Comments ~ 2005: January

Clowns and Jokers; Welsh Taffia; Who are you 4BR?; 4th Section disappointment and Spennymoor's falling standards as we round off January.

4th Section disappointment

I was very disappointed, having waited the extra day, at the standard of the 4th section review of Butlins. All the other sections got a band by band review, why wasn't this the case for the 4th section? Perhaps it's because no-one at the 4barsrest.com team thought it would be worthwhile listening to us?

The 'review' of the 4th section has little worth (as an independent review of the bands) and reads like it has been hastily cobbled together by someone who probably wasn't even in the hall at the time. The review draws heavily from the adjudicator's remarks rather than giving and independent assessment of the bands' performances (as was done in ALL the other sections).

It's a real shame that your standard of reporting fell away so drastically in the last movement, otherwise I might have put you in the prizes!

Chris Satterley

4BR Comment:
Fair point Chris. We did have someone there, but they were unable to listen to more than half the bands due to them having to play in another section. It meant we couldn't give an appriasal of all the bands, so we decided to approach the coverage slightly differently and gain the views from someone who did (the judge) and talk to the winning conductor. Apologies, as it was the best we could do on the day, but we will aim to provide our usual full coverage next year.

Why not Queensbury anymore? 

Can any one out there tell me why "Dyke" don't play their signature march "Queensbury" at their  concerts anymore. I would love to hear it.

David Garfield.

4BR Comment:
We understand that the band do play the great old march very regularly indeed at concerts, but certainly not everyone, so perhaps next time you get to hear them you wil be lucky. 

Falling standards

Having just bought the CD of the recent Spennymoor Brass in Concert Contest from 4BR, and having spent time listening to it, I must agree with Iwan Fox's review that the standard of the contest has got worse over the past few years.

Where are the likes of BAYV, Fodens, YBS? A few years ago they were all here, but not now. Are the organisers going to do something about this or are we expected to turn up at the new Sage Centre to endure the quality of performances we hear on the majority of this CD?

Jeffrey King

What are you 4BR?

Having read on a brass band chat forum that 4BR is now working for the British Bandsman, can you clear the situation up for me. I understood 4BR was independent, or has the Salvation Army swallowed you up too? I always enjoy 4BR and your views (which I don't always agree with), so will you be remaining as you are, or not?

Ian Crane  

4BR Comment:
Ian, we remain totally independent of anyone. The site is owned and run soley by Anthony Banwell and myself [Iwan Fox] and no one else has a say in our editorial stance, our coverage and what we try to provide people.

We do however, work on a freelance basis with the British Bandsman who advertise on our site to try and provide further news, articles and events coverage for a even wider audience.

Is there a Welsh ‘Taffia'

Having attended the recent Black Dyke Concert at Cardiff (and thoroughly enjoying it I must add), and then reading the review of the concert on 4BR, I started to wonder whether or not the brass band movement in Britain is now being run by a secret society of the Welsh called the ‘Taffia'.

Two of our best bands are conducted by valley lads and 4BR is run by someone from Tredegar as well, whilst the chat room site themouthpiece is also I believe the brainchild of a Welshman. Add to this Philip Morris at Kapitol, David Read as our leading adjudicator and even Bram Gay at the British Open and it seems the Welsh are taking over the world.

Is this a conspiracy or can we all sleep safely in our beds?

Philip Styles (also a Welshman)

4BR Comment:
Don't look under your bedclothes tonight Philip or you may see a pit pony's head surrounded by a wreath of leeks, daffs and a few rugby balls. The Welsh are everywhere, but we all seem to be doing a pretty decent job, don't we? 

Clowns to the right of me, Jokers to the left...

What set of clowns chose the test pieces for this years Regional Championships? They must be joking if they think bands in the Second and Third Section can play ‘Variations for Brass Band' and ‘Tam O'Shanter's Ride'.

Just because they have been around a bit doesn't mean they get any easier and the bands at this level have next to no hope of putting in performances of musical merit. Struggling to play them just to see if it may get you in the prizes is no way to encourage players. This must rank as one of the worst set of choices ever.

Mr V. Langstone.

Bonkers!

Just a quick note to say thanks lads for your recent CD reviews – I haven't enjoyed myself as much as this for a very long time. Funny and informative - he must have one heck of a bonkers mind. Mr Fox just lets his imagination go and it makes the review so much more interesting than having a list of what of whom played this and that. All that and it makes you want to actualy buy it! Well done boys. I can't wait for the next one!

Ian Balderstone

Well done 4BR and Butlins

Well done 4BR on the standard of reporting from the Butlins Mineworkers Contest at Skegness. Nice to see you took the time to listen to bands from the lower sections, and take the photos and get comments from the adjudicators and conductors.

This is the way forward with reporting of events, especially such a good one as this. Butlins have certainly upped the ante with their approach and I hope that others follow suit. We had a great time all weekend, and I am sure plenty of others did too. Looking forward to next year already.

Paul Dickson. 

