Comments ~ 2004: November

News from a defunct CEO; Looking for Gladney; An American view on Europe; Wales in Europe and a load of rubbish as well...

News from the "defunct" CEO

I read with interest your comments upon my latest posting to your site and can ensure you that I am not defunct; merely the position I held and the organisation I served have now become defunct.
 
To use a seasonal metaphor, there is clearly 'no room at the inn' for two organisations with the same manifesto for brass band evolution.
 
Now that we have an English National Brass Band Championship with an automatic qualification for the winner to the genuine European Brass Band Championships there is no need to duplicate in providing a further English title particularly when the concerns of the EFBB have been met by the BFBB by redistributing the wealth raised from this contest to grass route banding.
 
EFBB was commenced due to the concerns that English banding was not given the same benefits afforded to Scotland and Wales, however the recent welcome announcement from the BFBB clearly shows that this is no longer an issue.
 
Other ideas such as 'cool2playbrass.com', English National Band, Health Partnerships and Brass Band Ombudsman have also been placed before the BFBB but it is simply not economically viable to establish an organisation for these issues alone without the main fundraising vehicle such as the National contest.
 
I commend the BFBB for listening and acting upon the submissions placed before it.
 
Simon D. Oates

Looking for John Gladney

My history books tell me that John Gladney, described as the father of brass bands, was born in Belfast in 1839. He became a clarinet player with the Hallé Orchestra and later began his most successful involvement with brass bands. While much has been written about his work with bands in the late 19th and very early 20th centuries, I would be keen to know a little more about his early life in Belfast; where was he born, where did he live, was he educated here, when did he move to England?

Perhaps there is someone out there who would be willing to share this information, which would be of interest to members of the Northern Ireland band fraternity, and an increasing number of friends who visit us from GB and beyond.
 
Wesley Thompson
 
Ps Thank you for 4barsrest. It contains so much really enjoyable content. 

4BR Comment:
We can't be much more help to you Wesley. All we know is that Gladney was the son of the Bandmaster of the 30th East Lancashire Regiment. He started as a flute player aged 8 and violin aged 9, saw a great deal of service abroad and became a clarinet player and conductor of the Scarborough Spa Band. He later became a clarinet player with the Halle orchestra and then a great brass band conductor. On his death in 1911 he was described as "the father of the brass band movement"  but little is known of those very early years.

An American view of the European arguement

This sounds exactly like the conditions in American drum and bugle corps before the founding of DCI. Nationally, there were a variety of sponsored circuits (American Legion, Veterans of Foreign Wars, and assorted sponsors) -- each with their own rules (often a corps would design a show to one set of rules, only to travel and find violations under other rules. Further, show sponsors kept most of the money. Show sponsors had all the power - the corps had none. The founding members of Drum Corps International changed that, creating a sort of union -- they set their own rules, organized shows and tours, and money came back to the corps.
 
However, it is my opinion that DCI has grown into a sort of "monster" that serves the interests of the top 8 or so corps, and is doing a terrible job of supporting the many smaller corps. They are beginning to become the abusive beast they were formed to replace. I'd be happy to mail you a DVD of a "roundtable" of DCI founders discussing the early years of DCI for insight.
 
I enjoyed being a vendor/exhibitor at the US Open in Chicago. I had a great time talking with the general manager of The Music Group / Besson. He seems like a great guy.
 
Dan Landbo
Waupun, WI  USA
Vice President, Kilties Drum & Bugle Corps
 

How to get Wales back on track for Europe

With all the recent wrangling about EBBA, BFBB and the emergence of the ENBBC, is it now time in Wales to re-introduce the four contest system for the prize to represent Wales at the Europeans???
It's clear to see from previous comments on this page i.e.Treorchy Tantrums 1 & 2 that something in Wales needs to be done to make local contests count.

Hard earned money is spent on local contests with little value other then contributing £125 towards the cost of bus that members still have to subsidise; and that's if you win.

I remember as a young inspiring boy watching top section bands usually fighting it out on the final leg of the year for the biggest prize of the calendar, to represent Wales in Europe. Winning Swansea was fabulous, however winning the Champion Band of Wales was the pinnacle of the year. One year we had a person fainting (Soprano) during a rendition of Benvenuto Cellini all adding flavour to the contest.

Come results time there was total silence and tension in the hall with nervous fingers adding up points (later positions) as to have succeeded.  This rule was changed with little option but to accept and has remained ever since and therefore easily reversible. I now call on the Welsh Association to follow our English counterparts and revert back to the four contest method of representation.

This will bring, if not all Championship bands back to local contests and again become the envy of other countries, on how decisions are made for their European challenge 15 months later. 

Tim Malpas

What a load of Rubbish!!

What a load of rubbish "Paul Thomas". The reason bands like BAYV, Tred, Cwm and BTM do not come to Treorchy is because the prize money is so poor for a championship section. It doesn't cover their conductor's fees for 1 rehearsal. To belittle the hard work that the likes of Treherbert and Ammanford have done and their very good results on the day again "ON THE DAY". Is pointless, as we all know it is the man in the box who has the final say and we should all respect that unless you are from one of the lower placed bands. Because of the shambles that the grading system is in, I am surprised that any bands attend Treorchy.
 
But let us look at it this way if the prize money was of worthy chapter then we might see the likes of BAYV, Tred, BTM and CWM back at the Parc & Dare Hall. Also for bands that get promoted into higher sections are what banding is all about, Yes I am from Ammanford and yes I hate Treorchy but for us it is a learning curve at  the highest level in Wales and we are not afraid to participate in such contest (not like some bands) to get experience at this level. It can only make us better and if that means beating the likes of Parc & Dare (Twice), Burry Port and Mid Rhondda (Twice) so be it. I will for one say WELL DONE.
 
Just remember if it wasn't for us lower graded bands making the numbers up at these contests. Where would welsh banding be? Because, I have no doubt that some scouts out there will be looking for future replacements when their bands are starting to lose players.
 
Philip Loveday
Ammanford Town Silver Band
 

Lets go to Birmingham - even for the Male Voice Choirs!

Well I must say you were quite right in the state of the "Old Hall", but I must admit I was there on Saturday 23rd October to view the Welsh Male Voice Choirs. The place has been revamped and looks quite good, it was a good show, but the sound seemed overstretched, vibrating echoes from different areas caused me concern, especially when the compere was making his points heard. I go along with your views and would love to see the show at the Symphony Hall, Birmingham.
 
Ken Tallentire

A pat on the back for our service

What a superb delivery service.  I ordered a DVD and a CD at 2-30pm on Monday 22nd and at 10-00am Tuesday my wife and I were listening to the CD.  The reason for the e-mail? In future when we need any banding CDs etc. the first point of call will be to you.  In the past we have purchased CD's at the many band contests we visit during the year but from now on you will be first call.

Whilst writing we always go on your site to get the results of contests and enjoy your comments, some of them tongue in cheek.Again, many thanks for the service and your excellent site.
 
Frank Dutton

Supporting EBBA - the former EFBB response

I have witnessed on this site some very constructive comments from individuals who gain from the benefit of being able to stand back and express their comments freely without subsequent ramifications, a luxury afforded to the individual not otherwise extended to those who administer the brass band movement on our behalf.
 
I have read with a great deal of interest the recent debate concerning the European Brass Band Championships and welcome the move away from the EBBA contest by Besson / The Music Group or whatever they like to call themselves these days. I support this move because I support the work that EBBA do on our behalf together with the number of other National Federations and Associations.
 
My baptism of fire in to the National arena came at the start of Summer 2004 when as a result of losing our one remaining English contest, I set up the English Federation of Brass Bands to consult with the commercial sector, bands and the British Federation in providing an alternative.
 
I am pleased that as a result of raising the profile for the need of an English contest with a qualification route to the Europeans, the BFBB has accepted this and we can all look forward to what will be one of the finest examples of contesting in the world.
 
The move away from supporting EBBA by Besson has therefore created a positive future for the movement as a whole. We have eradicated a company who had a direct conflict between commercial interest and ownership of the event and have replaced them with a democratically elected organisation constructed of band representatives administering the event without such commercial conflicting interests. In effect the hands of EBBA have been untied.
 
