Comments ~ 2004: July

Peter Roberts, a moan from the shed builders and a New Zealanders perspective. Send us an email.

Do we need a chief cook and bottle washer?

What gives Simon D. Oates the right to set up, and be chief cook and bottle washer, of the EFBA? Go away, we don't need any more meddlers in our affairs. Everyone knows the criteria for gaining passage to the European contest, as was laid down for the first contest in 1978. Is it change for change sake?

Bands are self-contained units, and reach decisions as such. Our BFBB representative (whoever that may be) to the EBBA did nothing to help English bands in Europe, when they changed the format to having the set work on a different day to the own choice. Don't people work Friday's on mainland Europe?  If Simon D. Oates can be self-appointed chief Executive of the EFBA, then I am the King of Europe. P.S. Why are the Welsh so interested in the English having their own contest?

Peter Roberts

A moan from the back of the band...

Great site, and I use it a lot. However, one thing has niggled me for quite a time now. You've recently asked bands to submit info about themselves to help you for Harrogate (great, good idea!), you also ask that they supply a list of Principle players which include...

"cornet, soprano, horn, euphonium, flugel and trombone"

Does percussion not count?! The leader of every other section gets a mention, why not percussion?

Gavin Somerset

Principle percussion Stocksbridge Brass Band

4BR Reply:
It's not something we do on purpose Gavin, but we have to draw a line somewhere or every Tom, Dick or Harry will want a mention! If we tried to please everyone there wouldn't be space to cover the contest let alone give some pretty comprehensive coverage on each of the competitors.

A New Zealand perspective

I have some comments from the perspective of someone who has just attended their first NZ national contest in 8 years, and has also been introduced recently into the culture of the British Brass Banding world via your website and the visitors/emigrants from Britain.

I was surprised at the seeming resurgence of interest at the recent NZ contest, as it seemed to be dying a slow death when I was last involved, with low numbers of entries (a long way since I was one of about 80 entrants in the junior cornet in 1980). It also helps having entries from Australia and beyond to keep the standard sharp.

As for the British scene, I was introduced to the website after being told that my old band (Waitakere Trusts) were in the top 100. What do I find? Rankings, transfers, semi-professionals, prize money? Had I accidentally found a British football site? Still, I think it's great that enough interest is generated to create this culture, it's just a bit of a shock compared to playing in a country where not many people voluntarily submit themselves to the sound of a brass band, let alone earn some kind of living for it (outside of military or education circles)

In New Zealand, we have not felt inferior about ourselves in any way, sensing that we could be competitive with any band in the World on our day. This has always been reinforced by the results achieved by our bands in the rare occasions they competed in Europe (NZ National Band, Skellerup Woolston, Continental Auckland Brass). I am hopeful that Dalewool (Continental's latest incarnation) do well and achieve a top ten finish. I'm sure they would appreciate any extra support that could be offered by the locals.

Fendall Hill, Auckland

The EFBB speaks!

The very fact that as a movement we are reading about, talking about and writing about such a new organisation as the EFBB is in my humble opinion sufficient to suggest that there is support for a new organisation to evolve with its endeavour to steer the English brass band movement back on to the right path.
 
4BarsRest is correct in placing the blame for our plight at the door of our respective bandrooms because in England we have allowed the demise of our unique English only contest and have accordingly failed to secure that European ticket to the winners of such an event. We are without doubt therefore the authors of our own misfortune.
 
All too often we read about bands either winding up or amalgamating due to the loss of sponsorship or lack of players and yet as a movement we continually allow this to happen.
 
Something has to be done to safeguard this fantastic cultural heritage of ours of which each and every one of us are temporary custodians. We all have a role to play to secure our own individual bands and help to promote the movement and encourage players to the movement.
 
I agree that as an organisation we (EFBB) are in the words of 4Barsest 'sparsely manned' but I took the view that we would promote an 'open door' policy from day one.
 
Every organisation starts somewhere and when Messrs Block and Quayle opened their first DIY store I am sure they had no idea of the extent of the commercial growth that followed.
 
This week the EFBB has secured the position of Director of Youth Development & Brass in the Community by appointing a CEO of an International health plc.
 
