British Open 2025 - Highlights & Results

Liv Appleton
11 minutes ago
27 min read

Commentary and Results From the 2025 British Open Brass Band Championships

The 2025 British Open Brass Band Championships was a showcase of powerhouse ensemble playing and intricately detailed solo offerings. It was a pleasure to listen to all 18 performances during the course of the day.

Here's a recap of the live commentary from each band's performance and the results.

Black Dyke Band

Draw no. 1

MD: Nicholas Childs

Well controlled opening. Beautiful opening cadenza from solo cornet and solo euph. Great dynamic control from basses leading into the next section.

That well known motif from Montague's and Capulets is delivered with poise and conviction.

Juliet's entry into the story is delivered with sweetness and charm. Little hesitant with some of the solo entries, but the characterisation is there. Juliet's dance is nimble with a lovely sparkle from percussion.

Now this is fun - lot's of energy and mischief with an underlying tension from lower band and percussion. Great use of dynamics to create movement within this technical section. The fight between Mercutio and Tybalt flies with effortlessly flowing sextuplet runs and warning chords from sop and middle of the band.

Small wobble in the offstage cadenzas, but recovers well and balanced last chord to finish. Secure euphonium cadenza and fantastic partnership when the second euphonium joins.

Romeo's rage absolutely flies with a whirling dervish of technical passages. Excellent xylophone and as the band builds into the second section of dissonant chords it's a full bodied sound. The level of dynamic control when jumping down to the lower dynamics is impressive.

The full theme from Montagues and Capulets is delivered with a noble haughty-ness. Sonorous sounds from the middle of the band and the dotted quaver-semi-quaver motif has just the right amount of separation with the accents without it sounding stunted.

The final round of solos are delivered with tenderness and warm sounds around the stand. Lovely soprano cornet in this section. The flow of euphoniums and baritones when they take over the main love theme is so beautiful. Phrases are brilliantly shaped, you can see the dancers in your mind's eye. The final recapitulation of the love theme is passionate with a glint of glockenspiel adding a magical little sparkle on top of a well-balanced ensemble. A dramatic build to the final chord and a great premiere performance from Black Dyke.

Highlight: Baritones and Euphoniums in the final love theme - absolutely glorious sounds.

The Hammonds Band

Draw no. 2

MD: Morgan Griffiths

Huge opening chord from Hammonds - first goosebumps moment of the day. Superb balance in horn and flugel as they emerge from the wild dissonant fray. Brilliant cadenza from solo euph and solo cornet with just a little clip of intonation on the descent - both soloists' sound complement well.

The first rendition of Montagues and Capulets is driven with a determined pace and fantastic clarity.

Gorgeous solo entry from flugelhorn with Juliet's theme, supported well by the horns - absolutely gorgeous moment! Loving the nimbleness of the solo entries with Juliet's motifs.

Juliet's dance is agile and simply joyous - technical sections float pass confidently and excellent use of dynamics.

Well done lower band with the clarity of Mercutio's theme in such a low range and loud dynamic. Again, this section absolutely flies, but we don't lose much detail. There's a real cheeky vibe with this section. Strong transition into the duel with Tybalt - Sop is really haunting sitting on top of the fast-paced technical ensemble.

Ghostly offstage solo cadenza section - well handled amongst all soloists.

Impressive euphonium cadenza - well paced, subtle joining of second euphonium and sounds blend well together.

The lament is powerful and the band doesn't scrimp on their loud dynamics at all.

Great ensemble playing in cornets with this fiendish technical section. The texture is full but you can hear most of all the detail - not an easy feat.

Wow - no fatigue here as we build into the second dissonant section, despite giving us full-bodied loud dynamics throughout. The build to the double forte is fantastically controlled - absolutely seamless.

Montagues and Capulets is pompous, in the best way. Lower band press onwards driving a well-shaped ensemble.

The dust settles and the most beautiful solo sounds emerge. The baton is passed from soloist to soloist with an effortless flow. A really romantic feel. Well done Sop - a lovely glimmer in solo lines. This is just wonderful. Euphs come in with a soulful sound and a lovely lilt to the melody line. Faultless entries from Kirsty Abbotts on Principal Cornet - just stunning.

As the band builds into full sound in the final recapitulation of the love theme - the loud dynamic feels full and warm and never forced even when we get into the triple forte. What a build into that last chord!

A performance to be proud of - incredible moments throughout and didn't feel short-changed with the dynamics at all and not a hint of fatigue at the end! Really impressive stuff from Hammonds today.

Highlight: the final round of solos before the final love theme - just absolutely spellbinding.