Big Brother at Skegness

My family had a great time at Skegness (although we agree with Iwan Fox that the Police can't have much to do as everything is recorded on their CCTV cameras! It must be like living in the Big Brother house living around Skegness). The weather was OK, the accommodation and food excellent and the entertainment from both the bands and the acts on stage was first class. Just a couple of grumbles though:

Why start all the sections at the same time? Couldn't the Championship Section on the Saturday have been held back a bit longer so that people wishing to hear it after their contest finished could do so?

Why weren't all the points given for the bands in each of the sections? Many players didn't know until they read it on 4BR where they had come, and that was a little disappointing.

Why do the top section bands all want to play so loud? (That's just a personal gripe!)

Apart from that, it was a great weekend.

Mrs S. Evans

Well done to Faireys

I have attended the concerts of the Stroud Brass Band Festival for many years, but I found the 22nd January one with Fairey (FP) Music Band quite outstanding and worthy of comment.  The guest conductor, David Evans, chose a varied programme, which catered for all tastes and the inclusion of seven soloists, instead of the usual four, added both spice and interest, particularly as two of them were still in full-time education!  Good conducting and excellent playing throughout made this a most enjoyable evening.  It would seem that despite their recent problems "Faireys" still have what it takes to be good entertainers as well as being a top contesting band.  Thank you!  May you continue the good work!

John Forryan

I think I may be misunderstood!

I think that a couple of the people who responded to my comments have misinterpreted or exaggerated my point, especially David Chaulk, who moans about moaning and bitching, and yet responds with three times the bitterness of my original comment. If he think that I was trying to present my comments as fact, I would say that on such a 'comments' page, surely nobody's contribution is anything more or less than an opinion. I was using 'Prague' and 'Cloudcatcher' merely as examples of the damage that I think has been done, and had no intention of re-igniting the 'Prague' debate.

I agree that some of the bitching in banding is damaging, but I think it would be far more damaging if there were nobody left to do it, because there were no audiences willing to listen to contests. I remember this being the case at the most recent contests in which these pieces were used. At the areas in 2003, I saw the faces of all those people who hadn't heard the piece before-I wonder how many newcomers who heard that piece were attracted to banding by it? The audience turnout was way below average, and I call that damage. At the 2004 areas, I felt proud to see enthralled members of staff at the venue watching the contest, attracted by the great piece that was used.

Some of the responses seemed to compare banding with orchestral music and I think this is unfair. The reason my comments showed an 'insular brass band mentality' is because I want banding to remain true to its roots, and not become indistinct or merged with other types of music- like orchestral. I appreciate the need to change and develop though. The main point I made was that, if test pieces don't interest an audience and players, interest will be lost in banding. The pieces I mentioned aren't, (in my opinion!), accessible enough to generate and sustain interest in banding.

Sorry if I've rambled on, but I didn't mean to offend fans of Bingham and McCabe and hope that I've explained my point. I might just follow Andrew Baker's more constructive suggestions- but my opinion is still unchanged!

Matthew Clark

All down to money! (for the Welsh it seems anyway)

For over 25 years I have competed with various bands, and its quite sad to hear that everything boils down to money rather than plain musicianship.
 
For the likes of Championship Section bands such as BAYV, Tredegar, Cwmaman and BTM etc not attending the Treorci Contest, due to the fact that the prize money was not substantial enough for them to compete - Have they ever sat back and thought,about the amount the lower section prize money is!
 
Not to mention that they too were once a lower section band, striving to earn some band funds. As for all the other bands that did attend the Treorci Contest, they are all in the same boat as far as the prize money is concerned. Do they withdraw because of this factor and follow the attitude of the bands in the championship section and loose the Treorci Contest. NO !!!!!!
 
So to all you championship bands that intend not to attend contests in future due to prize money I ask you:
What is more important; Competing and retaining your dignity in the brass band world or withdrawing from contests because the prize money is suitable for lower section bands but not for your band .
 
Ian Howe
Newbridge Band

Going quietly eh? 

Well, Iwan Fox wants to go quietly does he? Well, it's just not right for a top class soprano player to bow out like that is it? The news of signings at Tredegar and the nonchalant comment that 'Iwan Fox has retired from playing' is slipped in.
 
I would like to pay tribute to Iwan, he is a superb player and an inspirational brass bander. Committed, loyal and with the talent that has seen him guest with the very best of bands such as, YBS and Black Dyke. He is surely a sad loss to bands as a player. We'll still see him at the contests with his dictaphone and camera ready but it is a shame we won't hear him again.
 
He is probably the most modest player I have ever met and with him running 4barsrest he can't get the recognition he deserves because you can't go writing about how wonderful you are or how well you played in a contest, people would question that.
 
So, I hope you all will join me in wishing Iwan Fox well in the future and to acknowledge that we have just lost a very fine player.
 
Alex Kerwin

4BR Comment:
Sorry, but it is true (and about time most people would say!). Running 4BR is now a full time job and with other things taking on more importance for me in the past few months I thought it was just the right time to slip away. Just one more job with some great people in New Zealand and then my lip can have the next 40 years to recover! Many thanks though Alex for the very kind comments.  Iwan.

