Comments ~ 2002: May

Comments from May 2002

BBC Radio 2 Youth Brass Band of the Year...
Thank you very much for giving so much information on the Final of the BBC Radio 2 Youth Brass Band of the Year held last Sunday, 12 May. As conductor of the winning band, can I congratulate the JAG Mount Charles Youth Band for such a good and fair competition. Even though many of their members were younger than ours, they produced a lovely mature sound, and they all looked as though they were enjoying themselves, which you don't see in many brass band concerts. My congratulations to their principal cornet on her solo which won her the soloist award, and to their conductor for choosing an enjoyable programme to listen to. The BBC must also be thanked for putting both bands in a super hotel in Manchester and for organising what was a very well organised event. May I thank those who have sent the Hampshire County Youth Band their congratulations, they are really appreciated. This award has come at the right time to lead us into our 40th anniversary in 2003. Happy banding.

Leighton Rich

What's the best venue?
Is it possible to give some advice to somebody considering attending the Whit Friday Contests for the first time. Where is the best venue to head for to base yourself for the evening to see/hear the maximum number of quality bands. Thanks for a truly excellent website.

Julian Bright

Spring Festival Comments...

Grand Shame 2002
I've been banding now for 22 years, the vast majority of which has been in the Championship section. Throughout this time I have witnessed many injustices in contests - being on the receiving end very frequently. You have to be philosophical, pick yourself up and move on. This is the nature of brass band contesting...

However I feel so strongly about the result last Saturday that quite simply I can't keep my feelings to myself. I play for Wingates Band. For the most part we are honest enough to acknowledge when things don't go well on stage - like at Pontins last year. Sometimes you get what you deserve. We felt very unlucky after this years area contest after delivering a performance that won the band many admirers and perhaps on a different day with a different adjudicator we might have been placed higher. I firmly believe that on that occasion Mr Newsome genuinely delivered what he felt was a fair and honest result. You accept it and move on.

Mssrs Childs and Childs placed us last on Saturday at the Grand Shield. This was after the band again delivered a performance that was worthy of credit, again won admirers, but perhaps didn't deserve a top 2 spot. (For the record I thought Flowers were outstanding and can consider themselves very unlucky not to be making the trip to Birmingham in September). I also heard several performances that can only be described as dreadful. Wingates 18th position has been greated by the band with a mixture of sheer disbelief and anger, because far from being dreadful, it was actually a reasonably good performance. Certainly it didn't qualify for the 'dreadful' tag. You only have to read 4BarsRest own adjudicators comments to appreciate that, comments that for the most part I agree with. How can the adjudicators have such wildly differing opinions? I personally didn't hear the winning performance, but overheard conversations about it that included the word 'awful'...

Yes, we'll take a long hard look at ourselves and try and work out how bands that person for person are not as good as we are, seem to be enjoying more success, but quite frankly the buck can't stop there.

I am not going to launch a tirade of abuse at Nick and Bob -I have played in bands with both brothers in my time and have a healthy respect for both of them - despite Saturdays debacle. One point I would make though, is if you are going to place bands low down in the list of placings, please provide some genuine and constructive criticism from which we can learn. There was nothing in our remarks that we can learn from - literally!

I will question though the choice of venue and am gutted to see that the organisers seem to like it. It is a ballroom, it has hard surfaces, and it echos. This is NOT conducive to good music making. Adjudicators cannot possibly hear the detail that they need to in order to come to a fair result, neither is it fair to inflict this acoustic on bandsmen who work very hard in the build up to contests such as this. In my personal opinion there have now been dodgy results in this contest for the last two years (I am NOT saying we should have qualified last year either as again we left the door open...)

My final point now covers the thorney issue of relegation. Yes, we find ourselves in the Senior Cup next year. A situation that I find totally unbelievable. Our nearest competition better watch out because there, but for the grace of God go they... next year it will be someone else. How can we find ourselves relegated despite positions of 6th and 9th in the last 3 years? Methinks the rules need to be looked at. In their haste to re-introduce the Senior cup, the organisers have left the door open to what is essentially a gross injustice. Why, when the British Open aggregrates results over a 2 year period (or is 3? please correct me) can the Grand Shield not use the same same rules?

I challenge the organisers of the Grand Shield and the British Open to look at this and apply some common sense. This is a not a case of a band that simply thinks itself too good to suffer the fate that we now face, it is not a band that dwells on past glories. It is as honest and hard working band as you will find, one that deserves better and one that should be gracing next years Grand Shield instead of making up the numbers.

These opinions are my own and should not be read as being those of the band.

I hope that I have spoken with some eloquence and if nothing else hope that this causes someone, somewhere to sit up and realise that something, somewhere isn't quite right here - and to do something about it!

Andy Wyatt

Personally insulted...
After reading your feedback regarding the performances in the senior trophy I feel personally insulted at your comments, being the sop player of the band drawn number 4. I find it confusing as to what you are refering to, and thought that you only commented on the bands performance, and did not seek to publicly humiliate players! At one point in our performance I was talking to my parents who had traveled a long distance to listen!