Tredegar Town Band

Draw no. 3

MD: Ian Porthouse

Rousing opening dissonant chords, builds well into the triple forte and the drop to the piano horns and flugels is impressive. Well-handled cadenza despite slight slip on the descent - it really is an unforgiving solo moment. Foreboding but well balanced basses leading into Montagues and Capulets.

Go on bass trombone! First rendition of this theme is delivered with drive from the lower band. Slight clips in upper band, but the poise isn't lost.

Stunning solo entry from flugel with Juliet's theme. Fantastic teamwork between soloists around the stand before we tip toe dainty as anything into Juliet's dance. Fantastic pace throughout and the band is tight in the delivery of the perky cadenzas at the end of the Juliet theme.

Pace is relentless during Mercutio's entry to the stage. Fantastic sounds from lower band. Bags of personality and great use of dynamics to create shape. Wow - the speed of the duel with Tybalt - but we don't lose clarity. Crystal clear sextuplet chromatics. Great characterisation in the interpretation of this section.

Emphatic solo cadenza entry from principal cornet. Clarity is lost a little when all soloists come together but great ending to offstage cadenza section.

OUTSTANDING euph cadenza section, take a bow! The glimmer of the top E natural from solo euph before we enter the lament!

Full-bodied bass trombone in the lament and well-balanced ensemble throughout.

This is noticeably faster than the previous two performances, but the level of detail in such a rapid tempo is impressive during Romeo's turmoil. I can hear every layer within the texture - absolutely brilliant.

The gradual build to the dissonance is brilliantly controlled - like putting the sustain pedal down on the piano and building a chord note by note.

Lower band leads this section with weighted conviction. Crisp rhythms in the main Montagues and Capulets theme in cornets. Beautifully balanced middle band with the second part of this theme - almost hymnlike. Lower band, particularly bass trombone, impress in this performance offering a solid bass for the nimble upper band melody, but never overpower.

Oh now this final solo section is stunning. Faultless entries from flugel, cornet and euphonium. Every solo line is delivered with such heart - no note is thrown away. Sonorous Sop - very nice indeed. Very classy all round. Golden warm sounds from the euphoniums when they bring us into the flowing romantic melody.

Fantastic euphoniums, baritones and trombones with the love theme - absolutely glorious sounds accompanied by sparkling entries from upper band. As we build into the triple forte pause, we know this is a band with stamina, no half measures. What a sound to finish.

A very classy performance from Tredegar

Highlight: Euphonium cadenza and duet - just outstanding, someone by them a pint.

Whitburn

Draw no. 4

MD: Luc Vertommen

Controlled opening, good crescendo into the triple forte. Lovely sounds from horn and flugel. Solo cornet and solo euph emerge from no where, great dynamic control. Slight clip on descent from cornet, but still well handled from both and confident. Great basses into Montagues and Capulets.

We move at pace throughout this first rendition of this theme. Decisive rhythms around the stand.

Sweet opening solo from flugel. Motifs are passed round the soloists beautifully with just the odd small insecurity.

Great pace in Juliet's dance. Whitburn's Juliet is a bit more fun-loving with great energy and agility.

Mercutio bounces into view with bags of personality. Quite boisterous feel to this section, which is fitting for the character great technical display around the stand.

The duel is drama filled. Good driving backrow cornets underneath a complex technical texture. Very metronomic ending before the tubular bell sounds the death knell.

Excellent offstage cadenzas - bravo Principal cornet. Loved the shape created at the end of this section - very classy.

Excellent euphonium duet and teamwork shown between the two soloists.

The lament is anger-fueled and has more than a steady pace before we descend into Romeo's turmoil.

This is rampant and relentless, lots of good detail - excellent xylophone.

Band builds well into the dissonant chords. Healthy dynamics around the stand, though not as big a contrast as previous bands. Well balanced last chord before we enter into the court of the Montagues and Capulets.

A decisive delivery of the most recognisable theme in the piece. Some little insecurities in upper cornets as we come to the end of this section.

Beautiful solo entries around the stand. Stunning sounds from Principal cornet. Lovely duet moment with Principal Cornet and Repiano. Confident sop entries adding a little shine on this romantic moment.

Lovely delivery of the final love theme from euphoniums, baris and trombones, accompanied by glimmers of cornet and a twinkle of glock.

We lose a little bit of detail within the ensemble, but great last push dynamically before the coda and a brilliant final flourish of last note to finish.

A great performance with some truly lovely moments from Whitburn.

Highlight: Euphonium duet - when this is nailed it is truly impressive and they did! Really lovely sounds from both solo and second euphonium and a great musical partnership.

