Pavilion - Winter Gardens, Blackpool
TIMINGS FOR THE SENIOR CUPTIMINGS AS CONFIRMED BY THE BRITISH OPEN COMMITTEE
Please note some of the times may change on the day DRAWS: Location: Floral Suite - Draw 1: 09:00, Draw 2: 11:00 CONTEST: Location: Pavilion Theatre - Doors: 09:30, First Band: 10:00 RESULTS: Location: Opera House - from 18:00 |
WHO IS IN THE SENIOR CUP?FINAL LIST OF COMPETING BANDS - SENIOR CUP
(As confirmed by the British Open Committee) City of Cardiff Melingriffith Brass Band Organisation - David Hamilton City of Hull Band- Daniel Brooks Dalmellington Band - Andrew Duncan Derwent Brass - Jack Capstaff Ebbw Valley Brass - Matthew Rowe Elland Silver Band - Ben Dixon Haverhill Silver Band - Paul Filby Kingdom Brass - Alistair Gibson The Kirkintilloch Band - Hedley Benson Marsden Silver Prize Band - Leigh Baker Milnrow Band - Christopher Binns Newtongrange Silver Band - Anne Crookston Pemberton Old Wigan DW Band - Thomas Wyss Ratby Co-Operative Band Organisation - Ian McElligott Shepherd Brass Band - Richard Wilton Thundersley Brass Band - Melvin White Tongwynlais Temperance Band Owen Farr* Tylorstown Band - Robert Westacott Unite the Union Brass Band - Jonathan Beatty Verwood Concert Brass - Kevin Smith Withdrawn * Llwydcoed - Replaced by: Tongwynlais Temperance |
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DRAWS AND RESULTSSENIOR CUP - TERRA AUSTRALIS - MARTIN ELLERBY
ADJUDICATORS: HELEN VARLEY & ALAN MORRISON VENUE: PAVILION THEATRE DRAWS: 09:00 and 11:00 DOORS OPEN: 09:30 - FIRST BAND: 10:00 RESULTS: From 18:00 (Opera House) |
The first half of the draw has been announced.
Bands in the second half will show as 99 until the draw
Bands in the second half will show as 99 until the draw
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WHAT IS THE TEST PIECETerra Australis by Martin Ellerby
Having listened to the piece a number of times, I offer my views of the piece, it's structure, and potential pitfalls. However, first I will share a bit of background and the views of the composer. |
TERRA AUSTRALIS - FROM THE SCORE
Terra Australis as commissioned by the YBS Band for their 2005 Kings of Brass Tour of Australia and premiered by them under their conductor Professor David King in Sydney Opera House, New South Wales on 22nd August 2005. The first UK performance was given by the same performers at the RNCM Festival of Brass on 29th January 2006, which was subsequently broadcast on BBC Radio 3 on 8th March 2006. The work was first used in its contest version at the Australian Brass Band Championships held in Melbourne, Victoria, in Easter 2007.
Composer’s Programme Note (paragraph spacing and punctuation added for clarity):
The first compositional outcome of my composer-in-residency with the YBS Band was Terra Australis written in close collaboration with Professor David King. I had usually only had more intimate workings when engaged on concertos but David had things in mind for this piece and I decided to trust his instinct and try and produce something specifically geared to the band's 2005 Tour of Australia. David provided the title, I had only to compose the music! The experience has been both rewarding and taken me down some new avenues of investigation all of which I hope come out in the work.
Composed in a single movement, the piece has a tripartite structure.
Opening with a dramatic representation of the natural wonders of the intoxicating Australian landscape, beautiful yet dangerous by turn. The spirit of Captain Cook's Endeavour searching the coastal waters, the observation of the indigenous population, the joy of a new life and optimistic future for the settlers and the triumph over tragedy when pioneering the vast new unexplored vistas are all represented.
The central, and initially more lyrical, section features more exposed instrumental lines and textures including in the undercurrent a quotation of Australia's national anthem. This gives way to some more rapid material (and in contest environments an additional cadenza section) before concluding with what I describe as the 'ANZAC moment' where echoing cornet fanfares salute the nation's fallen in overseas wars far from home.
The final section forms an 'Anthem for a Nation' where after a declamatory statement of the main theme (hidden away in the earlier stages of the work's progress) the melody is now realised in full. Slowly building towards a huge cathedral of sound in the manner of a grand chorale the coda brings full circle the opening material in an even more colossal and energetic conclusion.
