Comments ~ 2003: July
31-Jul-2003Comments from July 2003
The Long Road to Dundee?
As seemingly the only Dundee resident currently involved in banding in the deep south (or at least involved and opinionated!) I feel I must ask you not to continually harp on about "the long road to Dundee", "bands making the long trip north" etc. You make the place sound like it's on the moon and not nearer the north of England and most of Yorkshire than London and the South Coast is. We never hear about bands having to make the long trip south to the Albert Hall so come on guys, give Dundee a break.
I don't think people realise what it means to bandsmen in and from the area to have the championships there. Trust me, you'll have a blast (in all senses) and again I make my as yet untaken offer of acting as social secretary for any bands who would like the low down on hostelry life - perhaps and official position for 4BR? Good luck to all in September (particularly to Mike Robertson and Arbroath Silver who probably have the longest and most traumatic haul of all the bands attending - a whole 15miles or so!)
Paul McLaughlin
Fulham Brass Band
A Grand Day Out
I'm sorry if I caused any offence by my attempt at humour in inverting the Grand Shield results it's simply that anyone who hadn't been at the contest would have found the reverse order no less credible - there would still have been some fancied contenders at the top and the bottom.
I didn't expect the band "rusty ol' me" was helping out to win after changing conductors a week before (John Hudson - and I think he's superb) neither did I hear the winners but I've had a lot of mail (gosh - at least 4 letters!) laughing with me and agreeing with my point.
Seriously though there are always other factors correspondents seem to go straight for adjudicators' throats or defend them to the hilt depending on the result those particular correspondents happened to get.
Sometimes with very new challenging music and very seasoned, old adjudicators, we all know that they are even struggling to read the solo cornet line and keep up this, was not one of those days with its glorious melodies, harmony and counterpoint, and two good musicians making the decisions, there was something else going on
.
One of the main problems at the Shield was the combination of acoustics and the placing of the adjudicators' box. Can anyone write and reply, saying honestly that they've sat up there about 30 feet above the bands in that echo chamber of a hall, and not found that it distorts the Eq, the shape of the music and dulls the detail in effect levelling out the performances? Beyond that problem, it then has a sudden threshold that "gives" without warning - amplifying what in most other halls, would be "exciting moments" into "Who forgot to feed the bass trom again this morning"
Surely the only place to sit and judge in such difficult conditions (But not normally) is as close to the sound as you can get before the myriad of reflections turns precision to mush and for 40 years that is indeed where judges sat in that hall for the Mineworkers contest. Why then for the Shield did they place those two poor blokes in an "All new Fear-factor finale", perched in their little enclosure among the cherubs and fine plasterwork!? At something like an Area contest - it may work when some bands are the best anywhere and others shouldn't be in the same section - but when a lot of the bands are similar in ability and quality - naaa!
Some conductors wisely in that hall, worked on the sound and the length of notes and some bands have a style that is naturally tighter and lighter anyway which would always go well there. The upshot was that some performances that maybe would have stormed Pontins (even with the same judges?) turned to pulp in the Empress Ballroom before it got as far as the judges. Well done to the bigger bands who overcame this and congratulations to the smaller bands who's acoustic profile happened fit the hall.
As for humour... Another consideration is the administration not all judges are good clerks and if the admin backup is kaput well who knows That was indeed the basis of my cynicism I remember a big solo contest event in 1970 when my brother on cornet aged 8 won the "Best Bass" and Geoff Hawley got "Best Girl"! Haha! It was a very well known conductor/judge that day too!
Haaaa... stuff like that keeps me going
..
Keith Wardle.
Heroes of the Faith - Happy Memories
I was interested to read the suggestion made by Douglas Watkinson that Salvo Brass include Colonel Charles Skinner's Tone Poem ' Heroes of the Faith ' in their forthcoming CD.
I was privileged to play in Regent Hall SA Band during the leadership of Charles Skinner. This would have been in the late 1940's or early 50's and, if my memory serves me correctly, we played it from manuscript . Very descriptive music of the Roman era and with the snarling of the lions in the arena ( via the trombones ) it was considered to be at the forefront of SA writing.
The point of this note is to say that this music has been recorded in the past two years on a CD entitled ' Millennium Reflections '. This is the second CD made by the South London Fellowship Band under their conductor Major George Whittingham and, like our first one, has been received extremely well. If Douglas is interested and would like a copy I would be pleased to send him one . Just contact me with an address and it will be done.
Eric Rapp
Has banding become too much like football?
I've just been reading about all the recent comings and goings of players and conductors between some of the top "Name" bands. It is impossible to ignore the similarities between this and Premier League Soccer.