I should 'Rococo' Variations

(Everyone seems to know where to get a recording) 

In response to Paul Walton's query, Rococo Variations was an area test piece in the late 70s (1978 I think) for the old 3rd Section as was. I remember playing it and coming third despite medical certificates excusing our signed excellent bass trombone and soprano players and on the day terrified replacement players helping out with sterling efforts.

We just missed promotion under the Scottish Amateur Band Association rules (but got this a couple of years later with Main Street). There is a recording by the BNFL Band conducted by Richard Evans. The label is Polyphonic and the CD is called Un Vie De Matelot - Volume Three in the Masterworks for Brass Band series. Catalogue number is QPRL069D and Polyphonic's address - in 1994 when recorded - is 77-79 Dudden Hill Lane, London NW10 1BO. The track listing includes Un Vie de Matelot, Snowdon Fantasy (another old 3rd Section test piece - easier than Rococo!), Little Suite for Brass and Land of the Long White Cloud. BNFL are on top form with this recording - recommended!

Russell Cavanagh

Variation 1

I was reading the article on the Rococo Variations,  I have this CD at home which I got from Polyphonic recordings (QPRL).  It's recorded by the old BNFL band under the title "Un Vie de Matelot" -  A Sailor's Life", conducted by the Richard Evans.  As far as I believe it's available from their Band Secretary.
It's also available on the old Paxton Label  - Black Dyke Mills Band CD0032 The Paxton Years Vol 2, address is below:

Park Recordings
Park View House, Newbold St, Bury, Lancashire, England, BL8 2RR U.K.
0161 797 7991 Email : eric@park-recordings.co.uk
There website is http://www.e.willan.btinternet.co.uk/index.htm

Gareth McDonnell
Soprano Drogheda Brass Band

Variation 2,3,4,5,6 etc....

I have a recording of this piece, played by the then BNFL band conducted by Richard Evans. It is a Polyphonic recording QPRL 069D. I was playing with Tullis Russell Mills Band when we won the Scottish second section playing this piece in 1995.

Allan Morrison.

For Paul Walton, Park Recordings have re issued this by Black Dyke on the Paxton Years Vo.2;
http://www.park-recordings.co.uk/
 
Charley Brighton.
  


I see that Paul Walton is looking for a recording of Rococo Variations.
 
To the best of my knowledge, this was only recorded by two bands on LP as follows: -
 
Black Dyke on a Paxton 10" LP, reference LPT1028 in 1989.  Side two consisted of Little Suite No. 2 OP 93, and the March Bandology.
 
City of Coventry on the Decca Sounds of Brass Series, reference SB315 in 1974.
 
If Paul would contact me directly then I will be pleased to let him have a recording, with my compliments.
 
Keith Quinn
Sunderland
  
  
  
Yes we have a copy of the recording of 'Rococo Variations on a Theme by Tschaikovsky' which Dyke made on the Paxton label circa 1968.  Also on the same record is 'Little Suite for Brass' by Malcolm Arnold and 'Bandology (Concert March)' by Eric Osterling, arr Frank Wright.
 
Paxton released several of these 10" records around this time - we have 4 of them - and the sleeve shows very youthful looking conductors, Dr Roy Newsome and Mr Geoffrey Brand.
 
Unfortunately we don't have the technology at the moment to either play our LP's or provide a recording for your writer, but we'll make some enquiries amongst our friends, to see if we can come up with a copy (providing, of course, we shall not be breaking any copyright laws!).
 
Shirley Hutchinson
New Malden, Surrey
  

In response to the Paul Waltons request for a recording of the above, it is available from Park Recordings (check the web site) on a cd by Black Dyke Around the Paxton Years Vol 2     (Vol 1 is also sensational, Le Roi D'Ys etc, M. Murphy!!)
 
Eric Vine

In reply to Paul Walton, seeking a recording of Rococo Variations, we think the very recording mentioned is Paxton LPT1028, one of the Championship Brass series recorded by Black Dyke Mills Brass Band.

Jillian and Colin (Pondasher extraordinaire) Dixon
Reg Vardy Band

Black Dyke ( Conductor Geoffrey Brand) recorded this piece on cassette Reflections in Brass, Volume 1, CFB 101 issued in 1980 by Polyphonic Reproductions. Other bands featured are Crossley Carpets, Fodens, Fairy and CWS Manchester.
 
Richard Banks

I have a recording of Rococo Variations, on a disc by the BNFL band, on the Polyphonic label. The cat no. is QPRL069D, and was produced in 1994. title of the disc is Un Vie De Matelot, and as you would guess it contains this, along with Snowdon Fantasy, Little Suite For Brass and Land Of The Long White Cloud.

I'm sure there must be a copy out there for sale somewhere, but if not, please give Paul my e-mail and I will sort something out for him.
 
Simon Sheppard

Butlins 2005 - A couple of questions?

