2002 Great Northern Brass Arts Festival

The Bridgewater Hall, Manchester
Saturday 7th September 2002

Sponsored by Salvationist Publishing & Supplies Ltd.
Supported by Yamaha-Kemble Music (UK) Ltd., Boosey & Hawkes Musical Instruments Ltd. and BBC GMR

Bands Conductors:
Black Dyke Band, Nicholas Childs
Williams Fairey Band, Allan Withington
Fodens Band, Russell Gray and Bramwell Tovey
Household Troops Band, Major John Mott
RNCM, James Gourlay and Nicholas Childs
Ashton-under-Lyne Band, John Maines
North Central Divisional S.A. Band, Gordon Kirsopp
Healey and Smithy Bridge Foundation, Lee Rigg
Primary Schools Joint Band

Ensembles:
Euph4ria
RNCM Quintet

Soloists:
Carl Saunders, James Gourlay, Nick Hudson, Douglas Yeo, Mark Wilkinson, Lyndon Baglin, Martin Winter, Brett Baker

Comperes:
John Maines, Nick Robins

The themes for the festival were a commemoration of the CWS (Manchester) Band and the centenary year for Harry Mortimer and let's just get it out the way and acknowledge that it was a marvellous day with some of the playing being of stunning quality.

Twelve hours flew by in the wink of an eye as the music was almost constant and for the greater part each piece had some connection with one or the other themes for the day making it a quite traditional musical event.

The memory of CWS (Manchester) Band was not only remembered in music but also incorporated into a most comprehensive display in the circle stairs area where a wealth of material graced an exhibition stand. With everything from tailor's dummies displaying mess jackets to a history of the band with pictures, batons, awards, L.P. sleeves and programmes. Particularly fascinating were the sets of adjudicators remarks from the likes of Herbert Howells, Drake Rimmer, Frank Wright and Walter Hargreaves and others covering classic performances such as ‘Diadem of Gold' and ‘High Peak' written by the composer himself. "A fine band and musical direction" Eric Ball commented with an award of 190 points.

On speaking to Philip Biggs at the start of the day he was certainly a relieved man at the warm and dry morning that was unfolding after the most inclement weather recently experienced in the area. At 10am, led by Major John Mott, wearing their red jackets, blue trousers and white pith military helmets, the Household Troops Band struck up with the march ‘Soldiers of Christ'. With expert playing the parade from the Bridgewater Hall commenced and moved down Mount Street passing the impressive façade of the Midland Hotel.

Moving into Deansgate the Ashton-under Lyne Band maintained the standard with ‘Belphegor' followed by ‘Wellingtonian' from North Central Divisional S.A. Band.
As the parade reached the traditional features of St.Ann's Church and the modern Cross Street Unitarian Chapel it was fitting that the Household Troops Band were delivering a spirited rendition of ‘The Liberator'. The impressive Town Hall and St. Peter's Square rang to the strains of ‘Sons of the Brave' from Ashton-under Lyne before the North Central Divisional S.A. Band brought the parade back to the Bridgewater Hall with ‘In the Firing Line'

The bands formed up on the piazza on Barbirolli Square, in the shadow of the Hall, and each played a further march with a zest to carry forward the day. A relatively small but appreciative audience heard the Household Troops Band ‘Mighty to Save', Ashton-under Lyne Band, moving into concert formation, ‘Cross of Honour' and the North Central Divisional S.A. Band play the Eric Ball march ‘Star Lake'. The music program of the Salvation Army in New York is year-round and the Greater New York Division conducts a Music Camp and Music Conservatory at its Star Lake Camp in Bloomingdale, New Jersey and it is from this that this march takes its title.

As the Granada TV crew were filming, the Household Troops Band brought this section to an end. None of the detail was exaggerated and their tone was magnificent as they changed the mood with the William Himes arrangement of ‘Amazing Grace'.

The bands did not let themselves, or anyone else down for that matter, in a fine display.