The new English National Brass Band Championships has announced that its winner will be invited to EBBA's European and I encourage bands to support this event in preference to the Besson alternative.
Having reached the goal that the English Federation was set up to achieve through consultation with other organisations the EFBB has been disbanded and for what it is worth I throw my entire support behind the BFBB having accepted the need for change and meeting the bands requirement for such a contest.
 
Perhaps when companies such as Besson leave us alone and simply sponsor events rather than own them we will all be better off and we can enjoy a movement run by banding people for banding people. Their unwanted presence places a threat upon us all that we will end up like the sport of boxing where due to a number of splits over the years there are many titles to be won all meaning the same thing and thereby diluting their real value.
 
Simon D. Oates
Former CEO of The English Federation of Brass Bands

4BR Comment:
Does this mean that the EFBB is no more? If so, what was set up in such a blaze of publicity seems to died a rather limp death as events elsewhere have taken away its relevance. As Harold MacMillan once stated on why his Premiership faded away to a non descript end: "Events dear boy, Events..."  

Make it simple Roger please?

Roger Webster has obviously studied this subject (2nd Masterclass article) in great detail and well done to him for doing so, but to plain speaking brass band people like myself I found it very confusing.

Most brass players want to play as well as they can, and if they have been taught properly will know the importance of warming up correctly, but I feel Mr Webster has forgotten that a lot of our younger players who look up to artists like himself and read these articles will not understand them, which is a shame.

Having had the pleasure of meeting and talking to the great Jim Shepherd regarding brass playing, he made things simple and easy to understand which is how it should be, and his reputation speaks for its self as both a teacher and cornet virtuoso. Please keep it simple for us mere mortals.
 
Jon Griffin

4BR Comment:
Roger has amended his thesis for his Doctorate down to bit size samples for us and it has proved very popular Jon. He will be bringing out a book as well in the near future, so pehaps that may shed a bit more light. Keep reading them though - it can only help!

Looking for sponsorship - in the USA

Hello out there. My name is Donald Mcafee and I am a member of the Brass Band of Central Florida over here in the U.S. I was wondering if anyone could give me some advice on securing sponsorship for our band?

I have seen that many of the bands in the U.K. have sponsorships that have lasted for many years. How do you go about getting started on a sponsorship? Are there any company's in the U.K. that might be interested in sponsoring a U.S. band? Is this even feasible? We are relatively new to the brass band scene (5 years old) As many of you are aware, brass banding is not as big over here as it is in the U.K. We're trying though. We are pretty competitive and I feel that a potential sponsor could do worse. I have some people in the U.K. that have heard us and can vouch for our group. Thank you ahead of time for any suggestions that any of you out there might be able to provide.

Donald P. McAfee
Soprano Cornet
The Brass Band of Central Florida
Grand Champions-2004 U.S. Open
Director of Bands
St. Margaret Mary School

4BR Comment:
If there is anyone out there able to help - then please get in contact.

Are oldies better coping with stress - even for the Christmas carrolling?

As a regular player in Kirkby Lonsdale Brass Band a third section band I have seen that there are a number of older people (not putting an age, guess you are as old as you feel!) playing and enjoying their banding. Maybe top section banding is a younger person's game due to the time and effort involved, though of course there are exceptions around the stands at contests.
 
I am about to undertake some research and thought that 'how brass banding promotes health' may be a good subject. A questionnaire needs to be produced before Christmas to begin to look at the subject. Personally, I always hear that people in the band are so enthusiastic around the time for carolling, that it might be a good time to gauge opinions without rose tinted spectacles.
 
The subjects that are of most interest are stress, both the relief of stress by playing and by participating in a 'team' activity. Then, there is the performance stress of contests and concerts. Also any other areas such as breathing control - dare I mention alcohol!! I will be interested to see what areas people think are relevant to banding.
 
The field is very wide at this stage, but the idea was prompted by the players in my local area who are getting on a bit but still prefer to come to rehearsals regularly despite their aches and pains. They put on a good show of playing and really seem to enjoy their banding rather than staying in by the fire.
 
I would be really grateful for comments and suggestions. If any of the full time brass students know of other studies that would be brilliant! I am studying an MSc course at the moment in Lancaster.
 
Pauline Bateman
Batemans@Kendal2002.fsnet.co.uk

4BR Comment:
If anyone can help, then please contact Pauline direct.

The Rankings
 
Just a general query. My band Staffordshire band have gone up 8 places in yours rankings system for the Pontins win.  Does that include our Nationals Placing as well? Be grateful if your chap could breakdown how many points we got for each contest. 
 
Richard Walker

4BR Comment:
We will pass it on to Mr Casey, but he is a very busy man.

And what about the Danes?

I was just wondering if you maybe forgot to include the result from the Danish Nationals in your latest ranking.  I don't see the Danish nationals on the list of competitions you based your rankings on.  

Lars Haedersdal

4BR Comment:
The Danish Championships will be included for the next update, which should take place next week after the Scottish Open.

Nice to meeet you!

Sounds like you arrived home safely, It was nice to meet you both and we enjoyed our chat in the lobby at the Sheraton, sorry we weren't there when you came back down but they ask us if we were ready as the shuttle was leaving, anyhow, we got outside and it was gone already, however, they got us over to the station in time.
 
Hope you had a good time at the Niermeyers - nice people. We certainly had a good day on the 6th, We have enjoyed reading all your reports - very interesting comments.
 
Roy & Shirley Hewett

4BR Comment:
Thanks both. It was very nice to meet you both in the foyer of the Hotel in Chicago. It was also nice to report that banding the US looks to have made a solid start and equally nice to see that supporters such as yourselves (Roy was originally from around the Bodmin area in Cornwall and emigrated over 30 years ago to the US) are making it so.  

Well done for calling it all off

Well done Besson/Kapitol in calling of next years EBBC!

EBBA; you should accept this without trying to further usurp Besson/Kapitol.

Kapitol; Why not now offer BFBB in particular the opportunity to make suggestions on a constructive basis in exchange for future support with The 'National's and maybe even the future Europeans provided they drop their support for the EBBA?

EBBA; Sorry but you failed to stick to the 'OWNERS' mandate. You have also from the material seen in the public domain, been guilty of poor management. You should never have allowed the current predicament to prevail.

All: Show your true interest in the Band movement and at least take a whiff of humble pie; you may even feel inclined to eat some.

John M. Gillam

Treorchy Tantrum - number 1

In reply to Paul Thomas, if I read your letter correctly, then your system would have nothing to do with how bands play on the day, and everything to do with the reputation or supposed standing of the Welsh bands!!

Yes, maybe Treherbert coming second and Ammanford third was a result that most people wouldn't have predicted before hand.  However, I contest your point that 'Everybody placed Tongwynlais first and Parc second'. Did you speak to every single person in the theatre that day?  I know that some of
those I spoke to had very good things to say about the performances of Treherbert and Ammanford, some even going so far as to put them higher in the placings than Parc - but then maybe those people lacked any brass band knowledge and years of experience.

And so far as '[if] results like this continue, Welsh banding will die out' - couldn't it be argued that these results will keep banding alive?  Why would bands like Treherbert and Ammanford bother going to competitions if they knew that those bands with greater reputations, such as Parc and Dare, were going to beat them regardless of their performances.

I think that it is very regrettable that we no longer get all bands turn out at local contests but I think that this is due to attitudes like yours, rather than the results.  As always, not everyone will agree with results but I believe these things balance themselves out over time.  To tell the supposed 'bigger' bands to stay away because they might lose is farcical and disrespectful of 'lower' bands, who work extremely hard week in and week out to achieve high standards.

I sincerely hope that Parc and Dare Band do not take your advice and that this result will only drive them to compete for many more years at local competitions.  I believe such competitions would be poorer for their absence on such trivial grounds, when the correct response would see them return, competition after competition, with the same desire and enthusiasm for the challenge.

Ceri Twohey
Treherbert Band

Treorchy Tiara - number 1 (there is nothing quite like self praise)

Reading the comments section on 4barsrest about the Treorci contest, I thought I'd like to bring to your  attention the Newbridge Celynen brass band.
 