Graham S Drury

4BR reply:
Thanks for your comments, but we in no way set out to insult or humiliate you as you say! You are obviously a fine young player and there was much to admire about both you and your bands performance on Saturday. However, as you state, you were at one point in the performance talking to your parents in the audience. Couldn't it just have waited until the last chord had ended?

Shock horror...
Just eating my well earned Wigan kebab (pie on a barm cake) and decided to read the retrospective reviews of the Senior Trophy to see what you had to say about our winning performance. Imagine my surprise then when I found that I never even got a mention! I know in your adjudicators remarks you said that " I wasn't always there" in my solo (Funny that the wife say's I'm not all there as well) but I am almost sure I was there at the beginning. After staring at the backs of more toilet doors in Blackpool than I care to remember on Saturday I think I deserve a mention. So come on lads how about it or do I have to beg a whole lot more. On a more serious note I would like to pass on my thanks to the member of the Newstead Band who congratulated us on our win even though they must have been a little disapointed not to have won. It shows that there is sportsmanship around in banding circles after all. Keep up the great work on the site.

Chris Ratchford
Soprano Cornet Pemberton Old Wigan Band

European comments....

Very very rude...
I would like to congratulate you for your reports about the EBBC 2002 in Brussels.

There is one thing which made me very sad - I do not know who wrote (I hope it was not you !) the report about the Friday Concert. But I can really not congratulate you for this. This person has no respect at all for Maurice André, the legend of the trumpet. The report of 4barsrests is not only very very rude, it is very very unpolite and realy mean !!!

Maurice André is the most important trumpet player of the 20th centuary. Before him no trumpet players were allowed to give concerts with all the orchestras all over the world. He is the one who opened the doors for the trumpet - who made the trumpet good enough to play on stages where before only violin, cello, clarinet, flute etc. soloists were allowed. Hundreds of thousands (over 1 million !) of records were sold. All the present trumpet vituosos like Hardenberger, Albrecht, Marsalis, Wallace, Nakariokov etc. have MA's records at home and they are very thankful to MA for what he did ! Myself I am a trombone player but I have about 20 records of MA and I still have a lot of respetct for him !

I was really sick after reading 4barsrest's report about Maurice André. Okay, we all thougt that his playing in Brussels was not as good anymore as it used to be and many people felt sorry for him. The same happened actually to the great horn virtuoseo Hermann Baumann and also to Yehudi Menuhin. But they all had a fantastic (and MA still has it !) charisma. - It seems to be difficult to retire (for many others as well !) from playing. - Not all the performers (in music and sport) find the right moment to retire. I have heard some older very famous legendary cornet players as guest soloists in concerts in England, where I thougt it would be time for them to retire - but I had and still have a lot of respect for them.

I think the British Bandsman reported with some respect about the friday concert. - But 4barsrest failed to have this respect.

Please don't take it too personal ! - But I had to tell you my feelings ! I would like to ask you to print my letter in your column "Yours comments" Kind regards and best wishes

Markus S. Bach

4BR Reply:
Many thanks for your kind remarks about our coverage of the European Championships, and may we thank you and all the other people involved in the organisation of the contest weekend for the way in which they made us so welcome and assisted in helping us ensure that we could give make our coverage as "live" as possible.

We will however have to respectfully disagree with you about our comments on Maurice Andre. We have the greatest respect for his achievements and for what he has done for the development of the trumpet as an internationally recognised solo instrument, but our review and comments were specifically about the concert and not about his fantastic contribution to the music world.

We honestly believe that Maurice Andre performed at the concert in a manner that was not worthy of his superb reputation and as such made his contribution to the concert a huge disappointment. There may have been various reasons for this, but the overall impression left was of an under prepared performer who on this occasion was unable to play to a level that we would have come to expect from a man with such experience.

Our review may have seemed harsh, but we stick by what we say. 4BR has the greatest respect for the great man himself and his undoubted achievements, but on this one occasion Maurice Andre gave a performance that at times bordered on the embarrassing. We can only hope that it was a one off and that there will not be further performances that could permanently tarnish his deserved reputation.

The bigger they are...
Firstly congratulations to all at 4BarsRest for your excellent coverage of the European Championships, first class job. I was at the celebration concert on Friday night, being fortunate enough to have been one of the finalists in the composer's competition (and many congratulations to Simon Dobson on winning - the future looks hopeful for brass music).

What a privilege it was to be there among such auspicious company, but what a huge disappointment at the same time. I totally concur with your comments regarding Maurice Andre's performance and well done for saying it. So often, the fact that a performer had a bad night at a prestigious event is glossed over by the reviews, but you cannot disguise the fact that this particular performance was awful. How many time must Monsr. Andre have played the Hummel? Most Classic FM listeners could probably whistle the piece without forgetting it. I was absolutely staggered at the poor quality of note production and technique. The EBBA would have been much better off hiring the services of a lesser known player who isn't past their sell-by date. Better still, bring in a star like David Daws who never fails to wow his audiences with his superb playing but is not heard nearly enough as a soloist outside the Salvation Army.