Had a fine weekend at Skegness....but will 4BR  be publishing the adjudicator's remarks - and if so, when? Also,....why did the organisers keep the non top 4 positions from you (or us in cyberspace) for so long?

Keep up the good work - you're the first site I log onto in the morning !

Neil. Batty

4BR Comment:
We also had a great time Neil. The organisers, the NEMBBA only released the points for the top four bands to us and the rest of the press, but did release all the placings later and gave all the competing bands their marks. We did not request copies of the adjudicators remarks on this occassion as we didn't have the man power to get them all typed up in time, but we will do next year.  

Why drop us!!!!

How can you possibly drop Reg Vardy from 8th to 12th place in the rankings they were probably the most consistent performers last year outside of the top 3. Also some of the bands who have been moved up above them did nothing at all last year. I thought the rankings were supposed to reflect current form, obviously not! Shame on you.
                         
Gordon McGeorge

4BR Comment:
The 4BR/World of Brass rankings have undergone review for 2005 and now we feel more accurately reflect the relative strengths of bands over a realistic period of time (not just the one year). It has meant that a number of bands have "lost" points, but this has been done to make the overall rankings more reflective of the contests the bands compete in. Please read the current explanation on the latest rankings, whilst we will be providing a much more detailed analysis in the next few weeks to make everything crystal clear. 

Looking for Halleys Comet, or even an article from Mark Frost?

Halleys Comet will reappear in our night skies in the year 2062, not long in a Big Bang timescale. Articles by David Thornton and Mark Frost will probably still be coming soon around the same year. At this rate they'll probably be doing their articles on their experiences in the adjudicators box!
 
Billy Brook

4BR Comment:
You have got us bang to rights here Billy. We have asked these two fine gents to do articles for us, and we are afraid we are still waiting. We will chase them up, although in defence they are very busy men and performers. Apologies are in order however, and we hereby make them in full.

What about Birtwistle and Duddell then?

Phil Lawrence names Harrison Birtwistle and Joe Duddell as two composers 'yet to write for band'. To my certain knowledge the two of them have clocked up at least three pieces between them - Grimethorpe Aria and Salford Toccata (Birtwistle), and Barrage (Duddell). Perhaps others can add to the list.
 
Alec Gallagher
London NW9

Helping the "thickies"

I don't know if you are being generous and trying to give thickies like me a chance of getting at least 10% on your quiz, but surely you must be aware that in Question 4, you have put the answer under the question! Oops.

Oh, and my entry consists of the following:

1) Queen somat
2) Don't know
3) Who knows?
4) George Bernard Shaw
5) Dunno, but very nice thank you
6) Somebody
7) Can't remember
8) Pass
9) Hmm....
10) Sorry - escapes me - on the tip of my tongue.

Do I win a prize??

Richard B. Parsons

4BR Comment:
Well spotted Richard. The answer is there, but it doesn't make the rest of the quiz any easier does it? Try again and we think you may be in with a better chance! Some have got them nearly all right.

Lost at Sea? - not anymore

I believe the  person asking for the piece mentioned above, can think of: "Ut mot havet" (Out to the sea) by the Norwegian composer Edvard Fliflet Bræin. That is a very beautiful melody and is arranged for both brass band and wind band. It can be ordered at Nordic Sounds www.nordicsounds.com

Viggo Bjørge

And a bit more...

"Ut mot havet" (Towards the Sea) was written by the Norwegian composer Edvard Fliflet Bræin (1924-1976) and was original written for Orchestra. Fliflet Bræin works includes 3 symphonies, 2 operas, several other works for Orchestra, and quite a lot for choir (mostly malechoir).
 
His little gem for Orchestra "Ut mot havet" become most popular in Norway and there was made arrangements for both wind and brass bands.
 
There is (as far as I know) no recordings done by any brass bands, but there are quite a few with Orchestras around. Try "Norwegian Raphsody, Orchestral Favourites" with Stavanger Symphony Orchestra - check this link for a rewiev - http://www.musicweb.uk.net/classrev/2003/Mar03/Norwegian_rhapsody.htm
 
Morten E. Hansen
Stavanger

And a bit more...

Out to the Sea ? Edvard Braein.   This can be found under it`s original title: "Ut mot havet" (Edvard Fiflet
Bræin) on sale at www.nordicsounds.com                                             
                                                                                                 
Jostein Kalvenes
Eb Bass
Tertnes Brass                                                         

Damaged by Cloudcatcher? Don't be silly!

I was surprised to read that Matt Clark thinks that music like Cloudcatcher Fells and Prague have damaged the image of banding.

I frequently speak to people, some of them musicians but all of them interested in music, who have no intimate knowledge of brass bands and their repertoire. Many of them, I suspect, think that bands are still majoring on the march, waltz and selection themes of 100 years ago - if they think about it at all, that is.

So they are pleasantly surprised when I tell them that the country's most respected mainstream composers, like John McCabe and Judith Bingham, are writing original music for brass band. In these people's eyes the image of banding, far from being damaged, is being significantly enhanced.