Under the musical direction of Paul Holland, the band this year, if you check your records has probably had  more success than any other welsh band this year at least. Not only winning their section but also winning best instrumentalist prizes as well. Lets look back:
 
Ok with the start of the year Milton Keynes: 1st and Best Instrumentalist Angie Thomas (horn), then a disappointing 4th at the Area contest in Swansea. Not to feel defeated, every single contest after that was conquered with Ebbw Vale contest 1st, and Best Instrumentalist Lucinda Gough (cornet): Weston Super Mare: 1st, Best Section (basses): Ammanford contest 1st, Best Instrumentalist Ellie Holland (Soprano) and finally Treorci :1st and yet again Best Instrumentalist Andrew smith (cornet).
 
Well done to everyone at Newbridge Celynen brass band
 
Ian Howe


Treorchy Tantrum - number 2

Who do you think you are (Paul Thomas)? And who are all these people "with any Brass Band knowledge and years of experience" that agree with you?

Treherbert Band has worked hard this year and were very pleased with our performance on Saturday. Many people congratulated us (and yes, from shock, horror - the likes of BAYV and Cwmaman) on the performance before the results and no surprise was expressed to us after the results - at least not to our faces.

If you had listened to the performance instead of relying on your preconceptions maybe the result wouldn't have been such a surprise. I'm sure Parc and Dare did play well but as we have had to learn over the years, Paul, it is all down to the man in the box. And I mean come on: the 'likes' of Treherbert and Ammanford? Every band in their particular section is there for a reason and that reason is that they have the potential, on the day, of getting results (even if it doesn't happen that often). Why should anyone be afraid of the competition if they deserve to be in that section?

If you have such strong opinions about the result then why don't you address them to the Association instead of writing insulting, condescending letters that will only offend people who have worked hard? That's life Paul, just get over it.

Alun Richards
(not on behalf of Treherbert Band)


Pontins Tiara - number 1 (a little more of the self praise)

After reading many other bands self-congratulations on their recent performances at Pontins, I felt moved to comment and join in to include the band I've been playing for -The Wrexham Brass (NEWI) Band - winners of the 1st section for the past two years.

I noticed that there was no mention of this fact in your retrospective review and actually, you didn't even have Wrexham in your top six predictions.

I feel this achievement does warrant a mention in itself, but even more so (in fact, on the day we only played 3 basses, had our first full rehearsal on the morning of the contest and still won) given the past few years the band has endured - being kicked out of two rehearsal rooms (one was demolished, the other turned into a children's nursery) changing names from Rhos Silver in the process, going to court to have our 1997 2nd section national title reinstated, being down to 10 players with no MD ……the list goes on.

Good news came a few years back with becoming the band in residence at NEWI (University of Wales associate college) with the security of support in the shape of many things including storage, rehearsal space, recording facilities etc

This coupled with the appointment of Wayne Ruston as MD has given the band stability once more and now, with a settled band things are looking good for the future. Even although I don't count myself as a 'full time' member of the band anymore due to other commitments - in fact the only playing I've done in the past two years is two appearances at Pontins' and a wk of 'Brassed off' at Theatre Clywd - (how many of you 'pro's have a 100% contest record in the past two years!!!???!!!) I still felt that I should make this point to say 'nice one' to everyone involved, as they're the first band I joined as a 'green 14 yr old' in 1994 and given that our local football team (Wrexham) have, by the time you've read this either gone into administration to stave off a High Court winding up order due to an unpaid IR bill of £800K due to bad management, I thought that this was a little bit of 'good' news for the town!! So, again, nice one!

Jamie Owens
Wrexham Brass.

Recording free?

At the bigger contests that occur in which there is a limited amount of  bands taking part in such an event, (The Nationals, Open etc), would  4barsrest be able to record each of the Bands performances, (if the bands agree), and then make the recordings available for download at the website?

The recordings may not necessarily have to be of the whole piece as this may prove impossible to do, but a sufficient amount (length-time) of the performances of each band would then allow people who are unable to attend the events, to get an idea of how each band has performed and form their own judgement upon the days performances. Also, bandsman that take part in these contests, may find the recording feature a nice thing to have available as they may wish to listen to theirs, and perhaps others performances.

CJ.Baggins

4BR Comment:
Sorry, but no we can't. The recording of the performances is prohibited unless we pay for the privilege. At most major events though Doyen recordings do record each band and you can buy a copy off them, so why not use that service.

Keep it at the Albert Hall

As an ex player, I can assure you, the possibility of playing in the RAH is not one to miss. It has an aura that is unique and so much of our history has revolved around 'Great' performances of the past from the heroes of our movement.

I was lucky enough to play in some of the worlds finest concert venues and the RAH is up there with the most revered of all. Symphony Hall is probably the best all rounder with modern facilities but we already have the other major event there.

The RAH is where it should remain but we should be proactively lobbying the organisers to return to the old format of having every final in London on the same weekend and ideally the same day using the halls of an adequate size which are still readily available. This may even mean a healthier attendance at the Gala concert. London is expensive but I don't remember it ever being different and I saved up for my annual extravaganza before I was able to perform there.

As for the European, I think both sides need a kick up the rear. The EBBA have at best been extremely naïve to commit to contracts and in turn expense, if they in turn had no back to back arrangements with Besson.

Please let's hope that Kapitol realise that this (Like the Middle East Situation !!!) is a tremendous opportunity to be seen as the saviour of the London Weekend and invite proper consultation with the movement so we all feel appeased. As for the 'Profiteering entrepreneurs' that run our festivals and events, look up their accounts and you'll find that most of them are a long way from switching their bank accounts to Switzerland. There does have to be a balance between risk and reward though and we should not begrudge them that.

John M. Gillam

Remembrance March
 
You may be interested to hear that the first march used in the march past of veterans at the Cenotaph today, was in fact written by me in 1986 when I was a student at Kneller Hall, prior to becoming Bandmaster of The Duke of Wellington's Regiment. It is called Normandy Veterans and was adopted as the official march of the Normandy Veteran's Association.
 
I left the forces in 1993 and became a school teacher. I am presently a brass teacher for Northampton Music & Performing Arts Service, and also play Flugel Horn for The Ransome Band. Today was obviously an extremely proud moment for me and thought that you might be interested in sharing this news with your readers.
 
Chris North
Daventry


Shocking Result

I have just come home from listening to the bands in the local Treorchy contest. Once again I sat down listening to a Championship Section minus all the best bands like Tredegar, BTM, Buy as you View and Cwmaman. I wondered why, until the results were read out, why, these bands did not attend local contests.

I heard all the bands and I was so impressed by Parc and Dare. I could not believe my ears when Ammanford were placed third and Treherbert were placed second. Everybody in the audience was stunned when these results were read out.

What the hell is going on. Either the Adjudicators are as deaf as a post or there is something going on with the Welsh brass Band Association. Top class bands obviously will not compete in local contests in fear of being placed lower that the likes of Treherbert and Ammanford, who are in a different class. If I played for Parc and Dare, who are playing very well at the moment, which is nice to see, I would also follow the other bands, and Boycott the local contests until something is done about it.

Everybody placed Tongwynlais first and Parc second, which anyone with any Brass Band knowledge and years of experience agreed with. If results like this continue, Welsh banding will die out. So, if anyone from the Welsh Brass Band Association is reading this, SORT IT OUT, before its to late.
 
Paul Thomas

Well done Jason - or was it a typo error?

"Best Instrumentalist: Jason Bevan (side drum) - Tongwynlais". Was this a typo or did I read the results from the Treorchy Contest correctly?

Having been a percussionist for quite a few years (the last seven with Aveley and Newham and the previous four hundred years with the Bon-Accord Silver Band - Scotland), I have never come across a percussionist winning a "best instrumentalist" award. Well done to Jason Bevan (what did you play??) and well done to the adjudicator for considering the player in the first place.

It used to really annoy me when contests came around and where my band would be beaten by another band with missing percussion parts or in some cases with no percussion at all! I used to wonder why we bothered organising all the different parts, making sure that the right instruments were used, making sure that all the players knew what they were doing, etc. etc. I do it now because I enjoy doing it and I'm lucky enough to be playing in a band where the other percussionists also enjoy doing it. But, it's still nice to read that someone is listening to what we do.

