Concert: National Youth Brass Band of Great Britain

National Youth Brass Band of Great Britain
Summer Course and Concerts
Conductor: Garry Cutt
Artistic Director: Bramwell Tovey
Repton School and Albert Hall, Nottingham
4 and 5 August 2017

With Artistic Director, Bramwell Tovey, engaged at the Tanglewood Music Festival with the Boston Symphony Orchestra until the latter stages of the week, the bulk of the National Youth Brass Band of Great Britain (NYBBGB) Summer Course, for the first time at Repton School, was led by Garry Cutt.

Whilst the Easter course majored on contemporary repertoire, the Summer course focused on the heritage of brass band music, presenting the young players with plenty of challenges, not least that most of the band was unfamiliar with much of the chosen programme. The same could not be said of Garry Cutt who, from the first rehearsal, demonstrated meticulous preparation and thorough understanding of the material. The students responded well to his observations on strict rhythm, clarity of articulation, and intonation within and between the different sections of the band.

Two identical end-of-course concerts were given, Repton School’s modern 400 Hall providing an intimate prelude to the majestic Albert Hall, Nottingham. Works performed included Little Suite for Brass (Malcolm Arnold), John O’Gaunt (Gilbert Vinter), The Essence of Time (Peter Graham), An Epic Symphony (Percy Fletcher) and Bram Tovey’s evocative Remembering Jutland. This repertoire keeps principal players pretty busy, and particular mention goes to Thomas Nielsen’s mellifluous solo cornet lines and Cameron Scott’s commanding presence on solo euphonium.
Guest soloist, Glyn Williams, doubling as euphonium and baritone tutor on the star-studded music staff, played works written for him in the shape of Andy Scott’s fascinating Concerto and Alan Fernie’s cleverly compiled
My Favourite Things, both performed with ease.

The two concert halves closed with works dedicated to the memory of Gordon Langford (Fantasy on British Sea Songs) and James Williams (The Call of the Righteous) respectively. The Nottingham performance of the latter prompted Bram Tovey to comment that the opening cornet fanfare, by three sopranos and 13 solo cornets no less, was “the most brilliant and flawless execution that he had heard... perfectly in ‘sync’ in every way.”
There was just enough time for the band’s unique rendition of The Cossack (with da capo vocals) and the hymn tune, St. Clement, the middle verse of which poignantly featured 21 players at the end of their NYBBGB membership. It is a testimony to the success of the NYBBGB ‘system’ that their places will be filled next year by 21 new members.  

CARL WOODMAN

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