National Youth Brass Band Review
Conductors: Prof David King, Joshua Parkhill
Soloist: James Fountain
Blackburn Cathedral
Saturday 10th August
Maintaining the expansive scope of inspiration under its recent conductors, the National Youth Band of Great Britain arguably reached the furthest geographical points of its demanding ambition with this concert under Prof David King.
A confirmed anglophile, he remains a proud Australian – the programming spanning hemispheres in reflecting personal links to both countries as well as New Zealand and the USA. His noted explorations of Salvation Army repertoire and support of emerging playing, conducting and compositional talent added to the global span.
Added resonance
Although not directly linked with the NYBBGB until now, his close association with former Artistic Director Dr Roy Newsome (whose widow, Muriel was in the audience), as well as the New Zealand arts philanthropist Dame Adrienne Stewart has informed his musical approach. His appreciation of their support was heartfelt.
Gilbert Vinter’s ‘James Cook – Circumnavigator’ to open an ambitious concert programme of style and execution, therefore held added resonance; Newsome leading Black Dyke to British Open victory on it in 1974.
He later persuaded the young Australian to study in Salford, a move that eventually saw him follow his route to Queensbury, and later with YBS, to emulate him with his first Open success in 1997.
King’s character study captured the lilting salt-brine feel, although one reflective of man of dynamic command rather than hubristic adventure.
King’s character study captured the lilting salt-brine feel, although one reflective of man of dynamic command rather than hubristic adventure. Cook’s violent death still shocked though – a percussive bludgeon that dropped him in his imperial march tracks.
It was a mark of the appreciation of the cathedral’s cavernous acoustic elicited from the 82 strong ensemble that it did. The control of dynamics was rigorously maintained throughout the concert – only eagerness occasionally breaking the admirable self-control.
Colour and texture
Brenton Broadstock’s extended ‘Born to Battle’ (Symphony for Brass Band), was also framed on a spacious canvas of colour and texture. Time and again the assured solo contributions added to the mature engagement on a work of fluctuating spiritual intentions.
the contrasting rhythmic patterns of Philip Sparke’s ‘The Land of the Long White Cloud’ were joyfully defined – again added by fine solo contribution and secure ensemble.
Despite the wash of sound bouncing off the revivalist Gothic architecture, the contrasting rhythmic patterns of Philip Sparke’s ‘The Land of the Long White Cloud’ were joyfully defined – again added by fine solo contribution and secure ensemble.
So too the variant elements of ‘Pilgrim Song’, led with confident purpose by Joshua Parkhill, winner of the 2023 NYBBGB Conducting Competition.
Superlatives
Superlatives for James Fountain.
Style infused every musical phrase: The Principal Trumpet of the LSO giving a masterclass in agile capriciousness on ‘Zelda’, to contrast the tender lyricism of ‘With all My Heart’, the evocative sense of loss of ‘Black Tears’ (Chorale for Pike River) and the creamy trumpet suavity of ‘How Do You Keep the Music Playing?’.
Dean Goffin’s treatise on William Holman Hunt’s famous allegorical picture both rises and falls in optimism and hope – the strands captured with considered understanding.
The concise introductions of compere Carl Woodman gave Prof King the opportunity to give the audience further insight into unfamiliar repertoire – helping greatly with the inspirations behind ‘The Light of the World’ and ‘Vita Destructa’ to close.
Extra spring
Dean Goffin’s treatise on William Holman Hunt’s famous allegorical picture both rises and falls in optimism and hope – the strands captured with considered understanding.
In contrast, Todd Smith’s filmatic test-piece reflected on the destructive power of nature and the very human tragedy of the Christchurch earthquake of 2011.
The loss of life as well as property (including enormous damage to the city’s own cathedral) was vividly characterised before hope of renewal emerged with the increasingly majestic build of the hymn tune ‘Abide with Me’.
The traditional encore hymn of ‘St Clement’ sent those already standing in their ovation, home with an extra spring in their step.
Iwan Fox
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