Comments ~ 2004: October

Alliance reply and lots more from and about London - one to remember eh?

Alliance reply

My name is Lewis Edney and I am the co-founder and now manager of Alliance Brass. An awful lot has been discussed, sometimes very vibrantly, about the band on this forum but I have never been inspired to write in. I would like to thank Mr. Phil Lawrence for his inspiration!
 
I do not want this to come across solely as a defence for our conductor John Clark because it isn't. We have not discussed my letter and I am 99% confident he will reply himself, but it does seem to me that John has received some very harsh criticism from a man that I think has never, correct me if I'm wrong, conducted a band at the Nationals, he has though, apparently been watching them blindfolded!! Coming 15th at the Albert Hall was a good step in the right direction for the band and I would like to publicly take this opportunity to thank John because Alliance could not have achieved it without him.
 
Anway, back to blindfold! Is Mr. Lawrence convinced he has watched and commented on the same band? I appreciate that when writing into this comments page you put yourself up for a reaction from the general 'banding' public as I am doing myself but I would have thought any intellegent person would try to at least keep to facts on such a public website! I just want to qoute a little here:
 
So, by 2006 John, you should be there in the top two, if you take a sop, some cornet players, euphs, BBb basses, then add a modicum a generous vibrato, fluid technique, practise all the year round twice a week, and keep on hoping that the area test wont be too brass band like (why not commission Jude now, "Prague II Revisited", and you will be laughing mate!
 
Very nice, it's good to have a sense of humour! Firstly, if we take a sop? I know they look a lot like other cornets but we did have two on the front row. That's two out of five, it wasn't even like we were tring to hide them! Cornet Players? Our principle cornet was Joe Sharp who grew up playing the cornet in Bodmin, Cornwall, and we had Matt Baker on rep, that's just to name two because they were new to the band but we now have a handful of experienced cornet players in the section. Euphs? I can almost understand you missing sops if you were in the Gods of the Albert Hall but Euphonium's? They are the small tubas, or big baritones whichever way pleases you, that sit opposite the cornets and infront of the trombones! We had two of them played beautifully by Becky and Charlie (thank you girls).

This is where you have some luck though, we did not use BBb basses! An argument that has been aired on this page before. If and when we can find some BBb's that are playable and in tune we will use them but in the forseeable future we are lucky enough to have players that can adapt wonderfully well just using Eb's. I think anybody that really listened to us at the Nationals would say that if there were problems with depth in the band it certainly wasn't the tubas!
 
I wish we had the money of other bands to be able to hold two rehearsals a week because then, I believe we would be able to contend at the bigger contests but we don't have those funds. We know we will never win the Nationals but we have fun doing it anyway! I have no problem with people having their say but can you please invest in some binoculars if you are going to sit so far away it impairs your vision.

Lewis Edney
Band manager and Bass Trombone
Alliance Brass

Who is John Clark?

I have been involved with Brass Bands for over 20 years mainly in the UK, but more recently in Houston, Texas. I would just like to ask.....who is John Clarke? What is his background? How long has he been involved in Brass Bands?

I am asking as even though there have been numerous occasions in the past where bandsmen and public alike have disagreed with the selection of a test piece for a particular contest (everyone is entitled to an opinion), I have never witnessed a conductor show such disdain for his band by openly admitting his contempt for the music and thereby the underlying reason for their position in the final results (i.e. an inability to motivate himself never mind his band).

I have worked under some great conductors in the past who even though they openly expressed some reservations about the piece of the day, nevertheless worked tirelessly to extract the best possible performance from their band. I understand that Alliance Brass consists of a number of professional players, it's a shame Mr. Clarke didn't adopt a professional attitude.

P.S. Congratulations to Ever Ready and particularly Paul Robinson who was Solo Euph at North Skelton where I played in the mid 80's.

Chris Freaney
Houston Brass Band

Talking Rubbish!

I heard 8 of the bands play at the RAH finals, from number 4 until number 11. I heard some great performances of a thoroughly interesting piece that had everyone's attention right up until the end. You knew that every band had the potential to muck it up at the end because of the risk of playing so quietly and with control rather than the usual blast through the final page to a rousing finish with audience applauding half way through the last pause.

In my opinion John Clark is talking a load of rubbish.