This position is integral to the EFBB and the movement in general as he heads up the policy initiatives and implementation to secure an upturn in brass playing at youth level and through health partnerships which in turn will have a long-term positive effect on all bands.
 
To help us maintain our endeavour to be a National organisation with regional representation we welcome further CV's from experienced administrators from all over England to apply for a position of Regional Director. 
 
I have received an overwhelming amount of support in this new venture and together with my fellow 'acting' Directors of the EFBB will do everything we can to take the English brass band movement forward.
 
Please remember that we are at the early stages of our development and concede that our existing web site is below standard but we currently have a new site under construction. We are also pleased to confirm that an expanding company has kindly offered the use of its boardroom, conference and training facilities at its new headquarters (also under construction) for EFBB meetings to take place.
 
Embrace the future through The English Federation of Brass Bands.
 
Cllr Simon D. Oates
Acting Chief Executive Officer,
The English Federation of Brass Bands

A further shift to the Welsh

I can't agree enough with the comments made by John Ward about the returning defence of Cory. It reminds me to the same way Dyke was uplifted after the Brussels European 2002. While I also agree with the fabulous daily service we get from 4BR, I am always amazed 4BR is cheerleading these 2 bands which is quite pathetic!

The common factor seems inevitable and makes me wondering about the link between Doyen and 4BR?

And indeed, 4BR could give more credits to a non-sponsored band like Willebroek who has proved over more then 10 years they can compete with the best bands in England. The fact they were tipped to become 5th at the European 2004 (behind all British bands of course) was really looking silly.

Wouldn't it be a good idea to spend 1 maybe small article talking about this band, its successful conductor for 25 years now, its European solo champion 2004,.

Kind regards (also with a somewhat disappointed shake of the head)

Jan Avernout
Belgium

4BR Reply:
No conspiracy here Jan.  We stick by our opinions about the Europeans 2004 (as well as 2002 for that matter), but we certainly feel we can't be accused of bias towards any individual band or conductors (despite the rather ludicrous inference) - the records of the best bands tend to speak for themselves, and if you read our retrospectives of the major contests we think they stand as balanced critical analysis, for all the bands. As for giving credit for non sponsored bands - having played for one for the past 25 years we think we know what an achievement it is to compete successfully at the highest level. Bands though should be proactive in raising their profile and not expect the media to do all the work for them, and in respect to the example you give, it must be said that they have not been the most energetic or assertive in doing this work. Those with the best profiles are usually the ones with the most professional approach to communication with the media - it is a lesson for all bands to act upon.
 

BFBB - Not Guilty!

Not withstanding the rights and wrongs of the current rumpus surrounding the All England Masters Championships, I am not clear why 4BarsRest thinks the British Federation of Brass Bands is culpable in the matter of the failure to secure a qualifying round for English bands to the European Championships.  As I understand it, the BFBB's mission is to represent bands from the whole of Britain, not just a part of it, and I presume this is why they have had no input or influence (as far as I know) in the matters of the  Scottish and Welsh qualifying contests.

Alec Gallagher
Colindale, London NW9

A New Zealand fan

Further to your short piece about banding in New Zealand I wish to add further to it. As a player I have had two stints in the 'land down under' and enjoyed every minute of it.

The place is absolutely brilliant especially the South Island where I played at Marlborough District band
at the finals in Rotorua last year and in Hawera at the Central Districts contest on the North Island in 1997.
The people there are extremely friendly and could not do enough for my wife and myself. It is lovely to go into a shop and have the staff there greet you as if they have known you forever. If you have a 'sweet tooth' you will be in your element plus Hokey Pokey ice cream is to 'die for'. The wine in Blenheim is some of the best in the world.

With regard to musicianship there are many players who are second to none, Riki McDonnell springs to mind. After playing in the same band and listening to him in Wellington with the New Zealand National Band this is one person who is a great ambassador to music in his country and a truly great exponent of the Euphonium. Where is the UK National Band? Trevor Bremner is a fantastic cornet player as is his son David, Principal Trombone with Daelwool and the top New Zealand orchestra. I once saw Kevin Jarret play around 16 cornet solos in one evening at his 60th birthday concert he gave in Wanganui and then apologised later because he 'clipped' three notes during the night!!

