National Finals 2019 Review: Cory dominate in London

On a grey and miserable day in London it was the Cory band who shone brightest to take a convincing victory at The Royal Albert Hall, further cementing their status as World Number One band in the process. At a contest seeing a record attendance, the Welsh Giants comfortably swept aside the competition with a masterful performance of Titan’s Progress, leaving the stage to a standing ovation. 

On a day where the only way to differentiate between bands was to count the small number of errors or intonation issues, such a dominant performance was exactly what was required to take victory. From the moment Carlton Main opened the contest the standard had been exceptional, and the running neck and neck. As the audience awaited the final results all agreed on two things: Cory had undoubtedly won, and there were at least twelve bands that could be placed in any order from second downwards.

The best in the business

The excitement and anticipation had been gradually rising after the halfway point break and, as band number thirteen came on stage, the hall was as full as it had been all day. From start to finish what the Welsh Champions delivered was nothing short of sheer brilliance, perfectly blending style, shape, energy, world class technical ability and, at times, pure unadulterated power. In his remarks ahead of the results, Dr Robert Childs said that he and the fellow adjudicators, Rob Wiffin and Alan Morrison, felt the final fugue was treated as “a lap of honour for some bands, confident they had performed well”. In truth the Cory’s entire performance felt like a lap of honour perfectly demonstrating why they are quite simply the best in the business.

Prior to the results, composer Hermann Pallhuber addressed the audience thanking every band for their effort and commitment stating “all twenty bands gave the piece life”. Cory went one step further: they gave the contest life.

From the moment Phillip Harper’s baton dropped you could sense this was going to be something special. A powerful, purposeful opening faded back to allow the talents of Tom Hutchinson to shine in this beautifully expressive cornet solo. With energy and drive the Welsh Champions powered forward, never losing the detailed intricacies of this magnificent test piece. The power of the band was beautifully balanced after the Allegro with glorious solo lines, bringing a sense of calm. The combination of this and the fierce, spirited interjections from across the band was simply wonderful. Steve Stewart, who walked away with the soloist prize, was to coin a phrase ‘on fire’. In complete contrast Tom Hutchinson again demonstrated his class in partnership with Glyn Williams in a soulful duet (or trio with the vibraphone as Gareth Pritchard tried to convince his twitter followers!) which was punctuated spectacularly by the trombones and a fantastic baritone cadenza from Stephen Kane. The colour and description Cory found in their musicality was of a standard no other band was able to match. As Dr Childs had described, the lap of honour began in earnest. Never losing detail, and with every note, articulation and marking clear to hear this spectacular rendition had the audience on their feet long before end. As the final chords continued to echo around the cavernous venue all were in agreement: It was quite simply a stunning performance.

A Titanic Tussle

Whilst it was obvious that there was only really one band in contention for the top prize, the remaining places were far from clear - such was the standard of performances during the day. An early slip in the cornet bench aside, Black Dyke continued their recent resurgence with a polished display of high quality and laid an early marker from their number four draw. Using

all his stagecraft and experience, Prof. Nicholas Childs led the Queensbury band through a descriptive, shaped performance. As at The British Open last month, they missed out on top spot only to the sheer brilliance of Cory.

Scottish Area runners-up Whitburn claimed third spot with a performance which demonstrated shape, flow and precision in the more technical aspects of the piece despite lacking in overall power. This may however have been exacerbated as they had the unenviable task of following the day’s winners on stage.

Brighouse and Rastrick claimed the final top four spot to qualify for next year’s Finals. Small, individual errors had been a theme throughout and this performance was no different. A stylish interpretation, featuring moments of beauty and brilliance, was let down by a handful of such errors on a day when the standards had been so high.

Impressive Displays

West of England Champions, Flowers, continued their recent run of good form with a solid fifth place. With an impressive display which demonstrated strong technique and flowing solo lines the performance was characterised by a full sound which resounded triumphantly around the hall. In sixth came Leyland with a determined display that, like so many today, was undone by inconsistencies and errors. Tredegar had laid down an impressive early marker and will be rightly pleased with their seventh place ahead of Fodens in eighth. On a disappointing day for the reigning Champions, their account was majestic and beautifully subtle in equal measure but was delivered in a style which ultimately failed to impress the adjudicators on the day. Making a strong return to the National Finals was Desford who ultimately finished ninth having been many people’s favourites (including mine) at the half way point. The top ten was rounded off by GUS who delivered another strong performance but which sadly seemed to run away from them a little bit with the fugue lacking clarity.