Matt admits to being young, and there's no disgrace in that. But there are large numbers of his peers who are playing the music of the country's leading contemporary composers, in all sorts of different musical ensembles, across the nation. I think perhaps, Matt, that you need to broaden your horizons. Locking yourself into the insular brass band mentality is doing you no favours at all. And in any case, I had rather gained the impression that Cloudcatcher, at least, had proved quite popular, even amongst the more reactionary elements of the brass band fraternity. Is it really already twenty years old?
 
Alec Gallagher

Has Mr Clark ever listened to it?

Does Matt Clark realise that Cloudcatcher Fells was commissioned for the 1985 Nationals and subsequently used at the Masters, British Open and Pontins contests and will shortly be used at the Cambridge venue once again which begs the question as to how John McCabe has not 'satisfied' bands with this masterpiece. Mr. Clark admits to being young an so one would assume he wasn't in attendance in 1985 to experience that stunning, winning performance by Black Dyke under Peter Parkes, in fact has Mr.Clark ever listened to the piece at all?
 
Peter Herbert.

Clark's closed mind

I wonder if Matt Clark can qualify his statement that Cloudcatcher Fells and Prague having done 'irreparable damage' to the image of banding?

Occasionally, I've tried to introduce orchestral associates of mine to brass banding by exposing them to music such as McCabe's Cloudcatcher Fells. Often they respond by expressing the view that the piece is too conservative for their liking. Invariably, however, they (especially the brass players) express shock and joy at the quality of playing they hear.

Our movement is small and very niche compared with other mainstream musical genres. The last thing we need is incessant bitching and moaning about any piece of music that falls outside the 15 or 20 'acceptable' test pieces and the half dozen 'acceptable' test piece composers. Mr. Clark apparently thinks Cloudcatcher is too remote, some of my professional friends think it's too old-fashioned - neither of them are right. None of us have the right to express absolute statements about any piece of music or art. We can, and should, express strong opinions - I love this, I hate that, it leaves me cold, it sends shivers up and down my spine - but none of us are in a position of ascribing absolute good or bad to a piece of music.

Maybe the biggest danger to the image of banding is closed minds within the movement.

David Chaulk

A discourse on about everything...

Following a few of the threads established in recent weeks:
To Matt Clark, if you believe, quite rightly, that "nothing comes close to hearing one of the world's best bands play a great piece" I can only say get a copy of Black Dyke's 1985 CD The Complete Champions and a score of Cloudcatcher Fells, and spend some time with the piece. It would be in my top ten pieces of music of all time, not just for brass band. The "Angle Tarn" section contains some of the most beautiful brass band writing I have ever heard and the huge chorale "Helvellyn" defines the modern brass band sound - it's what I would play to any musician who is not familiar with the exhilarating sound of a championship brass band on full throttle. The piece's popularity on the contest stage simply confirms that it is a classic and will be with us in fifty years time just as Pageantry, Resurgam etc. are still with us now.

Although I think I would probably join you in the bar rather than listen to too many more performances of Prague, I will defend to my dying breath Judith Bingham's right to compose as she sees fit, especially as Prague is an extremely accomplished and clever work despite not being as easy on the ear as we banders would like. I can't agree that "irreparable damage" has been done by any contemporary piece of music (except perhaps the Floral Dance); in fact I would argue that this year's area test pieces, despite being excellent pieces of music, do the band world no favours in the eyes of both young players and the greater musical public because the newest composition (Divertimento) is 32 years old.
 
To John Bray, I wholeheartedly agree that Classic FM is actually doing the listening public no favours by limiting its output to old favourites and "easy listening" film scores - although I am a John Williams fan! I am firmly of the opinion that the odd "difficult" piece - not perhaps as complex and demanding as Prague, but a challenge none the less - would make any concert or recording more interesting for performers and audience alike. I simply won't buy recordings (of any band) that consist purely of "lollipops". Morecambe Band recently organised a competition along the lines you suggest for their centenary and I know that Lindley Band organise a similar competition regularly under the respected patronage of Professor Wilby - this is an area where the BFBB should be helping bands to raise from Arts organisations for this sort of work.
 
To Phil Lawrence, I think Judith Bingham knew exactly what she was letting herself in for when Prague premiered but had the integrity not to compromise what she wanted to write simply to avoid a load of verbal i.e. she didn't give a rat's ass. I met her several years ago and she struck me as not taking any crap from anyone. I am reminded of the fuss about Life Divine, Spectrum, Energy, Fireworks, etc., etc., etc., every time I hear players say that this is the end of the brass band as we know it. I also think in a number of cases some of our foremost composers simply haven't been asked to write for brass band - I'd love to know if Elgar Howarth ever tried to get a piece out of Peter Maxwell Davies!

Incidentally on the subject of pedantry I'm sure you realise that Harrison Birtwistle has written at least two brass band works, Grimethorpe Aria and Salford Toccata, and (for the benefit of Dave Payn) George Benjamin wrote Altitude for brass band in about 1977. James Macmillan has written for brass ensemble (the quintet Adam's Rib from 1994ish), but not for brass band yet. However one of our most underrated composers, Alun Hoddinott, has written two works for the NYBBW, Welsh Dances in about 1984 and the awesome and criminally under-performed Symphony No 8 for Brass and Percussion in 1994.