Nigel Brinklow

Disappointed

Can I just express my disappointment that you chose to publish John Clark's comment about the London Test Piece? Although I don't have the extensive qualifications of Mr Clark, or conduct in the top flight, I do have a music qualification and personally, I was intrigued by the (brutally shortened) fragment that LTTB played last friday night and look forward to hearing the whole piece (incidentallly Frank Renton should be ashamed that LTTB couldn't find time to play ALL of it). No matter what Mr Clark thought of the piece there is no excuse for the vitriol he poured on it; it really isn't acceptable to dump all over something that anyone has spent a great deal of time working on and if Dr Ball had been as personally abusive in Alliance's
adjudication the emails would have been red hot on the subject of crappy adjudicators (again).

Constructively criticise and explain why you don't like the piece, by all means, but there is no excuse for the level of personal abuse levelled at Dr Ball by Mr Clark, and 4BR should not have allowed it to be publicised. Alliance Brass would do well to disaccoiate themselves from their MD's comments.

Andrew Baker
MD, Blackley Band

4BR Comment
Thanks for your comments Andrew, but we will alwys defend the right to publish - you may not like individual views, but they are individual views, and not those of 4BR.

Change is needed - and not just for the taxis

I agree what you say about Old Albert however not being able to get down for the championship (pleased Ever Ready did so well) I had the opportunity to do the week after for the Welsh Male Voices --the hall has that look now of something that fits the 21st century but as you say prices for everything are too expensive in London.

Taxis, Pubs, Hotels, Food and then they ( in certain places)  have the cheek to add VAT above the price its ridiculous. Change is needed -- by the way programmes which were outstanding for the choir were free. Nice change!

Ken Tallentire
ps/
you have given once again an exceptional account of the day - I thought I was there.

London is just right - just look at the list

London has the greatest concentration of major attractions in Britain and boasts four World Heritage Sites. 238 attractions are free to enter, so there's nowhere else in the world where you can see so much for so little.

For museums there's the British Museum, V&A, Natural History Museum and Science Museum. Each take a day to explore, but you will still be inspired if you only have a couple of hours to spare. London's more famous attractions such as the British Airways London Eye and Madame Tussauds are well worth visiting if you've never been before, but you can also branch out and visit some less well known attractions such as Kensington Palace, Dali Universe and the Photographers' Gallery.

If there aren't enough hours in the day to explore as much as you'd like, take in late night opening on Friday or Saturday nights at the Tate Modern, Saatchi Gallery, Royal Academy of Arts and National Portrait Gallery. Open space accounts for 30% of the London area, and the city contains 143 registered parks and gardens. Sports fans are also well taken care of. From the Museum of Rugby and Twickenham Stadium Tours to Wimbledon Lawn Tennis Museum or Arsenal Museum and Stadium Tours.

The audience at the Nationals don't just come from London or indeed from just the UK, but they come from all over the world. There's more to a visit to London than a day in the Royal Albert Hall, though for many that's the only focus. So I say keep the contest in London, expand the idea of a music festival in the same way that the European has developed in recent years and let visitors and spectators enjoy world class music in a world class city.

Nigel Brinklow 

Not helping the Alliance

Having read John Clarke's thoughts on the Nationals piece can't help but think now thank God we have Rienzi at the areas, hopefully Wagner will escape his ire... (depending of course on whether the arrangement is similar to a 1st year student's efforts?!)

Anyway, the point that strikes me most is that the article will have not done anything to help Alliance's cause. There are varying views about the band anyway, but knowing a fair few of the players there is no cause to doubt either their ability or their seriousness about music. Whether or not they thought the test piece was any good is by the by, the band will have gone on stage wanting to give a good account of themselves. If Mr Clarke had such disdain for the piece it will have required a Herculean effort on his part to not let that affect his interpretation. I can't help but wonder how they would have fared with Dr. King at the helm? (They would have been 4 minutes later to the pub, but the unfortunate no. 1 draw still left plenty of time!)

If John Clarke finds the music and the "archaic traditions" so offensive maybe Alliance should be looking for more positive direction in the future? I do recall another article from John Clarke where he said how proud he was to be associated with Alliance, which is how it should be. It is a shame then that in many ways his article will have put the band back a step in some people's minds. They don't deserve that.

