Review: Christina Thomson-Jones

This was a truly memorable inaugural concert to Ripon Concerts 2026-2027 season. 

Reuben Harford, trombone, and Joel Buckley, Euphonium, from Ripon Grammar School opened the concert, confidently performing ‘Pavane pour une enfant defunct’ by Ravel, and ‘Zelda’ an amusing air varie by Percy Code, ably accompanied by their head of music. This whetted our appetite for the main concert. We enjoyed this and I think they got much from the experience also. 

Then .....

The Connaught Brass Quintet had come up from London to amaze and delight us.

The Rameau Overture was almost a Fanfare, crisp and snappy with precise dotted rhythms leading forward to a fluid second section, breathtaking in its ease of delivery and musicianship. 

The Lafosse Suite brought to my mind a wide slowly flowing river in the upper parts while underwater there was much activity, with a beautifully balanced trombone, horn and tuba.

The Ravel Minuet was lush and sensuous in the true impressionistic style, the instruments melting together in sumptuous wholeness. It was over too soon!

Suite Bergamasque, arranged by the horn player Zoe Tweed, was a delightful surprise. It worked brilliantly for this ensemble, giving all the players chance to shine and testing their prowess as an ensemble as well as soloists. The tuba opening with the build up on the first chord was spectacular. There were some interesting muted effects and Clair de Lune shimmered in the silvery sound of the first trumpet.

After the interval the American second half showed different styles of playing, from ragtime to romanticism to jazz, with lots of note bending and swagger. The warm sound of the Flügel horn contrasted with the sparkling trumpet, particularly in the Piazzolla. There was always a powerful and varied sense of line and direction, as well as showing off the humour in the music, when appropriate.

What struck one throughout the concert, was not only this quintet’s stamina and breath control, but the clarity and variety of their marvellous sounds and commitment to the music, as well as the virtuosic technique.

The clarity of the attack and ornamentation, the precision at the ends of phrases, the secure intonation and above all the tremendous feeling of trust in the other players and sense of ensemble made for excellent audience enjoyment.

This was Brass music at its very best, and I will be looking out for this group and travelling to hear them again, as soloists or as their Brass Quintet.

Bravo!