I suspect that all the composers you mention would "turn their gaze" towards the brass band if a) they were asked, b) the price was right and more importantly c) they were confident of that elusive "second performance". There are actually quite a lot of new works premiered each year but too many of them then sit gathering dust on library shelves thereafter. We need to encourage more bands to perform new music - perhaps some contests should be own choice test piece written in the last five years? Adjudicators to give extra points to bands that choose less "obvious" pieces or commission their own? Perhaps Doyen and others could offer a preferential rate to bands that include at least one new, previously unrecorded, substantial work in their recording?
 
Andrew Baker (King of Pedants)

Keith Muggs - sex symbol?

Got to agree with Mr. Beasley on that one! Mind you having gone to college with Keith Muggs I can tell you that he was quite the ladies man there!

On a personal note sad to hear that someone so gifted as Nick Walkley has decided to quit Fairey's. I hope that they find someone as talented as Nick but alas there does not seem to be much out there at the moment!

Best of luck to Nick in his future career and to Fairey's in their quest. Perhaps a call to Mr. McCann to come out of retirement again might be in order!

Mike Jones
PC Wire Brass

The end of the line (officially from the Editor)

Mr Lawrence, may I respectfully suggest we put this one to bed now as you seem to be getting more confused than you've made me. I quote:
 
'I'm not a 100% sure on your spout here at all. I'd never cite transcribed works as a composition, but if Walton you wish to throw in, well unfair enough. I cannot see for the life of me how my rant could put off prospective composers, in fact, it does more for them to understand what they could (and I mean could) be in for'.
 
I didn't suggest YOUR RANT would put people off! I was trying to say that the points you made (about 'others' slagging new music off), were valid and that indeed, ''others' (bandsmen/women, conductors etc. slagging off new and different works) would put off these writers from composing for the medium at all. I was actually trying to agree with you.... sheesh!
 
By the way, I wasn't intentionally trying to kick start a 'let's see how many contemporary composers we can name in ten seconds' competition, but give yourself a pat on the back all the same, preferably from a cow. 
 
p.s. I'd love to have seen the MacMillan evening, but as I moved from London to the Isle of Arran three months ago, 'tis a bit tricky. Nearest I get to hear contemporary music these days is a chorus of cows and sheep in the field behind me! 'Moo'sic to my ears! Perhaps I could start something here. We all know how the likes of Cecil Sharpe, Percy Grainger and Ralph Vaughan-Williams used to collect folk music in the field. I might start doing the same and write a Scottish Folk Song Suite based on the cacophony of cows and sheep utterances. ('Dig that crazy bleat, man....')
 
Dave Payn
(finally loses the plot on 4barsrest)

4BR Comment:
And that is the end of everything on this subject. No more, finito, closed, full stop! 

What a way to start a career

Having read Nick Walkley's press release I find it astonishing that someone with his background can show such little dedication to one of the worlds finest bands especially in their current situation. Not the best way to start a career I feel.
 
Peter Christian.

Never mind the playing - it's looks that matter

Having played baritone at the top level for 25 years and for most of them,sat next to such fine exponents as Pete Christian, Bob Blackburn, Keith Muggeridge and Gareth Brindle I can say with a certain amount of authority that the player I would enjoy sitting alongside most of all would be Katrina.  Never heard of her, or heard her play, but she is much nicer to look at than any of the aforementioned and rehearsals would be far more enjoyable.
 
Nigel Beasley

Bob the Baritone - he can play it!

I was reading the comments regarding Bob Blackburn's inclusion in the 4barsrest Band of the Year.
I played in several bands with Bob including Dyke and Brighouse, I also taught him at Salford College for two or three years. He is a wonderful player, beautiful sound and such an easy technique. His musical style is intuitive and always from the heart.

Any band would be enhanced by his presence and I think his inclusion was one of the most obvious choices.
I'd love to conduct a band with both Bob Blackburn and Sue Thomas in it.

Bob Childs
BAYV Band 

Out to the Sea – Edvard Braein

Are you aware of any recordings of this composistion scored for brass band? It seems like a wonderful piece for brass. Thank you for your wonderful website.

Val Shirk Jr.
New Horizons Band of Sonoma County (tuba), and
The Rohnert Park Community Band

4BR Comment:
Sorry Val, but we have never heard of it. Can anyone out there help?

The Old ones?

It was good to read that Ken Lynch is reducing 4BR comments pages to the level of Merry Mac's fun page.  No doubt Ken will also remember that the same band around the same era engaged a conductor whose pride in the standard of the band's contest performance could be measured by how close he was standing to the band on stage.  He was last seen directing a performance at the Edinburgh Festival contest in Princes Street Gardens from the balcony outside Jenners' window.

Stuart Lawson

The damage done by Prague and Cloudcatcher Fells?