Dedicated to David King and the YBS Band, Terra Australis could not have been realised without my experiencing the Australian way of life or dealt so closely with a domiciled Australian.
Composer’s Programme Note (paragraph spacing and punctuation added for clarity):
The first compositional outcome of my composer-in-residency with the YBS Band was Terra Australis written in close collaboration with Professor David King. I had usually only had more intimate workings when engaged on concertos but David had things in mind for this piece and I decided to trust his instinct and try and produce something specifically geared to the band's 2005 Tour of Australia. David provided the title, I had only to compose the music! The experience has been both rewarding and taken me down some new avenues of investigation all of which I hope come out in the work.
Composed in a single movement, the piece has a tripartite structure.
Opening with a dramatic representation of the natural wonders of the intoxicating Australian landscape, beautiful yet dangerous by turn. The spirit of Captain Cook's Endeavour searching the coastal waters, the observation of the indigenous population, the joy of a new life and optimistic future for the settlers and the triumph over tragedy when pioneering the vast new unexplored vistas are all represented.
The central, and initially more lyrical, section features more exposed instrumental lines and textures including in the undercurrent a quotation of Australia's national anthem. This gives way to some more rapid material (and in contest environments an additional cadenza section) before concluding with what I describe as the 'ANZAC moment' where echoing cornet fanfares salute the nation's fallen in overseas wars far from home.
The final section forms an 'Anthem for a Nation' where after a declamatory statement of the main theme (hidden away in the earlier stages of the work's progress) the melody is now realised in full. Slowly building towards a huge cathedral of sound in the manner of a grand chorale the coda brings full circle the opening material in an even more colossal and energetic conclusion.
Dedicated to David King and the YBS Band, Terra Australis could not have been realised without my experiencing the Australian way of life or dealt so closely with a domiciled Australian.
TERRA AUSTRALIS - MY OVERVIEW OF THE PIECE
This has to be my favourite test piece choice at the Spring Festival. It’s always nice to see a ‘proper’ piece – one not written (primarily) as a test piece which is often the case with modern compositions – on show - particularly in Blackpool. I certainly hope to visit the Pavilion Theatre a few times on the day (even though I’m not the greatest fan of the venue).
Whilst not written in movements, there are clearly three distinct sections… the first being a classic epic film-score introduction, with fanfare, flourishes, solos, before giving way to a dramatic build to K. The way the score is written in such a frantic manner, combined with the more tranquil quieter sections, is indicative of a sea voyage. There is pretty much something for everyone in the opening, from Solo Cornet through to tuned percussion. Throughout the section, we are reminded of the fanfare style opening before giving way to empty and exposed sections, perhaps indicative of rough seas, followed by a resurgence of the theme. From I, the build into K to me marks an end to the fanfare, and to my mind, the disembarking onto the land of the New World.
K is, in my view, the start of the second ‘movement’ commencing with a patchwork of very exposed, yet lyrical solos and duets being passed throughout the band. Whilst the section is primarily lyrical, the initial there is never too far away, building from O to a full resurgence at P before paling away at T into an exposed section full of intensity and expectation. My own view of this section is that of the vast plains of Australia, peaceful, tranquil, but never far from danger. The opening duet is replaced by a euphonium solo which seems to provide more than a nod towards John Barry’s “Out of Africa”. As we move through the section, we are once again treated to some of the fanfares and flourishes that were prominent in the first ‘movement’ (perhaps a return to the sea) however, it is – throughout – the section – the exposed plains and outback that seems to shine through.
I personally see V as the commencement of the final ‘movement’ of the piece. Others may suggest this is more appropriately BB. However, it is the resurgence of the anthemic theme synonymised in the open section that builds in intensity and anticipation before giving way to a cacophony of fast passages – not to mention some fantastic trombone glissando writing – right up until the final percussive solo last note.
In simple terms… WHAT A PIECE?!
Whilst not written in movements, there are clearly three distinct sections… the first being a classic epic film-score introduction, with fanfare, flourishes, solos, before giving way to a dramatic build to K. The way the score is written in such a frantic manner, combined with the more tranquil quieter sections, is indicative of a sea voyage. There is pretty much something for everyone in the opening, from Solo Cornet through to tuned percussion. Throughout the section, we are reminded of the fanfare style opening before giving way to empty and exposed sections, perhaps indicative of rough seas, followed by a resurgence of the theme. From I, the build into K to me marks an end to the fanfare, and to my mind, the disembarking onto the land of the New World.
