News

Divine order in Yorkshire upset by Rothwell and Hepworth

March 12 2009

CHAMPIONSHIP SECTION
A sharp intake of breath by the audience greeted the news that Grimethorpe Colliery had slipped into third place and Black Dyke into fourth, both bands pipped to the two top slots by Rothwell Temperance in first position, followed by Hepworth (Cookson Homes) in second.

Playing off pole position, as anticipated Black Dyke produced an exciting and different interpretation distinguished by the band’s characteristic magnificent sound. ‘Dyke’, however, could console itself with the certain knowledge that it had already secured automatic qualification for the battle of the giant top section bands in the Royal Albert Hall on 17 October by lifting the National Crown at last year’s ‘Final’. Not so for Grimethorpe, whose errors in the first two movements cost it its place in the Kensington battle for the first time since 2004, albeit that the band produced some of the more expansive phrasing of the evening under Allan Withington’s baton. A superlative euphonium solo by Michael Dodd, which was hallmarked by a seamless entry, also distinguished Grimethorpe’s rendition.

Another outfit that one might have expected to qualify by divine right, Brighouse and Rastrick, will also be absent from the RAH line-up after sliding into fifth place behind Grimethorpe, the band’s chance of qualification falling away in the final movement.

Taking it all in his stride and (like the inveterate good sportsman he is) one of the first to rush on stage to congratulate Rothwell was Black Dyke’s conductor, Nicholas Childs. Looking relaxed about his band’s position in the routing of Yorkshire’s traditional order, he commented: “It happens – that’s contesting, but I’m very happy for Rothwell.”

The culprit for this less traditional set of results could be said to be the test-piece, Gilbert Vinter’s Salute to Youth – a seasoned piece with the potential to offer some great music and the cause of the bumper top section audience. Yet music was not always what the audience received as Yorkshire’s top section bands powered their way through the three movements. The stop-start scoring of the first movement challenged tightness of ensemble, the languid of the second musicality and the break-neck tempo of the last, particularly on the triplets, found bands struggling for clarity. Consistency, or rather the lack of it, concerned the two adjudicators, Steve Sykes and Nigel Boddice, and virtually no band came away unscathed by Vinter’s first original work for brass band.

The piece was inspired by the composer’s son, Andrew, who was 17 when it was written and the individual movements – Resilience, Romance and Relaxation – provided tougher challenges than the pre-contest banter about the ease of the piece for top section bands had forecast. A brownie point for the Music Panel, perhaps!

Speaking from the stage, Steve Sykes said that the first two movements really rumbled bands and further observed: “A couple of things disappointed me – the musicality of the second movement. I don’t think there was one, complete, intact score in the second movement, although we had some great sounds.” Moving on to the third movement, he commented: “Some bands really put their stalls out to do the land speed record and the second movement was neglected to get the third right. There was very little shape and that musical energy was very important.”

Concurring, his accomplice in the ‘box’, Nigel Boddice, cited consistency across the three movements, or the lack of it, as cause for concern. He also warned about “hardening off the fortissimos” to the point where they become “over done.” “We can hear them perfectly in here, so you don’t have to do these things,” he warned.

Precision was uppermost in the two Yorkshire adjudicators and, reflecting on his time in the National Youth Brass Band with Vinter, in 1967, Nigel Boddice gave an account of the composer as the “friendly and very mischievous” character encapsulated by the last movement. Sadly, he felt many of the interpretations in the Yorkshire top section were “less than genial.”

Suffice to say that Rothwell’s conductor, David Roberts, found the precision demanded by Vinter’s score, which clearly did not go unnoticed by the adjudicators who described the performance as “simply outstanding.” Some exemplary solos, including by solo cornet, James McCabe, who won the Best Instrumental Prize, also hallmarked Rothwell’s interpretation. Whilst David’s brother, John, made it a family day by steering Skelmanthorpe to sixth place.

David Roberts who took Rothwell’s baton from his father, Gordon (who led Rothwell to success in Section 4 in 1968) has guided Rothwell from the 3^rd to the Championship Section since 1994. Rothwell, which has no sponsorship, is the only Yorkshire band to have qualified for the sixth consecutive year through sections 3 to the top.

Asked about his perception of the band’s performance, David Roberts told us: “It’s difficult for me to say because I conducted the piece but, in general, I thought Rothwell’s performance was really musical and clear from the start to the finish. I think the band made fewer mistakes than anybody else and produced three solid movements. Rothwell really matured and found its peak on Sunday, and gave its best performance since winning the ‘Masters’ two years ago. The band received a fantastic response from the audience.”