Nigel Brinklow

Something else from Treorchy

The success of the Radyr & Morganstown (Melingriffith) Band in winning the Third Section at Treorchy (14/11/04) is all the more commendable in that it is the third time in a row they have won this event. (The previous two in Section 4). I'm sure this isn't unique but it must be fairly unusual.
 
Neil Thorneycroft- Treasurer  
Radyr & Morganstown(Melingriffith) Band

4BR Comment
We don't know Neil, but congratulations nonetheless

Well we did it....

(Tom Paulin writes to state how the first performance of Phil Lawrence's "Gregoritas" went)
 
The band did you proud despite being one percussionist down, They are feeling quite pleased with themselves but were exhausted after the concert - they all thought it was a great blow.

The feedback from the audience was quite something they really enjoyed it. Australia is not as up to date with music advances and to many to hear something like this was a first Margaret my wife did not listen to the piece  piror to the performance nor did she come to any rehearsals and she thought it was wonderful - she was sat next to many of the older ex Hawthorn players and they were staggered to hear the sounds being produced - one was so emotional that he had tears in this eyes during the second movement. He just closed his eyes, buried his head and listened to the conclusion of the piece.

We had the concert recorded and I have just been to pickup the recording - I think you will be impressed - well I hope so - I certainly like it and I am sure that we will be asking your permission to cut a CD from the recording with your piece on it...  I have got your address so I will send you a copy after I edit some things on Wed. with the producer and you can let me know what you think.  On behalf of myself and the band thank you for giving us the privilege to play a spectacular piece of music in Australia.

Tom Paulin

How many are you? 

I'm a norwegian student, studying English. I'm holding a lecture for my fellow student about brass bands. I therefor have a question; how many brass bands are there in GB today?.. I haven't been able to find an answer to this question anywhere, so I hope you can help me.
 
Birthe Kråkenes.
Bergen university college, teachers academy.

4BR Comment
There is no reallly accurate number that we know of Birthe, but by all accounts it is something around 2500 - but we may be wrong.

The baffling Albert Hall

Having just returned from the RAH and been present at the Music for Youth Schools Prom on the 10th, the comments from 4BR Editor, Iwan Fox and his appraisal of the Nationals came to mind. Undoubtedly, the acoustics in the hall have changed. I think it might be to do with the baffles above the stage. Anyway, during both the perfomances of both a Symphonic Wind Band and a Brass Band, it was really annoying how muffled the sound was.
 
However a revelation was the use of a boxing ring type stage in the middle of the arena for some of the performers. This was a real revelation to me and I would suggest that the powers that be at the nationals consider using this. As the RAH is round, it seemed to suit the accoustic perfectly!  It also created more atmosphere, and it reminded me of the great tournament atmosphere that used to be the case at Belle Vue many years ago.
 
I was in just abut the perfect seat.... stalls by the main door entrance (door 6). It was perfect for line of sight, but awful for accoustics for playing from the stage. It was noticeable that the sound improved when there were only strings playing or choirs on the stage, so again have things been changed to help the acoustic be more lively.
 
So if it is compromise we are looking for, why not try it out.
 
Finally though, I would like to say that like many others I find the place depressing these days. For the following reasons:-
 
1. Parking and access. (£3 per hour on a meter). Imperial College gets full!
2. London is not central.
3. £3.50 for a bag of crisps and a bottle of sprite!
4. Poor toilet availability for ladies.. rediculous queues into the already cramped access way!
5. The circular access way is ridiculously cramped during intervals.
6. Unhelpful staff. etc etc etc.
 
I realise that there is a tradition tied up here, and that has a value, but there are other better venues available surely!
 
Stephen Tighe

Kapitol disgust

Just wanted to express my disgust that Besson (in the guise of Kapitol, and yes I know they are separate companies before Jan Osman decides to add comment to that effect) have announced that they are not only withdrawing their support from the fantastic European Brass Festival organised by the EBBA, but  are also organising a competiting event in Harrogate on the same weekend.

The EBBA deserve every genuine bandspersons support. They have contracts in place with the inevitable costs and they have spent months if not years organising a fantastic celebration of brass banding in Europe and the best advert to grow our movement there could be [if the past two events, 2003 and 2004, are anything to go by]. To strip these hard-working individuals of their support at the last minute and to then have the cheek to attempt to organise an event in direct competition is downright underhand and deserves all the contempt we can give it.

I for one will be in Groningen at the end of April giving my support to those with the good of brass-banding in their hearts. It would be nice to see some of the major bands get off the fence and throw their support behind the EBBA, since we all know that it sadly doesn't matter how many national federations throw their support behind the EBBA it is going to be where the bands decide to appear that will matter. Come on YBS indicate your support to the event that has made your name in brass banding worldwide.

On other matters:

* Congratulations to the BFBB for getting their act together and organising an English Championships in 2006 to decide the English representative at the EBBA event.
* I totally concur on the comments made by Graham Rix...the Royal Albert Hall was the centrepiece of another great brass banding weekend, the National Finals, it is a venue that many of us lower section bandspeople aspire to one day appear for our ten minutes of fame...sadly we were stripped of that opportunity and the whole National Finals weekend diluted. (note the similarity with the events regarding the European championships!!)
* Thanks to John Clark, James McFadyen, Phil Lawrence et al for some entertaining and educative discourse on the comments page.

Hadrian Walters
Amateur trombonist with brass banding in my blood

Can we warm up properly please?

To respond to Phil Lawrence's gripe about warming up facilities at Pontins before going onto the contest stage, he cites his experiences with a number of top British orchestras. Whilst not a professional player myself, I've been to plenty of orchestral concerts (and played in many amateur orchestral concerts) where not only can you warm up backstage ready to go on and feel comfortable, but when the orchestra assembles on stage at the beginning of a concert and at the start of the second half, they tune up and warm up a wee bit more just to get a little bit extra confidence to play consistently (be they strings, woodwind, brass or percussion!)

It begs the question; when are they going to allow brass bands to do the same at contests? Bearing in mind it takes three or four minutes (sometimes longer!) between bands, I'm not suggesting allowing EXTRA time to warm up on top of the natural changeover, but whilst everyone's getting sat in their places, sorting out the percussion, etc., players could have a quick tootle to get rid of nerves to a degree, and generally get warmed up and probably feel a little bit more confident about their own playing on stage in performance, particularly useful I'd have said, in a situation like Phil Lawrence experienced at Pontins!
 
'Ah, but it's the same for everybody' I hear you say. True, but are brass band contests a test supplied to challenge you with as many obstacles as can be put in front of you or, (as I would hope) a festival of musical competition designed, particularly ON THE DAY, to get the best possible performance from each band? A quick tootle would hardly interfere with an adjudicators final summing up of the previous band before he/she blows his/her whistle, surely, as adjudicators are I presume, used to writing comments down whilst the bands are playing their particular performance anyway! 
 
 
Dave Payn

US reflection
 
Attending the recent US Open Brass Band Championships in Arlington Heights I was looking forward to your reflective restrospective on the contest. Listening to a live brass band is very rare for us so it was a joy to be present and listening to 6 hours live brass playing.
 
Your remarks were very kind and supportive of our brass scene and although I thoroughly enjoyed reading your thoughts I am surprised you weren't more critical of the playing of all the bands except that of BB Florida.  My personal biggest criticism is the the music that so many bands played.
 
Why do you need to play your own arrangements? There's a huge selection of quality works out there - original and arrangements. You win competitions with first rate playing not second class arrangements!
 
John Williams (not the composer)

Subject: November Editorial

I have read with considerable interest your November editorial concerning the issues arising from Besson's recent decision to move the management of the European Championships from EBBA to Kapitol. I agree with many of the sentiments you express, however, there is one area where I must take issue with you.

You state "There has been no appetite in Britain for a self financed, self administered national body - be it in England, Scotland or Wales". Whilst your assessment of the situation in England and Wales may well be correct, the situation which you describe most certainly does not exist in Scotland.

