British Open 2014

Posted by Mark Wilkinson on 9 September 2014


On Saturday 6th September Foden's competed at the British Open Contest held at the Symphony Hall, Birmingham
The contest is believed to be the oldest music competition in the world, celebrating its 162nd year with all the best bands in Great Britain competing at this event.

This year each band had to perform the set test piece 'Vita Aeterna Variations' by Alexander Comitas. The work was first performed at the European Brass Band Championships in 2012 and consists of 6 contrasting variations with the piece lasting around 20 minutes. Despite being called a 'test piece' the work is very melodic (as well as extremely difficult) and has proved a great success with audiences since first being performed. Due to this the British Open was a sell out with all 2200 tickets being sold.
As always, Foden's entered the contest well prepared and confident and this year held an open rehearsal at Sandbach Boys School prior to the contest in front of Patrons and invited guests.
Foden's were drawn to play 12th out of 17 bands and were placed 4th. Despite not winning, the band were pleased with their performance and audience reaction as well as maintaining their contest consistency. In the past 5 years Foden's have not been placed outside of the top 4 at this contest
Congratulations to Black Dyke
The full results were
1. Black Dyke (Prof. Nicholas Childs)
2. Cory (Philip Harper)
3. Flowers (Paul Holland)
4. Foden's (Allan Withington)
5. Desford Colliery (Tom Davoren)
6. Hammonds Saltaire (Morgan Griffiths)
7. Brighouse & Rastrick (Prof. David King)
8. Grimethorpe Colliery (Dr Robert Childs)
9. Fairey (Garry Cutt)
10. Tredegar (Ian Porthouse)
11. Leyland (Michael Bach)
12. Milnrow (Mareika Gray)
13. Virtuosi GUS (Adam Cooke)
14. Hepworth (Mark Peacock)
15. Co-operative Funeralcare (Allan Ramsay)
16. Carlton Main Frickley Colliery (Phillip McCann)
17. Kirkintilloch (David Roberts)
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