K is, in my view, the start of the second ‘movement’ commencing with a patchwork of very exposed, yet lyrical solos and duets being passed throughout the band. Whilst the section is primarily lyrical, the initial there is never too far away, building from O to a full resurgence at P before paling away at T into an exposed section full of intensity and expectation. My own view of this section is that of the vast plains of Australia, peaceful, tranquil, but never far from danger. The opening duet is replaced by a euphonium solo which seems to provide more than a nod towards John Barry’s “Out of Africa”. As we move through the section, we are once again treated to some of the fanfares and flourishes that were prominent in the first ‘movement’ (perhaps a return to the sea) however, it is – throughout – the section – the exposed plains and outback that seems to shine through.
I personally see V as the commencement of the final ‘movement’ of the piece. Others may suggest this is more appropriately BB. However, it is the resurgence of the anthemic theme synonymised in the open section that builds in intensity and anticipation before giving way to a cacophony of fast passages – not to mention some fantastic trombone glissando writing – right up until the final percussive solo last note.
In simple terms… WHAT A PIECE?!
TERRA AUSTRALIS - MY UNEDUCATED COMMENTS AND PERSONAL THOUGHTS
Overall, I feel Terra Australis is a piece that will – rightly – challenge the entire band. There is no getting away from the fact that, to deliver a successful performance, every single player needs to be confident, on-form, and be 100% committed and full of concentration. No beers in the bar, or late-night conversations on Friday night for this one!
Whilst it may be tempting to add flexibility in the cadenza-style, solo-strewn parts of the second ‘movement’, I personally feel this composition deserves strict adherence to the tempo markings. Too much differential between what is written, and what is performed will simply lose the character of the piece.
As for articulation and attention to detail, the markings are key to success. A staccato missed, substituting an accent for marcato, or failing to hold notes for their full length will stand out a mile. This really is a piece of music where the composer knew exactly what he wanted – and ensure the relevant articulation marks were sealed in black and white. Indeed, a single glance and flip-through of the score reveals the extent of articulation in the piece insofar as – pretty much every single note is marked!
In line with the articulation, the dynamics are paramount. This is a piece that builds in anticipation throughout. From the numerous interruptions in the build to the end of the first section, through the uncertainty of where the middle section will lead (it ebbs and fades and ebbs), to the amazing build-up to the finale. No dynamic is superfluous, no crescendo is poorly written, and no decrescendo should be left to ‘hang’. Indeed, as with the articulation, the composer has been very clear to state the dynamics throughout the piece. Every crescendo has a starting dynamic and an aim point which quite simply ensures the entire piece is ‘dynamically sound’
I would also comment on consistently and fluency. This piece is littered with unisons rhythms to such an extent that the slightest tonguing error by any member of the band will lead to the collapse of the entire phrase. Not only that, but there are also additionally many areas where the phrasing passes throughout the band where slurred passages may commence solo horn and be ‘picked up’ by first. The listener - without a visual perspective of the band - should be completely unaware of the change in instrument.
It's particularly important to note the exposed sections which appear throughout the piece. Whilst some of the sections are slow, others are more rapid in movement. In both cases the concentration referred to earlier is paramount. Pinpoint accuracy in relation to articulation, dynamics, note lengths and style is essential. K and L are a classic example of how the solo line passes around the band. Whether the solo is written on trombone, flugel, cornet, soprano, horn or euphonium, the theme is the same, and in reality, I feel it should (as with the comments about consecutive slurred passages) almost be like a single instrument with an extensive range – no bold starts or crashed endings.
As for solos, duets and, trios, be they interwoven with the band backing, or set alone in ‘karaoke’ a style, make them clean and ensure the solo voice is simply a member of the band. There are so many ‘solo’ markings in this piece that to suggest every one is a ‘true solo’ seems wrong. With a few notable exceptions (for example K to M) I feel in many cases, the marking ‘solo’ is merely there to highlight that the part is ‘on its own’. Cleanly played and in sync with the band is more important that showmanship in this piece.
Finally, in my opinion, one of the most important parts is intonation. The composer has not made this easy and regularly scores in the higher octave. Tight observance of the pitch is essential as there are endless traps for split/ clips notes. Whilst the faster sections may mask these somewhat, the slower or exposed areas are a serious danger zone. I will admit to have listened to a number of recordings of the piece and am yet to find one where serious slips or refusals have not seriously detracted from an excellent performance.