For well over 100 years, brass banding in Scotland has been administered by what is now known as the Scottish Brass Band Association(SBBA). This body is most certainly an association of bands operating on a one band one vote basis. All five of the office bearers and the other fifteen members of the executive committee are representatives of member bands, elected annually by the member bands.

The SBBA owns and operates the Scottish Registry, the Scottish Contest, Registry and Grading Rules and all of the major band contests in Scotland (the Scottish Championships, the Scottish Solo and Small Ensemble Championships, the Scottish Youth Brass Band Championships and the recently introduced Scottish Open). All other band contests in Scotland require to operate under SBBA rules and can only take place with SBBA approval.

We are most certainly self financed, funding our activities from a mixture of membership subscriptions, registry fees, proceeds from events, such grants and sponsorship as we can attract and from schemes involving advertising and merchandise. We have certainly been prepared to take the financial risks inherent in the promotion of major contests, notably with our launch of the Scottish Open and our hosting of the 2004 European Championships. 

We have no paid staff and all of our activities are undertaken by our volunteer executive members operating in their own time. This has not however prevented us from introducing certain successful commercial initiatives. One example is our advertising package deal for the band trade which allows advertising to be purchased for a range of publications (contest programmes etc) for all of the major events in Scotland within a calendar year, with the income generated then being spread amongst the events concerned. Another example is our merchandise operation which provides all of our member bands with the opportunity to have their own recordings sold from the SBBA stand at most contests in Scotland. Many bands participating in this scheme have received payments arising from sales which more than cover their annual subscription. Our aim is to maximise all potential income sources for the benefit of the band movement in Scotland.

We are also active in areas unconnected with band contesting (a sizeable proportion of our member bands being non contesting) and aim to promote and advance all aspects of brass banding. Such activities range from the organisation and promotion of the annual Scottish Brass Band Week, to lobbying the Scottish Executive and to the provision of advice and guidance to our member bands in various areas. 

We are far from perfect and we constantly strive to improve the service and representation we give to our member bands. We are however very proud of the fact that, in Scotland at least, it is the bands, operating through their self financed, self administered national association, which have ownership and control of their own movement. We would be absolutely delighted to see a similar situation develop in both England and Wales and then to work in partnership with national associations democratically representing the bands in each of those two nations to deal with those issues which affect us all.

Alan McLaren
President
Scottish Brass Band Association    

John Clark replies - for the Final time

Before I reply I must state that these and previous comments are entirely my own personal views and not those of Alliance Brass.

Secondly my letter did not criticize David King's interpretation. I use his (interpretation) only as a comparison to my own because his solutions to some of the sections differed dramatically to mine and
most other bands including Black Dyke's. There are no right and wrongs. I thank Paul Hindmarsh for his comments and I am glad that he has responded to this forum.

The most important part of my performance process is to study the form and architecture of the piece, that is its structure bonded with the speed of its underlying harmony. (For harmony please read tonal, modal, atonal, tonecluster, implied in the case of a unaccompanied solo and any other intentional gathering of sound or silence).  Every aural sensation of music should take us on a journey, from a beginning, through a middle and an end. This is regardless of whether its a single note, 3 minutes 33 of silence , or "all the flowers of the mountain".

The journey will transport you through various states of relaxation and tension (the architecture), the very stuff that rules our lives and our faith (good -evil, yin-yang, sweet-sour, perfect cadence (chord V=tension to 1=relaxation).  Great music (and art) has these relationships in an order that allows us to feel and to live the experience either emotionally (for some), intellectually (for others) or both. These relationships exist regardless of the genre, style, idiom etc. Not all art is deemed great but all artists strive to recreate those relationships within the confines of their medium. I feel its my job as the conductor to interpret those nuances and relate them to the players and the audience. It is only when I am at one with those relationships that I feel I have correctly interpreted the piece.

My criticism of "flowers" is that its internal relationships are 'out of balance' and its musical groups simply don't have the glue to hold up its structure. It feels more like a series of sketches than a completed work. The best writing is from the beginning to the climax at 7. The opening spiritual is developed into a rhythmic 9/8 motive which in turn migrates into the Vaughn Williams style 6/4. The music propels itself to a climax at 7.  This climax appears to be torn from a different music sketchbook since it does not use any material from the previous sections and its new material does not seem to herald the forthcoming 3/4. An opportunity is lost to consolidate the initial music groups and to invite glimpses of new ideas to come. With this and other examples I could mention the very fabric that should bind this piece together unravels at crucial points in the work thus eroding its structure, Without a structure the architecture ceases to exists. The original sketches for this work were for Symphonic Wind band as the composer stated in his lecture on Friday before the Nationals.

His scoring shows signs that his textures were originally composed for flutes/clarinets etc and not for the more mono syblic tones of the brass band. This would explain why a lot of the orchestration is top heavy and crowded and the bass end almost forgotten. It would be easy to create the tonal layers required at the climax at 7 with a wind band but with a brass band one has to exaggerate the dynamics to an extent that you lose the dynamic momentum (tension) created by the previous section just to hear the layers. I was not prepared to lose the momentum for the sake of hearing all the layers. David King was.

The following 3/4 dispenses with the "English" style of the previous section. Instead of an organic growth of musical ideas from one or two motives which we might have expected from this more "German" idiom we have a half dozen musical groups that share very little content between themselves. I would have liked a more polyphonic approach to this lyrical section as a foil to the essentially monophonic style of the previous and latter sections but it remains rooted in the "tune with accompaniment" mode. After a change key more attributable to Rogers and Hammerstien than Mahler we embark on a short dramatic recitative section that belies formal analysis. This has to be some of the most crass music I have heard from a contemporary composer and had my band giggling on the first run through. I could not make sense of this section so I decided to follow the composer's instruction and play it pretty much A Tempo. David King decided he would play it almost half tempo and exaggerates all the other "easing ins" as marked in the score.

I will leave you to decide whether the composer had any idea how this section should be played considering the difference in duration of this section between the 1st and 2nd place bands and the number of different interpretations I heard. The section ends with a sublime little codetta that literally sparkles like a jewel in this crown of thorns. A brief scherzo leads us back through a short series of rapid rallentendo's to the spiritual of the opening. You arrive at this recapitulation with a jolt, like waking up from a bad dream. There is no attempt to recreate the spaciousness of the opening and allow the spiritual a chance to breathe in its own space. Its not an elegant solution to this change of mood no matter how you pace the final rall.

I hope this very brief analysis adds a little more substance to my initial "flippant rant".

With regard to some of the other correspondents may I reply....

The only motivation I needed to write my initial piece was the National Committee's failure for the second year running to provide a worthy piece for the Finals and to miss another opportunity to show others just how fabulous this ensemble can sound. I also have no ladders to climb or axes to burn.

To put Mr Brinklow in a locked room with every Principal Cornet and Sop player at the contest and get him to repeat his comments about waiting for them to muck it up at the end. Why not end the next National piece with every member of the band in turn having to play a high D at ppp?

The Blackley band have a very talented conductor. A man that can denounce criticism of a piece music that he has yet to hear? Also - any original thought from any member of the band will not be tolerated.

With newly purchased binoculars Mr Lawrence discovers Australia.

John Clark is...............who cares, but he won't go away.

John Clark

4BR Comment:
Many thanks John - this now ends all correspondance on this matter

The interesting Royal Albert Hall

It is an interesting thread about the RAH. I live in the Midlands (30 mins from Symphony Hall) absent roadworks. Yes the facilities are fantastic and the accoustic could have been created for listening to Brass Bands. So why would I not be an advocate for a move there ......
 
Well I guess I'm a "traditionalist" - The finals have not been the same for me since the lower sections were moved to the regions. The excitement of the best in banding being in one place over one weekend created a buzz difficult to replicate.  The sights and top quality entertainment as diverse as anywhere in the world made it a real attraction for those family members not fully engaged in banding.
 
Yes its a trek to the RAH - So what - It was only once a year and for some band folks a once in a lifetime experience!! Yes London is expensive but just ask yourself the question why is it able to command high prices?
 