The concert, for anyone who wasn't there started at 8pm and finished at 11.30pm, most of that down to the soloist milking it for all he was worth. To be honest it spoilt a memorable occasion for me. I hope Monsr. Andre enjoys spending his "well-earned" cash. There is one particular phrase that springs to mind - "The bigger they are, the harder they fall."

Iain Rayner

Aragorn or Sonetto?
I told you already during the Forum on Friday 3 May that Aragorn by Hardy Mertens was not the piece which was rejected by the Music Committee of Boosey and Hawkes for the EBBC of 1991. It was a piece called Sonetto opus 161 and if you are interested I can send you a copy of the score. Aragorn is a very popular work for Fanfare- and Wind Band since many years. Some years ago also a Brass Band version was published. Please can you make a rectification on your website?

Jappie Dijkstra, Member of the EC and MC of EBBA

4BR Reply:
Many thanks for letting us know about the 1991 test piece for the European Championships Jappie, but we may have to agree to disagree on this one for the time being.

As both of us (Anthony and Iwan) were members of Tredegar Band who were invited to compete at the 1991 Championships in Rotterdam, we remember too well the arrival of "Aragorn" at the bandroom as the test piece for the contest. We also remember rehearsing it for about two weeks before the band were informed that "London Overture" by Philip Sparke had replaced it.

Just to check we went back to the library in the Tredegar bandroom and picked out the piece again - complete with details of its conformation as choice for the championships. There was no copy of Sonetto Opus 161.

As a second check we looked back at an old copy of Brass Band World magazine issue three of April 1991! Here the correspondent conforms that "because of the difficulties with instrumentation and the requirement of five percussionists, the Foundation abandoned the choice of "Aragorn" by Hardy Mertens and substituted Philip Sparke's "A London Overture".......

We think we may just be right on this one, but if anyone else can confirm the details you have given we will be happy to change things and apologise.

Peter's appalled...
I am appalled at the comments made by this self styled critic. Black Dyke have as good a band as they have ever had, and an equally good musical director. I personally know most of the players in the band, and they are good people as well as being good players. I also know Nick Childs having played in the same band for a few years. I can't ever recall Dirk De Wolf being prominent either as a player or conductor. I didn't hear Black Dyke play at the European as I was busy with my own band,but the general consensus was a two horse race between Black Dyke and YBS. This fellow is entitled to his opinion but should never be allowed to air them on a web site.

PETER ROBERTS.

4BR Reply:
We must agree with you with everything you say. Black Dyke are a very fine band indeed who performed superbly at the European Championships at both the contest and the concert on the Saturday.

Mr De Wolf may have his opinion, and he has expressed it on the comments page at 4BR - but what he writes only shows that some people have little or no idea of what they are talking about, and we felt that on this occasion it was right of us to show that some people hold opinions that just ridicule themselves rather than the bands which they think deserve their misjudged venom.

Sometimes it is good to show that there are a minority of people out there who have little respect for the achievements of others and as a result replies such as yours show the true spirit of brass banding.

Mr De Wolf...
What is it with you?, having returned from an excellent weekend in Brussels I find on this excellent site just a tyrant of abuse against one of the best bands there is in Black Dyke. Ok so their playing was not your cup of tea but to unleash such an attack is totally unnecessary in my view. Personally BBW's version of Dove Descending was not particularly to my taste but I accept that different conductors have differing interpretations and I simply sat listened and enjoyed. First prize awarded to BBW for worst turned out band of the day, you haven't learnt much in that area have you. Notice your reference to Stef Pillaerts solo item in the concert, alongside ''old hat'' pieces err excuse me '' Carnival of Venice'' with soloist trying to be funny haven't seen that done before !! Congratulations to Mr King and YBS - Concerto Grosso performance the best I've heard in years.

Ian Young

Whitaker Wakes...
My name is Andrew Whitaker and I am the conductor of Lofthouse 2000 Brass Band. After reading some of the comments I thought I better send up some details about myself and the band. Although no relation to Tony Whitaker, the ex-Brighouse Cornet Player, we are good friends. As some of your readers have pointed out I am an ex-Jayess Queensbury Cornet Player and I am still in contact with Jim Shepherd. In 1999 I was invited to bring the old Lofthouse Band Band to life with a group of young people, since then we have performed on local TV, recorded a CD and last year played on a short tour of France including a performance at Disneyland Paris. This year was our first time in the Regionals at Bradford where we came a creditable five, but probably the high point of this year was the contest at Minsthorpe where we took first place in the fourth section with a performance of Gareth Woods, 'Hinemoa' and an arrangement of 'Crimond' by George Thompson. Next year will see the band undertaking a tour of Germany as well as another CD. The band at the moment is very strong with approx 50 members and a small junior group as well.