From 11am an open-air concert, again on the piazza on Barbirolli Square, featured Ashton-under Lyne Band conducted by John Maines and the North Central Divisional S.A. Band under Gordon Kirsopp. Side by side the two bands formed up and alternated in their playing. Starting the concert Ashton-under Lyne produced a cleanly detailed performance of the march ‘Star Lake No 2' and there was vitality in the playing of ‘Farandole from L'Arlesienne'(Bizet/D. Rimmer) when the North Central Divisional S.A. Band took over. The music continued and was quite persuasively played by both bands in this scene setting mood with Ashton-under Lyne contributing with ‘Lord of all Hopefulness', ‘Salute to Thuringia' and ‘Toccata in D Minor' and the North Central Divisional S.A. Band playing a song setting of ‘Shenandoah' by Leonard Ballantre entitled ‘Mid all the Traffic' and the march ‘Celebration' (Leslie Condon).

Moving inside the Hall the music continued with a relaxed interlude from ‘Euph4ria', a quartet comprising Lauren Petritz-Waits and talented young Japanese player Natsumi Inaba on euphoniums with Gemma Twomlow and Susan Edwards (complete with plaster cast and crutches) on Eb Basses (RNCM). Set in the circle foyer they played an interesting selection of music with a warm sound including ‘Lute Dances', ‘Pop Suite', ‘Tiger Rag', the Elizabethan ‘April is in my Mistress' Face' and a characterful ‘Puttin' on the Ritz'.

The audience was informally seated in the stalls for the 12noon-concert hall performance of the RNCM Brass Band who took the stage in colourful fashion each in a different colour of shirt or blouse.
With the band on stage Philip Biggs made a simple informal welcome and handed the proceedings over to John Maines as compere for the day.

Nicholas Childs conducted the opening march of the concert ‘County Palatine'. Clean articulation, breadth in the trio and expansive sounds to conclude got their concert off to a splendid start.

John Maines talked of the association of the march with the CWS (Manchester) Band and of concerts in Piccadilly Gardens before introducing Carl Saunders. A most fluent player and possessor of a lovely tone, he has played with many premier Salvation Army bands and here he performed a Stephen Bulla arrangement entitled ‘Joshua Swings The Battle'. A tight percussion entry set the scene for a performance with plenty of drive and melody with more than a hint of Bernstein style about it.

A tuba solo, ‘Fantasia on China Song' by Gary Carpenter, was expertly played by James Gourlay and received its premiere in this concert. The solo was quite rewarding both in terms of texture and musical idea and the composer received a warm reception from the audience for this setting of music from the theatre composed in 1999. Although written as a continuous work the piece featured the soloist in quite distinct musical sections. A deceptively simple opening rhythmic passage, which quickly called for some rapid articulation, a Celtic theme with rich scoring, a dancing melody with a tremelo passage for the soloist and an interesting combination of soloist with tuned percussion were all features of this work before the upper register and accelerated downward playing led to a restating of the opening chords and a final pointed conclusion.

Written in the style of incidental music for the theatre and to round off their performance, the band played music from the film score ‘Richard III' by William Walton. Conducted by James Gourlay who is Head of Wind and Percussion at the RNCM, the performance had atmosphere and intensity and was varied enough in style to make up an interesting suite that brought their performance to a satisfying conclusion.

Film music, again written by William Walton, was chosen for an encore performance. "The First of the Few": ‘Spitfire Prelude' received an eloquent and stimulating performance before James Gourlay led the band off stage.

They can be next heard on Tuesday 5th November 2002 at 1pm in free concert in the Brown Shipley Concert Hall at the Royal Northern College of Music. The concert programme includes the test pieces ‘Danceries' and ‘Albion' together with a world premiere of a Jonathan Pitkin piece ‘Soundlessly Down'.

Whilst torrential rain flooded the streets of Manchester, ‘Euph4ria' gave a reprise of their earlier performance played in the foyer before the Household Troops Band under the direction of Major John Mott took the platform for a 2.15pm concert.

Opening with bright quick march by Paul Drury ‘Jubilee' the piece featured some agile playing all across and the band's dynamic control was highlighted when the glockenspiel was notably featured in the trio.

