Review: Brighouse & Rastrick Band at the RNCM International Brass Band Festival

Brighouse and Rastrick Band Close the RNCM Brass Band Festival with a Bang

The last band to take to the stage at the RNCM International Brass Band Festival was the Brighouse and Rastrick Band, who closed the show with a bang with an outstanding programme showcasing outstanding soloists, innovative compositions and a performance of the set work for the 2026 British Open.

B of the Bang by Peter Meechan

The inspiration behind this explosive piece comes from the Olympian, Linford Christie, who was quoted to say that the race didn't begin at the bang of the gun, but at the 'b of the bang', as well as the sculpture in Manchester of the same name.

The start of this work captures the feeling of anticipation, excitement and nerves of the starting line. Hurried, overlapping semiquaver passages, lead to a determined feature from trombones.

The piece builds gradually with ever-increasing energy, as bass trombone underpins the melody line, which is pushed n my cornets and horns before we're over the finish line with a flourish.

Euphonium Concerto No. 2 by Torstein Aagaard-Nilsen

When it comes to euphonium soloists, they don't get better than Chris Robertson. Virtuoso is the only word to describe his level of ability.

The first movement opened with percussive use of breath on mouthpiece punctuated by shock notes on xylophone, before moving into a sprinting, technical section with cascading, descending semiquavers.

The slower second movement featured a sweeping slow melody in the middle and lower register of the instrument. The calibre of Chris as a musician was truly demonstrated in even in the simplicity of this slow melody - it literally sounded effortless, even when leaping into the higher register.

We then moved into a more haunting mood, with only muted cornets on semibreve chords, muted trombone glissandi and the soloist in a questioning melodic soliloquy, with an occasional accent of a vibraphone and glockenspiel.

The third movement burst into life with a rush of semiquavers before Chris showcased his multiphonic skills (creating a chord through playing one note and singing another). Just when the audience started to wrap their heads around how on earth he manages to make this exceptionally technical elements look so easy, he throws another whirlwind of musical mechanics.

An EXCEPTIONAL performance from Chris Robertson.

Royal Parks by George Lloyd

The piece was commissioned in 1985 by the BBC for the European Championships in Copenhagen. Inspired by the sights and sounds of Regent's Park close to the composers home, the work is composed in three movements:

Dawn Flight

A representation of birds taking flight, the first movement opened with a pulsating drive from the middle and lower band. Beautiful, light solo moments from Euphonium and Principal Cornet build tension as the birds rush into the air. A call and response between trombone and cornets follows before we revisit the flowing semiquaver motif from earlier in the movement. It's adventurous, determined nature painted the musical picture of birds setting off against the backdrop of the golden hues of dawn.

In Memoriam

The second movement pays tribute to those lost in an IRA bomb explosion at Regents Park. It is one of the most glorious pieces of ensemble writing featured in the movement's repertoire, with a gorgeous flugel solo from Stephanie Binns (who had covered the flugel seat for the Cory Band earlier in the day - bravo!), before being joined by Andy Moore on Solo Horn. The That's Not Banding duo of Tom Smith on Principal Cornet and Chris Robertson on Solo Euphonium followed with a reflective duet.

Holidays

The third movement offers another complete contrast of mood once more, finishing the work on a light-hearted note. Written to depict holidays in the park, the final movement of the work is a jovial affair featuring playful solo moments for Soprano Cornet. However, tension builds as we move through the section, symbolising familial squabbles that inevitably arise on holidas. A summer jape that was very welcome on a cold January night!

Classic brass band writing performed at its best.

Ondinas (World Premiere) by Helena Zyskowska

The next world premiere in Brighouse and Rastrick's programme was written by a current RNCM student, who already has accolades to her name.

Ordinas depicts mythical water spirits, but this isn't the little Mermaid, there is a level of danger within the beauty of these ethereal beings. We entered the depths under waves of bass chords and a flurry of lightweight bubbles of backrow cornets.

A very evocative work.

Concertino for Tuba and Brass band by Dorothy Gates (World Premiere)

I've yet to be introduced to a work by Gates that I don't like and this was no exception! What a stunner!

Gates took inspiration from her trip to South Africa and the love for the Salvation Army and Northern Ireland both she and the evening's soloist, Les Neish, share.

The opening was highly rhythmic with a mischievous nature, before we move into a jazzier section that had a wink of sassiness peeking through.

The second movement is a more sedate slow melody with accompaniment from euphonium, baritones, basses and percussion. This section was absolutely breathtaking to the point where I stopped writing altogether, completely mesmerised! All of the technical elements were so impressive, but it was in this moment I feel Les demonstated why he is a world-renowned master of his instrument. Every phrase was crafted with care and thought, really drawing out the emotion within Gates' writing.

We returned to the mischieveous nature and melodic elements of the first movement before a virtuosic nose dive to the final note.

A perfect combination of impeccable writing, performed by a masterful soloist.

Music of the Spheres by Philip Sparke

What a piece to end, not only the concert, but the whole festival!

Music of the Spheres is, arguably, one of Sparke's most well-known works for brass band, and for good reason - it's amazing! Originally commissioned by the Yorkshire Building Society Band and first performed by them at the European Brass Band Championships in Glasgow in May 2004, the piece reflects the composer's fascination with the origins of the universe and deep space in general.

The title comes from a theory formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that denote the ratios of frequencies of the musical scale. He also believed that these ratios equated to the distances of six known planets from the sun and that those planets each produced a musical note to create music from the heavens.

Andy Moore on solo horn commands the stage with an isolated and perfectly exectued solo, symbolising the moment of the 'Big Bang', accompanied by a distant roll of bass drum, a twinkle of wind chime and a rush of brushes used on timpani. We are thrown into a movement of explosive, turmoil as the events of the Big Bang unfold with solo features from Euphonium and Flugel offering brief moments of calm.

The band progressed through this modern classic with impeccable form - I don't envy the band's competing against them at the British Open if this is the calibre of performance they are delivering in January!

The final hymn-like section is a sumptuous, majestic finale with luxurious sounds from middle and lower brass, before cornets elevated it into a triumphant procession - a fitting tribute to the wonders of space and the regality of the planets.

A final example of why Sparke is simply one of the best composers to ever write for brass bands. What a piece, what a band and what a way to round off what was an incredible weekend of music.

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