I have been playing cornet since I was 13. In the past years I have played with Wakefield Schools and Metropolitan Bands, Andrew Heat For Hire Band when it was conducted by David Hirst and later Crofton Silver Band and Stanley Newmarket. But it is the time with Jayess Queensbury with Jim Shepherd conducting that I will consider the best of my playing career. So at the age of 38 I gave up playing seriously to concentrate on conducting and for the past three years I have been proud to stand up and wave my arms about in front of Lofthouse 2000 and hopefully they can follow me and we can carry-on this arrangement for some time to come.

Thanks for all the interest shown and hi Peter it's nice to know your still playing.

Andrew Whitaker

Brass Band Nut
My partner is a brass band nut. Last Saturday we went to Brussels (for the weekend) and for the first time in my life I attended a brass band concert - I just wanted to email and personally congratulate everyone connected with YBS for the astonishing professionalism of the performance on Saturday night of Hymn of the Highlands - I have never seen or heard anything like it. David (my partner) had tears running down his eyes at the end of your Concerto Grosso performance - he says that he will never hear a better contesting performance. Thank you for Saturday evening and thank you Dr King for something that was unexpected and will be treasured for a long time.

J Livsey

Too much focus on the Championship bands
I am Solo Euphonium and Committee Member at YWD ( Yiewsley and West Drayton). Have you given any thought about expanding your coverage beyond the Championship Section? There is a lot more going on out there in the larger brass band world. Perhaps you should look at putting together a regional page.

Clayton MacLean

4BR reply:
4BR give more coverage to all levels of banding than any other magazine out there. Comprehensive pre and post match analysis of all regional and national contests - you don't see that anywhere else.

Yes, there are loads of competitions going on all over the country every weekend but quite frankly if there are only a few bands in the line up and 50 or so in the audience, do you think it really worth our while? We only endeavour to cover major competitions (at all levels) in detail - and print contest results and small write-ups on those that come our way. 4BR is a two-man operation who quite frankly work damn hard in our spare time to produce this magazine.

Oh - take a look at the sport pages tomorrow morning... how much footaball coverage does the Vauxhall conference get?

As for a Regionals page - there's hardly enough worthwhile news in our banding movement to keep a Worldwide news section flowing... 'Jim the old git leaves Grimthwaite'... now there's an interesting read....

Diversions recordings
Further to the enquiry from Kelly Evans, Diversions, variations on a swiss folk song, by Philip Sparke, was recorded on the cd Family Portrait, by the Point of Ayr band, on the Polyphonic label. Out of interest, the wind band version is available on the cd The Kings Go Forth, also on Polyphonic.

Peter Bale

There is a recording of Philip Sparkes Diversions, (variations on a Swiss folk song) on the "Family Portraits" CD,recorded by the Point of Ayr band on the Polyphonic label in 2000,conducted by Mike Fowles.Hope this will help Kelly,regards Keith Jones( M.D of the Conwy band, and ex-Point of Ayr, ) Nice to know people are wondering whether I'm still alive and kicking, well I am and Looking forward to Conwys promotion to the 3rd section. Marvelous site by the way!!

Keith Gorton Jones

Diversions recordings 2
The only recording available of Diversions, Variations on a Swiss Folk Song by Philip Sparke is by Point of Ayr Band on a CD called Family Portrait. It is available from Grimethorpe.com

Sarah Miller, Bendix Kingswood Band

What's he getting at?
The email below was one posted on your (excellent) comments page. However I do not know what Mr Smith is getting at, what were the offending instruments and what did the winning band do - some sort of clue is needed here other than the words prostitute, sake of convenience, appalled. Perhaps this is a classic case of if you're not in the know, then you're not worthy of reading this web site in the first place. (In which case, don't bother posting your comment.)

Appalled!
Having attended the Carniege Hall contest in Dumfermline on the 20th of April, I was appalled to see and hear the winning band take to the stage before the results were announced playing a selection of pieces which involved the use of non brass band instruments. Having just returned from many years living in chile and looking forward to listening to a proper British brass band this made my blood boil! Having listened to the band play most beautifully during the contest it made my heart weep to see wonderful players prostitute themselves for the sake of convenience . Is it not possible for the two players involved (they know who they are!) To produce the required sound for the music without resorting to the use of instruments that have no place in the brass band movement . Thomas Smith

This pseudo mysterioso stuff annoys me, it must annoy others. Incidentally, is there a newsgroup for brass bands. I know there's a lot of people would like to air simple views, advice, comments, tittle tattle etc. views with each other and it would make excellent reading. Meanwhile, despite not always knowing the score, I enjoy your comments pages and web site

Albert Roland

What's his point?
I am not quite sure what point Mr. Smith's is trying to make in this comment. When he says he was 'appalled to see and hear the winning band take to the stage before the results were announced' is he suggesting that there was something 'underhanded' going on?