So in my opinion instead of further diluting the National Finals by moving out of London we should return to the good old days - Trust me if properly organised it would not be a backwards step.
 
Graham Rix

You should always ask! 

I would like to point out that it is not all down to Frank Hodges and his team! I also have a team that works very hard doing the three lower sections. Maybe a mention may be in order.
 
This is not the first time that I have written to you complaining about things put in about the lower sections without being asked.
 
Colin R Morrison.

4BR Comment:
Sorry Colin - Credit where credit is certainly due for the fantasic job you also do at Pontins and other events

My aversion to the cold

During our recent weekend at Pontins it occurred to me why so many of my friends have an aversion to Band contests. Of course they are mainly trombone and ex-cornet players finding any other genre of music more satisfying and of course profitable. Alas I'm a Euphonium player who loves Brass Bands and their music. I also enjoy contesting.
 
Firstly, fellow members and myself entered into the weekends knowing we may have a tough time against the field of Bands in the championship section. We however were serious about having a good old go. As it happened we had a great weekend and a not such a good placing. Oh well we tried and better bands won. I only say better Bands in the sense that they won the adjudicated contest. As far as a bunch of people I wouldn't swap my lot for any of the rest.
 
To get to my point!  As I have already said we didn't expect miracles but we did expect a fighting chance. I'm talking about the delay between being given a warm up slot and acutely walking on to the stage. The time between, nearly two hours not being allowed to play a note. A drink, or a chair for most of it. After spending so much time in rehearsals any band deserves better. To expect individual soloists to excel under such conditions is unacceptable. My personal upset was to split a couple in the last section of the euph solo. I felt extremely upset feeling I had let my fellows down. Of course common sense prevailed once I had been told not to be so stupid and handed a welcome pint. I still however would have wished to deliver a performance not endure some form of torture.
 
Finally I'm sure this situation was not the intention of the organisers and may have happened to everybody, but it is the sort of thing that turns a contest into a trial not a joy. I applaud the organisers for a great weekend!  I'm sorry to winge but please can this be considered before next year. It may never have had any bearing in the final placing but it didn't help.
 
John Gafney. 
W.G.C.Band.

Well done Dally!

I would just like to congratulate everyone at Dalmellington Band on their recent success at the Fife Charities contest! It was really good to hear our name being mentioned again at contests! It also showed a lot of hard work and commitment from all the players! Long may this continue and especially at the Scottish Championships next year! Once again well done to everyone at the band!!!!!!!!!!!
  
Jamie Ritchie

Pontins 25 years on (and 25 minutes to read)
 
Some things have changed since 1979 (last time I was there), for example the running water is now confined to taps and no longer cheerfully cascades down the walls from the window and into the TV, and plant life is mainly confined to outside as opposed to the pit of the shower basin. The WC is firmly attached to the floor and the fill rate of the bowl is no longer governed by the tide! Of course, waking up in a comfy bed instead of face down in the sand-pit surrounded by small cat presents is part of maturity now, not just an improvement on the accommodation! Indeed, being able to cook a pizza in less than a day is a vast improvement on those old stoves, which took £10 notes every 5 minutes!
 
Those were the days eh? But, you know, some things don't seem to change at all. Having not wagged a stick in anger for some time I returned to Pontins this year to do battle. As some might know, I've done my fair share of blowing in my time from CWS, to The Royal Opera, to the BBCSO & BBC Phil, Halle, Philharmonia, RLPO and the rest of it!
 
I believe it is organisers ethos (or should be) to want bands to do their best and provide hot competition, through hot on the edge, keen electric playing to make competition sharp. Contest and concert is more or less the same kind of animal to the player whether pro or amateur! So, as one enters the contest area one would like to be prepared both mentally and physically, yes? This is where the whole ball game goes "Charcoal! - Charcoal!" (some stompers will understand this cryptic).
 
If I had been playing with the BBCSO or the LSO at the Barbican, I would be in a position behind stage to have my own little area/corner having a blow to my hearts content until the point I put one foot on the first step on the stage which is one step away from behind stage. I'm fully warmed up, my instrument is warm, I've only been there for 10 mins which is just enough time to stay mentally sharp as well as blow the chops in enough. I sit on stage and in less than three mins, bang, you're off, and, you were ready. Of course, only pros are aloud this luxury?
 
On Sunday my band (& I) were rounded up at 10.30am, although pre-draw No 7 (good idea pre-draw), we were led to a room inside for a 20 min warm up (good idea). The room had chairs & no stands, we tuned chatted, I would have liked to have done a top and a tail so they could have blown out the odd cobweb at ff, but no stands for the music. We were then led outside for a good walk in the cold into the amusement arcade where we languished for an hour, yes, 1 hour and were not aloud to blow at all. Talk about going off the boil mentally, instruments cold, chops going off needing another warm up. We were then led outside again into a demountable to sign on which was another 20 mins, different temperature, not aloud to blow again even though we were outside the complex. Finally at 12.50pm from being called and fired up at 10.30am we were aloud to get on stage!
 
I've been around bands for the last twenty years (since a child, 30), and I just hear the same from all concerned, "I like contesting, don't mind it, it's the bloody waiting & time wasting that I can't stand!" This is the National Band hatred, waiting!
 
So, if this is the moaning war cry from all, why the hell cant someat' be done, I hate to remind people about this, but they did stick a man on the moon in 1969 you'd think they could have sorted a comfortable situ with no hanging around for a brass band competition by now then wouldn't ya! But hang on (sorry, humorous vein striking up now, just letting Alliance & JC know first in case they believe me), we could get NASSA to come up with a grand plan; like- "Erm no", it doesn't involve adjudicators and a very large rocket (although?), picture this scenario.
 
Drawn 7th, start @ 10am, test is 12+ mins long, main frame at Cape Cod (might as well have asked Captain Cod this year) has predicted 3.07429 bands per hr. Call the band at a predictable time, this could be done via satellite timer (triggered by each band leaving the stage) to band sectary's chalet who then text's the band to move to front area for 11.19 am. We move into warm up with area with stands to put music on to blow our piece for 20 mins. Time now 11.50am, we then move into amusement arcade to register 12 pm, this takes 20 mins, soon as it is done we move to outside warm demountable where door is closed and we are aloud to blow, talk, chat as we are outside with door shut, and they are inside with door shut. Time now 12.40pm we walk straight from demountable right onto to stage and off we go! NASSA, what an outfit eh?
 
Of course, NASSA could never calculate the sterling job our adjudicators do, like who plays too fast or slow or too loud or not quiet enough, or out of tune or unmelodious, who splits, who parps in the wrong place, is the ensemble uniform and does the music flow, to elevate the sublime sonorous tone, and to harangue those who emulate the Italian car horn factory. It's not a scientific judgement at all, is it? So, could NASSA help in any way here? Well, in some contests, providing a waiting rocket for the adjudicators could be a service that every one would like to chip in for depending on result of course. The rocket could be pre-programmed to the adjudicaicaors home address, and one other place chosen by consensus by the bottom 10 bands in the result, Uranus for E.G. (Planet Charcoal), could be a fave spot. Depending on how the adjudicators derive the placing of numbers 11 to 23, then goes to vote via the lower 10 bands and their satisfaction on their placement. Will it be, "Home Buzz, please" or, "Destination Planet Charcoal?"
 
I thought Dances & Arias was a great choice and a great piece, I'm no stranger to adjudication either, I've been stuck there from 9 am to 5.30pm and I know how bloody hard it is to sort out the lower placing in true merit although at times merit can be hard to find, but one must! I also have good ears. I asked in a 4bars interview a year ago for adjudicators to smarten up their act in lower placements especially in the larger contests. I feel this has fallen on deaf ears, which also tells why there has been no change I suppose?

Phil Lawrence

The US Open

Hey guys, I read the retrospective last night of the US Open. I thought that in twelve hours I could come up with an appropriate letter of thank you that would do your review justice. I cannot. We are all still picking our jaw up off the floor in astonishment for how supportive you were.

It was also just so well written. You are  pretty good at this stuff. It was better than our review which went something like "I laughed, I cried. It was better than Cats:)"

Clark Niermeyer
President
US Open Championships

High-five for 4BR
 
Thank-you 4BR for your look at the US Open competition you attended in the States recently. You really are jet-setters these days aren't you?
 