Aldbourne

Draw no. 5

MD: Glyn Williams

Side note before we start - loving the colour coordination with the red socks and red shoes.

Well-formed opening chords. Well balanced horns and flugel leading into cornet and euphonium cadenza. OUTSTANDING cadenza - best one we've heard so far today, secure and brilliantly executed.

Dramatic delivery of the first introduction of Montagues and Capulets. Great final flourish before lush flugel diffuses the drama.

Gorgeous sounds from flugel and horns and nimble cornets and soprano add a lovely feminine charm.

Great energy going into Juliet's dance. Twirling technical sections from cornets are delivered with panache with just the odd slip in the upper register.

Great pace from lower band as Mercutio bounces in. Loving the cheekiness of this delivery from Aldbourne, it's flighty but well executed.

Good drive from backrow in the duel and excellent use of dynamics as the two characters battle it out. The dying moments still have an air of jauntiness until the end.

Fantastic opening cadenza from Principal Cornet, echoed from the group of offstage soloists. Builds well until the final bar and love the musicality in the shape of the ending of this section.

Emphatic entry from solo euphonium and brilliantly executed cadenza with great musical shape and attention to dynamics - the use of the ffp is the best I've heard so far and that final top E from principal euphonium was crystal clear - excellent!

We move at pace with a frantic energy. Great detail from cornets and the band make good use of those glissandos, really bringing them out. Really tight ending to the staccato semiquaver-quaver rhythm before we enter into the haunting dissonant chords. Well graded crescendo throughout this section - no rushing to get to the top dynamic.

Delivery of the Montagues and Capulets theme is reserved but ever so refined. Brilliantly balanced ensemble - you can hear every line. Excellent offerings from middle and lower bamd with their respective renditions of the powerful second half of this motif. A decisive end to this section - I think this is my favourite performance of this section so far.

Principal Cornet impresses again, with a glittering sound in these romantic solo lines. Sympathetic accompaniment from the band really allows the soloists to shine here - very well controlled. Lovely duet moment for Principal and Assistant Principal cornet.

Final rendition of love theme starts reserved, but leaves some stamina in the tank to build into a full bodied sound towards the coda and a well-balanced, perfectly placed last note.

A fantastic and really enjoyable performance from Aldbourne, those who left the hall missed a treat there!

Highlight: this was hard to choose, but it has to be the opening cadenza from Principal Cornet and Solo Euphonium - they were the first to nail it. It was so secure, I really hope they're immensely proud of that! This opening cadenza is no mean feat! Get them a pint!

Amersham

Draw no. 6

MD: Paul Fisher

Big sounds from Amersham to start. Impressive drop in dynamic as horns and flugel take over. Well-delivered cadenza from Euphonium and Principal Cornet - technically secure and delivered with gorgeous sounds.

We spring into action with the first entrance of the Montagues and Capulets. Great sound from lower brass and driving cornet motif.

Sweet entry from flugel, supported well by horns when they take over. Some small insecurities in some of the solo lines as the motif is handed to soloists around the stand.

Giddy energy going into Juliet's dance and technical aspects are handled well with innocent charm.

Plenty of personality in Mercutio's section. Great clarity in the lower band and there's a real bounce in the syncopated moments. The little descending melodies in cornets are used to full effect, illustrating the facetious character.

The descent into the duel is tense with plenty of pace. Slight insecurities during the jaunty stumble to Mercutio's death.

Interesting choice to have the offstage soloists at the side of the stage. Fantastic delivery of the solo lines - a well-delivered musical conversation. I was missing the haunting element from this section, but it was one of the more technically accurate performances of this section.

Fantastic shape and dynamic use in euphonium cadenza and excellent partnership when second euphonium joins - a performance to be proud of.

The lament has an edge of venom, as we head into the technical whirl representing Romeo's rage.

The technical passages are relentless, but nevertheless a lot of the detail can be heard and the ensemble is tight.

Good level of sound produced in the dissonant chords.

Bold and brash rendition of the Montagues and Capulets section. We're not denied dynamics here.

A few little insecure moments in the final round of solos, but nonetheless they are delivered with beautiful sound and emotion from every soloist. Lovely soprano cornet.

As the love theme appears for the last time it's a reserved, mellow affair that grows into a warm finale, and the band saves their strength for a declarative ending, finishing with a sparkling final chord.

Brilliant work from Amersham today, lots to be proud of in that performance.

Highlight: The lament - it just had a bit more bite and feeling, in my opinion, than what I've heard previously today and I felt it transitioned well into the desperate, rage section that follows.

