The welcome participation of the James Madison University Brass Band under MD Kevin Stees certainly reinforced the RNCM Festival’s reputation as being the most important showcase event in the banding world.

Funded by the University (named after the fourth President of the USA) and the JMU students themselves, it also provided an ideal link to enhance the ‘Hands Across the Sea’ theme expertly curated by Artistic Director Paul Hindmarsh, and which saw the band (runner-up at the 2016 North American National Championships) provide ample evidence of their maturing musical credentials.

Substance and invention

This was no paternal appearance request either - JMU performing repertoire of substance and invention under the excellent direction of their MD. 

Stephen Bulla’s ‘Images for Brass’ has been familiar fayre to British audiences in 2016, but not even the winning performance at the National Finals in Cheltenham came close to matching the inherent understanding and impassioned musicality of an engrossing rendition, which balanced reflection and raw emotion in equal measure.

Captured attention

It was followed by the world premiere of Eric Guinivan’s ‘Matsuri’ - a three-movement work celebrating a trio of famous Japanese festivals; from the fizzing delights of the ‘Fireworks at Ryogoku Bridge’ to the sorrowful Buddhist reflections of ‘Bells on New Year’s Eve’ and the celebratory energy of ‘The Burning of Mount Wakakusa’.

This was a splendidly transparent composition and performance - one that immediately captured the attention of the audience with its engaging combinations of subtlety and directness, textures and colours. It would be good to hear more from a composer which such an inventively accessible approach to writing for the medium.

Fine closing statement

Understandably, Philip Sparke’s demanding ‘Variations on an Enigma’ certainly bared its teeth in places, but was still full of energy and spirit, whilst Joseph Turrin’s ‘Hymn for Diana’ was performed with a welcome degree of understated lachrymose emotion. 

It was left to Oliver Waepsi’s evocative score retelling the tale of warring villagers from the usually peaceful 14th century Swiss cantons to provide the fine closing statement from the Americans.

‘The Raid’ was packed with rhythmic drive and dynamic contrast, drama and passion - the MD drawing every last ounce of stamina from players that more than did their seat of learning and their country proud. 

Malcolm Wood