Fodens Impress the judges

Posted by Mark Wilkinson on 15 September 2008

It seems the three men in the box were mightily impressed by Fodens winning performance.

David Read:

Smooth opening, lovely sounds and musical through to close
2- Neat – good percussion. Rhythmic – I enjoy this.
10 – Beautiful sounds and so well shaped. Euph playes with such artistry and all individuals play a good part (slightest of lapses in sop)
15 – Good lilt to waltz – so elegant. Soloists play with artistry and I sit back and enjoy the music.
23 – Neat and energetic too. The sounds are so well balanced. Bar 318 onwards – excellent from euph/basses. A great close to the movement.
29 – Sonorous sounds to open and all parts fit the picture.
31 – Misterious – all parts are heard in their proper perspective. Excellent Eb bass 376 onwards. All so musical and well thought out, so expressive and with good blend.
36 – Virtuoso playing and the fugue develops as it should – fine percussion playing, all so rhythmic.
46- Triumphant as marked – so much power.
A fine performance technically and musically.

'This playing is excellent to the very end. Very well done ? I enjoyed every moment ? an unusual experience for me!!'

~ Peter Parkes

Peter Parkes:

Good controlled sound from the very beginning. Well done
2- Nice light touch
5 – Good sop. All well played through 8 – 9
10 – Siciliano – all the soloists do well through to 12. Just the right feel for this.
13 – Well done soprano. Solo cornet just right and a lovely ending.
15 – Nice style – a lovely graceful feel to this through to 19
20 – Well done!
23 – 24 – Just the right feel and style.
26 – Excellent trombones
29 – Lament. Basses nicely in tune – all soloists do well through to 30. Good tutti sounds – well balanced.
31 – Very good effect. Well done the soloists! Moves nicely through to 32.
33 – Excellent crescendo through to 34
35 - 36 – Good feel to this. No problems through too 44. Good accel to 45.
Really fine sound at 46. This playing is excellent to the very end.
Very well done – I enjoyed every moment – an unusual experience for me!!

Michael Ball:

A spacious opening theme with plenty of detailed contrast to put each melodic thread into context. Commendable harmonic ensemble across the band.

Well restrained piano in the opening exposed single quavers – well controlled. Taut rhythmic shaping distinguished the playing with neat articulation and dancing rhythms always working within the composer’s specified dynamic limits.

Lovely solo playing in the Siciliano, each line unfolding with flexible rhythmic and tonal shading. Very fine euphonium – authorative playing and lovely expressive solo cornet likewise. The whole band supported these high profile threads with very sympathetic playing in the background textures.

Excellent detail in the waltz – everything fully characterised and placed so convincingly in its context. You all coped ably with the high wire detail, very clean.

Nice taut playing in the Moto Perpetuo, forward momentum established from the outset but with no forcing of the pace. Again, textures were reliably balanced so that all the detail was eminently clear.

A fine opening in basses to the Lament and each successive entry was appropriately balanced and aware of its context. The chain of solos at 31 plus pursued the elegiac mood with fine contributions from each player in the dialogue; an impassioned full statement at bar 369 and fine echoes from the Eb bass solo. Just a little fragility in soprano at bar 386 but quickly recovered. A well rounded finish to the movement.

You coped ably with the challenges of the Fugal Scherzo and detailed clarity and unanimity of musical intent were always commendable.

Fine, enjoyed music making to the finish and thank you!

Article provided with kind permission from 4bars rest

For any conductor and every audience, Foden’s Band is a musical Magic Carpet. It continually takes the listener to places that few other ensembles rarely even approach Howard Snell