Carlton Main Frickley Colliery Band

Draw no. 7

MD: Allan Withington

Bright, opening dissonant chords, very well handled and descend seamlessly into piano horns and flugel. Excellent opening cadenzas and solo entries - bravo Principal cornet and euphonium!

Montagues and Capulets start with a bang, big dynamics but excellent detail throughout. Best flutter tongue section so far - really effective.

Mostly faultless soloist entries from around the stand. Excellent detail showcased in Juliet's dance. It's flighty, but secure throughout. Before we know it we're thrown into the jaunty Mercutio section and we don't lose a shred of speed, the band drives this all the way through to the duel, which is tense and dramatic.

Excellent diminuendo on top note of Principal cornet opening cadenza offstage. The rest of the soloists follow suit with only the slightest of slips right at the very end.

Excellent euphonium duet and sustain of the top E - straight between the eyes.

The lament is despairing with just enough force from the lower end and excellent detail in the backrow cornets.

A tornado of technical texture comes next. Again, the tempo is absolutely relentless - bravo xylophone. Most technical aspects handled really well, just the odd drop in clarity.

Carlton's rendition of Montague's and Capulets has a bit of a menacing edge with foreboding bass trombone really adding just a touch of malice in this section. Full bodied accented ending - brilliant!

This was the best romantic solo section I've heard so far. Principal cornet - what sound, the melody just soared! The soprano solo is so dainty and handled with such care. Lower band waltz in with such warmth and just the right amount of romantic whimsy with the love theme.

Rich sounds from middle and lower band and sparkly embellishment from cornets and percussion make the final rendition of the love theme just a little magical before building into a heck of a crescendo. Excellent management of stamina to deliver such a rousing ending and an applause-worthy burst of a final chord.

Excellent performance from Carlton Main Frickley Colliery!

Highlight: Principal cornet solo in the last round of solos before the return of the love theme - absolutely outstanding playing. Every solo was delivered with a glorious sound and bags of musicality.

EverReady

Draw no. 8

MD: David Morton

Great crescendo into final triple forte chord. Fantastic opening cadenza from cornet and euphonium.

Heated entry into Montague's and Capulets with plenty of drive and fire. Trombones add a fearsome, almost threatening energy.

Emotive flugel entry diffuses the fire from previous section. Glittering soprano. Really lovely solo entries entice us in before a sparkly dance section. This shifts quite a bit, but plenty of commendable detail.

We practically run into the Mercutio section with a little bit of detail being lost in the opening of this motif in the lower band. Energy is driven right through to the stomp of a chord that leads us into the duel. Slick chromatic sextuplets in cornets.

Another interesting choice - the offstage soloists gather at the back of the stage with another member of the band acting as conductor. Bit of a false start, but no matter as it is recovered well and plenty of good sounds to be heard.

Excellent euphonium cadenza duet.

Frantic energy in the next technical passages, we do lose a little bit of detail but not a step of tempo. Excellent xylophone.

The dissonant chords have a menacing feel as they grow - well paced crescendo.

Things become more steady as we enter into Montagues and Capulets. This section is handled very well with excellent breakout moments from soprano. Rich, but threatening sounds from trombones in the second half of this melody. A small pause to let the chord at the end of this movement ring.

Lovely flugel entry that hands over seamlessly to Principal cornet. Solo lines in this performance are incredibly sweet and have a cantabile quality - lovely shapes created within phrases.

Well-rounded, full sounds from euphoniums, baris and trombones as they lead with the love theme in the finale. Great soprano sitting on top of what is a thickly-scored texture at a full dynamic.

Lovely build into the final chord and a final rush of tam tam, brings this performance to a close.

A commendable performance from EverReady, with plenty of lovely moments.

Highlight: Soprano cornet take a bow - lots of brilliant moments that shone through during the performance

KNDS Fairey

Draw no. 9

MD: Phillip Chalk

One of the bigger openings we've seen today. Great contrast between triple forte chord and when the horns and flugel emerge. Confident cadenza from Principal cornet and euphonium with just a slight slip on the descent that is the achilles heel of this section.

Powerful rendition of Montague's and Capulets. No scrounging on dynamics. Lovely solo moments from flugel, supported well by horns. Agile cornet solo.

Excellent pace and movement in the dance section. Good use of dynamics to offer a skipping/bouncing effect.

Good detail from lower band at the beginning of Mercutio's section. Very playful throughout, with excitable energy from cornets until we enter into the duel. This flows really well. Still a wink of playfulness in the horns during the character's dying moments.

Principal cornet cadenza starts mournful but builds into a brilliant, declarative moment that leads into a brilliantly structured cadenza section offstage. Incredible euphonium duet - powerful sound and acrobatic technical prowess. Top E was excellent.