Carl Saunders was again a featured soloist in the next piece from the pen of Eric Ball ‘Clear Skies'
Originally scheduled for performance with the RNCM Brass Band this was a change in programme. The audience was to hear a player completely at home with the music he performed and deserved extended applause greeted the end of the piece. Carl Saunders simply commanded attention whether it was in the lyrical opening theme, quasi cadenza fanfare or the rapid figure that concluded the piece.

He took a seat as 2nd man down before John Maines, after thanking the sponsors, went on to introduce a second solo performance that of Nick Hudson. He was to play a work for trombone by Ray Steadman –Allen namely ‘The Eternal Quest' that Brett Baker had first performed at the Cardiff Canton Salvation Army Hall in 2000. The 4BarsRest review of the Brett Baker album aptly describes the music, "essentially a musical picture of a man who finds God at Calvary after travelling a tortuous path of personal deliverance that reaches a low point from which the only way to redemption is through the quest for God". It is a powerful work that was delivered from memory in a virtuoso performance that was beautifully paced and superlatively played.

‘Simon called Peter' is an underestimated work from the pen of Gilbert Vinter. Built around American Spirituals the solo playing, particularly from horn, was commendable as was flugel, soprano cornet and the tuneful ensemble work but all too often it is the linking passages that trip bands up and the same could be said for this performance.

Back to back pieces followed ‘Deep River' and ‘Ask'.

‘Deep River' arranged by trombonist Bill Broughton in a big band style was reminiscent of Count Basie. Opening on a swing cymbal it moved progressively through the sections - horns, baritones and basses then joined by euphonium and muted trombones and so on in smooth style building to an exiting full band conclusion.

‘Ask' is a piece of music written by Peter Graham in Latin American style that certainly brought out the best of the trombone section and is undeniably a great arrangement.

The band chose another superb arrangement for the next piece in the form of a Dean Goffin work ‘The Light of the World'. Taking its inspiration from a painting by William Hollman Hunt in St. Paul's Cathedral the controlled playing was stunning in a setting of hymn ‘Aurelia' ('The Church is our Foundation'). Absolute stillness descended on the hall as the piece concluded with magnificent serenity.

In a programme change the band were swaggering in a delivery of the ‘March of the Toreador' from the opera ‘Carmen'.

The band concluded their performance with a piece entitled ‘Metamorphosis' written especially for a USA and Canadian tour by the band earlier this year. Both the conductor and the band showed their commitment to the music that was strikingly coherent and impressively argued. This piece had a strong personality and concluded with a spectacular section in which linking running passages, reminiscent of those in ‘Connotations', were placed over stunning chordal work.

Healey and Smithy Bridge Foundation Primary Schools Joint Band conducted by Lee Rigg took the stage and received the warmest of receptions in choosing music that was both challenging and enjoyable to play, namely ‘When The Saints', ‘Breakdance Brass', ‘Deep Harmony', ‘Toccata' and ‘Bandstand Boogie'. One always listens with one's heart not your head in this situation but nonetheless the band added much warmth to the atmosphere of the day, from their sparkling silver bowler hat mutes to the youngster skipping along the stage to collect the stand banners. To quote John Maines, in his genuine appreciation of their playing, he simply said "Wow". Following this performance and later, the rain have abated, they gave a reprise in an evening concert held outside on the piazza.

Music in the circle foyer continued with a RNCM Quintet playing another appealing selection. 1st & 2nd Trumpet, French horn, Trombone and Eb Bass played music from the renaissance in the form of a dance suite to an arrangement of ‘King Cotton'.

With the All England Masters Champion trophy on display Fodens Band promised a programme of imaginative and highly rewarding music. ‘Festmusik der Stadt Wien' is a substantial piece in a grand manner and uses antiphonal effects to convey its musical statement and the band certainly delivered an opening statement of class.

Harry Mortimer was principal trumpet with the Halle and at this point Andrew Berryman presented, on behalf of the orchestra, a framed photograph of him in the orchestra to daughters Brenda and Margaret Mortimer.