Never far from the top slot and invariably occupying it, Ian Porthouse led Hepworth, last in the ‘Final’ line-up in 2007, into second place with a typically lyrical performance that revealed the space and structure of the music, whilst also remaining faithful to the score. Hepworth’s solo euphonium, James Fieldhouse won the Best Soloist Prize. Ian will be pitting his winning interpretation of ‘Salute’ against the band currently ranked the world number one, Cory, as he leads Tredegar into battle on the same piece this weekend in Wales. Last weekend’s win will certainly have given him the confidence to believe that he and Tredegar can successfully defend its Welsh Regional Championship title for the second year running!

Familiar with ‘Salute’ from the days when he performed it with Leyland under Richard Evans at the 1985 British Open, Ian Porthouse also performed Vinter’s quartets when he made a CD of them with Desford. He later commented: “The second movement is quite a lot like some of Vinter’s quartets. It’s called Romance, but there are some quite dark moments in it and, if one of these labours, the music loses all sense of what it’s doing.” Adopting a “traditional approach” to Vinter’s score, the talented conductor took the hard-working Hepworth Band for seven rehearsals (following preparation by David Hirst), during which he focused on the band’s balance by boosting the bass end and lightening the top end cornets.

SECTION 1
Graham Cole’s test-piece for Section 1 competitors, Pentacle, which traces the origins of the five-pointed star known by the same name, produced much negative pre-contest press but revealed itself to be a brilliant piece of music, admired by competitors and enjoyed audiences, despite the fact that it posed the stiffest of challenges to both performers and listeners. The piece unfolded ever more of itself during preparation, as well as during the 12 contest-day performances, becoming more enjoyable as the Section progressed. Pentacle also presents a challenge to adjudicate and the two Yorkshire adjudicators, Colin Hardy and Malcolm Brownbill, devoted weeks to familiarising themselves with the score before entering the ‘box’, confessing: “We’ve spent weeks on this piece – we’ve had to,” revealed the latter.

Hailing the work as “fine” but “difficult” music that would stretch Championship Section bands, Malcolm Brownbill concluded:  “In saying that, we’ve had some good performances today.”

Messrs Hardy and Brownbill confessed that they didn’t “go too hard on tempo” and highlighted the speed of the second movement (crotchet 92) as the biggest problem. Said Malcolm Brownbill: “Some bands did take that very, very slowly and it did affect players – it made it difficult to make it flow.”

Bands place first and second, respectively Wakefield Metropolitan and Hade Edge, were, said the judges, very close. Wakefield Metropolitan last qualified for the 'Finals' in 2007, in Section 2. Prior to that, it qualified in 2002, in Section 1. Chatting about the band’s success, Richard Stevens said: “I think, like most bands, our first reaction to the piece was one of bewilderment!  However, with Norman Law as Musical Director, no bar was left 'un-studied' and the band soon became aware of the musicality that lay within the piece.”

He continued: “Clearly to qualify for the ‘Finals’, especially from Yorkshire, is a great thrill for all involved with the band, but I think the greatest thrill was leaving the stage knowing that we had put in a 'real performance'.  The whole band was buzzing after it had played and, after the dust had settled on Sunday, all the players wanted to do was listen to the recording supplied by the organisers (what a great idea)!”

Hade Edge last qualified for the ‘Finals’ in Section 2 in 2002 and, again, in Section 1 in 2003. The band has experienced life in the fast lane of the Championship Section since then and is currently in its 100^th year, during which it has erected a brand new bandroom, which has enabled its player pool to balloon. The band is now proud that 150 youngsters turning up every week.

Hade Edge, whose soprano cornet, Michael May, lifted the Best Soloist Prize, trialled ‘Salute’ at another contest in February and, said Robert Turnbull for the band: “That gave us a good steer for the Regional Championships.”

SECTION 2
The 12 bands of Yorkshire’s Section 2 parried on Daniel Price’s evocative new work, New World Sketches, which proved a stern challenge for the competitors and a spell-binding sectional musical interlude for the audience. The piece was widely acknowledged as another fine choice by the Music Panel and, after listening to several performances, it came as no surprise to learn from the official programme that Daniel had studied composition under Professor Peter Graham; snatches of the piece were redolent of the latter’s Cat’s Tales, which pays tribute to Gershwin, among others. Most of the competitors produced the requisite style of all three movements, which take the listener through landscapes and images of America, starting with the hustle and bustle of New York before heading to the hot Deep South and winding up with an lively rodeo.