Anyway - full marks to you for your report and inquisitive look at the braas bands in the US - entertaining, supportive and everything those not fortunate enough to be able to attend need. With the turmoil surrounding our own movement at present it came as light relief to read the refreshing approach the Americans seem to have encompassed. Great stuff.
 
Simon Westhouse

And well done to Dearham

I would just like to take this opportunity to express how moved I was by the Derham Band that made the trip to Chicago for second annual U.S. Open. There performance was filled with great musically and much passion.
 
However the most impressive moments were spent outside of the contest venue. Their love of what they do, their dedication to the band, and their unique spirit is what overwhelmed all of us here in the states.
 
They will be remembered for not just what they did on the stage, but their superior attitude as ambassadors from the UK It was my honour to spend the time with these wonderful folks.
 
Kevin Cramer
Brass Band of Central Florida

More of the Alliance

To answer an Alliance question, I believe John Clark conducted Redbridge Brass in 1996 at the finals playing Robert Redhead's Isaiah 40 (played 10, came 13th).  His comments were quite entertaining I thought although I'm not sure what dress-sense has to do with it.

So, should the test piece selection process be more transparent and involving of the brass band movement in general? eg, perhaps an idea might be for the organisers to start communicating with the bands on this and other issues.

It must be difficult deciding how much tradition to preserve though. Is there a statement supporting the National contest's aims to which it aspires?  Is its purpose to expand musical awareness, be a flagship contest, and generate enthusiasm for the genre for players and new composers? Keeping it in a rigid container does perpetuate the clichéd view of a brass band, which does at least maintain some sort of identity I suppose. However, Salvation Army bands for many years existed in parallel and consequently developed a distinctive style, still quite definitely a brass band sound though.

From a composer's perspective exploring the sonic possibilities available is one of the joys of composing, and for me this should come from the heart and working to a deadline surely limits things here. Consequently I felt that although the test piece had solid creative motivation behind it was possibly rushed in delivery, which is a shame since there was much in the way of new and exciting writing that got buried.  I therefore didn't feel that the thematic elements always hung together particularly well, as good as they might be individually. Sum of parts etc. As there's more than one way to skin a cat, any new perspective from a conductor is perfectly valid, which takes us back to criteria for the contest. What I'm saying is that a traditional delivery can sound great as can an orchestral style, and both should be appreciated and encouraged, along with other coherent and considered deliveries.

From a trombonist's perspective, again the instrument's great tonal possibilities seem to have been missed, individually and as a section.  It seems a trio for a few bars is all they are capable of...not so.  We all love a good blast but lets have some depth please.

Lastly (but not least) the RAH, great a space as it is, really doesn't allow the listener to appreciate the subtle qualities of brass tone. The further from the performers you get the more compressed the dynamics, the more flat the tonal range and the smaller the sound. Brass needs some usable acoustic to sound brilliant and this hall is more akin to playing outdoors but with a roof, sort of 'stadium brass'!  So is the RAH the best place for the top contest in the calendar? Maybe not, but hey it's local!

Dave Wallace
Redbridge Brass

And how to use a boxing analogy 

It seesm that most of the contributors to 4barsrest like to have a pop at Alliance Brass, and Mr John Clark. It's a debate that plays out like a young featherweight dancing around the ring pursed by an old, mouldy streetfighter with a haymaker to die for - or from. Well, what's all this kerfuffle about anyway?

In the Blue corner, are banding's delinquents. It seems that John Clark and his band are cast as the 'enfants terrible' of the band scene, his charges' latest Diaghilev-like rouse is to world-premiere a nationals test piece at the RAH without so much as a run-through - shocking stuff!

Then in the red corner are those whose gut instinct is to see any innovation as evidence of banding's long slide into oblivion, led into the valley of death by the irresponsible youth of Alliance Brass, who think they can compete with Dyke, Fodens, B&R, Faireys, YBS, BAYV. To be in the red corner is to feel at least mildly disappointed and hurt if one of these elite bands does not make the top six in the RAH, but to also fight tooth and nail against any suggestions of a wholesale re-vamping of the contest format.

It's easy for us hard-bitten banders to accept the tried and tested formulae as far as banding music comes to mind - vibrato, muddily sonorous middle-bands, booming tuneless basses, unsubtle dynamic contrasts, exaggerated tempi, a pedantic obsession with the minutiae of notation.... after hearing years of these musical norms performed by all bands from the top to the bottom of the technical spectrum, one begins to think this is the only way a band can play. Suddenly someone new comes to the scene, and you think - that's wrong isn't it - that's not the way a top band would play it?

I must admit to have succumbed to this view myself. As a teenage Euph player I was once a keen fan of John Clough's beautifully restrained phrasing, as at home with 'Refrains and Cadenzas' as he was with 'Le Roi D'Ys'. But years of booming Euphonium sounds, cornets that sound like flugels, baritones sounding like Euphs, tenor horns like trombones has made delicacy an impossibility in a live brass band performance - the poise and innocence of Cory's winning performance of 'Ballet For Band' in 1983 is now impossible for bands.

You old nostalgic I hear you say, 'he's definitely in the red corner'. But here comes the twist. The closest thing I have heard to that classic Cory performance in the last 5 years was Mr Clark's charges at the regionals this year. They played Ellerby's piece with such simplicity, clarity, calmness and control that not only could I hear the tonal progressions clearly developing and mutating throughout the piece, but I could have pinched myself - didn't this beautifully silvery sound remind me of Black Dyke circa 1985?

As a perfomance it wasn't immune from the 'technique inflation' that bands have undergone in the last 20 years (and that's no bad thing) but this perfomance was at the very least heavily influenced by the traditional sound of a brass band, and harked back to a time before big bore became king, and when musicianship was prized more highly than prizes.

Dafydd Jones

I do have a sense of humour
 
Yes, I have a great sense of humor, and I can't believe that my humorous colourful language could be misconstrued. Being from Liverpool one always makes comment with a funny analogy, no point in being on a stage and not being able to crack a joke, or even take one?

Using the opposite to Mr. Clark's (or should I call him, JC, there I go again) obvious venomous language about the piece and even the contest, I only tried to point out the obvious. Perhaps he should have disassociated his comments away from Alliance, but the comments were fueled by placing. Lets face it, would we have read the same comments had Alliance come 1st?

I had the same conversation face to face with JC last year outside Queensgate Mews after Enigma (+ 10 pints), I was told that "He'd studied the Elgar recordings with Elgar conducting" and I said, "if you enter a horse race, don't take a donkey" Ooops, there goes my over colourful language again fueled by too much beer no doubt, perhaps I should have been a bit more PC/JC there and said, if you go to a brass band competition, best sound  like one. Now I think that is a bit too abrupt, and unkind, perhaps one should put it thus. When entering the game with the big boys it's unwise to, A. Say the rules stink when you entered and lost, and, B. Say, ner-per-wher, we didn't like it anyway. No, too childish me thinks, perhaps I could put it a bit Zen-like and say, "Life, is like a plastic tortoise" yes, I think this sums it up rather well, don't you?
Oh, one more thing & nowt to do with the above ('ish) just for the record, "I think Dances & Arias is a great piece, and I enjoyed every minute of it"

Phil Lawrence

PS. (to my earlier mail today) Mr. Edney.
Please count my original comments (in reply) to be as accurate as JC's original comments on the National Finials test piece! There, all friends now? See ya outside Queensgate Oct 2005.

The Ball's in the air
 
Having followed thought the story unfolding about Dr. Michael Ball's piece it intrigues me somewhat. I myself have not had the opportunity to hear the piece but I have heard mixed reviews about it. Since I've not heard it, I'm going to speak generally.
 
I must admit the last thing after a contest I would expect is bandsmen to be blaming the music or otherwise dissing it. We've all been there and done it long enough now to realise that contesting is a gamble and whether we win or lose is nobody's fault and it certainly isn't the composers fault.
 