‘Life Devine' was not strongly characterised but more an impressively controlled account under Russell Gray whose conducting was stylish. They seemed to have a ‘straighter' sound under Russell Gray on this occasion and it will be interesting if this tone suits the music of the ‘Maunsell Forts' written for the British Open Championships.

In a programme change the solo feature by principal cornet Mark Wilkinson was brought forward in the programme. ‘Alpine Echoes' and ‘Post Horn Galop' played using the original ‘echo-cornet' from the Harry Mortimer era was safe rather than inspiring. Odd blemishes brushed the performances on both ‘echo-cornet' and post horn just robbing them of absolute refinement however it could not hide the fact that he is one of the top cornet players around at the moment.

Introducing Douglas Yeo holder of the Boston Symphony Orchestra bass trombone chair the band accompanied him in a performance of ‘The Passing Years' by Kenneth Cooke. Looking like something of a 60's throwback in a black ‘Beatles' cut suit he dedicated his performance to the memory of Harry Mortimer. The snazzy cut of the suit no way distracted from the stylish solo playing that followed having lovely timbre and a bloom to the sound. Light hearted in one section, a controlled and shaped accel to follow and stunning playing where he simply caressed the lyrical melody which basically said ‘follow that' !

A Bill Geldart arrangement, ‘In The Hall of the Mountain King', in a jazz idiom, is cleverly scored producing a highly diverting result. The band was infectiously spirited and their enjoyment came through in the music.

In March 2002 a highly recommended release "Two of a Mind", an album of duets and solos from Douglas Yeo and Nick Hudson, was released and from the album they combined on stage to play ‘Fire Devine'. Fine, rich mellifluous playing with warmth and glow characterised the performance that completed a most compelling showcase for the art of the trombone.

The tone poem 'Resurgum was Foden's second classical test piece conducted by their Professional Conductor, Bramwell Tovey. It couldn't be helped but distractions outside of the music littered the Bridgewater Hall in this performance. Mr. Tovey sent a baton flying, then coughing and programme dropping further robbed the attention. Taking tempos to give the widest possible expanse to the music Bramwell Tovey delivered a very individual interpretation which some would like and others would say took too many liberties. An example of which was the pause, played on a tam-tam, which was held for an eternity before the reintroduction of the 'faith' motif.

Russell Gray returned to conduct ‘Mountain Song' a descriptive piece of the Tyrolian landscape which showed the best of Fodens. The musical picture captured all and the muted sounds of the band were ideally suited as Russell Gray captured the imaginativeness of the work.

Some bright spark raised a smile by blowing a whistle before Fodens completed their concert with ‘Epic Symphony' in its original scoring. This piece saw the band play the best of the three test pieces chosen and one expected no less from the band and their professional conductor Bramwell Tovey. Detailed with clarity, especially from the trombone section with their demanding part, both warm sounds and space for the music to be heard characterised this fluent and most convincing performance.

Time to take a short break on return the Household Troops were bringing their outdoor session to a conclusion with the march ‘The Pioneer' and a second set by the RNCM Quintet included ‘Londonderry Air' and ‘For Your Eyes Only'

Unlike the daytime performances, when the audience were seated in the stalls, the evening concert, with very few spaces, filled the whole auditorium with the exception of the choir circle on the platform.

An air of expectancy certainly filled the hall as Williams Fairey Band took their places. John Maines, now in formal dress gave a warm introduction before Allan Withington, taking the band in the first public engagement for the partnership, commenced the Gala Evening Concert with ‘Crown Imperial'.
The music was splendidly paced in an opener that was alert, sparkling and a thrilling sound.

The sound of the band had rich mellow tone and throughout the concert Allan Withington coaxed only the best from his players which included in the trombone section an albeit temporary charge in the guise Steven Haynes.

‘An American in Paris' the Howard Snell arrangement of Gershwin's music was splendidly performed. The big bluesy melody was wonderfully relaxed and had that real ‘Gershwin' feel about it, in music making which lacked nothing in brilliance and range.

