The Moment We Came For
12th July 2026
One of the nice things about the Kerkrade WMC is that it’s a two-day event, and provides each band the opportunity to perform a contest program of multiple pieces. Total stage time: 50 mins.
The band played as well as we possibly could on day 1, our performance was exciting, we held the audience's attention, played with real conviction - and so we were all ready to take a few more risks, and deliver an outstanding show on day 2 - particularly for our composers in residence, Kodi and Jack, and soloist Luke.
There are many difficulties travelling internationally. Language, timings, logistics. Even getting a bus to a concert hall one kilometre away can be difficult. Everything on day 2 seems timed, you are on the clock, which adds the palpable sense of excitement, but means you don’t have that extra second to turn a page, make eye contact with your sectional, or triple-check your stage layout - like you do at the NZ Nationals.
Right, we’re on stage. The longest wait was for the judges to let Dave on. We wait, bow, instruments up, and off at 132 bpm. Kodi’s Under the Southern Cross is Davoren meets PLC, meets John Williams.
Wellington Brass makes some of the darker, richer sounds at the competition, but the antiphonal fanfare cornets must have been effective on account of the vocal applause following the final chord.
As soon as Dave bows, we move. Did I mention we're being timed? Cornet players with mutes, stands, music moving around. Tenor horns playing musical chairs, Luke Spence rises, bows, ready to perform Anthony Ritchie’s Euphonium Concerto.
This concerto is sincere, there is nothing tokenistic, or technical for technical sake. Luke can play everything on his instrument, but what sets him apart is his ability to deliver a musical message, he has a voice, a means that no matter what happens on stage his performances are always interesting and brilliant.
Right, Luke takes the applause, it’s a long one, deserved. We move. Brad is off stage, cornet players check their positions, solo stands out, is the music in the correct places? No time to check, we begin.
Apokolypsis by Jack Bewley is another sincere piece of music in our program. It’s very moving, a journey with integrity, and difficult. Every player is exposed, not in a "can you play semiquavers at 180 bpm?" kind of way, but in a "can you modulate this rhythm from semiquavers at 132 to triplets at 172, build, then enter pp with your most beautiful sound by yourself?" kind of way. It’s tough. Jack knows exactly what he is doing, a quiet character, but extremely driven, and an intellect! Jack knows his score, but even more, he knows what his composition is trying to paint.
W was a particular highlight, a flurry from valves, passes, and the low end is chanting, calling the band forward to arms, it’s loud, exciting, in control.
For me, FF high gliss, down the major chord arrival… a moment I’ve practised and imagined over 100 times with a shhhmute in my bell after my family have gone to bed, at home, by myself. This was more fun.
Right, where are we, count, stay present, chimes sound, tuba quartet. Cadenzas delivered with authority by most principal players in the band. Nothing super virtuosic, it’s about phrasing, keeping the music linear, linking each cadenza to the next. There is so much colour, euphonium cadenza progresses to a duet with cornet, with Harmen doing Harmen things, some of the most controlled quiet playing, still with phrase, you will hear - the duet is beautiful.
For me, quiet chords accompany, Jack doesn’t want us muted. But he wants it quiet, even and smooth. I’m usually in octaves with either E-flat bass, or second horn, can barely hear myself, focusing on intonation, moving with the group, and supporting the sense of phrase from the duo.
There’s no FF climax. No double high D, just a warmth to a relaxing resolution before the special singing chord.
Transition. Cornets move, is the music still there?
Cue, karate chop LL. Menacing bass, fragmented tune in trombones, John Adams-like rhythmic motifs passed cornet to cornet across the band heralding the end, melody in the middle, Firebird chords, last chord.
Cue standing ovation, lucky we’re not being timed on applause… Jack receiving the ovation this triumph deserves.
I really hope many bands get the opportunity to enjoy this work, and I get the opportunity to enjoy Jack’s, and also Kodi’s, next compositions.
Applause stops, I think we’re now being timed. Get off the stage.
In the dressing room, maybe because it’s hot, it’s 40 degrees, but it is emotional. Lots of hugs, photos, handshakes, younger players buzzing, some supporters make their way back, and they’re jumping with pride. We did it. Two years ago, we committed to playing in Kerkrade, and we did.
We did it.
We were band number 3. Seven still to play, including some of our inspirational favourites, many are listening, some players relaxing, others mixing it up with other bands out the front of the hall. There’s a real camaraderie at this truly global competition, I took a few moments to speak with some of the other trombonists present, even if we weren’t able to speak the same language, we share enough in experience to be able to communicate briefly.
Following the results, and the hilarious saxophone band, I think they were called "Thanks for Your Enthusiasm", it’s off to the centre of Kerkrade where a central festival party zone has been organised. Donny is leading the charge, for some this is their last time playing in the band for a while, everyone is taking a moment to enjoy each other's company and the Oktoberfest bands without having to perform the next set for once.
I’m off to bed. A long day tops off a long journey, with a long flight home tomorrow.
- Mark Davey