In response to James McFadyen's comments about the banding community's resistance or hostility to young composers, I would like to say a few words. Whilst I respect people like him who can write great music and bring great pleasure to bandsmen and audiences, I think he should remember the damage that poor test pieces and poor arrangements have done to this movement. I'm still young myself so I've nothing against new people-but only if they can match the work of those who are already established. In the last few years, McCabe's 'Cloudcatcher Fells' and Judith Bingham's infamous 'Prague' have done irreparable damage to the image of banding.

When you consider the magic and the skill of composers such as Peter Graham, Philip Sparke and Philip Wilby, along with many others, composers who don't satisfy bands don't deserve a place in the repertoire and certainly don't deserve to be played at contests across the country. The reason people criticise isn't because they have a grudge, but because they care about banding. If people didn't moan, this movement would die within years.

I understand people like James McFadyen, but who ever got anywhere without being criticised on the way? I hope young composers can produce some great pieces because the nothing comes close to seeing one of the world's best bands play a great piece.

Matt Clark

Looking for the Rococo Variations

Many years ago I used to play on the front row of a 2nd section band named Queensbury Music centre and recall playing a very lovely test piece in one particular contest called Rococo Variations by Allan Street.
 
I've looked high and low for a recording of this piece but cannot find one anywhere. I recall (also many years ago) listening to this piece on very old Black Dyke record but I've no idea what it was called.
 
Do you have any idea where I may find a recording of this wonderful piece.
 
Paul Walton

4BR Comment:
A wonderful piece indeed, although it is not on any recordings that we currently have. It was last used in 1995 in the Second Section Regionals, but we don't think it has been recorded since. If anyone else knows though, please get in touch.  

All in the Pink

In response to Mr Lawrence "pink" review, one can appreciate his attempt to engender meaningful debate on the diversity in musical tastes and why composers are appearing not wanting to or being asked to compose for Brass Band.

Although having no facts to substantiate my premise I would assume that this malaise is not merely common to the Brass Band World.  This is because, it would seem that a majority of modern day serious composers either write a lot of atonal music which is reminiscent of an orchestra warming up and is destined for the extreme niche market, or extremely bland music such as the offerings from Horner and Einaudi.

Film music is fast becoming once you have heard one score you have heard them all.  Classic FM that sees its self as the champion of classic music is extremely limiting since it now only seems to play bland modern pieces and popular classics from times long ago.

With respect to banding, the prime mover in banding is the "Contest" which is the cause of many heated and not so heated debate, but for my pennyworth I believe it has great influence in maintaining the standard of music of bands up and down the country.  However, like any contest rules apply and composers and the like will have to accept the fact.  Although some of the music that has been commissioned for the championship section has been slammed, it still requires a very high level of technical ability to be able to play it, and consequently if it is to remain only on the on the contest stage so be it.

Notwithstanding this, surely there is no reason why new works cannot be commission by the top bands for concert work, may be this happening already, I don't know.  Another avenue could be a properly organised competition, not one done on a whim, to encourage new music outside the constraints of the contest stage.

Who knows, although the banding fraternity loves to gripe, it may actually be happy with its lot, and we are actually, all in the pink.

John Bray

Why the drop?

Just a quick question to ask how Reg Vardy have dropped from 8th to 12th in your new rankings? Is this a mistake? We had 500+ points in december but only 300+ now, could you explain the drop?
 
Dave Long
Eb Bass-Reg Vardy Band.

4BR Comment:
We will be publishing a full review of the amended rankings in the next few weeks, so be patient and all will be revealed.

Mr Lawrence replies - again

I'm not a 100% sure on your spout here at all. I'd never cite transcribed works as a composition, but if Walton you wish to throw in, well unfair enough. I cannot see for the life of me how my rant could put off prospective composers, in fact, it does more for them to understand what they could (and I mean could) be in for.

Did you honestly think that Judith Bingham knew the kind of reception she would get when Prague was chosen (I only hope she didn't give a rat's ass anyway)? You and me both know quite well, that the composers you cite at the rear of your spout (excluding Judith Bingham) would hardly turn their gaze towards the banding movement (unless real bucks involved), inc: Turnage, Simon Holt, Glass, Reich, Harrison Birtwistle, Phillip Neil Martin, Alwynne Pritchard, Andrew Toovey, Joanna Bailie, Rolf Wallin, Michel van der Aa, Klas Torstensson, Gavin Bryars, John Woolrich, Joseph Phibbs, Peter Stacey, Elaine Agnew, Luke Bedford, Michael Berkeley, Joe Duddell, Justin Connolly, Joe Cutler, Vic Hoyland, Buster Blood Vessel! The thing is, if I can name this many composers without engaging brain in 10 seconds who have yet to write for band, what is the banding movement going to do about getting them and others to do so?

As you've mentioned MacMillan, don't suppose you will be down the Barbican this weekend to get an ear full via the BBCSO? I shall!

Phil Lawrence
(now released from pedant-ship).

A bit of a surreal rant - but the lady wanted to be heard...