As for the perc rant I had earlier, I wasn't advocating difficult perc parts just for the sake of it. Just that, even though the effect we can have in Rienzi is important, it is not challenging at all. There are plenty of pieces that have integral perc parts that are musically based that do make us work, but Rienzi isn't one of them. It was nice to read in the adjudicator's comments from the Nationals some references to perc. We just want to be part of it, do you know how difficult it is to get friends when you're a drummer....!!

All the usual stuff about this being nothing to do with Aveley & Newham etc,

Jon Kitchen (BMus Hons RCM, Dip RCM. Does this lend more weight to my musings?! Don't think so)

Cheese and Grapes

My computer has been bust since Monday, hacked to death & died! I'm up on XP now and went off to 4bars to get an earful, and dear me, it seems Prince Harry has thumped two photographers gleaning the carnage.
 
Without looking at the full results I spied first Paul Hindmarsh's reply to what seemed to be an attack on the piece from John Clark, as I said, I hadn't looked at the results, but I thought, "Oops, last or next to last again eh John" Then I went on to read Clark letter of mass destruction. Well, speaking as a composer (perhaps not the greatest, yet) feeling qualified to a generous point, I have to say, I don't understand (his comments, that is).
 
I found the piece charming, refreshing, innocent, and peaceful, and exciting full of innovation. I saw the water colours blending and bleeding into each other to create new montages of miniature sound-worlds, and yes, of course, it's different!  I also found a brass orchestra in a band contest again!
 
Then I went to see the full results, I found that he and the band had come 15th, I think a hearty congrats all round really John, I mean, that's five places higher than last year isn't it? And, considering you had to play the Queen first (it was the Queen, wasn't it?), and I also thought they did rather well without a soprano, front row did take those solo's, didn't they? Ah yes, takes be back, happy memories of going to Ronnie Scott's.
 
So, by 2006 John, you should be there in the top two, if you take a sop, some cornet players, euphs, BBb basses, then add a modicum a generous vibrato, fluid technique, practise all the year round twice a week, and keep on hoping that the area test wont be too brass band like (why not commission Jude now, "Prague II Revisited", and you will be laughing mate! Remember, "Say cheese", don't play cheese! Or, even, "Sour grapes" always good for a rye smile. 
 
Phil Lawrence.

More of this please

Just like to comment that this is the first time I've seen your coverage with the addition of comments from the adjudicators and some of the players.  I think this to be an excellent idea, not only does it capture the essence of the day but it also gives people a chance to listen first hand to their views on the day and the music. 
 
Can I also add my endorsement that we need more music like this, I thought your comments on the music before the contest were bang on.... although I must say I was happy you got our placing a 'little' wrong on this occasion.
 
A most welcomed addition to your usual coverage...thank you
 
Paul Robinson
Solo Euph. Reg Vardy Band

Appreciating the clap

I'm writing to back up Brian Easterbrook on the issue of clapping at this years National Finals. I attended both this years Finals at the RAH and the Europeans at the Royal Concert Hall in Glasgow and I felt the attitude that was adopted for the Europeans was far greater than what 'usually' happens. And all that was different? The fact bands were applauded onto the stage - almost a recognitition for their efforts in getting there! It wouldn't take much to change this tradition, and who knows people on the stage might actually appreciate a little applause to carry them onto the stage. I know I certainly would.

Richard Kidd 

Walking with dinosaurs - in Birmingham

Thoroughly agree with Kerry Bowden's comment. Birmingham's Symphony Hall is a perfect venue for the Nationals. I and my partner have enjoyed attending the Open for a few years now. The hall is in the city centre which has ample eating , drinking and overnight facilities..ALL WITHIN WALKING DISTANCE of the hall. This is so necessary for us senior citizens who make up a large percentage of audiences for both contest and concerts over that weekend.

Alan Johns 

Trapped in a Pub - how cruel is life eh?

Hear I am, trapped in my pub and unable - once again - to get to the finals on the big day. But all was not lost! Thankfully, 4BR were on line with all the news of the day. All day long, every hour, I could log in and get the news and opinions (albeit 4BR's) of the performances.
 
When result time eventually came I picked them up almost as they were announced - fantastic!!!
 
Well Done all the lads and lasses at 4BR - made my day!!!