It is customary at the Carnegie Contest for the previous year's winning band to play a short programme before the results are announced. Kirkintilloch were invited to play this concert. The fact that the band drew last to play, which meant them leaving the stage only to return a few minutes later to play the short programme was something that could not be avoided. The band's name was not announced until after the results were decided and in any case both Messrs. Beckley and Reid stated quite clearly that there was only one winner of the contest (a fact confirmed by the margin of victory, which I believe was 9 points!)

As for Mr. Smith's other point about the band 'playing a selection of pieces which involved the use of non brass band instruments...to produce the required sound for the music' I, once again, fail to see his point. If the required sound is a trumpet fanfare, then surely the 'required' instruments are trumpets? Mr. Smith will no doubt be relieved that the band did not play any more of the programme played at last year's Spennymoor Contest, such as 'Backseat Driver' which involved the use of a synthesiser to produce the 'required' sound, which was (funnily enough) that of a synthesiser!! I wonder if Mr. Smith includes the use of percussion in his definition of 'non brass band instruments'. For example, would he replace the sound of an anvil being hit with two Bb basses being smashed together (I know a lot of other people who would be happy with this suggestion!) I believe a couple of years ago, in one of the area test pieces the 'required' sound was that of an egg being smashed in a bucket - How does Mr. Smith suggest this 'required' sound is reproduced using traditional, brass band instrumentation?

I believe it is comments and attitudes displayed by the likes of Mr. Smith that have held the brass band movement back and prevented it, in many quarters, from being viewed as serious contributors to the music scene. The purpose of music is to entertain. What possible harm is being done by using other instruments to enhance the music that is being played and adding to the enjoyment of the music by the listener?

Colin D. Gallagher

Top heavy bits...
As far as I'm aware Denis Wick don't produce 'heavy-top' mouthpieces for any instrument - the boosters are as near as you'll be able to get. However, having learned on Denis Wick mouthpieces, and having had trouble with embouchure stamina, I found that the Denis Wick cup rim is prone to "biting" the lips; this understandably has a detrimental effect on stamina, sound, articulation and intonation, particularly during a long concert performance. Although they are much more of an investment than DW mouthpieces, and having tried quite a few other "mainstream" brands, I've found that Schilke mouthpieces have a similar "feel" (against the lips) to DW, but have plenty of metal behind the cup, which produces a bright, ringing sound - and helps tremendously in the high register! I've heard Schilke mouthpieces described as "half price [V. Bach] Megatones" - and thoroughly recommend them.

Jack D Smith

Boring technical stuff...
I play a GS-Sovereign Euph (bought from new) of which I am well pleased, but feel the need to have a main tuning slide trigger as included on the new "Prestige" models. I have tried without success to purchase the trigger mechanism from B&H (they are quite adamant the answer is NO!) When I try to use alternate fingering for top G's (4th valve) I find the splits come more frequent than usual so the trigger would be ideal. But still feel that without stretching my credit card I cannot afford this at the moment, does anyone know of a company that does this type of accessory fitting?

Jim, Rossendale

Bass Mutes again...
So, now the people who pick the test pieces, the organisers of our national contests, and Dennis Wick mute suppliers are all in cahoots to try and bleed us poor banders dry of all our hard earned funds...B@!locks!!

I find it incredible some of the conspiracy theories that get churned out during every small point that is made involving bands. If you want to know why you have to use bass mutes, ask Mr Wilby. The simple fact of the matter is that the piece was picked due to it's complexity, and that it provides a stern test for the bands, NOT so the federation can fleece us for more money. Or would you rather we never play Philip Wilby's music ever again?? Grow up please

Mark Bell

4BR Reply:
That's it everyone... no more on the bass mutes.

A reply to Mr Owen...
I fully understand your point that the regionals/nationals are the only contest considered when deciding who gets relegated or promoted, and that you think that there should be a panel of adjudicators instead of just one, and that way no one can argue with the result (it will leave no one in doubt of the result). i disagree. one adjudicator is sufficient. you cannot assume that several adjudicators will reach the same decision and taking average scores will lead to controversy, eg. two adjudicators place a band first and the third puts them tenth. such a band would be on 4bars rest complaining that the third adjudicator cost them promotion. adjudicators can never be popular with everyone. however many you put in the box(or seperate boxes), there will always be more adjudicators in the audience to say that they got it wrong(or one of them did!) both messages that you have posted on 4bars rest have implied that there is doubt over roy roe's adjudication in the second section at blackpool. instead of complaining about the system, why don't you get to your poorly disguised point which is.... you think roy roe got it wrong because you didn't figure inthe prizes.

Steven Walker

YBS Back in town
Absolutely stunning performance by YBS and glad they're "back in town" after some contests where they did not make the difference. It showed what a brilliant test piece Chain was i.e. allowing the best conductors to make the difference. David King was again steeling the show and putting out something no other conductor equalled, while musical Frans Violet showed again he has a lot to offer.