Powerful seems to be the word of this performance. The lament is packed full of emotion.

The texhnical rage section packs a punch, with a lot of detail to be heard around the sound, expertly punctuated by snare drum and embellished with xylophone. The build into the dissonant section is huge and, again, the emerging piano chords from horns and flugel is outstanding - they seem to come out of nowhere.

The final rendition of Montague's and Capulets has quite a regal feel - steady tempo, with just a touch of pompous self-importance and menace from the lower band. Brilliant finish to this section - decisive.

Confident waves of final solos that are seamlessly handed over.

And they're up - horns, baris, euphs and trombones leave their seats to serenade us with the love theme before we build into full-band finale with shimmering glock.

Dramatic crescendo leads us into a huge coda. Now that's a final note!!

A powerful performance from the Fairey Band - outstanding soloists, really well-balanced ensemble and utilising the full dynamic range of the band.

Highlight: The offstage cadenzas - these were outstanding, as was the euphonium cadenza

Brighouse and Rastrick Band

Draw no. 10

MD: David King

Spectacular opening. This is the dictionary definition of dynamic control. Secure cadenza from Principal cornet and euphonium.

Montagues and Capulets starts with a flourish. The rhythm in the main motif is so crisp and the final note of the section left behind a perfect chord in the reverberation of the hall.

Solo entries delivered with sweet tones and with such lightness. Juliet's dance is light of foot and swift.

Mercutio's section is full of wit, with sweeping dynamics and a good rhythm in the syncopated parts that keep us bouncing along. The cartwheeling descending motifs are so full of fun and handled with care.

Effective percussion within the duel scene - great contrast between the detail in the technical sections against the washes of panicked chords above and below.

Principal cornet soars to top note effortlessly in offstage cadenza and soloists join in a hurried, but perfectly paced musical conversation before joining together in a well-balanced chord - outstanding.

Incredible cadenza and duet from solo and second euphonium. The intricate detail brought out and that top E was as clear as a bell - sublime.

The lament is reserved but so well-shaped before we're thrust into the organised chaos of Romeo's turmoil. I'm a little bit awestruck, dear reader. It is rapid, but it is accurate - clinically accurate. Incredible ensemble playing - a joining together of well-oiled technique and incredible direction from the middle.

Once I picked my jaw up off the floor, the dissonant chords were so well-crafted, again the level of dynamic control in this band is insane.

Montagues and Capulets just pure classy playing. The dynamics are full-bodied, but never harsh.

A slight pause to let us catch our breath and then we're into the romantic solos. A little bit of a tuning discrepancy, but nothing that detracts too much from the final round of solo offerings. The tone of Tom Smith is just so perfectly suited to this kind of sweet melodic lines- just seems effortless.

Our final rendezvous with the love theme is just magic. Dynamics aren't pushed too much here - never more than lovely. It's the depth of sound that's impressive here - it's so full and supported. An epic crescendo and that holding on of the bass line into the coda...inspired, so dramatic - I love it

What can I say? Professor King pulled every shred of music out of that piece and the players sat around him breathed life into those notes.

That was something really special.

Highlight: The whole thing, but if I have to pick: the end. Wow, just wow.

Brass Band Treize Etoiles

Draw no. 11

MD: Frédéric Théodoloz

It's an afternoon of big openings, it would seem. The balance of the horns and flugel - sounds like and organ chord. Little clip in the cadenza but it's a confident sound.

Montagues and Capulets sets off with intent and determination. Beautiful flugel solo moments with Juliet's motifs. Well-handled solo moments - well done flugel on that top A.

Juliet's dance moves leaps ahead, but you can hear every note and that speed continues as Mercutio enters. Call and response between trombones and cornets teases and bounces along. This section is so illustrative thanks to the band's harnessing of the technical elements within.

Dramatic transition into the fight with Tybalt - they really make a moment of this. Again, the band's technical dexterity is absolutely fantastic. Great driving semiquavers from back row. Another great transition into the offstage cadenzas.

Agile and sonorous entry from the principal cornet. The band of soloists absolutely nail this offstage cadenza section.

Principal Euphonium takes his cadenza at quite a speed, really impressive stuff. Fantastic duet when second euphonium joins in.

The lament ends with that same air of determination as Montagues and Capulets at the start and when it descends into turmoil, I find my jaw on the floor again with sheer disbelief at how fast but how clean this section is! Every single barline is met together - at this speed, with that many different moving parts, that's incredible!

This is such an exciting performance.