Mike Ford is a Tenor Horn player of the highest calibre who has won the champion of champions title as has Riki on four or five different instruments! There seems to be a great camaraderie in the bands down under which seems to have disappeared from a lot of bands 'up here', the band at Blenheim being one of many. They do not have a massive amount of people to choose from being a smallish community at the top of the South Island but they have 'taken a few scalps' in the last two years since they returned back to the 'A' Grade and some of the players are regularly in the prizes at contests. I would suggest that if anyone has the chance to visit and have 'a blow' that they do so and also have a listen to Daelwool when they come over for the Open, you will not be disappointed.

Dave Fretwell

Colindale, London NW9

A Welsh lean? - Heaven help us!

I read with interest your review of the recently released European Championships CD.

I attended the contest and in my humble opinion, BAYV gave a fine performance of 'St Magnus' and merited a much higher placing than they received (I felt the same about their performance of 'Revelation' the following day). Obviously 4barsrest feels the same way, but considering the BAYV performance is not on the CD and it was 'officially' considered 6th best, I think it was inappropriate for you to spend much of your review space comparing the performances of YBS and BAYV. If I were a member of the Fairey or Willebroek bands, I would feel particularly shunned at the fact you could only offer at best a few lines of comment on their prize winning own choice performances.

I don't want to 'bash' 4barsrest at all as you do a great job but your lean towards Welsh banding continues to show through. Before the contest, you were determined that BAYV would win, afterwards you were still convinced they were winners and 9 weeks on you are still driving the point home. BAYV are a great band and will continue to prove as such. They need only themselves to do this and do not require the help of 4barsrest.

I look forward to your review of 'Day of the Dragon' - what else can you write about their performance of 'St Magnus' now?!

Kind regards (with a disappointed shake of the head!)

John Ward

P.S For the record, I feel YBS deserves all the praise they got in the review and were fully deserving winners!

4BR Reply:
Thanks John. As everyone knows - when 4BR tips a band to win a contest it usually means the kiss of death for the chances, so perhaps BAYV won't want any further help from us in the future!    

Thanks for the memories

I have recently discovered 4 Bars Rest whilst visiting my sister (I write from her PC), and browsing through your site I found it really interesting and honest. It was also somewhat nostalgic, as I know many of the persons featured.

I used to play myself and have many happy memories, which your site has rekindled.

Thank you once again for a wonderful site.

Gordon Higginbottom

I believe in Faireys

I send this message because I'm a little surprised (light euphemism: I should rather say "scandalized"!) by what I can see in the British brass band world at this moment!

On the 29th of June 2004 we hearded that Fairey signed Richard Brown on solo trombone, and just two weeks later, we read here that the same Richard Brown goes to Grimethorpe, and this astounding transfer made without any comments from 4barsrest!!! So I think that gradually the brass band in England begins
to be like the football: no rule, no fair play, no ethic! In short, the Far West or the Jungle!!!! And I have the strong impression that some brass band managers think they are Mister Abramovitch, manager of Chelsea Football Club!

Good Luck  to Ian Howarth to rebuild Fairey in all that!

Daniel Zumbrunnen
Switzerland

The great Rowland Jones

I was delighted to read Thanks for the Memory No 4: ROWLAND JONES - The Prince of the Euphonium by Chris Helme. I have very happy memories of his broadcasts in the 50's when  he performed popular ballads and operatic arias. I seem to remember a well rounded voice with a baritonal hint to it.

Clearly, his breath control must have owed much to his earlier training  as a euphonium player - something I was never aware of until I reached your site . His was the sort of voice I always listened out for on - I think,
"Friday Night is Music Night"? - and  I have often pondered how it was that he never gained the wider international fame which clearly deserved.

I am very grateful  to Chris Helme for the fruits of his painstaking research.

Norman Batterby

A nice bit of Blackpool Rock

Blackpool Brass gave a very entertaining concert at the Bandstand in Lytham ST Annes on Sunday July18th. Among the pieces played were Be my Love, Singing in the Rain, James Bond Collection, Praise and I 'll Walk with God. The good sized audience gave the Band a very well deserved ovation at the end. Well done to the Band.                     

