Concerts of this quality are a rarity.
Saturday night at the RNCM Festival traditionally belongs to Foden's, and over the years, led by the likes of Howard Snell, James Gourlay and Russell Gray, they have delivered many memorable programmes.
However, under Bramwell Tovey and Michael Fowles, even those impressive appearances were put in the shade.
Stunning concert
Jetting in from Canada to lead the Sandbach band here for the first time in six years, the combination produced a truly stunning concert. Such was the quality, that it was a wonder the slack jawed admiration of the audience didn’t lead to a rush for rewiring ops at the nearest A&E Department.
The wry smiles of the cognoscenti when ‘Classic FM’ broadcaster John Suchet admitted that this was his very first brass band concert would also have been broadened somewhat at its conclusion. It was hard to think that he may not ever hear anything quite as good if he ever comes again.
Setting the marker
The opening Tovey fanfare 'Deo Gloria' set the marker - full of precise detail and clarity, and providing an intriguing segue into Edward Gregson’s ‘Connotations’ - a work that also makes its mark by setting its fanfare variation before its main theme.
This was expansive music making at its best - with majestic consequences; the magnificent sounds that filled the hall at its conclusion raising the hairs on the back of the neck.
Haunting timbres
Michael Fowles followed suit - the haunting timbres of 'Atrium Phase' by Andrew Baker resonating, mixing and flowing with a deeply satisfying alchemy.
The first half concluded with Tovey conducting the UK première of his own, 'Songs of the Paradise Saloon - Concerto for Trumpet', with Mark O'Keefe on superb form - at remarkable ease in style as he was in formidable technique on what was a thrilling listening experience.
More treats to come
Interval expectations of yet more treats to come were fully realised in the second half, with a passionate rendition of 'Song of Courage' revealing a surprising, almost youthful exuberance to Eric Ball’s mature writing.
A decade after it was first performed by Foden’s as a birthday present to Edward Gregson and Elgar Howarth, 'Variations on a Theme of Michael Tippett', was superbly revived - each of the five individual homage elements played with intuitive understanding and elegance; the Wilby fugue to close revved up to turbo charged levels of adrenaline excitement.
Celebration
The reflective beauty of Andy Scott’s, 'Forgotten Place' - full of melancholy, was a subtle delight, before Bramwell Tovey returned to lead a long overdue reprise of his affectionate celebration of VE Day, ‘A Night to Sing'.
It is a work that delves into a moment of unfettered celebratory spirit - a single night of abandonment after so many of sacrifice, mayhem and loss that brought to an end the war in Europe. It was given a performance of immense character and stature.
Final shiver
Such was the acclaim, you could forgive Maestro Tovey the indulgence of three exquisite verses of 'The Day Thou Gavest, Lord Has Ended' - played with such beautiful reserve that it sent a final shiver of pleasure down the collective spines.
It was some way to end some concert.
Malcolm Wood
