03/05/2026
THE GRAND SHIELD
13. NASUWT Riverside Band
Following some technical difficulties involving a rogue speaker playing static in the hall, NASUWT open in fine style, with the use of some stage management not really seen so far - with the principal cornet swapping sides of the stage for Cadenza 1 to join the euphonium. Some bass grumblings lead into the Furioso - secure and with drive but not quite as Hitchcockian as others. The calmato is classy, but with occasional moments of unease. Juliet's theme is playful with strict adherance to dynamics and a shimmering of sop. This section has plenty of bounce and panache, and the detail at L that follows is clear and performed at a reasonable speed.
Mercutio's death knell chimes, and this offstage section works brilliantly, if perhaps using a shade too much trombone for my personal liking. Bravo euphs, this is secure and classy! The Solenne brings the drama, and my is this effective! The Presto bubbles along at a significant speed - feels a tad frantic at times but is secure and balanced well. The dynamic range at Y is brilliantly handled, and the double fortes are so open and broad.
Dance of the Knights is stately, broad and so well controlled. Sop contributions are bold and dazzling, if occasionally a bit close to the line of being a bit zingy. The Adagio is full of style and well-hewn by soloists and MD, as well as being layered with a degree of dynamic subtlety that I appreciated greatly. FF and GG are both settled, at a considerate dynamic and allow the euph to sing through, although some additional internal detail in the latter wouldn't have gone amiss personally. The ending is solid, full of drama and again well controlled.
An excellent reading from band and MD, with plenty of style, panache and character. Whether the moments of occasional unease detract from the overall performance in the box, however, remains to be seen.