Dave Tinker

Enid Blyton and the brass band movement

On the question of making contests more transparent by the organisers, the integrity of adjudicators will always be a talking point just as the football pundits constantly harp on about referees.  Adjudicators arrive at results based on how well each band played plus their own personal view on interpretation.  With that in mind it is always better to have more than one on the case.  The problem has always been cost - not an easily admissable fact by organosers but true.   The brass band contest is a very strange beast where the supporters have been accustomed to paying minimal entry fees for the event and the organisers for the most part have shown little inclination (generally but not always) in underpinning the event with realistic finance through sponsorship or other commercial revenue.  Because of this we continue to run contests with one adjudicator and again in general with very poor prize money.
 
The laughable part of all this is that the very best bands in the country have proven over the years that it takes hard cash from a good sponsor to breed sustainable success.  Can you imagine top bands surviving by paying their players peanuts, or nothing at all and hope that they will still keep up their enviable standards...not a chance - even if hell did freeze over.  So the pointless wrangling over the number of adjudicators, prize money etc. will always go on until events are financed to the tune that there are not two or three adjudicators but more which should reduce the number of moaners and 'hard done by's'.
 
On the subject of the number of test pieces at this years Open - I personally welcome a variety of music to listen to.  The only problem is that maybe there are not enough test pieces on offer.  Having played in the European finals on a few occasions it seems to me that the audience always comes off worse at all other single choice contests especially when the test piece is not so listenable.  I remember my first visit to the Albert hall as a 'listener' and sat through most bands as I was advised that the test piece would grow on me...it didn't and I must admit that it was without doubt one of the worst days I have ever spent at a live event.  At the time the European final was run the day after and the own choice section, which I thoroughly enjoyed, stopped me from throwing myself into the Thames.
 
My answer to the Open is simple - 10 adjudicators seperated and the results averaged. Set 10 peices which each band has to prepare in advance.   5 minutes before they go on stage they are told which one they are playing through a random draw by a member of the audience.  Prize money would be increased so that the top 6 bands actually went home with a decent profit (over and above the additional conductor, hotel and coach fees). 
 
Did I say simple...Enid Blyton would have been proud of that scenario...wishful thinking and totally unrealistic.  The reality of it is that until the movement has grasped the fact that hard cash is the only way to up the standards then everyone should shut up and take what we have on face value, a bloody good hobby, warts and all!
 
Rob Nesbitt

What happens to old players?

I am really curious to find out exactly how many people there are out there, who no longer play in a band/ensemble etc. purely because they no longer have the time.Personally, I began playing at the age of 10, and went on to study music at Salford, with lots of happy times, but since then, what with all of the "full time job" syndrome, find I can no longer find the time to commit to a band. Are there many of you, like me out there?

I still however look in on 4barsrest.com to find out how people I used to know are getting on, and I'm curious to know how many people there are like me. I don't dare think for a minute that I am/was a world class player, but I was a member of the NYBBGB, played for the British Open Champions, Marple, Won 8th place at the British Open with the BT band.

How much talent are we losing out on here? I know of people who were fantastic players, but seemed to be lost the brass band world, not in the "playing orchestral music" style, but, who have given up playing completely becauseof time with work.
 
Gavin White

The right bit of Bernstein

I read with interest your report concerning the forthcoming Gala Concert at the British Open. I was privileged to be one of the Adjudicators at SIDDIS Brass 2003 when Stavanger Brass Band and David King played an exhilarating 25 minute show containing mainly music by Leonard Bernstein. They were unfortunate not to have won that day - coming 2nd to Eikanger Bjorsvik Musikklag - and you are right, they "brought the house down". I assume they are playing that music (and more) at the Open and if so, I strongly recommend that as many people attend as possible to see this extravaganza and YBS all in the same programme!