To round up. In my opinion this is a tough one. To succeed, the band will need a dedicated performance, extremely clean in articulation, dynamics and intonation, and a strong and empathetic group of soloists. In addition, a fantastic percussion section (I assume 3), with perfect timing will not only ensure an accurate performance, but will go toward cementing the band.
Where Will It Be Won?
I can’t pick out any specific part of the piece that will ‘win’ the contest. Clearly, the overall performance will be paramount (alongside sticking to the script). However, I would personally say, poor performances, articulation, intonation and dynamics in the exposed sections (e.g. D-G, K-O, and T-V) would certainly be high risk, and holds a huge potential for loss.
Whilst it may be tempting to add flexibility in the cadenza-style, solo-strewn parts of the second ‘movement’, I personally feel this composition deserves strict adherence to the tempo markings. Too much differential between what is written, and what is performed will simply lose the character of the piece.
As for articulation and attention to detail, the markings are key to success. A staccato missed, substituting an accent for marcato, or failing to hold notes for their full length will stand out a mile. This really is a piece of music where the composer knew exactly what he wanted – and ensure the relevant articulation marks were sealed in black and white. Indeed, a single glance and flip-through of the score reveals the extent of articulation in the piece insofar as – pretty much every single note is marked!
In line with the articulation, the dynamics are paramount. This is a piece that builds in anticipation throughout. From the numerous interruptions in the build to the end of the first section, through the uncertainty of where the middle section will lead (it ebbs and fades and ebbs), to the amazing build-up to the finale. No dynamic is superfluous, no crescendo is poorly written, and no decrescendo should be left to ‘hang’. Indeed, as with the articulation, the composer has been very clear to state the dynamics throughout the piece. Every crescendo has a starting dynamic and an aim point which quite simply ensures the entire piece is ‘dynamically sound’
I would also comment on consistently and fluency. This piece is littered with unisons rhythms to such an extent that the slightest tonguing error by any member of the band will lead to the collapse of the entire phrase. Not only that, but there are also additionally many areas where the phrasing passes throughout the band where slurred passages may commence solo horn and be ‘picked up’ by first. The listener - without a visual perspective of the band - should be completely unaware of the change in instrument.
It's particularly important to note the exposed sections which appear throughout the piece. Whilst some of the sections are slow, others are more rapid in movement. In both cases the concentration referred to earlier is paramount. Pinpoint accuracy in relation to articulation, dynamics, note lengths and style is essential. K and L are a classic example of how the solo line passes around the band. Whether the solo is written on trombone, flugel, cornet, soprano, horn or euphonium, the theme is the same, and in reality, I feel it should (as with the comments about consecutive slurred passages) almost be like a single instrument with an extensive range – no bold starts or crashed endings.
As for solos, duets and, trios, be they interwoven with the band backing, or set alone in ‘karaoke’ a style, make them clean and ensure the solo voice is simply a member of the band. There are so many ‘solo’ markings in this piece that to suggest every one is a ‘true solo’ seems wrong. With a few notable exceptions (for example K to M) I feel in many cases, the marking ‘solo’ is merely there to highlight that the part is ‘on its own’. Cleanly played and in sync with the band is more important that showmanship in this piece.
Finally, in my opinion, one of the most important parts is intonation. The composer has not made this easy and regularly scores in the higher octave. Tight observance of the pitch is essential as there are endless traps for split/ clips notes. Whilst the faster sections may mask these somewhat, the slower or exposed areas are a serious danger zone. I will admit to have listened to a number of recordings of the piece and am yet to find one where serious slips or refusals have not seriously detracted from an excellent performance.
To round up. In my opinion this is a tough one. To succeed, the band will need a dedicated performance, extremely clean in articulation, dynamics and intonation, and a strong and empathetic group of soloists. In addition, a fantastic percussion section (I assume 3), with perfect timing will not only ensure an accurate performance, but will go toward cementing the band.
Where Will It Be Won?
I can’t pick out any specific part of the piece that will ‘win’ the contest. Clearly, the overall performance will be paramount (alongside sticking to the script). However, I would personally say, poor performances, articulation, intonation and dynamics in the exposed sections (e.g. D-G, K-O, and T-V) would certainly be high risk, and holds a huge potential for loss.