To allegorise further, isn't it true that the Championship Section is really two sections, Premier League and First Division combined, and the rest are in the Conference ?
It's all about Sponsorship, and how much of this the name Conductors and players can cream off for themselves.
It's a very lucrative roundabout because the same names just rotate around the same top few bands - the pickings remain constant - very lucrative !!!
It is a corrupt, sneaky, backstabbing system, fuelled by greed and self interest that is bleeding the life blood from top bands who feel it necessary to enter this rat race in the name of prestige. The word loyalty, seemingly, has no place in "Professional" banding.
We have all seen what happens when a "Name" band loses sponsorship and "Expenses" can no longer be paid - the sound of music diminishes and is replaced by the sound rats leaving the sinking ship, eagerly sniffing for the next piece of cheese which, of course, is just around the corner !!
I forecast that in the not too distant future it is going to become extremely hard for bands to attract substantial financial support from commercial enterprises and the gravy train will cease to run.
When the fat juicy fees dry up the recipients will still be around to enjoy banding, though they may have to fill their wallets (and purses !) from other activities.
Perhaps in its place we may see the return of a little integrity to Premier Banding!
Ian C. Wilkinson
Speling and Gramer gents!!!!
After reading your review of the Grange Moor and Skelmanthorpe concert I feel compelled to comment on the large number of errors in spelling, grammar and typing accuracy. I'm tempted to list them but fear I would still be at it in the morning! Sorry, but your proof-reading procedures could do with a review.
Clare Lewis
4BR Reply:
Mea Culpa! Sorry to all concerned. We do have a reputation a bit like the Guardian newspaper we know, but we are trying to get better. We take the slap on the wrist and we will try better next time - honest!
Brits take Bitburg by Storm - thanks to 4BR!
Many thanks to all at 4barsrest.com for publishing the article on our recent trip to Germany. We had a very good response, and as a result gained a number of excellent players who really helped to make the the trip a huge success.
We received great praise from our German hosts, making sure that the reputation of British Brass Bands is kept extremely high.
May we also take this opportunity to publicly thank all the people who travelled with us to Bitburg this year and hope to see you all again next year.
Nick Jones
Max Joseph
Coronation Brass
Festival Music anyone?
I need a recording of "Festival Music" Eric Ball. Have you got one in your library or do you know where I can get one, it's urgent?
Howard Gibbs
M.D. West Mercia Constabulary.
4BR Reply:
There isn't one in our CD's we have for sale, but we do know the GUS Band as they were then recorded it on a LP entitle "In a Tribute to Eric Ball" issued on the Top Brass Series TB 3021 back in 1980. If Pye records are still going give them a ring to see if you can get a copy.
Journey Into Freedom
With regards to Roger Pearcey's letter, it was just badly phrased that I wrote that Journey into Freedom was part of the Salvation Army's catalogue! I do know it is not published by S.P. & S.! Apologies to all who now think I know little about Eric Ball!
Thomas Morgan
Yorkshire "Pudding" - Adjudication indigestion
Fair Play to everyone - not just the "Big Boys"
More than a little disturbed to read that 2 judges are to be used in the championship section in Yorkshire for the area next year, apparently because of the result this year.
Basically what is being said is "one judge is not sufficient, lets use two, in the hope of pleasing THE RIGHT PEOPLE "
Why then in the top section only ?????
May affect the rankings of certain bands. TRUE
What about the lower sections ?????????
May affect their EXISTENCE . TRUE
The result of a contest is (in my opinion) just as important, if not more, for a 4th section band than the so called "big boys" because some bands lose players on the strength of not qualifying for the finals of certain contests. Therefor a band that is already struggling, dies.
The future of "the big boys" is in the 4th section, so why dont we just get to grips with the fact that the is only ever one happy band at a contest, and that is the winner, and just accept the judges decision for what it is, "his opinion".
It's about time we started looking after the lower sections of our movement, or I fear there will be no movement to care about.
I didn't attend the Yorkshire area, so cant give my opinion (for what it's worth) But I imagine "the big boys" play their fair share of Goff's arrangements on many concerts, and because his decision differed from their's on the day, he is a lesser musician in their opinion.
In 30 years time, lets see who is playing Mr Richards music, and lets see who is being conducted by the people who have been most upset by his honest oppinion.
Alan Wycherley
Disley
2 in a box - A good idea
You reported:
"There was some level of criticism in Bradford this year about the final decision to send Brighouse and Rastrick and ASDA Stocksbridge to the finals as Goff Richards choice didn't find favour with everyone in the audience. The decision therefore to leave the choice to two experienced judges will we think find favour with the bands (especially those who found themselves placed down the field this year)."