I would like to point out that the music they played from West Side Story was from the fantastic arrangement by Eric Crees. This however, is not actually an arrangement of Leonard Bernstein's piece, "Symphonic Dances from West Side Story". The piece "Symphonic Dances from West Side Story" was written by Bernstein himself and was completed in 1961 and performed on February 13th that year by his beloved New York Philharmonic Orchestra, conducted by Lukas Foss, at a concert entitled "A Valentine for Leonard Bernstein". He took advice from his friends Sid Ramin and Irwin Kostal as to which numbers from the stage musical were to be included. The list they supplied, as strange as it may seem to those who know the stage or film presentation, did not include "America" - although Eric Crees does and 'nowhere' in the piece (or in the original musical) does "Somewhere" finish loudly as it does in Crees' arrangement.

How do I know all this:
a) I am a self confessed Bernstein "freak".
b) I have his biography and full orchestral score of "Symphonic Dances from West Side Story" in front of me.
c) As far as I am aware, the only full arrangement/Brass Band transcription of this piece was performed in its 21 minute entirety by Radoy Brass with me as the arranger and conductor at SIDDIS Brass 1994 and at a concert by the same Band and conductor in Manger in October 2000 to mark 10 years since the great man died.

Having said this - which is just to put the record straight - Eric Crees has, as I said earlier, made a masterful arrangement of the numbers he has chosen from West Side Story and with Stavanger Brass (hopefully) on top form again, the irrepressible Yorkshire Building Society Band with their long list of top class soloists and with the ever ebullient Professor King at the helm, this is a show not to miss for me.

Gareth Pritchard

'SA takes over British Bandsman' - SP&S response

Derek Dunn invites an answer from SP&S Ltd. to his various questions regarding our acquisition of British Bandsman. The slant of his questions no doubt mirror those of many other 'interested onlookers', and I am therefore happy to oblige as follows:

1. The first thing that SP&S Ltd. recognise is that British Bandsman seeks to serve bandspeople, both within the UK and worldwide. The Salvation Army hierarchy have not given a brief as to any editorial policy change for British Bandsman, and neither will I be giving any new policy statement to the current editorial team. Nicola Bland has agreed to continue in the role of Editor for an interim period whilst we look to recruit a permanent replacement, and until a new Editor is appointed, we will not be adopting any specific change in editorial policy. Once a new appointment has been made, that will provide the opportunity for a full editorial review. Any changes resulting from that review will be driven by our perception of the needs and demands of readers. Whilst it is possible that we may see an increase in SA content, this will only happen if there is an increase in such content being submitted, and most certainly not by a change in policy.

2. 'The powers that be in the SA' will not be editing the magazine, and as stated above, have given no steer on the magazine's content, except for the fact that they would (naturally) expect it not to publish articles that prove an embarrassment to the SA. Given the past proprietorial and editorial stance of the magazine, such instances would be highly unlikely to occur anyway. The assumption that because the magazine now comes under the ownership of an SA subsidiary company, there may be an irresistible temptation to 'proclaim the Gospel' is a curious one. Were not Mr Ball and Mr Wilson (highly acclaimed previous editors of BB) the finest examples of Christian gentlemen one could wish to meet? And were they able to resist the temptation to which Mr Dunn refers? Of course they were! Why then, given the example of 2 such fine and respected men, should 'the powers that be in the SA' be so naïve as to find this temptation irresistible?

3. I have a strong personal view that British Bandsman should be an independent voice, and one which is prepared to speak out on issues in the banding world about which its editorial team feel strongly. I don't believe in being controversial for the sake of it, but if a situation demands, then I would have no hesitation in encouraging such an approach. I feel the most important factor about the magazine is that it should be INTERESTING. This would not be the case if it were constantly bland (excuse the pun, and no reference to the current editor intended!).

4. On numerous occasions over the past few years SP&S have correctly been reported in brass publications as stating that our wish was to unite the banding movement? The acquisition of British Bandsman provides us with a gilt edged opportunity to 'link hands' even closer. It would therefore make no sense for us to attempt to recreate the Musician in some kind of 'back door' manoeuvre?  Surely this would be seen as driving a wedge, rather than linking hands? I can state categorically that this is not our intention. I think the purposes of British Bandsman are best served by a desire to provide comprehensive coverage of the banding world as a whole, and not to alienate any particular community.