Now we're on the home straight with the last recapitulation of Montagues and Capulets. The pressed notes in the motif in the lower register of the cornet melodies are placed so well that despite the dynamic and register they are well-rounded and not harsh or forced at all. So many little impressive details throughout this entire performance.

We're into the romantic solos - all delivered with precision but most importantly with careful phrasing. The handovers and crossovers of solo lines are handed over so seamlessly and the duet moments are gorgeous. This is musical teamwork at its finest.

The recapitulation of the love theme is delivered with such heart from the middle of the band, it's really passionate and although the dynamics are full there is nothing forced or harsh about it.

YES - WHAT A FINISH!!!!! Absolutely incredible playing from Brass Band Treize Etoiles!

I tell you what, I'm glad I don't have to pick a winner!

Highlight: The sheer skill shown in the technical section depicting Romeo's turmoil - utterly brilliant!

The cooperation band

Draw no. 12

MD: Katrina Marzella-Wheeler

Well I'm a believer in 'breathe together - play together', but I don't think I've ever seen a band take a collective breath before playing like that before - they were like one big lung.

And I can see why, great opening sound from around the stand and subtle horns and flugel. Well-handled cadenza from Euphonium and cornet.

Montagues and Capulets strides with purpose with bags of energy. Beautifully subtle solo lines from flugel. A tiptoe of a solo line from the principal cornet - so dainty. Juliet's dance pirouettes along with light agility.

Feels a little hurried heading into Mercutio's entrance, but we regain our balance. Great free-wheeling, playful descending rhythms tumbling across the cornet section. With the pace we lose a little bit of clarity in the lower end with Mercutio's theme.

Danger pulses through the duel with Tybalt and a lot the sextuplet and chromatic runs are handled really well.

Confident opening cadenza from offstage principal cornet that leads into a brilliantly executed flurry of solos before coming back together on a well-balanced final chord.

A carefully placed euphonium cadenza, leads into a well-traversed duet with second euphonium.

Trombones are on their feet for the lament adding some real weight into this despair with the 'hate' theme taken from Montagues and Capulets.

We descend into a swirling torrent of technical turmoil, handled well around the stand. Control of the technical elements is held and there isn't a loss in tempo as we swell in dynamics.

Huge sounds in the dissonant chords and dynamic contrast created in this section works really well. The last double piano chord is supported well acting as a great transition into Montagues and Capulets.

A more steady pace for this final version of the well-known theme. Lower band offers a strong, pressing foundation for the main melody in the upper band to sit on.

The soloists have one more opportunity to showcase their skills and they all grabbed this opportunity with both hands. Beautiful playing between principal and soprano cornet.

The love theme finale isn't quite as big as some of the previous performances, but they're keeping us waiting...the build into the final pause is huge and you can see every player putting 110% into building and maintaining that sound. You can see a lot of love has gone into that performance. An absolute cracker of an ending.

Highlight: The offstage cadenzas were fantastic - a fantastic effort from all soloists

Flowers Band

Draw no. 13

MD: Paul Holland

Big opening statement from Flowers. Strong handling of the opening cadenza from Principal Cornet and Solo Euphonium.

And we're off. This is a more menacing Montagues and Capulets moment. Lovely flugel solo into and throughout Juliet's theme. Lauren has such a beautiful sound and sense of musicality that really lends itself well to this writing. The beautiful solo moments continue throughout the section, all handled with precision and care.

Juliet's dance is playful and the tempo is spritely as we run headlong into Mercutio's section. The technical sections tumble over each other. The duel with Tybalt is wild, almost on the edge of control.

Emphatic opening statement from the offstage principal cornet - just a little insecurity towards the end before he's joined by the rest of the group, but it's a superb sound. The rest of the entries are delivered steadfast confidence and when the group joins together, the final chord was brilliant.

Euphonium cadenza was handled with ease it would seem.

Firm control is held over the tempo in the tumultuous technical section that follows. Excellent detail in all four major rhythmic lines that form the complex texture.

The dissonant chords are cold but bright, with superb balance around the stand.

Montagues and Capulets marches along with a confident step and keen attention paid to the articulation set out in the part, with just enough weight placed on the accents to keep the shape and imposing mood without it becoming too heavy. Excellent, full final chord.

One last opportunity for the soloists to shine and is glorious. Lovely playing from the band's Principal Cornet, Luke Barker - such a sweet tone, effortlessly sweeps up to the upper register and immaculate phrasing.

The middle of the band is a bit of a powerhouse and the warmth they add to the love theme as we approach the finale is just gorgeous. A slight pull back before we head into the final rendition of the love theme - it's a strong sound and it builds into a huge, glorious final pause before the coda.