Daniel Price was one of four test-piece composers present in St. George’s Hall to hear their new compositions performed and to speak from the stage. Finding “a certain sparkle” in every performance, he said he was inspired to compose a piece that was fun to rehearse and listen to. “We need to get audiences back on seats in banding, so I wrote a piece that was band and audience-friendly.” Fun and friendly was exactly what bands and audiences got and adjudicator, Malcolm Brownbill, reflected: “…you must have enjoyed rehearsing this piece and the audience must have enjoyed listening to it. It’s also been a great pleasure for us to judge it.”

Fellow adjudicator, Christopher Wormald, drew attention to the challenges of capturing the evocative character of the piece before “nailing the notes”. “In order to convey the character, some bands need to look at the score. Dan Price has written everything in the score – it’s all there.” Covering triplets, he also warned against “crunching in” the last of the three.

The 2^nd Section saw Duncan Beckley prove, yet again, that he’s a seasoned war-horse when it comes to securing Regional Championship qualification by leading Holme Silver (Disposables UK Group) to victory. The band was followed by Frickley/South Elmsall conducted by David Nichols, which achieved qualification with second place from pole playing position and whose principal cornet, Simon Sanderson, went home clutching the Best Soloist Prize. Quite an achievement!

With the more favourable penultimate draw position, Holme Silver (Disposables UK Group) completed its recent resurrection from near extinction by nailing the piece stylistically and technically with a performance hallmarked by a fine flugel solo. Afterwards, Duncan Beckley, who has qualified for the ‘Finals’ in every section down the years, paid tribute to the hard-working Holme Silver, which, just 18 months ago, was down to eight players and facing extinction. Said Duncan: “I led Holme Silver to ‘Finals’ qualification in the same Section, when the ‘Finals’ were held in Nottingham and returned to the band 18 months ago to try and get the band through a bad patch. I’m therefore, delighted for the band and its back room staff, who have all worked very hard to rebuild.”

Duncan, who is also leading a band in the North or England region and Newstead in the Midlands’ top section this weekend, focused on honing the style of the test-piece, commenting: “I liked the piece from day one and it suited the Section, even though it was quite difficult. I like that kind of music generally. It was all about style, it wasn’t about brass bands. The three movements are linked and I also focused on looking for the links. Also, in the last movement, conductors have to find a speed that suits their band without losing the style.”

SECTION 3
Section 3’s test-piece, The Once and Future King by Andrew Baker, was yet another ‘lollipop’ for the listener in a weekend laced with lyricism. Generally acknowledged as a test that was fit for purpose, the heraldic character of the music was clearly relished by the audience, performers and adjudicator. “Thank you to Andrew Baker for writing such a fantastic piece for bands to play,” enthused adjudicator, Simone Rebello, adding, “the percussion writing is very exciting and detailed, and all percussion sections took hold of Andrew’s very specific requirements.” Similarly, Ian Brownbill praised the piece as “great concert music” that he hoped would “stay on the pad.”

The composer himself paid tribute to the courage of the Music Panel for selecting four completely new works by unfamiliar composers for sections 1 – 4 of this year’s Regional Championships. Commenting specifically on his composition, he reflected: “Every band got something out of the piece. The most successful bands were the ones that got to grips with the style.” He added: “Most bands played all the notes, but not necessarily in the right style. You should remember that accidentals carry through the bar.”

The piece provided considerable challenges for conductors in terms of uncovering the musical styles contained therein, which, said Ian Brownbill, didn’t always shine through. The adjudicators confessed that they listened intently to see if the descriptive music contained in the score was revealed, particularly in the second movement, as well as for consistency of tempo in the last. Said Ian Brownbill: “Some conductors really did try to get hold of this piece of music. We feel that we’ve sent two very strong bands to Harrogate, to represent Yorkshire.”

The Section saw Garforth, led by Steven Bailey, take top honours and qualify for the second year running. Accompanying Garforth to the ‘Finals’ will be second placed Crofton Silver, led by Tim Sidwell, whose soprano cornet, Mark Wears, was awarded the Best Soloist Prize. Both Garforth and Crofton turned in creditable performances to win the judges’ attention.

Garforth has done incredibly well since forming in 2005. The band qualified for the Section 4 ‘Finals’ in its first year of existence and, again, last year in Section 3. Speaking to us about Garforth’s win, an elated Danielle Kirk, who plays third cornet, said: “We’re delighted – the band has worked very hard for this.”