Tudor Williams 

Thank You

May I, through your comments page, extend a huge "Thank You" to all my friends in the banding movement for their many many cards, letters and messages during my recent illness. It was also very humbling to have received so many personal visits at my bedside - (some of my Aldbourne friends even made the 2 hour journey from Wiltshire to spend some time with me). I am most grateful for everyones' support.
 
For sure, I made good use of the brilliant expertise of the Theatre and nursing staff in the Heath Hospital in Cardiff but I am now well down the (long!) road to recovery - though I seem to be enduring an altogether different malaise right now - "stick-itch"!  Thankfully, the bands that I worked with regularly before being taken poorly have been most patient, and I thank them for 'hanging on in there'.  So, hopefully, it won't be long before I'll be back on the banding scene, and I'm really looking forward to meeting all my banding friends very soon. Already the diary's beginning to fill up again!
 
So - once more - Thank You one and all - and I'll be seeing you soon!
 
Nigel Seaman  

Tallis Variations and 'Rienzi'

Having recently listened to a recording of YBS' winning performance of 'Tallis Variations' at the 2000 European, I am writing to insist that this piece be used for a major contest or the areas. As far as I can tell, the piece has been neglected in this country and has not been used here since 2000. We have to be relieved that this year's area piece, 'Rienzi' is not another 'Prague' style assault to the ears, but I cannot help think that it's not challenging enough when you think of last year's 'Tristan Encounters'. Surely a piece like 'Tallis Variations' would have been more appropriate. I'm all for extending the range of test pieces with new arrangements and compositions, but lets not neglect some of the classic pieces. English Heritage, Cambridge Variations, Tallis..., there's plenty of great pieces that it seems will never be used again.

I hope I've not offended fans of Rienzi, but to me, it doesn't sound enough of a brass band classic, although I do look forward to its full sounds at the areas next march.

Matthew Clark 

Not school kids anymore

Thanks for the positive review of our concert at Regent Hall on Friday 15th of October as part of the Brass Arts Festival. Could I just ask you to note that we are Trinity College of Music (not School).
 
Stephen Maw

4BR Comment
Sorry for the mistake Stephen - but well played none the less. 

Sons of the Brave

The military band featured in the painting 'Sons of the Brave' is probably the band of The Duke of York's Royal Military School' based in Dover, Kent, which celebrated its 200th anniversary last year. This is a school for the children of serving and ex-military personnel. The band currently has 100-120 players ranging in age from 12 - 18,and regularly performs at concerts and parades, as well as providing the pre match entertainment at the annual Army v Royal Navy Rugby match at Twickenham, in front of a crowd of 40000 people. 'Sons of the Brave' is their nickname and also the name of a march.

My two daughters are both pupils at the school and play in the band, it is an impressive sight, especially at the school Trooping the Colour ceremony on the last school day in July.

Chris Cole

A response to John Clark's contrbution

I do not often respond to articles and letters published in the band press, but John Clark's contribution to 4barsrest demands a reply.  Having been responsible for arranging the commission through BBC Radio 3, I would like to offer the following observations and corrections of factual errors.

The BBC does not pay full commissioning rates for arranged work. Under the terms of our contract with Dr. Ball I can assure Mr. Clark and all your readers that "…all the flowers of the mountain.."  was composed afresh for the 2004 National Championship finals. Indeed it was finished only a week or two before publication. The work is the first part of an intended trilogy of works inspired by Irish landscape. There is a long and honourable precedent for works conceived for brass band ending up as orchestral music and it may be that this work might be transformed in the future into orchestral colours, but that was not the composer's primary aim.

While Mr. Clark is perfectly entitled to air his views of the work - favourable or unfavourable - it was regrettable, in my view, that he chose to use a somewhat flippant tone with which to express them. Michael Ball is a highly respected composer, with a track record of distinguished  commissions, particularly from the BBC. Over the past thirteen years I have been involved in the commissioning of seven brass band works from him, including  Whitsun Wakes, Chaucer's Tunes (the highly successful wind band transcription), Midsummer Music, An English Suite, A Cambrian Suite and Cortege for cornet. Each one has been distinctive in character and carefully designed for a particular purpose. Michael Ball has demonstrated that he is able to cast his work to fit the demanding criteria of brass band concerts and competitions. He is a proud  inheritor of the English musical idiom of his teacher Herbert Howells and other musical mentors such as Vaughan Williams and Michael Tippett.