First of all, this is only partly true as a lot of people had Brighouse down to win on the day both before the results and afterwards. Stocksbridge coming second was perhaps a surprise to some people but obviously the adjudicator found merit in their performance.
Secondly, all you have done is to describe most brass band contests that have ever taken place.
Different performances will 'find favour' with different musicians but on this occassion there was only one person who mattered. If it makes things fairer having two adjudicators then that is a good move but it shouldn't happen just to please people and so that the usual 'name' bands are placed higher than bands like Stocksbridge.
John Ingman
Star Players - do not make great adjudicators?
How many of you are sick and tired of "Obvious" adjudicating anomalies??
I have known many fine top section "Star" players in my time, who have failed abysmally with a stick in their hand (My current Conductor excluded !) In my opinion, no one should be allowed to adjudicate at contests unless they have been a successful, prize winning CONDUCTOR.
However brilliant a player a guy/gal may be, or have been (Stars included) , in my opinion, if they have not CONDUCTED winning performances at a respectable level then they are not qualified to judge their peers - what we have is "Players judging players" - We should be judged by those who have accredited experience of contesting success with a baton..
This is where the rot lies - just look at the list of most employed judges - there are many famous names there, how many of them have conducted a band to success at the top level ??
With regard to the comment on 4br that Keith Wardle is "Bitter and Twisted" - anyone who knows Keith will tell you that he just speaks as he finds (Perhaps with a hint of cynicism !) - but his comments are always made with the good of our movement at heart.
Ian C. Wilkinson
The Masters Conundrum
Masters "Grand Prix" shouldn't be a Sport
Regarding the adjudication concerns regarding the Masters, you say that you would like to see open adjudication implemented. So would I, for all contests. For those contests where three judges are used they should be in the open and conferring with each other to agree on a result, as happens with most music festivals. I use the term 'festival' very deliberately as your other suggestion regarding Formula One style point distribution makes me wonder even more whether brass band contesting is becoming more of a sport and less of a festival of music, which it should be.
A suggestion in a band magazine some years ago was that we should have ten judges giving marks for technical merit and artistic impression like the judges in ice skating/dancing competitions (also recognised as a 'sport'). We also now have a 'league table' which determines the 'best bands' in the country depending on performances in certain contests rather like those seen in golf and tennis. How long will it be before the powers that be in the brass band world apply to the International Olympic Committee for inclusion for a future Olympic Games??
There's no foolproof 100% satisfactory answer for judging in any music competition, but open adjudication for all contests has certain advantages. In the brass band world, judges can spot and comment on certain posture and breathing deficiencies for individual players, they can tell whether the band's performance is being helped or spoiled by the conductor, i.e. comments about stick technique or whether he/she has his/her head buried in the score or more praiseworthy comments regarding eye contact and overall direction aiding a good performance. They could comment on whether a band's seating plan is hindering the overall sound, things that (I would guess - never having adjudicated!) aren't obvious or impossible to tell from behind a box.
I just feel that some of these new fangled suggestions for solving this problem are getting a little far fetched. I'm all for open adjudication as I've outlined but I would rather closed adjudication with judges conferring (where applicable i.e. when there is more than one judge in the box) than all this 10 points for a win, 8 for a second place
malarkey.
Dave Payn
Fulham Brass Band
Crees Chivalry
John Roberts is "mystified" by Eric Crees' condemnation of bands for ignoring Ellerby's tempo markings at the Masters. Mr Crees wrote for one top band: "Cortege (procession) marked minim = 45 was nearly crotchet =
45!". How can you justify a completely different mood and meaning, John?
"Bravery, courtesy, honor, and gallantry toward women." is my dictionary's definition of Chivalry, with gallantry as "bold and noble". This just isn't compatible with the standard conductor's contest technique of making the fast and loud bits faster and louder, and the opposite with the slow and soft bits. For me, the fast battle scenes become more frantic, not more brave or honourable. And the slow romances and funeral processions turn soppy and emotional, instead of more courteous or noble.
Well done to Eric Crees for upholding the composer's intentions at the Masters and penalising the bands who fundamentally played a different piece. I'm all for trying something new and appealing, but conductors please have some respect for what few clear clues we do get on the page.
In this respect it will be fascinating to hear if the same conductors fall into the same traps and wallow in Elgar at the Nationals.