The biggest disappointment was Dyke, stating again they want to be the loudest band. On top of that, their Chain did not deserve 3th place at all IMHO: euphoniums totally ignoring the dynamics at the beginning, soloist absolutely out of tune in the first minutes, untidy band playing further on,... and Revelation? Could it be less loud please, the Palais could luckily stand the end chord. The gala concert also took any doubt away: cornet = scrappy trumpet at Dyke. There's no 80-years old mexican trumpet so awful as Dyke's bumper up, are you kidding sir. And this in front of an international capacity audience? Webster was also remembered not so long ago by David Daws a cornet is not a trumpet. Why the hell has even Roger changed his once brilliant sound, I can not understand it.

They should change the "Black Dyke" name, they current band is ruining the heritage of this band, once setting out the sound model for the world during decades.

No surprise, the biggest joy was then to see the European contest is still the forum where the best sounding bands are the winners, unlike e.g. the Albert Hall.

Funny to see YBS continued winning their "competition" in the evening. Call of the cossacks together with Lucerne Song in one program, and an old item like Olympic Fanfare? We could see David King with a big smile afterwards.

Luckily Dyke had a great Belgian soloist with Stef Pillaert. Sorry "Dyke", you can do better. Just my 2 pennies.

Dirk De Wolf, Belgium

March and Hymn contest
Just a quick note to let everyone out there know that Old Silkstone Band (Barnsley) are organising a march and hymn contest on July 13th 2002. Open to all sections. If any bands are interested or you just want to come and soak up the atmosphere please contact me at:-

traceybostwick@tiscali.co.uk

The venue to worth coming to see and the prize money isn't bad either!

Tracey Bostwick

Some one help the apiring boner
Does anybody know where in the UK I can purchase "Heavy Topped" Denis Wick trombone mouthpieces? The best I can find are these "Mouthpiece Boosters". Thanks.

Neil (an aspiring 'Boner)

A refreshing change
You ask in your reply to Iain Rayner who comments on the Midland Regionals for views on the decision to run the competition over two weekends at Burton-on-Trent Town Hall. I have comments from two friends of mine who have asked me to say that they are absolutely over the moon. Oh, by the way they own the Old Cottage Brewery, a local micro brewery now with reduced duty, and also the British Oak pub next door to the Town Hall. By next year the restaurant will be fully functional and the liquid refreshment superb!

TREVOR HATHAWAY

Appalled!
Having attended the Carniege Hall contest in Dumfermline on the 20th of April, I was appalled to see and hear the winning band take to the stage before the results were announced playing a selection of pieces which involved the use of non brass band instruments. Having just returned from many years living in chile and looking forward to listening to a proper British brass band this made my blood boil! Having listened to the band play most beautifully during the contest it made my heart weep to see wonderful players prostitute themselves for the sake of convenience . Is it not possible for the two players involved (they know who they are!) To produce the required sound for the music without resorting to the use of instruments that have no place in the brass band movement .

Thomas Smith

Points raised
I enjoyed your review of the new Bb bass, but would like to take issue with two points raised. Firstly, the modern tuba or bass player is not always the rugby playing, built-like-a-house man that he was in the 1970's. There are actually (shock horror!) some pretty good women players out there too, and they aren't all the size of a prop forward! Secondly, with regard to the intonation of the instrument, no tuba is ever perfectly in tune, even with the compensating system. Tuba players in Europe regularly adjust the various slides while playing to ensure the best possible intonation - so why shouldn't we?

Jo Sherry (MMus tuba student, RNCM Manchester)

A late starter
Although being well aware of the brass band it wasn't till my son started learn the cornet in school some 5 years ago I took any particular interest. Furthermore as the result of a dare I started to learn the B flat tuba. All I can say is that I am glad I took up the challenge since I really enjoy it. Being a new convert I am trying to spread the word so that other adults should not be shy in having ago at learning to play. It also provides a great family experience because my daughter also plays percussion in our local band. In modern parlance is banding ready for a make over so to raise its profile in the community to show its true worth.

John Bray

Makes you Sick
I enjoyed reading your review of The Wallace Collection's CD The Golden Section. Anyone listening to the James MacMillan piece might think that the incredibly quiet pianissimo in the opening bars has been enhanced with help from the studio engineers, but I heard this piece performed live at the Royal Academy of Music in 1999 by the same group, and I can assure you that they really can play this quietly! Makes you sick, doesn't it?!

Alec Gallagher

Keith Jones confirmed
I can confirm for Mel J, that the conductor in question is indeed a Mr. Keith Jones, former principal cornet with the Point of Ayr Band. Following many years as a successful top man he moved on to Flugel Horn, and if I am not mistaken, I think he was on Flugel when Point came third in the European Championships. His fine pedigree and life story (band wise at least ) can be viewed at the Conwy Band website, unfortunately I don't know what the address is! try the links section on BBW's site. Sorry 4BRest, didn't mean to mention the competition like that!

Gavin White.