Highlight: The romantic solos - this band boasts incredible solo players in their ranks and it was amazing to hear them all in action.

Foden's Band

Draw no. 14

MD: Russell Gray

The chasm between the band's upper and lower dynamic range is displayed in full in the opening of this performance. The opening cadenza duet with principal cornet and solo euphonium.

Montagues and Capulets are on a mission - so precise, determined and clean. No time to pause, the lovely flugel solo leads us swiftly by the hand into Juliet's themes. All solo lines are delivered with poise only the slightest of drops at the end before we move into Juliet's dance.

The technical elements in this lively movement are handled with eagle-eye accuracy and when the bounding Mercutio theme comes in the lower brass - although it's big dynamically, it is clearly articulated so nothing is lost or muffled

The rise and fall in dynamics is so effective during the duel scene. Perfect juxtaposition of jauntiness and melancholy during Mercutio's demise.

A strident opening statement from the Principal Cornet, Mark Wilkinson before the other soloists join.

Expertly navigated euphonium solo and duet cadenzas before we move into the lament that

We're cracking along at an insane pace in Romeo's angry moment - the panic and rage is palpable. Absolutely relentless before the band grows into a fireball of dissonance. Just as quickly as they flew into the higher dynamics, it's like somebody has dimmed the volume dial - the drop is immediate and so well controlled.

Montagues and Capulets in all their glory are as stately as they are formidable - there is an edge to this playing with strong articulation and weighty trombones striding through.

The final round of solos are handled carefully before euphoniums sweep in with their little ballad that after being handed to the cornet forms the basis of the finale.

The sound is wide but not too loud during the- you can tell they're keeping a lid on it. As we approach the final pause the lid is removed and we hear the band in full glorious force. One final display of their dynamic control with a crescendo that rises and rises to a bright, sparkling close.

Superb. Just superb.

Highlight: The full Montagues and Capulets moment - it was delivered with such poise, but underneath there was a real, menacing edge that added so much depth to this section

Leyland Band

Draw no. 15

MD: Daniel Brooks

Super strong opening from Leyland. The approach of having principal cornet sat next to solo euphonium for the cadenza pays off - absolutely sublime playing from both players, faultless.

The Montagues and Capulets theme is decisive with a real drive. Lovely, light solo intro from Ryan Broad on flugel as we're introduced to Juliet. All solo lines handles with ease and really classy musicality. The more technical dance section is delivered with clean precision.

The bustling Mercutio theme introdued by the lower end of the band is offered with huge sounds, but moves with lightfooted speed.

That technical dexterity isn't diminished in the whirling duel moment, fantastic playing around the stand.

A different mood with the offstage cadenza from Principal cornet - this is more melancholy and desperate, it's a welcome musical change and I really like it. The soloists blend together beautifully - one of the best offstage cadenzas I've heard today.

Well executed euphonium solo and duet cadenzas.

The lament is powerful and anger-fuelled that tips over the edge as we enter the raging technical furore that follows. This technical playing is so tight - Leyland really are putting on an exceptional show today.

Dynamic contrast in the dissonant chordal section is exceptional. The band's full dynamic is huge, absolutely huge.

Montagues and Capulets is a massive moment in this performance. No sloppy articulation here - it is as precise as cut glass. Everything is secured down by the weighted pulse offered by the bass trombone. The emphatic ending of this section made the hairs on the back of my neck stand up.

Now for a compete change of pace with the last round of solos. A slight wobble in the solo line, but well recovered and doesn't diminish the fantastic sounds we've heard from this band today. Lovely sounds from the euphoniums when they sweep in with the love theme. This is one of the bigger sounds we've heard on the Symphony Hall stage today.

As we hit the finale, the band's sound is full and well supported and it builds into an absolutely spectacular crescendo. WHAT AN ENDING!!!!

Spectacular performance from Leyland!

Highlight: The opening cadenza between Principal Cornet and Euphonium - this was the best I've heard it today - outstanding

The Cory Band

Draw no. 16

MD: Phillip Harper

Powerhouse opening from Cory. Superb opening cadenza - lovely diminuendo towards the end. Well controlled basses leading into the first Montagues and Capulets section.

This section is so controlled, both rhythmically and dynamically. Very demure flugel solo moments at the beginning of Juliet's section. We move into the spritely dance section, which is incredibly detailed and swift-footed. The Mercutio theme is brilliantly delivered - great articulation from the lower band to bring this to life without diminishing dynamics.

The duel is fraught with a driving pulse beneath. A great juxtaposition of the jaunty rhythm with the melancholic melody leads us to Mercutio's demise.