David Read (not the adjudicator)
Travelsphere
"Ornamental" Students
Oh my god! I just read your editorial on 'Where do students go?' I cannot believe how stupid and narrow minded Charles Clarke must be to come out with a comment like that. Maybe the government should help us students to find jobs in our 'ornamental' field, or concentrate their funds on people who are trying to make something of their life instead of throwing their money at scroungers who can't be bothered with putting the effort in to even getting a job, rather than spitting us out of the education system with not a leg to stand on when it comes to finding a job!
Do you have a contact address for Mr Clarke? I want to talk to him about 'ornamental jobs'!
Cheers, a very hacked of Jo Moss
Haydock Band
P.S Keep up the work...so long as we have support as good as this site, musicians can't lose.
Debilitating Rehearsals?
Timothy Paton complains about not having a break in a 2 hour rehearsal and that during his previous 30 years of professional music making had "never once had this debilitating, mind numbing, tedious 2 hour rehearsal without a break".
You obviously wouldn't enjoy playing in our band Timothy.
We rehearse once a week from 8:00 to 10:30 without a break, and frequently go past that if we have a major job looming. We've found that having a break can become counter-productive to the flow of a rehearsal. All players get a rest during the night while other sections are being worked on. If a player can't manage around two solid hours of playing in one night they mustn't be in very good form.
Obviously two 2-hour rehearsals per week would be preferable, but many of our players travel long distances so a second practice has become a real luxury. We need to cram as much as we can into one rehearsal and it hasn't turned any of our players off...quite the contrary...we are stronger now than we have been for many years.
Roy Taylor, Principal Euph,
Dandenong Band, Melbourne, OZ
Unfair play at School?
It's been quite some time that I last wrote and stirred a hornets nest regarding adjudicators, well this time I think the school system needs a thorough sorting out, at least in our area anyway. I live (and play) in the Rossendale valley, in Lancs where we have no less than 5 bands all of whom regularly borrow from each other in the true sense and spirit of bandsmanship. But notwithstanding, my band (and possibly another) are in serious danger of folding due to lack of players.
In this are we are fortunate to have one of the best school systems for banding in the country, Wardle, near Rochdale, who have a brass band in every year and who WILL NOT allow their pupils to join ANY other band other than their own. We have sent letters to all of the other schools in this area to ask that if any of the pupils would like to come along for a blow and perhaps supliment their musical education they would be welcome. What response did we get? NOTHING!
In fact when we made special effort towards one particular pupil who had real potential, the parent of that pupil told us that the pupil would not achieve expected results should they "venture away from the fold"! When are these short sighted people going to realise that they are strangling the movement as many of these kids need to "get stuck in" as early as possible before they discover the opposite sex, drink, drugs etc.
The resulting effect will be less and less ands for the kids to join upon their leaving school and many will not/can not travel a great distance just to join a band, so come on teacher, leave our kids alone (apologies to Pink Floyd)
Jim Owen
BMP Europe Goodshaw Band
Senile Journey Into Freedom
I read with interest Thomas Morgan's letter 'Testpieces-Will we ever learn?', and I have to say that I'm fully in agreement with most of what he says. However, I'm intrigued to know exactly when 'Journey Into Freedom' was hijacked by the Salvation Army. Perhaps it was their undercover 'special forces' detachment? My memory is not what it was, but I seem to remember a long day at the Albert Hall, for the 1967 'Nationals', where I thoroughly enjoyed a number of fine performances of the commissioned testpiece: 'Journey into Freedom'. Am I right, or has senility finally overtaken me?
Roger Pearcey. Suffolk.
What about the Ringers?
Reading your article no cheating. You should also address the problem of ringers. Even though this is in the rules I personally think it should be to bring a top class player in on a key seat is wrong. It gives an unfair advantage to that band especially on a set test piece.
Nicola Moran
St Helens
Where is the Salvo?
I just read a news article about this new band Salvo Brass, I was wondering if you have an email address for them. They say they want suggestions for a cd of SA classics, well I figured what could be better than one written by my grandfather Col. Charles Skinner. I was thinking the tone poem "Heroes of the Faith". I have not heard a recording of it for a long time. so please send me their email.
Douglas Watkinson
4BR Reply:
Here it is -
steveryounguk@yahoo.co.uk
Youthful MD's
I notice that you have listed the young face in the British as being Simon Dobson with Zone One Brass - our conductor, Alan Duguid is only 20!.
Gordon Buist
The Bathgate Band
Rochdale Wonders!
Rochdale Junior Brass conducted by Hayley Moore carried off a prestigious 'outstanding performance award at the Music for Youth Festival at Queen Elizabeth Hall, London last Saturday. This was the bands first visit to the Festival.
