an endangered species. Their popularity may remain subjective, but as shown in York, the best continue to provide the essential foundation blocks on which bands, and especially MDs can build a comprehensive understating of core banding repertoire.

Essence

The winning performance from the Midland Area champion certainly captured the essence of Ball's surprisingly upbeat tone poem — purposeful and well prepared under the neat command of their impressive young conductor Ben Smith (who also plays euphonium with the GUS Band).

It was a bold but respectful take on a score that calls for forthright optimism and assuredness to balance its delicacy and joyful refinement — right from the opening giojoso bars which set the tone with its controlled flourish.

That was also displayed in their celebrations — with a simple Facebook exclamation of 'Wow!' followed 24 hours or so later with the whole band enjoying a celebratory meal with their 'over the moon' MD Ben Smith thanking his players for their 'passion and energy' in claiming the first National title in their 128-year history. They now look forward to life in the First Section in 2027 — a better band for this fine showing.

Intentions

On reflection so should all the other 18 competitors — with fine podium finishers Lanner & District and Jersey Premier leading home a solid top-six of Johnstone, Bollington Brass and Hatfield & Askern Colliery.

Their understanding of Eric Ball's inspirational intentions (written in 1961 but just as pertinent today in its 'call to action in the face danger') was clearly defined by the adjudicators.

Dr Stephen Cobb, who was joined by Dr Robert Childs and Sheona White, revealed to the audience waiting the results that their own appreciation of the score also fully respected both "the programme notes and instructions from the composer".

He did add though that they were also looking for performances that were "stylistic and had personality", a middle section that was "well shaped but not over sentimental" and a finale that was "energised but not over excited". The best captured substantial parts, if not all, that they were looking for.

Missing ingredient

What may have been the missing ingredient for many was the experience of performing Ball's music on the contest and concert platform, as composure and balance was all too often replaced by misplaced enthusiasm and endeavour.

In context it made for displays of somewhat laboured courage — committed in forcefulness ('sound and fury' lasting more than just two bars at times) rather than bravura. The beneficial influence of performing Eric Ball's music remains in danger of being lost — the subtleties of lyricism, dynamic context, phrasing and cohesive balance too readily substituted by technique and effect.

Dr Cobb's was a detailed, sympathetic precis to what the judges had heard, although you could almost feel his eyebrow being raised in playful questioning in saying that he found listening to 'Song of Courage' in the contesting environment, "interesting".

Much then to consider for those competing, listening and judging — and right from an opening bar that as Dr Cobb revealed was rarely played together. Many solo leads which didn't stray into misplaced sentimentality were shown in just about every band, but cohesive ensemble playing (especially tonally) was a rarer commodity.

The excellent solo trombone player David McWhirter of Wotton-under-Edge & District took the 'Best Instrumentalist' award for his classy contribution to their performance as the judges took time to appreciate the individual quality of the solo playing on show throughout the field.

Precise playing

Harborough though came closest to mastering it, with their impressive soloists backed by a warmly hued ensemble sound and tasteful phrasing. The MDs neat conducting style was mirrored in the precise playing — nothing overdone and always with a feel of musical momentum.

It was not missed by the judges at the end of the contest either, coming as the penultimate band of the day right after a very persuasive account from Cornish rivals Lanner & District.

Sheona White noted the contribution of "some nice, confident soloists" in her written remarks, whilst Dr Cobb added that Harborough had shown "accomplished playing here and a performance with much to enjoy". All though identified some issues, with Dr Childs describing it as an "excellent performance" with "top-notch soloists", although "not without its questions regarding tempos."

You suspect both the pros and cons of their findings would have been replicated in writing to varying degrees of balance many more times throughout day.

Positives

Lots of positives would have been read in the remarks of Lanner & District, as Stuart Chappell drew a broad and lyrically joyful account from his Cornish ensemble that only faltered in tiredness towards the end.

So too Jersey Premier Brass as they came third for the second successive year under Jason Midren with a vibrant account that set a persuasive halfway point marker that fully deserved its reward.

Each captured the sense of forthright endeavour that underpins the work, as well as the lyrical momentum that carries it forward. And whilst the dynamic contrasts were perhaps less well defined at times the playing was always expressive in intent and shaping — the 'prayer' section offering a respectful rather than over-indulged interlude of reflection before the build to the reprised high pitched brilliance of the opening salvo to close.

Key experience

Experience was certainly a key element in the informed approach of Raymond Tennant with the Scots of Johnstone as the ended in a solid fourth, just ahead of a well-developed accounts from early draw contenders Bollington Brass (Craig Mann) and Hatfield & Askern Colliery (Richard Marshall).

Behind them the inconsistencies and misplaced enthusiasms become more apparent, although there were no modern reinventions of Eric Ball as Thomas Doss, as the problems came from unfamiliar rather than uninformed appreciations.

Few complaints then from the midfield finishers, with hard working accounts from Uppermill, Lewes Brass, Leicestershire Co-op and Felling completing the top-10 to finish ahead of groups of closely matched contenders, whilst those at the bottom end of the table left York knowing they had been tested by a work that despite its age still retained a sharp bite.

Malcolm Wood

The winning performance from the Midland Area champion certainly captured the essence of Ball's surprisingly upbeat tone poem — purposeful and well prepared under the neat command of their impressive young conductor Ben Smith4BR

Result:

Test Piece: Song of Courage (Eric Ball)
Adjudicators: Dr Robert Childs, Dr Stephen Cobb, Sheona White

1. Harborough (Ben Smith)
2. Lanner & District (Stuart Chappel)
3. Jersey Premier Brass (Jason Mildren)
4. Johnstone Silver (Raymond Tennant)
5. Bollington Brass (Craig Mann)
6. Hatfield & Askern Colliery (Richard Marshall)
7. Uppermill (James Garlick)
8. Lewes Brass (Nathaniel Roff)
9. Leicestershire Co-op (Ben Hewlett-Davies)
10. Felling Band (Stephen Malcolm)
11. Wotton Under-Edge & District (Jim Bennett)
12. Campbeltown Brass (Owen Pickering)
13. Ellington Colliery (Clare Winter)
14. Markham & District (Gary Davies)
15. Verwood Town (Kevin Smith)
16. Kippax (James Beecham)
17. Staines Brass (Gareth Trott)
18. Lostock Hall Memorial (Joe Murtagh)
19. Abertillery & District (Lee Blankley)

Best Instrumentalist: David McWhirter (trombone) — Wotton Under-Edge & District