For this latest work, he chose to work in a more directly tonal /modal manner than in his other major work. This was entirely  appropriate to the subject matter and coveys  a nostalgic and evocative expressive character. The ideas are deliberately simple in outline, the language is purposefully direct. In our post-modern age this is just as viable a means of self-expression as the more challenging idioms of the likes of Birtwistle or Maxwell Davis or even Judith Bingham and Elgar Howarth.

Michael Ball has been at pains not to repeat himself in his brass band works, but to experiment especially with aspects of tessitura and colour. "…all the flowers of the mountain…" is not self-balancing - it needed some sorting out on the conductor's part - but then much greater works than this also require the conductor to control the voicing and bring the colours to life. There were colours and textures in this work, especially the terracing of dynamics and the careful choice of muting and ghosting effects, that are new to the brass band test piece.

The construction of the work is not without its problems. It is built episodically,  like a series of waves or images, with the slow pulsing figure acting as a unifying factor. It is as though this pulse has been going on before we hear the music and it is set to run on after the music stops. There is not a real climax to the work. It ends rather ubruptly after a rather short schezo-cum -recap. We are left expecting more and, of course, that is the composer's intention, because in the fullness of time he hopes that there will be two more "places in Ireland" to celebrate in music.

Paul Hindmarsh

The Clark Motivation was?

In no way is this letter to knock Mr John Clark, nor is it to argue the merits (are lack of depending on your stance!) of 'All the Flowers...'. I simply write to question his motivation behind the letter published in your comments section recently.

We seem to consistently hit this brick wall every time someone simply does not like a piece. Why can't we all just accept that opinions differ and not everyone in the contest hall or rehearsal room will be 100% satisfied? Often the people who make the noises are happy to make long and loud protests without offering suitable alternatives. I could also describe John's 'review' of the work as 'eloquent': his words were carefully chosen, but carried no more weight than the numerous letters published in banding publications and posted on websites from the 'no good without a tune brigade'.

The comments that Michael Ball 'had little idea how his piece should be performed' were a bit wide of the mark. He then chooses to have a go at Professor King's interpretation. Just to remind John that there were two other highly respected judges in the box who felt the performance merited this high placing...it wasn't all down to the good Dr Ball!

Just to re-iterate that I don't want this letter to be seen as one solely criticising John Clark, as his experience and qualifications exceed anything I have to my name at present. However, I know what I see/hear/like/dislike and am sure that with his knowledge and contacts within brass performance
and teaching, John could offer new ideas on test work selection and the way forward. This would be of much more benefit to the movement than a 'dressed up' rant about the quality of music and adjudication offered at the RAH.

John Ward

Disgraceful Comment

I would like to make comment regarding MD J Clark of Alliance Brass. I thought his comments on this years test piece were disgraceful to say the least. I too initially didn't think too much of this piece having recently played St Magnus at the British Open - a fine and very difficult piece of music to pull off, I thought "All the flowers of the mountain" was too easy - nothing in it or so I thought, though after working on the piece with our musical director Ray Farr, with each practice he seemed to be finding more and more in the piece to contend with, such was the result that come contest day we knew that to get anywhere near the top we would have to be doing something special.

In the end I grew to like the piece and really enjoyed performing it -as did my entire band, except the soloists who had their work cut out! From your description of the piece and your irreverence both to the event and to Dr King surely one of the best readers of a piece of music in the country next to our own Ray Farr, I think he must have been in the pub with his band. There's no way you could have been in the hall.
                       
Gordon McGeorge
Reg Vardy Band (also not a Dr)

Lets get out of here

As a relatively newcomer to visiting the British Open, I find the Symphony Hall in Birmingham as one of the new seven musical wonders of the world. It's large, comfortable, has every amenity within walking distance, and more importantly, its band friendly. Almost wherever you sit, you can hear all the detail of a bands performance, so why oh why do the organisers of the National Championships not consider moving its prestigious contest to Symphony Hall, or somewhere as accommodating.

I was privileged to conduct the Cross Keys Silver Band in the Albert Hall in the 2000 National 4th Section finals, but in all honesty even with it's revamp, it's a tired old place. I know the traditionalist's will cry foul' but they did the same when they moved the 'Open' to Brum, but it's worked and more to the point it's affordable, parking, hotels, food and drink etc, so come on Phil Morris, be brave and let's move with the times.