Musical Director Hayley Moore was over the moon. "Some of these youngsters are only seven years old and had never played a brass instrument until last year. We only entered the event to give them a bit of experience. To gain the outstanding performance award was beyond my wildest dreams.
Terry Moore
Looking for a Knight Templar
I have a customer who's trying to find the sheet music for George Allen's Knight Templar March. I've been unable to find the publisher. Do you know who publishes it?
Dick Wuopio
Solid Brass Music
71 Mt. Rainier Drive
San Rafael, CA 94903
4BR Reply:
Try Just Music on their website www.justmusicuk.com
Adjudicators eh?
In reply to some of he comments made on this page, Mr Edward Allen, the 'neutral' who requests the immediate retirement of Mr Bram Gay (after this year's Grand Shield) from adjudicating. He states he heard many fine performances, including Scottish Co-op, JAG Mount Charles and Flowers, I do not see him listing Carlton Main Frickley as one of the bands he listened to! I find it shocking that Mr Allen has singled out Bram Gay for such a scathing comment, when the decisions on the winning bands were also made by Mr James Williams MBE who appears not to come in for any criticism.
Keith Wardle is obviously bitter and twisted, as the band he is associated with came well down the field, even his amusing attempt at turning the results upside down still couldn't get his band at the top!!
However, thanks to Mrs V M Griffin, bless you, whoever you are, it appears you were the only person in the room who enjoyed the winning performance apart from the adjudicators.
Simon Sheppard
And what about the Masters?
Once again an unsatisfactory conclusion given that neither adjudicator thought overall champions Leyland good enough to win - this has now happened too often.
Surely we now have to examine a grand prix style weighting system e.g. 6 points for first, 4 for second etc - at least this would ensure that the band placed first on any given judge's card would stand a greater chance of winning than at present.
Also it was patently obvious from the published remarks of the first 6 bands that Eric Crees was approaching his appraisal of the music from a completely different perspective than that of either David Read or John Berryman - witness Eric's condemnation of bands for ignoring Ellerby's tempo markings! (a slightly mystifying view given the composer's notes) Shouldn't the judges be required to meet beforehand and agree at least a modicum of consensus on this, especially with a new piece?
Better still, would it not be even more helpful if a band not involved in the contest (Cory's or Scottish co-op spring to mind, or even Eikanger) were engaged to play the piece for the adjudicators prior to the contest.
I remain in favour of the 3 separate judges system however this year's results remind me too much of 1998's, once again giving the lie that all adjudicators are looking for the same things...
John Roberts
Whit Friday questions
This may be a contentious question, but one that has bothered me for sometime.
Do the top bands get preferential treatment on Whit Friday or do they have some kind of futuristic device which allows them to move with apparent ease from contest to contest? I note this year that Faireys managed to compete in 7 contests on Tameside and also miraculously 7 in Saddleworth all within the space of one evening!! It has long been felt by lower section bands that the Championship section bands had runners of some kind to book them in ahead at contests, something which has been denied by the contest organisers in many villages, as they say the band has to be physically there in order to register.
I was lucky this year to travel round with a band on Friday who despite starting at 4.45 only managed to compete in 7 contests within Saddleworth finishing sometime between 11.30 and Midnight. This band who know there way around the area, to my knowledge have never managed more than 9 contests in one evening and as it appears that Whit Friday is getting more and more popular each year are never likely to achieve this again.
On a related note there appears to be more and more Youth/Junior Bands appearing each year and I question whether they should be started earlier in an afternoon with a cap on time of 9.00p.m. Some very small children where witnessed coming off one stage after midnight on Friday. I feel it is important for the youngsters to be involved and enjoy the spectacle of Whit Friday but just question whether they hold other bands up and whether we should have young children playing their instruments at 12.00a.m..
Mrs Allison
Warrington, Cheshire.
And a bit of a "Grim" Grimey moment
I was at Dobcross on Whit Friday. It was a lovely sunny afternoon which turned into a lovely evening. 59 bands came through. As the day progressed the number of people increased to what I would estimate at about a thousand spectators and many outside the arena watching the bands march down the street to a variety of tunes from Slaidburn to Soul Bossa Nova.
It was a "Good Do!" From being there at the start of the contest at 4.15 to the end (With a trip to Delph in the middle.) The last band on was the world famous Grimethorpe. They were superb. after the contest is over at Dobcross the tradition as it is Whit Friday when the Churches of the area do there walks of witness, they conclude the day by singing a hymn, The day thou gavest Lord has ended, led by the last band of the day.There are five verses on the back page of the Dobcross program so it is obviously important and dear to the hearts of the organisers of Dobcross contest. Grimey played two verses and then headed off for the coach.