Outstanding opening cadenza from Tom Hutchinson followed by faultless entries from the rest of the soloist ensemble. Fantastic cadenza section.

Well executed euphonium solo and duet cadenzas that lead into a drama-filled lament. We descend into technical turmoil and this is incredibly fast paced - I think there is smoke coming off the xylophone. Absolutely mind-blowing technical ability on display here.

How can a dissonant chord sound so wild yet so controlled?! Incredible display of dynamic control.

Here we go - the Montagues and Capulets are back. Again, this is very controlled - it's steady, but the lower brass add a threatening quality.

Amazing solo entries around the stand and the love melody is delivered with such passion. This section has been beautifully shaped - fantastic interpretation.

As we head into the finale, this has such a cinematic quality. You think their sound can't get any bigger and then they say 'yeah, watch this' and then deliver the biggest, warmest, stunning final note!

Utterly incredible performance from the Cory Band

Highlight: the Finale, simply top-class playing!

Oldham Lees

Draw no. 17

MD: John Collins

Bold opening from Oldham Lees - imposing rumble of percussion. Good dynamic contrast as we drop into the PP horns and flugel.

Crystal clear, in-sync cadenza between Principal Cornet and Euphonium.

Solid transition into Montagues and Capulets. Excellent flugel solo, handed over seamlessly to horns. Great counter-melody from solo euph to principal cornet solo entry. Well done flugel on sustained top A. The technical elements are handled very well throughout the dance movement with just the odd insecurity.

Good pace from the lower section driving Mercutio's theme, just a little bit of clarity lost here though. Fantastic sop in the playful tumbling descending patterns - really light.

The mood darkens as we head into the duel. Fantastic chromatic sextuplets - really slick.

A slower opening cadenza from offstage, but the tempo picks up and all soloists build into a brilliantly crafted cadenza section. Fantastic timing towards the end - good musical teamwork.

Great execution of the euphonium solo and duet cadenzas.

Good trombone melody line in the lament - powerful but controlled.

Frantic technical turmoil now. The chromatics are very effective. This is a rapid tempo, but for the most part the band handles it well and a lot of detail comes through.

Well-graded crescendo as we move towards the end of the dissonant section and into the main event.

Montagues and Capulets is delivered with a strong lower band. Upper band carries the melody line well with just few slips in intonation.

Final soloist offerings now and the soloists continue to impress. Lovely opening statement of the love theme from solo horn which leads into a lovely solo cornet moment. Really gorgeous solo moments from soprano cornet - melody lines are really delicately handled. Good final duet moment from Principal and Assistant Principal Cornet.

Broad depth of sound offered by the middle band as they introduce the love theme in full.

Big sounds as we head into the finale and still enough in the tank to push through a crescendo to the final pause. Well controlled crescendo to the final note.

A great performance from Oldham Lees.

Highlight: When the Mercutio section descends into the duel with Tybalt, this entire section was really slick.

Grimethorpe Colliery Band

Draw no. 18

MD: Michael Bach

Well if any of us were getting tired - we're awake now!! A commanding start from Grimethorpe. Solo and Euph cadenza - easy as you like.

As in the opening, Grimethorpe aren't here to mess about. A decisive Montagues and Capulets theme - strong lower band powers through the section.

Flowing flugelhorn entry into Juliet's theme. All solo lines delivered with a light but thoughtful approach. Some slips in the more technical dance section, as we skip along at pace.

We are still speeding along into Mercutio's section. It's playful and bouncy, but some detail does get lost in the melee at this tempo.

Great 'Pines of Rome' - esque diminuendo from horns towards the end of the section.

Confident statement from offstage cornet mirrored by offstage solo group - brilliantly played.

Fantastic euphonium solo and duet cadenzas, again seemingly handled with ease.

Again this is a technical section that is shifting along at an incredible pace. Great glissandi, punctuated by snare and fantastic xylophone.

The last dissonant section, similar to the opening is a big, bold moment. All crescendos and diminuendos are well controlled and great support in the quieter dynamics.

Montagues and Capulets is stately with metronomic poise. Great lower section underpins the melody line. Some insecure moments in the cornets towards the end.

Our last round of soloists for the day. Effortless melodic playing from Principal Cornet, Jamie Smith - particularly impressive in the higher register. Good soprano cornet solo lines.

As we enter the last section in the last performance of the day, Grimethorpe are ensuring we are not short-changed. They've still got plenty of volume left in the tank. They finish, as they began - a huge but controlled sound.

Highlight: The final love theme - absolutely beautiful playing and a great showcase of dynamic control towards the end