Kerry Bowden

The forbidden clap?

I refer to the recent National Finals in London but perhaps this may be relevant to all contests, ……why is it that we, the audience, are forbidden to clap as each band comes on stage? This unnecessary rule results in a few top bands receiving applause, which is then drowned out by the rest of the audience hushing in disgust at the bad manners of a few.

Surely, the best policy would be to allow the audience to clap every band – each band has its own supporters and there are enough neutrals in the audience to support every band. This might also silence the conspiracy theorists who believe that the adjudicators can only find the top bands when they are flagged up by the applause.

Brian Easterbrook

Answers to the questions we asked

In answer to a couple of questions on the Comments section at the moment: Chris McMullin wanted to know about Euphonium Music by Brian Bowen. I think he should find that Mr Bowen (who I think for some time work for the SA in America) is a regular contributor to themouthpiece.com. 

Alan Pearce asked about Malcolm Arnold's Elegy. I think this is the middle section of the Fantasy for Brass Band. 
 
Mark Bousie

The Honours system

What an honour! To have my comments printed on your website.Marvellous reports from the Nationals (all sections), keep up the good work lads!
 
Andrew Brooks
ex Lydbrook Band semi-retired 4 times over and looking for a return to action!

4BR Comment
The fiver is in the post Andrew!

Utter Musical Rubbish...

Iwan Fox's eloquent and glowing review of "...all the flowers of the mountain" whetted my appetite for what could be a new classic for the brass band repertoire. My problem was a piece of the same name, which I had been conducting for the previous two days, bore no resemblance to this review. The work I rehearsed was utter musical rubbish, at best a mediocre tonal drawl (with quick bits) and at its worst, a breathtaking journey to the banal and trite. Its incompetence was compounded by the fact it looked like a dodgy transcription of a wind band piece (I later found out this to be true) and seemed to have been orchestrated by a 1st year composition student whose only previous experience of a brass band was mistakenly clicking on to "Songs of Praise" one Sunday when trying to find the football on the tele.

I had the unenviable task of giving this piece its World Premiere on Saturday. Trying to dress this piece in clothes that would create a modicum of interest to an audience is damn near impossible. The other four bands I listened to proved I was not the only one with a dodgy wardrobe.

This piece fails its brief for the commission and I for one feel miffed that my license fee was used to pay for it. It should never have got past the vetting committee. It is self evident that it is not a good test piece, by just looking at the score, (I know it does not have to be strewn with semi-quavers at crochet equals a thousand to be a test, no emails on that please) Neither does it stand up to be a worthy addition to the repertoire. Its musical subjects consist of a negro spiritual whose only thematic development is a Vaughan Williams style bacchanalian dance, a Wagneresque operatic aria and recitative (the middle section of which is laughably trite), followed by an apparently unrelated Scherzo which leads us, with all the dignity and poise of a train crash, back to the opening spiritual. The piece is written in tonal language that is bland and unimaginative and the only glue that holds it together is, (apart from a couple of bars,) that its written in compound time.

This piece is so badly crafted that even Dr Ball had little idea how his piece should be performed. One band I listened to exaggerated dynamics, tempi, allargando's and the like so much that some passages were rendered unintelligible. (Like playing "The Queen" at half speed to make it "more expressive"?) The result of this was a performance lasting a full 4 minutes longer than the other bands I had heard. The band played beautifully despite the interpretation and was placed 2nd. If I was the composer I should have been very upset that Dr King had showed such flagrant disregard of my tempo markings and as a co-adjudicator I would have asked for points to be deducted accordingly. If Dr Ball wishes his piece to be performed at these tempo's then could he please add to the already liberal errata sheet, the correct markings.

This also brings into sharp focus the criteria for adjudication. A particular quality of sound for the band, competence and quality of sound of the soloists, ensemble and balance, dynamics are of prime importance. Interpretation is also important but far less, it seems than the other qualities mentioned. It would appear that a conductor could get a piece hopelessly wrong musically and not lose single mark against interpretation ! Seemingly, the conductor is not being adjudicated. (Dr King, don't take offence, you also had a dodgy wardrobe, you just had different clothes in it.)