The man on the PA beckoned them to come back, informing them there were another three verses to sing.This would have taken another three minutes or so to complete. They took no notice. Is it to much to ask of one our most revered bands on a day with its roots in the church? Shame on you Gary Cutt.
Tom Johnson
Points mean Prizes - even in 1891
Can you please help me with a couple of queries about British Contest results?
1. When were points first allocated in the Belle View and Crystal Palace contests (as opposed to just relative placings)?
2. Do you have a record of the points allocated to the first three placed bands in the Belle View Contest of 1st September 1924 and the Crystal palace Contest of 28th September 1924?
If not, then could you point me to some source for this information?
Bob Burne
Australia
4BR Reply:
We may be wrong on this one Bob, but having a look at our record books we found that in 1891 Black Dyke won the Open with a score of 124 points from Wyke Temperance in second place with 117 points and Dewsbury Old in third with 106 points. There were three adjudicators in the shape of Carl Kiefert, G. Jaeger and C. Evans and Dyke took home with them the princely sum of £30!
As for the Nationals, we couldn't find any points awarded for the first contest in 1900, but the second contest in 1901 saw Lee Mount win with 127 points from Irwell Springs in second with 125 points and Denton Original with 123 points in third.
1924 Open we don't know except Newcastle Steel Works won off the number 15 draw and won £150, whilst the 1924 Nationals saw St Hilda's win off the number 16 draw. No record of the points scored though. Perhaps someone out there can help more?
Phil Lawrence Interview
From the Man himself.....
Dear Disappointed from Letchworth
Not every interview (even as large as this one) can cover every conceivable BB subject, especially when the epicentre revolves around a New Zealand premier, as opposed to, a Letchworth premier. Having said that, I can only
apologise on not seizing the day, to grab the PR, but it also seems the PR boat sailed during your comment, so I'll help you out here: A-Hmmmmm!
"The commission piece is absolutely fab and we all love it and its just the kind of piece that bands need in this 2nd/3rd section, be there! The Premier is on June 25th, 7.30pm at the Spirella Building Ballroom, (in Letchworth).
There-ya-go disappointed, not everyone can dictate info, or remember important information, can one?
PS. But. Don't forget your mute and bags of right notes on the day, and, don't be disappointed!
Phil Lawrence.
And someone certainly liked it
WONDERFUL, MARVELOUS, TREMENDOUS....... What more can I say 4BR, a real down to earth interview and congratulations to those concerned. I must admit right from the start it was compelling reading, I too have similar thoughts on how music publishers treat the unknown composers and arrangers........ I'm sure you will get plenty of good comments over this absolutely stunning article.........
Keith Stanley James Lever
Test Pieces - Will we ever learn?
Will test piece selection panels ever learn? First Symphony for Brass (2nd Section Regionals piece 2002), then Prague, finally Sunset Rhapsody and the botched Enigma Variations for the National Finals? Surely this is getting silly. Ok, so you're always going to get a dodgy decision every now and again, i think everyone accepts that, so so many dubious decisions in such a short space of time?
Symphony for Brass was terribly arranged, Prague was full of errors (if nothing else), Sunset Rhapsody is not really suitable for contest use. This leads us on to the Enigma Variations. Why celebrate the life of Eric Ball with a cut up arrangement of a work he didnt even write? The panel also ignored the cuts Eric Ball indicated should it be used in a contest.
Couldn't the test piece panel find a suitable piece? A Kensington Concerto and Resurgam are two that spring to mind immediately. Both of which are far more suitable to the National finals. Which leads me onto my next point. For a significant amount of time, Eric Ball was in The Salvation Army, and he wrote a great many works for them (including some wonderful choral music). However, there are no Salvation Army pieces being used as test pieces in the national finals. They might have religious themes/ideas in them, but is that really a reason to not use them? Pieces from The Salvation Army repertoire is often well received in contests (just look at Celestial Prospect), but in my opinion to ignore Eric Ball's Salvation Army works is criminal.
Granted The Kingdom Triumphant is not suitable for contest use, but what about Journey into Freedom? There are many other suitable pieces (and not just by Eric Ball) in The Salvation Army extensive catalogue if the test piece panels actually researched into it.
The one thing that you can always guarantee with Salvation Army band music (even if you don't actually like the piece) is that it will be well written (both in structure and parts).
What started as good intentions has ended up being a farce. They should be ashamed of themselves.
Thomas Morgan
On another Planet already!
Just run through the Open piece, or tried to. What don't the publishers understand about "get it right " ? Score is of another Planet. But then, what's new !!!!!