I find music that is quite contemporary or at least a departure from the expected style can be a bit of a shock to some musicians. It is natural and very easy to dislike what the ear does not hear what we expect, on the other hand music which is 'different' will help move things forward, you must admit, Brass Band music is much more traditional than the Orchestral music of today and with successful composers like James Macmillan, Peter Maxwell Davies, etc, it would be silly to disregard 'modern' music.
 
I think pretty much all us composers agree we are in a bit of a state at the moment, we are in a time when in terms of technique we are practically limitless to write whatever we choose, but it seems that politically and socially composers are being held back. John Clark's statement is one such example of this. Don't get me wrong I'm not getting at John Clark, but we have to see the two sides of the coin, we must accept that some people are not susceptible to change and whenever change does happen, they take an opposing point of view.
 
One thing I have learnt as a composer is there is just no pleasing anyone. So, Dr. Ball's piece didn't agree with everyone, but let's not forget, composers compose for themselves first and foremost, I can't say I know of any composer worth his salt who would approach a composition by trying to write what the audience will want to hear, that said there is more than enough 'cheese' out there in the Brass Banding world, surely we don't want all music to be uninventive drivel. Inventiveness is a composer's craft, without it no music of any real significance will ever be written.
 
The question of aesthetics comes up as well, perhaps a few misunderstood Dr Ball's philosophical point of view or what he was conveying, seeing his music what it is on the outer core without actually hearing, or indeed feeling what is buried deep inside the music.
 
I couldn't quite understand your comments, Lewis Edney, I wasn't entirely sure if you were having a go at Phil Lawrence or were on his side, probably just your eloquent writing. None the less, I believe that Mr Lawrence was commenting on the age old argument of old versus new, that is to say to have some inventive music which is so extraordinarily written and 'modern' as apposed to 'cheesy' traditional music which simply repeats itself and anything from the past and shows little inventiveness. At least that's what I picked up, since John Clark's comments seemed to be attacking the inventiveness, the techniques and aesthetics of Dr Ball's piece.
 
To finish, I would just like to say that although I have not heard the piece, I believe the work is very refreshing and original, and that in itself makes it a masterpiece and it may take some time before Dr Ball's writing in the piece is fully appreciated by certain members of the banding community.
 
If only all composers would show the same new thought in their music, we'd not have the argument of 'modern' music……….It's the complete littering of cheesy money-making-machine music that seems to dominate the industry and when we do have something original it's like "Oh no, we can't have sounds like that in the Brass Band"
 
I blame some publishers as well, some of them will publish anything, I remember when I was 15 when I first started composing seriously (only 9 years ago) you actually had to show originality and skill in your craft, now it seems all you have to do is buy a copy of Sibelius and as long as there are no wrong notes, they'll publish it. It's all gone to hell.
 
I say good on Dr Ball - it's about time we sort the men from the boys and the women from the girls (Judith Bingham with 'Prague') and put on real original music which soars above everything else, like the brightest star in the sky.
 
James McFadyen
Composer

The Hall was OK, but the piece...

The RAH test piece seems to have been effective in once again placing the bands in their established order of merit, but I DO have to agree with John Clark about the quality of the piece.

I had recently returned to brass bands after over 20 years in other fields of music. I was a member of one of the qualifying bands for the Nationals (not Alliance). The first play-through of this ill-conceived and pretentious piece persuaded me that I didn't want to spend 2 months of intensive rehearsal bashing out top Cs and Ds to little musical effect (it is a hobby after all!) and I resigned before the process began.
 
Andy Callard

Wish we were not here

My wife and I were at the RAH this year as usual, and I listened to 18 bands and my wife 20. We stayed for the concert and had an enjoyable day.  But we do think it is about time the championships are held somewhere else.  Despite what was written an earlier email we only come London for the day like most people and not as tourists. The RAH is not an ideal location, it is long walk from the underground, hotels and restaurants. 

The seats are very costly we paid £25.00 each for a seat in a 2nd tier box compared with £19.00 for the best seats in Symphony Hall.  We were kept waiting outside in the cold waiting for doors to open.  This does happen in Birmingham where one is bale go inside, meet friends have a drink.

There so many affordable hotels and eating places all arould The Synphony Hall. Perhaps we should as Roy Newsome suggested move the Championships around the UK.

John Roger
Cardiff
PS.  The RAH even charge a booking fee over the phone, whereas the Symphony Hall charges only 50p for postage.

Not quite a "forward thinker"

Wow things are getting personal about John Clark - he is entitled to his opinion but he really does himself and his band no favours by being so veciferous (have I spelt that correctly) (no - Editor!). If he is trying to give the impression that he is a 'forward thinker' in brass band terms and make a name for himself then he has failed (miserably). I'm sure that I don't need to write what the rest of us think he is - it's unprintable.

For the gentleman from Houston who doesn't know of John - he used to conduct Redbridge and don't worry in a few years time he will be gone because, I'm afraid, John Clark will have disappeared up somewhere!!!

Julia Crask

Who is John Clark? 

Who's John Clark? What does he do? What has he achieved in the Brass Band Movement? What wonderful things has he brought to the Brass Band Movement? Is he a God? So then John......
 
I think your comments on the piece, the contest, David Kings attire and 'interpretation' are a joke. When you have achieved what he has or at least get enough players to your rehearsals then you might have a platform to voice your opinion. In the meantime its cleary obvious that banding isn't for you, go and paint a pretty picture or something.
 
Peter Rowley
Rochdale

Does Saddleworth have all the best bands?

Having been 'born and bred' in Saddleworth, a small district famous for its Whit Friday March Contests, I used some of my spare time at Pontins (being drawn last on in the Championship Sestion!) to consider the following question - "Is there any other area in the UK that could lay claim to the highest number of bands entered across all sections, players from that area to have competed in the top section and finally have so many principals of bands in the top section"?
 
When you consider that this is a district of only a few miles in area, the fact that it has 8 senior bands and possibly even more youth bands, it annually entertains audiences with over 100 bands attending the Whit Friday march contests, holds a concert by a quality band every month and every sunday evening you would be able to attend a concert of brass music at one of the band clubs, the following statistics may not surprise then!
 
At Pontins 2004 :-
 
Championship - Dobcross, 2nd Sec - Delph, 3rd Sec - Boarshurst, 4th Sec - Uppermill, Dobcross Youth, Greenfield.
 
Principal Seats in HM Championship Section - JJ Lees (Prin Cor Pennine Brass, from Denshaw), Laura Hirst (Prin Cor Dobcross Silver, from Delph), Emma Farrow (Prin Euph Hepworth, Delph), Nick Young (Prin Bari Hepworth, Delph), Mark Smedley (Sop Hepworth, Grasscroft), Rebecca Landon (Solo Horn Hepworth, Delph) and finally myself, Soprano with BHK UK Ltd Hordern, from Delph, once tutor of the first two names on the list and now exiled in Redcar.
 
Other mentions go to all the other players from the area in HM Championship bands (too numerous too mention!), to Phil Chalk, MD of Ashton who is now a resident of Delph with his wife Claire (nee Shepherd) and congrats to Paul White, Principal Cornet of winners Staffordshire, who held the same position at Dobcross a few years ago.
 
This is not to mention the numerous banding stars who live in the area, including Fodens' Glyn Williams who lives 30 seconds from Emma Farrow and 1 min from my parents! Also the number of ex stars from the area.
 
So, unless Glossop has got a better claim, because that is another local nucleus of stars (but not quite as good a percentage as us I feel! ) I think that Saddleworth has the strongest claim to being THE "Hotbed of Banding"!
 
Mark Rodgers
 
PS. Apologies to anyone I have left out!

Text Messaging 

Excellent idea - particularly for those of us whose own banding commitments sometimes keep them away from major contests such as this year's Nationals. Well done lads (& lasses if appropriate!) - keep up the good work!

Angela Tregaskes
Oxted Band
Surrey

Looking for a band - in Swansea

I have recently moved to Swansea and I am studying in the university there. I am looking to join a brass band in the Swansea area but have no idea where to start. I've looked at your vacancy listings and there is nothing for Swansea. Have you got a list of bands in the area or any ideas on how to find a band that wants a Bass player?
 
Dean Woods

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