Lastly, what if... a main stream music critic had, out of idle curiosity, turned up at the contest? Apart from trying to make sense of the usual archaic traditions associated with contesting he would have had to listen to a desperately sub standard work being performed umpteen times by people in odd clothes. He might have asked the question "Is this the best that their National competition can offer ?or perhaps its a one off....... I wonder what they did last year. Mmmm....an arrangement of Elgar's Enigma Variations with not all the variations.....Not much happening here then, I think I'll join Alliance down the pub"

John Clark (not Dr. only F.G.S.M. G.G.SM(1st Class Hons) Cert Ed.), and conductor of Alliance Brass.

What about the Bass End then?

Many thanks for your informative and interesting preview of the Albert Hall National Finals. I always enjoy reading the information placed there and look forward to the contest this weekend.

Whilst the information you give is fantastic and valued I feel I must write and 'stick up' for the bass players in the UK's bands. This much-aligned section at the back of the band, and their section leaders, it seems does not warrant a mention from you in any contest. You name every section principal within each band with the exception of the bass end. Is it not commonplace that the bass section is the 'backbone' of every band and the foundation that the rest of the band sit on and, therefore, must be worthy of a mention. Admittedly there may not be a great deal for them to do and no flashy solo to play in this particular piece but surely they deserve some credit.

Anyway, to try to redress the balance, I have been trailing round some band websites and can give you the names of the Bass Section Leaders (Solo E-flat Bass) at most of the competing bands, please consider including them in your future reviews, we could not manage without them :-

YBS : Gavin Saynor
Black Dyke : Joseph Cook
Brighouse : David Hebb
Travelsphere Holidays : Robin Norman
Staffordshire : Ademola Odedina
Mount Charles : Jeremy Taylor
Cambourne : Shaun Thomas
Redbridge : N/K
Alliance : N/K
Ever Ready : Dave Carr
EYMS : Dave Fox
Leyland : Chris Doran
Fairey FP : Mark Evans
Wingates : Mick Morris
Scottish Co-op : Jonathon Gawn
Whitburn : Graham Fraser
BAYV : Austin Davies
Tredegar : Wilfred Driscoll
Cwmaman : N/K
Beumaris : Les Neish

John 'Jonno' Phillips
Huddersfield

What's the poor old Albert Hall ever done to you?

Yes the Albert Hall does have its shortcomings but like it or not it is still the most prestigious and impressive concert hall in the country and it always feels like an honour and a privilege to play there. And for most bandsmen - at least those haven't got too blasé about it  - it feels like the achievement of a lifetime - even if you don't win.

You only have to apply the 'Man in the Street' test to realise the prestige of playing in this venue - i.e. casually drop into a conversation with a colleague that you just happen to be playing in the Royal Albert Hall this coming weekend and they will be duly impressed - eyebrows may even be raised. (well it worked when I did it anyway). Tell 'em you're playing the Birmingham Whatsit place or the Bridgewater Thingy or Somewhere in Wales and watch how they'll just smile and nod and humour you.
 
There are probably dozens of venues with better acoustics and facilities but do we really want the National finals to be shuffled off around the country like the lower sections? Ending up in somewhere like, for want of a better word…Harrogate?  And all for the sake of a cheaper cup of coffee and snazzy 21st Century toilets.
The thrill of playing in the National finals comes not just from the contest itself but also its setting in one of the finest concert halls in the world in one of the world's greatest cities. Take that away and there's a danger of diminishing it so that it becomes 'just another contest'. Pity all those poor hard-working bandsmen and women up and own the country, flogging their guts out in bandrooms all year, sacrificing family life, lugging BBb basses and percussion tackle about, tolerating conductor's tantrums - is the reward for all that dedication to be the promise of a wet weekend in Cardiff?

David Lindley

What about these performances then?

A very interesting and thoughtful choice of top ten - I'd just like to add a few of my own that made the biggest impression in my living memory. Also I include a couple remembered by by my father, much before my time:

Black Dyke Cloudcatcher Fells 1985
One of the easiest wins I have ever witnessed, magical band sound in the quiet passages.

Black Dyke Volcano 1979
Why has this piece never been revived?
Again Dyke walked it, this time the power of the band was awesome. Hardly a handful of bands could play the piece. An interesting comparison was

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