Lyndon Baglin, wearing a CWS (Manchester) band dress jacket was introduced and continued the theme of the day and in front of a CWS stand banner, played ‘Introduction and Allegro Spiritoso' and an encore of the slow melody 'Sunshine of Your Smile'. The band were most sympathetic accompanists and Lyndon Baglin played the pieces from memory but years do catch up and there were some moments in both performances where age showed in the playing. The opportunity was taken at this point, with the nostalgia notch turned up to maximum, to repeat the presentation of the framed photograph from the Halle archive, to the Mortimer family.

A beautiful rendition of ‘Spring' was eloquently played and conducted and it was becoming apparent that in their short period of time together the conductor and band seem to have really hit it off.

Unfortunately the first real downturn then occurred and it was nothing to do with the music. Comperes are either suited to an event or they just fall flat on their face and Nick Robins, GMR presenter, did the latter. He must have realised by the end of the night that he just wasn't suited to the evening and it would be unkind to put him through it again.

Harry James ‘Trumpet Blues and Cantabile' was used as a showcase for cornets when the soprano cornet joined the back line and the 2nd man down in a 3-1-3 formation at the front of the stage. It was an aural treat with perfect balance between the constituent parts and a relish for the playing.

The concert then turned toward the performance of a major work the ‘Cornet Concerto' by Ernest Tomlinson. Martin Winter, wearing another most individual style suit, delivered a thoroughly professional and immaculately played performance. The work was commissioned for the 1974 National Brass Band Festival and was given its first performance by Maurice Murphy with the Black Dyke Mills Band. Following the normal three movement concerto form the soloist and band were absolutely in command and after a slow introduction they gripped the audience and carried them through the triple time scoring to the rapid 9/8 with lots of jazz feel. The quiet muted ending was sheer magic.
The slow movement glided by and the finale was played with a class that just emphasised the importance of the work. Martin Winter demonstrated all the facets of a cornet from the lyrical through energetic to absolute virtuosity and when required he blended into the band rather than standing apart from it. At the end of the concerto Ernest Tomlinson stood to acknowledge the applause and there was no question the audience had been present at a performance that was at the very pinnacle of brass band music.

Williams Fairey Band concluded their written programme with ‘Rhapsody in Brass' and played with consummate refinement. The quality shined out as they played with sophistication and a most sensuous timbre. The whole piece had a luminous character with wonderful articulation and wanted for little in atmosphere.

'Norwegian Dance' by Torstein Aagaard-Nilsen was a most compelling encore with the percussion adding much to an exiting and vivacious finale.

On return after the interval the stage had been reset with appropriate stand banners and the Black Dyke Band under Nicholas Childs then went for a performance style to keep the voltage consistently high with ‘Introduction to Act III Lohengrin' and followed this with ‘Academic Festival Overture'. The playing kept the lyrical and dramatic finely balanced in a superlative performance.

‘Zelda' saw Martin Winter return to the stage and perform the famous cornet solo but it was the unscheduled performance of the Thad Jones piece ‘A Child Is Born' which lived in the memory. With a most mellow flugel tone and a simple, but perfectly scored accompaniment, it was indelible in its simplicity.

Let's not go overboard but enough to say Nick Robins lost the audience again before Dyke played 'Cossack Fire Dance' from the Peter Graham set 'Call of the Cossacks'. Here it would be fair to say that what the band sacrificed in precision they made up for with energy and enthusiasm as Nicholas Childs had the audience clapping along with gusto.

Brett Baker played another traditional solo ‘Thoughts of Love' where he combined humour and skill in a rendition of the solo written by Arthur Pryor who was trombone virtuoso with the Sousa band.

This led to the finale, a regularly featured CWS (Manchester) piece ‘Marche Slave' and they concluded the concert with a lively account of this Tchaikovsky work. The music making had plenty of confidence and no lack of direct excitement but in the last analysis it would not liken itself to some of the other music on the day which remains etched on the memory.

Well that was nearly it except for a quick fire rendition of the ‘Finale from William Tell' which did draw the day to its conclusion.

Overall a cracking day with some exceptional playing and what made it even better was that I got home in time to get 4 cans of beer before the off-licence shut – yes !

John James

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