Perhaps I can add in summary, that SP&S have a mission to support the work of The Salvation Army. This we aim to do both in practical terms (by the provision of mission enhancing goods) and financially, by covenanting every penny of profit back to the SA to support its work in the UK and Ireland. By necessity, this means that some of our initiatives are 'mission led' and some are 'commercially led'. Very rarely is any initiative exclusive in either of these aims. I would regard this exciting move, which understandably has taken some of the banding fraternity (and indeed some Salvationists) by surprise, as primarily a commercial venture, but with definite mission (evangelism) benefits. Neither of these aims should cause alarm to anyone. I hope nobody would expect SP&S to run British Bandsman without the aim of making commercial profit, and I would see us evangelising not through 'preaching' in the magazine, but through the ever increasing performance of our sacred music, and through the personal contacts made within the banding fraternity.

Trevor Caffull
Managing Director, SP&S Ltd. 

Oxygen Backup!

Having read Phil Lawrence’s recent comment on “give them oxygen” in reference to young composers struggling to make a name for themselves and have their music played at contests, etc.

I just wanted to say that I backed his comments 100% and I believe and that major shake up in Banding needs to occur now. There are so many young composers nowadays that are being left behind and at no fault of their own.

One thing that I have said for a while is the fact that there are too many ‘old-skool’ and test pieces that have been played so many times (or at least twice) at contests. The snobbery of Brass Banding is just like the orchestral scene and it really is sickening. A lot of really good music is never heard because it’s never given the opportunity.

Who’d be a composer in the 21st century? This is a Job I love doing and will never stop but sometimes it’s hard to find the will when there is no want. Admittedly composition is quite often about creating a job for yourself, it’s quite evident that young composers have to be sharp on the business front to stay alive in this game and even then, we still have to fight our way though a turnmoil of snobbery and an unwillingness to change.

Like Phil said, we need to do something radical. Now, fair enough, us composers think on radical proportions all the time, but something must be done.

However, that said, I have found that if you approach organizations personally and professionally you will get some feedback and help, but, the process is slow and draining and very very tiring and you’re left wondering if your career is even gonna fire up.

Composers that are also conductors find pleasure in conducting their own works. This is something almost every composer who conducts a band does, and it makes a hell of a lot of commonsense. Give the your band free music and play it at entertainment contests, just get it out there, it is very often you see Alan Fernie conducting his own works for bands he conducts! – Now that’s a guy with the right idea!

James McFadyen
Composer and Conductor

Confused and alarmed...

I was a little confused and alarmed to hear the comments of the adjudicators at the prize giving of the youth and 4th sections at the Rhyl Festival of Brass last Sunday.
 
Comments where made by the adjudicators  that the 4th section bands should take a look at the youth section for inspiration,  I  can understand this point  if you like flamboyant stage work which obviously detracts from the playing potential of the band,   so  why not parallel  4th section bands  with championship section bands.

Other comments where made such as: 'from the box the bands did not sound as if they were enjoying themselves'  this seems an unfair comment to make, do top bands sound as if they are enjoying themselves on a contest stage - they are out to WIN.

You rarely see any of the top names in banding parading around the stage in wigs and brightly coloured bow ties, that's not to say that this is not correct, if you think that is entertaining and what the public want, go for it! Generally top section bands put on a professional, polished and well coordinated performance so why shouldn't a fourth section bands emulate this.
 
One 4th section band did present themselves as a championship section band would (they looked  good and presented themselves well with a balanced and entertaining programme,  excellent compare and no frills) and from the recent results on your web page it seems to have proved this point, as they were awarded the overall presentation prize.
 
No mention of the band was given at the awards ceremony, in fact they where grouped with the other bands, I think the adjudicators could have been a little more complementary and mentioned that one band did inspire them, with both deportment and entertainment value - the written adjudication and the  11 points clear difference should verified this.
 
If there are positive remarks to be made Mr...Adjudicators about performances you see and hear  then please commend the bands that inspire you publicly, encouragement would go a long way, your remarks left the winning band wondering how could they possibly improve. To loose 2 marks out of 50 for overall presentation is a positive point worth mentioning, certainly when its at the lower level of banding, bering in mind that the adjudicators own band failed to reach  equivalent points or results. 
So who is correct?
 