Crofton is also no stranger to qualification; the band was Yorkshire 4^th Section Champion in 2007 and went on to attain a respectable fifth place in the ‘Finals’ that year. The band is chuffed to have improved its ninth place at last year’s Yorkshire contest this year and attributes the improvement to its new conductor, Tim Sidwell, who scored a double at the weekend by qualifying as percussionist with second placed Hepworth in the top section, as well as leading Crofton to second place in the 4^th. Percussionist, John Roach, who joined Crofton a staggering 52 years ago as a 14-year-old, was chuffed to bits with the band’s second successive qualification, commenting: “We didn’t like the test-piece at first but, when we got to within four weeks of the contest, everybody thought it was a wonderful piece. We’ve had some wonderful pieces to play as regional test-pieces in the last three to four years.”

SECTION 4
Bands approaching The Talisman for Brass Band by Frank Hughes have, arguably, the toughest test of this Regional series to contend with. The piece is widely credited with reducing the number of fourth section entries and, we hear tell, bands in this Section need a simple piece to encourage the participation of young competitors. Yorkshire’s Secretary, Peggy Tomlinson, claims to have lost three competing bands from Section 4 this year and hopes to encourage them back next year.

The composer lent many clues to the music when he gave an eloquent and detailed synopsis of the piece from the stage. Afterwards, several observed that it would have been useful to include such explanation in the preface to the score.

When the results were in, the Section 4 Yorkshire Regional title was awarded to Maltby Miners Welfare off first draw position, with Thurcroft Welfare in second place, whose principal euphonium player, Keiran WIlliams, took the Best Soloist Prize. Jordan Deardon of sixth placed Wilsden, was the Youngest Player of the Section.

Maltby Miners Welfare last went to the ‘Finals’ in 1999 and puts its most recent success down to the hard work of its MD of the last 20 years, Terry Clifford. The Secretary, Margaret Brown, whose husband of 79 years joined the band as a lad of 14, said that the band found the test-piece difficult initially but warmed to it later. She added: “We’re delighted to be going to Harrogate.”

Conversely Thurcroft, which formed in the late 1940s/early 1950s, has never qualified for the ‘Finals’ and so is cock-a-hoop to have booked its place in Harrogate. Ken Vernon, who has led the band for the past two years, conducted the qualifying performance.

MP addresses the crowd
The Yorkshire Regional Championship was notable for the presence of Jeff Ennis, the MP for Barnsley East and Mexborough, as well as Chairman of the 30-strong Parliamentary Group on Brass Bands, who addressed the audience about his campaign to get “more brass into brass bands.”

Mr. Ennis’ birthplace was Grimethorpe and he’s associated with the town’s flagship band. His campaign to channel more Government funds into brass bands started in October 2007, when he questioned the Minister for Culture about the direction of Arts Council and Lottery money. He discovered that for every pound received by brass bands in 2007, ballet received £500.00 and opera £1001.00. “That’s quite a disgrace,” he exhorted from the stage, which drew vocal agreement from the audience. Mr. Ennis would like to see some brass bands join the 900 or so elite arts organisations that receive regular funding and is liaising with community bands to secure money from other pots. On the premise that any funding is better than none, his quest is to be commended and certainly won the approval of the St. George’s Hall audience. 

Tributes
The Yorkshire Regional Championships were also distinguished by several worthy presentations to long-serving band and committee members. These included a moment’s silence in memory of Bill Gillespie, for many years a back-stage steward who died last December. Yorkshire Regional Secretary, Peggy Tomlinson, also saluted Ray Sykes, of Carlton Main Frickley Colliery Band, for his deserved MBE awarded in the Queen’s 2008 Birthday Honours. Keith Fairburn, who has just completed 50 years continuous service with Kippax Band, received a long-service award, whilst Alec Gillespie, who is retiring after 40 years service as a stage steward, was presented with a silver salver and his wife, Judith, with a bouquet of flowers to mark their sterling work.

Peggy says “thanks”
Rounding a well-organised and seamless event off with a chat, a tired but satisfied Peggy Tomlinson commented: “Everything has gone very smoothly – it’s been an excellent weekend. A big “thank you” to all the bands that attended, as well as to their supporters. I just find incredible that our regional contest attracts an international audience and this year the audience level has been amazing. We’re just so blessed by the bands in the top section, in Yorkshire.”

Why does she do it?
So after 12 years of organising the Yorkshire Regional Championships together with her trusty committee members, why on earth does Peggy Tomlinson, who’s never blown a note in her life, carry on doing it?

She replied: “For the love of it and the satisfaction of trying to do a good job for Yorkshire’s bands. I’m just proud to be Yorkshire Regional Secretary, who wouldn’t be?” A good job is just what Yorkshire’s bands and audiences received from Peggy and her Committee!