Alan Wycherley
Grand Shield enquiries
Are you able to supply me details of who I need to speak to so that my band can apply for entry to the Senior Trophy?
Andrew Rigby
Towcester Studio Band
4BR Reply:
We think you should try and speak with the organisers themselves. Try Frank Hodges on 01942 703217.
And what about the rest of us?
Considering the new rules with regard to the promotion/relegation of the bands competing in these contests, please can someone tell me which bands will be in which contest next year?
Charmian Gott.
4BR Reply:
We don't know at the moment either. There is still we understand the unresolved question of what will happen to Desford in respect to the Grand Shield, so until this has been sorted the final decision of who goes where is still waited with bated breath.
Dobcross - make me so bl***y cross!
Is it just me or is it becoming a little tiring hearing about the escapades of 'Saddleworth's Premier Band' Dobcross Silver once a week in your news desk. Many people are beginning to bore from meaningless news. It seems no one in the band can pass wind without it being plastered all over your otherwise very informative site.
Steve Haworth
4BR Reply:
Dobcross send stuff to us If other bands did the same then perhaps there would be even more coverage on the 4BR site. You send it and we will put it on (as long as it isn't libellous!) You can't really have a go at a band for trying to increase their profile if only others were as proactive!
Any chance of a calendar lads?
It would be really good and really helpful if you could include a calendar containing all the major contests and events that you review - ie a list containing the dates of the Open, Masters, National, both lower and championship, all areas etc etc. Brass Band World do one on their website but it's not at all comprehensive like the one you guys are capable of! Suck, suck...
Just a suggestion but I think it would prove a good addition to an otherwise faultless site (ok, so I'm really trying to suck up now, but it would be good, don't you think?!)
Marrianne Cliff
4BR Reply:
Thanks for the crawling it will get you places! We hope to get something up in the near future keep your eyes peeled!
Looking for a facility?
Are there any facilities that you know of for players looking for another band to advertise themselves on. Your section which covers vacancies only has details of vacancies within bands, it does not include details of players looking for other bands.
I would welcome any advice on letting bands know of players being available (other than word of mouth).From a player without a band (at present)
Liz Oke
4BR Reply:
We hope to get this part of our classified adverts up and running in the future.
What about a 4BR Magazine?
My name is Ben Gernon and I play Eb bass with Jackfield Elcock Reisen band, championship section band from Shropshire. I think your site is fantastic! It offers the latest information, CD's, gossip and is really well designed-in fact I visit the site about 5 times a day!
Anyway, I am e-mailing you to ask you if you have considered producing a 4barsRest magazine in shops, like the British Bandsman or if I may use this example, Maxim. I think if a weekly magazine was produced full of reviews, interviews, news from the past week, rumours, people's comments e.t.c. many people would buy it. However, I would advise that the magazine be quite lengthy, longer than the Bandsman because you can read that in about 5 minutes! If there were about 40-60 pages a week then that would be cool! Everything on the website, and even more, could be included in the magazine making people use both the internet and buy the magazine, if more content was included.
I would buy the magazine and I know that many of my banding friends would, provided it's not too pricey. You could even include free cds every 2weeks/month with clips of the latest music on, or winning performances from contests. A new business venture!
I think it would be superb!
Ben Gernon
4BR Reply:
Sorry to disappoint you Ben, but we have no plans at the moment to expand the 4BR empire. Boths our girlfriends see very little of us as it is! Thanks for the compliments though - If there is a Russian Billionaire out there who wants to invest in us though?
CD Discontent
With regards to your CD reviewing, I usually think the review is fair, unbiased and many of the CDs I have purchased from the site are because of a favourable review.
However, I do wish to express my discontent over your review over the ISB's latest offering. You state 'No doubt some will recall Eric himself conducting it at the Meet The Composers festival at the Wembley Arena in 1978, when the acoustics and the logistics involved in controlling massed bands in various locations in the hall failed to do the work justice.' I don't personally (not being born yet) recall this event, but my parents (life long SA members) do. They recorded the whole event on a small portable cassette recorder, and i have listened to that recording many times. I disagree with your statement that the work was not done justice by the massed bands. On the contrary, there is only one section where the (i think) five massed bands and various songster brigades were not together. The work conducted by Eric himself surely is the definitive performance, though I believe never officially released.
I feel this is a lapse in your otherwise excellent reviewing. One has to ask the question whether the reviewer was actually at the Meet the Composers Festival? As i know some people who certainly were, and they talk with great pleasure of this particular festival over many others.