Mute point
I have read with interest Ian Wilkinson's comment regarding the use of bass mutes in the first section national finals test piece. He makes the point about justifying the cost of acquiring such mutes versus their value in this, and subsequent, pieces. Our band missed qualification for the national finals, so I am unable to comment on the musical merits of bass mutes in this particular piece. However, to expand on his point further, I have often wondered if qualifiers and finals test pieces have been chosen with a view to forcing lower section bands to invest in equipment, especially with regards to percussion, that they can ill afford. The financial turbulations of most lower section bands is well known, and as there exist many fine pieces to choose from, why do the organisers of the most prestigious contests frequently choose pieces that involve major expense for participating bands? Am I just a cynic, or could it be to 'drum-up' business from a captive market for contest sponsors and associated brass band suppliers?! I would be interested to hear the thoughts of others on this matter.

David Elliot-Smith

Who's gone mute?
If the composer wanted mutes then it should be muted.

BUT am I alone in feeling it is too much of a coincidence that the choice of test pieces requiuring significant use of mutes is linked to the fact that one of the most popular brands of mutes, Dennnis Wick, are manufactured by Boosey & Hawkes, the sponsor and organiser.

Phil Shatliff

Are you serious
In response to Mr Wilkinson's moan about the bass mutes, I would say this. If your band is truly serious about playing at the top level, as the other bands at the nationals are, then I'd suggest that a set of bass mutes would be formost in your minds. You have to be mindful that you can't play the "classics" all the time, and that the effects and styles of the composers are changing to incorporate such things as bass mutes, and weird and wonderful percussion. To say "Can't we just play it open" to me is an insult to the composer and his intentions. I happen to think that Leonardo is a great test for the bands(I know having blown through it with Broxburn Public on Sunday) and I believe it will be a good indicator as to who will have the bottle and talent to compete at the top level next year. I for one can't wait for Torquay, roll on September

Mark Bell

A lifetime's interest
After a lifetime interest I seem to sense a situation in which contesting has become the over-riding pursuit of bands in the U.K. Although the movement seems to be thriving there is definitely a loss of popularity, and very little interest from the media…..newspapers, radio and television.

Have the lottery grants been a good thing ? In my day a band had to raise its own funds for new instruments…through lots of engagements, etc. It seems incredible that certain bands can have a new set of instruments…….then face "financial crises". I have known occasions when bands have turned down a decent fee-paying engagement because of a contest the next day ! Don't get me wrong…..contesting has always been a tradition in the movement, but these days it seems as if it is dominating banding.

Long ago I realised that the public do not have the slightest interest in a local band's success at contests…..no more than the local pub darts team, bowling club, etc.

Apart from "Listen to the Band" it is very rare indeed to hear a brass band on the radio…..let alone television. Yet , in my opinion we have the finest bands in the world ! Surely it is time someone did some kind of survey into the loss of popularity. It might be lousy public relations. As someone who has worked all my life in the media (PR, newspapers, and TV) I can tell you it is very difficult to get them interested in brass bands. In my part of the world concerts by our top bands have also virtually disappeared, as they seem to be loss-making. I also feel that if a person is fortunate enough to be supplied with a free nice new instrument to pursue their hobby (maybe as a result of a lottery grant) they should be prepared to donate some of their time and talents to their local charities, local homes, etc……as a "thank you" to those who lose their quids each week ! Its called "goodwill".

Finally……do I perceive that there is no longer the old loyalties to ones band, when I read on your interesting website that so-and -so has left a band, or that another band has just acquired nine new players? By the way……..I do belong to a band……but there is only two of us (aged 69 and 71) . As we are somewhat short of members (!) we do not compete….but we do play free for charities, etc. and next week will be fulfilling an important engagement for a village (where its band died years' ago) which my fellow bandsman reckons will be our 38th event in a couple of years. As seemingly we have no "constitution" or certified accounts (no money !) we do not qualify for lottery grants……and have bought are own students' instruments (sadly made in Taiwan, Czechoslovakia, etc.). And courtesy of our generous old age pensions !! I suppose I am just jealous of those folk with lovely new Sovereign instruments.

D. Williams
PS Is there a home for old demented bandsmen who still curse adjudicators ?

Change from Colston
With regards to the article in your comments section about the Colston Hall, I must share with you the news that next year's Regional Contest for the West of England will be held at the Riviera Centre, Torquay (where they were in 2001). While, in my view, it is acoustically inferior, there is certainly more room for changing etc. at Torquay. The facilities at the Colston Hall are, to be blunt, dated and somewhat cramped. Never mind cattle in transport trucks, what about Bandsman changing at the Colston Hall?! A great hall, but such appalling dressing facilities! A shame if it were permanently ruled out as a venue, because of this...

Iain McKnight St. Austell Band

Colston name change?
Further to the comments of my ex-colleague, Ian Dickinson, and having had similar discussions on the day, you may be interested to learn that the City Council plans to spend £44million on re-vamping said Hall (this was announced two days after the Area - maybe they were listening?).

Link to the Evening Post story:

This has sparked further debate as they are intending to change the name at the same time because of Edward Colston's involvement with the Slave Trade.