Glynn Davies

Spread the word...

I was surprised to read that SP&S had bought BB on the grounds that it will help them spread the message across the entire brass band world. Perhaps the next logical development would be to buy a chain of pubs to increase sales of the "War Cry".
 
David Mann
Rugby

SA takesover British Bandsman
 
I wonder whether someone from SP and S would like to answer a question or two?
 
1 To what extent will the editorial policy change to include a greater SA content?
 
2 Will the powers that be in the SA be able to resist the temptation to use BB to  "proclaim the gospel"?
 
3 Will BB continue to cover issues of controversy? My memory of the defunct "Musician" is that never a word of criticism or comment was allowed to appear
 
4 Those of us with long memories who recall "The Musician" might wonder whether the purchase of BB is a long overdue attempt to replace it.
 
I am absolutely sure that the super people at SPandS will do a fine job - I trust they will not mind the expression of a few niggling concerns.
 
Derek Dunn

Inappropriate and unprofessional?

I write in complete shock at what I have just read regarding the Leyland Band in the Masters Statement made by Philip Biggs and Richard Franklyn.  For Leyland Band not to have attended the Masters and have the chance to defend their title must have been bitterly disappointing for them.  I know the level of commitment that all of these players have and I know they would have wanted to be there if it had been at all possible. 
 
I think that the direct attack made on the band by Philip Biggs and Richard Franklyn is a disgrace as well as completely inappropriate and unprofessional.  They are clearly unaware of the effort and dedication of a band like Leyland and I am disturbed at the fact that they have a say in the future of any Brass Band event. Did this kind of attack happen to any other well known bands that have CHOSEN not to appear in the past?  I think not.
 
Sharon Meredith

Stay at home...

I just saw in a rival brass band journal, a review of a concert by the Brighouse & Rastrick Band and read of some bad behaviour by some members of the audience! Goodness me, this is the 21st Century and such behaviour is quite intolerable,especially by some members of the brass band fraternity. Poor Ray Farr had to cancel some of the pieces he was going to include, eg Ascendit in Coeli by Elgar Howarth.

If people do not like this kind of music, they should read the notices about it before they go. Its this kind of situatioon that puts a bad light on us. We need more concerts like this. I hear they are going to put on another one later this year, so if people dont like that kind of music, STAY AT HOME!

Tim wheeler

Give them oxygen...

Give composers the oxygen to compose for bands by giving them the certainty that their works will be given serious consideration by a body that is known, open,  respected, and forward thinking.

Young composers are fed up with composing for the movement finding their works passed round endless panels for a period of 3/4 years without selection or feed back. Has it really got to be someone you know rather than the merit of one's work?

Young composers will not write for this movement because of it's archaic method of selection and period that it takes. Lets do something really radical, that's right banders RADICAL. Lets us ban all music that has
previously been played in all and any competition before, for 2 years, and find new works for every competition, area, final, open, shut, Masters & Missus till 2007. Either hunt for it, or commission!

Phil Lawrence

The All England Masters except Cornwall?
 
ok I would agree that the Cornish bands are not In the top 10 bands but we have a very strong banding tradition In this county. Cornwall Is very much like Yorkshire with a massive support from the local towns and villages.

Our bands have supported this contest from the very first year when St Austell and Camborne competed.

Bodmin Town took part when the test piece was Dances and Aria's at only two or three weeks notice and were only too glad and of course very proud to compete.

Mount Charles have played there in recent years also and this is a band which is improving it's contest results year on year.

Our local bands should have the chance to compete against the best the "country" can offer and if they come away with a respectable result and a good performance all the better .This will encourage our youth In the county to want to play at a higher level which Is and will be the life blood of our local bands.

All England should mean All England and should Include the best bands from every county (championship grade).

We already have a Bristish Open with the very elite bands Invited and the not so "elite" who have the chance to play through the spring festivals. What If Camborne win the Nationals later this year ,will they suddenly become an " Elite" band with a Invitation?

In my opinion they along with Mount charles are already good enough to rub shoulders with the list of bands already released In the band press.

I feel once again that the cornish don't really count which is a crying shame!!!!
 
Garry Lannie, St Dennis, Cornwall

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