Thomas Morgan
4BR Reply:
Regarding the performance at the Meet The Composers Festival, I was indeed present on that occasion, and it certainly was an experience hearing Eric conduct the massed bands. Any reaction to a musical performance is bound to be subjective to some extent and, for me, the untidiness in the opening passages, although it added to the spectacle of the occasion, took something away from the majesty of the work. I think the way the bands were so spread out - if I remember correctly it was two on the staging and three in the body of the hall - would have made it all but impossible to produce a tidy performance in those circumstances.
I would agree that there is always something special about a composer conducting his own works - although there is always the story about Eric conducting a band at a contest and reading in the remarks that his performance was not at all what the composer would have wanted!
Incidentally the performance, which included a contribution from the festival chorus, was recorded on lp and cassette on the Word label under the heading Meet The Composers, as part of a series of Congress recordings.
Peter M Bale
Having a long one isn't always the best
At the tender age of 52, I have spent many years performing and directing music of every conceivable genre. In the last 4 years, I have entered a new sphere as a player, the brass band. What a thrill this new experience has been for me, but, as with most things, there is a downside. No break during rehearsal. One of the reasons I did not put myself forward to join a band I had contested with as a guest player, was because they had a policy of a 2 hour rehearsal without a break!
This was a new experience for me. In my previous 30 years of professional music making, including symphony orchestras, opera and musicals, I had never once had this debilitating, mind numbing, tedious 2 hour rehearsal without a break.
When a 'team' are using the mental and physical energy involved in music making, they cannot go on for two hours non-stop. They need a break to re-charge their batteries, and have a little social interraction with their fellow players. After 10 or 15 minutes they go back with 100%. The alternative, (2 hours non-stop), is that the last 45 minutes of the rehearsal sees a lapse in concentration, stamina and enthusiasm.
Timothy Paton
Well Done Grimey - you did USA proud
After being introduced to the Grimethorpe Band in BRASSED OFF, we were delighted to be able to see them here in the States. We took an old friend (originally from the UK) and his wife and were fortunate to share a box in Carnegie Hall with Brian Exley and his wife (from Barnsley). They had crossed the pond just to see "their band" in Carnegie Hall. It was splendid and I did get a snap of Brian with the stage, band and his profile.
Great stuff, all!
Fred and Janett Hyman
Weston, Connecticut USA
And Well Done from a Rival
THE LIONS YOUTH BRASS AND THEIR MUSICAL DIRECTOR NIGEL BIRCH WOULD LIKE TO SEND THEIR CONGRATULATIONS TO THE POYNTON YOUTH BAND AND THEIR MUSICAL DIRECTOR ANDY HIRST ON PIPPING THEM AT THE POST IN THIS YEARS YOUTH SECTION AT THE RHYL FESTIVAL OF BRASS.
HAVING WON THE COMPETION LAST YEAR THE LIONS WERE IN NO MOOD TO GIVE UP THEIR TITLE EASILY, BUT HAD TO SETTLE FOR SECOND THIS YEAR.
NIGEL SAID; WE NEW THAT POYNTON WOULD BE OUR MAIN THREAT AND SO IT PROVED TO BE AS THE BEST BAND ON THE DAY WON. I THINK WE ARE TWO EVENLY MATCHED BANDS, BOTH OF US RECEIVING THE SILVER AWARD AT THIS YEARS NATIONAL CONTEST AND SHARING THE FIRST TWO PRIZES AT THIS COMPETITION IN THE LAST TWO YEARS, SO IT WAS ALWAYS GOING TO BE CLOSE.
MY SPECIAL CONGRATULATIONS GO TO ANDY AS I HAVE KNOWN HIM AS A FIRST CLASS TROMBONE PLAYER WHO HAS HELPED ME ON MY OCCASIONS.
ONCE AGAIN WELL DONE TO POYNTON AND THE BEST OF LUCK FOR THE FUTURE FROM ALL AT LIONS YOUTH BRASS.
NIGEL BIRCH, MUSICAL DIRECTOR
LIONS YOTH BRASS
About these comments
We will not print anonymous letters and we will not print your email address 4barsrest has a responsibility to inform our readers of our opinions concerning the many topics of the banding world we cover, and we are proud that we give the opportunity for people to comment with their thoughts about certain topics (including contest results). However, we are very clear that these comments are those of the individual who has written them, and in no way do they indicate that 4br agrees with the sentiments, observations or perceived injustices that are highlighted in them. We will continue to inform and report to our readers, and will give our own opinions and thoughts. We will also continue to give the opportunity to others to do the same, but by allowing people to air their opinions does not, and will not mean that they reflect in any way the responsible and informed opinion that we ourselves hold.About these comments...
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