Andrew Jackson Bendix Kingswood Band

Marching on
I thought this piece of information would be of interest to you, something extra to "bumpf" up your excellent site !

Whit friday, for brass bands is known across the country to be one of the best 'bottoms up' events around. With being a mere unimportant percussion player on whit friday (especially with leylands drum substitue!) and with living inbetween greenfield and Uppermill, whit friday is a great event and certainly a bottoms up to remember. So, with knowing the percussionist (Nick Cornock) and a few other players from the REME band, I told them about the event and invited them up.. thinking they'd just come up for the ale.

When the phonecall got back to me, saying that because it was such a great playing event, and as they were all players for Staines brass band, they were going to get as many of them together as possible and come up to play. I thought that was great, then they said they were going to go to a local camp site and all camp, but with the local foot and mouth troubles, it was a harder task than at first realised. So, after much ringing round, a week or so before the contest, they were stuck with nowhere to stay, until some genius remembered that we had a large garden !

So Whit Friday arrived.. and so did 26 bandspeople...after randomly finding some more players at a services on the way... they got to our house, with tents under one arm, and beer in the other... set up camp, and headed down the hill to be picked up in greenfield!

The band had a notorious excellent bus, and ended the playing (7 contests overall) in greenfield, where there were about 3 left that could actually walk and play at the same time. The Long walk back up to our house, left us with 3 wondering the moors with the bass drum! and the rest having a flugel, guitar, and bass drum serenade in a bedroom carrying on until about 4am.

Luckily we don't have neighbours. The delights of the beer found us all when one of the trombone players from the REME decided that it would be good fun to wake us all at 7.30 am with the Reveille! This is now seeming to be an annual event. and will be taking place this year for the whole weekend again. So feel free to buy them all drinks for having to sleep on the edge of saddleworth moor after a hard night of playing (and drinking)

Jocelyn Robinson, Leyland Band

Something to get our teeth into...
I was left salivating at your review for The Wallace Collection's latest offering, 'The Golden Section'. It sounds similar to PJBE's classic "PJBE Finale" album, and if it's half as good it will also be a classic. But the review does raise an interesting question. What has happened to the policy of commissioning major Brass Band works from major British composers? A Nationals test piece written by John Taverner would be a crowd puller and would also create a piece of music with shelf-life. Audiences and players seemed to like 'Albion' last year, but I'll venture that it won't make it out of the folder, or onto a CD, very often. On the other hand Thomas Wilson's 'Refrains and Cadenzas' was not received well at first, but has grown into a classic which is performed, and even recorded, surprisingly often. Come on band commissioners, try thinking beyond the 20 bands on contest day and commission something for our superb players to get their teeth into!

Dafydd Jones

Is there a recording?
My band are currently working on a test piece used for the 2nd Section national finals last year, called Diversions, Variations on a swiss folk song by Philip Sparke. I have looked on your website for a recording of this piece but cannot seem to find it! I was wondering if you could tell me if there is a copy available and if so where can I get it from??

Kelly Evans

Is this A Whitaker?
Hi , my names Peter Horsfall. I'm a 15 year old cornet player with the Rothwell Temperance band but I know who the mysterious A. Whitaker is; my first band was Stanley Newmarket band in Yorkshire and when i first joined the princible was none other than A ( Andrew ) Whitaker. He's a 40 something cornet player whom used to do the Stanley workshops for youth on a saturday morning. He has since left and is now conducting Rothwell 2000 band. Hope that solves your problem .

Peter Horsfall

A Whitaker response
With reagard to the mixup of names for A/Tony Whitaker the conductor of Lofthouse 2000 Brass Band. Maybe the 'A' stands for Anthony and Tony being the shortened version. Its a shot in the dark but might it be the case? I can't believe I am wasting my time even offering explanations!! (don't the band or conductor involved!)

James Pearson, Jackfield Elcock Reisen Band

More A Whitaker
Further to your question in the comments section , the conductor of Lofthouse brass 2000 is Andrew Whitaker ( a former cornet player with Jayess Queensbury in Bradford )

Derek Hoyle

And More
Is A. Whitaker not the same as ex Brighouse top cornet player? (circa 1970-80's) (mostly known as Tony and a few other names) If it is, hello Tony, havn't spoken to you for a few years. Hope you are well !

Paul Filby

Reply to Mr Walker
Mr Walker is missing the point entirely, as far as I (we) are concerned, it does not matter what type of adjudication system is used in "local" contests, because all that is lost is the possibility of a bit of prize money and for some the additional coach costs. My whole point, is that while there is only ONE CONTEST on which the promotion/relegation of your band is decided then surely it is not too much to expect that the system of adjudication would be the safest one possible for all concerned. In closing I repeat, that the promotion/relegation issue should be over 3/4 contests with some being compulsory, but is this is not possible then PLEASE make sure that the one and only regionals are conducted in such a fashion that leaves one in no doubt of the result.

Jim Owen, Goodshaw Band

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