Fine Margins

Friary were perhaps unfortunate to miss out on a top-ten placing finish with a well delivered performance, finishing ahead of their London & Southern Counties counterparts, Zone One, who took twelfth. The Cooperation band were placed thirteenth ahead of Aldbourne and Reg Vardy in fourteenth and fifteenth respectively. The real eye-opening result of the day was that of Grimethorpe. Despite lapses in concentration towards the end, many agreed that their performance was bold and marked by style and character. Ultimately though, it proved not to the tastes of the adjudicators who placed them sixteenth ahead of Carlton Main Frickley Colliery who had got proceedings underway so many hours before.

A testing day

On a day where the standards had been high across the board, and the smallest of errors determining overall placings, ultimately there were three bands for whom this test piece was testing the limits. In eighteenth place were Pemberton Old DW band ahead of Northop Silver and City of Hull. Nevertheless, all three bands did themselves proud against some fierce competition.

The Gala Concert

As the stage was reset for the results ceremony, Black Dyke once again took the stage for the 2019 Gala Concert. After a brilliant but long day hearing twenty renditions of Titan’s Progress, the programme they chose was well thought out and well balanced, blending easy listening and technical excellence. With five basses and two bass trombones (it was great to see Adrian Hirst playing), they kicked off with Paul Lovatt-Coopers’ Enter the Galaxies. In contrast, Richard Marshall then took centre stage with a breath-taking performance of Zelda that simply oozed class. Black Dyke at the Movies featuring the themes from Harry Potter, For Your Eyes Only and Pirates of the Caribbean¸ provided something for everyone with the well-known music being appreciated by all. As I made my way home I walked with some of the Albert Hall staff who, having been in the auditorium all day, described this as their highlight. For me though, the highlight was still to come. Commissioned by The Melbourne Staff Band of The Salvation Army for their 125th Anniversary in 2015, To Boldly Go, by Peter Graham is a rip-roaring concert finale and provided my ‘moment of the day’. The working of I’ll not turn back as the slow, middle movement of the piece saw the cornets and
trombones make use of virtually silent mutes and the basses, without mutes, demonstrating exactly what quiet playing should sound like – so distant that the audience were almost straining to hear them. The piece then features the classic ‘Sally Army’ tune I’ll go in the strength of the Lord where once again the extended bass end of the band was put to full use and finished the day on a real high.

One Final word 

And that was that for 2019. The standard of playing had been so high during the course of the day, that I was glad I wasn’t adjudicating. Titan’s Progress is one of my favourite test pieces and so it was great for me to sit back and listen to the twenty best bands in the country battle it out for the crown of National Champions. There was no bad performance; it took something exceptional from one of the best bands to have ever competed to stand out from what was a very tight pack. I wrote a piece recently on the TV series ‘Battle of the Brass Bands’ and I wonder whether this series contributed to the biggest audience this event has ever seen. On today’s evidence, they will surely be back as our movement seems to be in rude health.

Full results 

1. Cory (Philip Harper)*
2. Black Dyke (Prof Nicholas J. Childs) **
3. Whitburn (Garry Cutt)*
4. Brighouse & Rastrick (Prof David King)*
5. Flowers (Paul Holland)
6. Leyland (Thomas Wyss)
7. Tredegar (Ian Porthouse)
8. Fodens (Russell Gray)
9. Desford Colliery (Michael Fowles)
10. GUS (Chris Jeans)
11. Friary (Chris King)
12. Zone One Brass (Richard Ward)
13. The Cooperation Band (Phillip McCann)
14. Aldbourne (Lee Skipsey)
15. Reg Vardy (Ray Farr)
16. Grimethorpe Colliery (Dr David Thornton)
17. Carlton Main Frickley Colliery (Luc Vertommen)
18. Pemberton Old DW (Ben Dixon)
19. Northop Silver (John Doyle)
20. City of Hull (Stig Maersk)

Best Instrumentalist: Steve Stewart (soprano) — Cory

*Top 4 qualify for 2020 National Final
** Qualify to represent England at 2021 European Championships in Malmö