This is one of the reasons that brass band world is on its knees. The site says everyone is a star, the made up Doctors and Professors who are actually just sucking the life out of the movement. (come on who actually believes they put the REAL work into becomes these titles) the Bandsman is dictated by the Dr Nicks so they write their own history which makes them look great, the SP&S saga  and I know you won't print his letter cos I say it as it is, and I am far too truthful and controversial.  The site is good for news, but its all about people who live in their own heads who believe they are great telling the Brass Band world that they are great - the circle of life/death continues. 

Kath Stokes

4BR Comment:
Thanks for that Kath. Good to know you've got that off your chest.

A horny widow in need of help

I am a brass band widow and childless mother having lost my husband and three children to our village 'brass band' I know and understand nothing about brass bands but must have heard more than any other after 30 years of duty.  Around 25 years or so ago I was foolish enough to buy my then young husband a Post Horn for Christmas Since then he has played the Gallop and the Huntsman again and again and again, he is a touch jaded by these now and therefore I have now embarked on trying to find some alternatives.  I believe there is 'Pop goes the Post Horn' and Post Horn Pandemonium' possibly others.  Can you help me in any way to locate these or other Post Horn music?  I am desperate. Waiting patiently and in anticipation.

Lorraine Langford

Old ones are the best

To remind us all that the "old ones are the best", Jim Corrigan will remember that a band that we both played in were said to have the best back row in Scotland....the only problem was that they were all sitting on the front.
 
Ken Lynch
Band of the Tunisian Gas Board

The Best Baritone saga continues...

Having something like Band of the year is always going to cause a certain amount of controversy.  You are always going to get people saying "what about Joe and Fred Bloggs".
 
However in reply to Bob from YBS comments I believe your first sentence summed it up "Mr Brindle? that name is new to me".  I don't think for a minute that Natalie (wife, girlfriend, mother) was saying you don't deserve to be in the band of the year.  I think she means that if your not a cornet or euph player nobody seems to know your name quite as well.  And because of his success over the last few years, he is worthy of some recognition.
 
You play solo bari for 4br world ranked No 1 band.  Nobody is going to question you and your bands achievements this year or question you being included in band of the year after your many years in the top flight.  But, it is an obvious choice.  Maybe Mr Brindle will have to wait as long as you have done to be noticed by his peers.  Which means he will be in band of the year 2019.
 
Richard John
North West

and continues...

I have no biased whatsoever - I enjoyed Black Dyke's, YBS's and many other performances at the British Open.

As a Euph and sometime Baritone player, I was astonished by the quality of sound produced on by Mr Brindle along with his amazing technique on the day - for that alone he gets my vote !!
 
Graham Rix

A bit of everything...

I have a couple of observations/comments/opinions/whatever which I would like to share if I may:

(1) I have been reading Roger Webster's Masterclass articles with interest, and whilst I can understand that some people may be disappointed with its rather technical language and lack of immediate applicability to ones own practice and playing, I do feel that a lot of people have missed the point of what Roger is trying to get across.

My initial idea when I read his first article was "great, he is going to tell me what to practice, how long to practice, etc.", but instead I have found it a much more thoughtful series of articles which have made me look at my playing from a different point of view. It is obvious that, as people, we are all different; therefore our practice and techniques are also very different. Roger has informed us as to what the demands playing makes upon us both physically and mentally, what muscles are used, how we should prepare, and thus like - giving us ideas to think about and integrate into our own practice and playing.

And don't forget, this is his PhD thesis, not a text-book. I know from personal experience how difficult it is to condense a 50,000 - 100,000 word PhD thesis into lay language - hair-thinningly difficult. I have taken several of his points and tried to integrate them into my playing (most importantly his discussion on the use of the diaphragm and intercostal muscles). I am sure that when his book comes out, its larger format will make it easier to get across the crux of his ideas, which is much more difficult in the context of an article in an (excellent) magazine. Roger, I applaud you - I look forward to the other articles in the series.

(2) I read with interest your Band of The Year, and was interested to note that one of the trombonists you selected was a Professional player, David Chaulk. Initially, I was shocked by this - surely, as a movement, we are all amateurs, so how can a professional be chosen? But there again, what constitutes an amateur player nowadays when most principles in top-flight bands have contracts and are paid "retaining" fees?

I recently met a fellow trombonist who used to play with a major top-flight northern band, and he told me that during his time with them, he was on a 6-month contract and was paid £50 per appearance, which included practices. Okay, such payments may be classed as "expenses", but where is the line that separates amateur from professional? £50 seems to be rather a lot for expenses, even accepting that many top-flight principles have to travel a very long way for rehearsals. I distinctly remember reading in one of your articles that a band (Crystal Palace, I believe) was disqualified from the Nationals at the beginning of the last century for being, in the eyes of the organisers, a professional band. So what are we - amateurs or semi-professionals?

Please, don't think that I am knocking in any way any of our bands, players, payments made, payments received or anything like that. If someone would pay me for turning up and playing, I would gladly take it (yet again, you get what you pay for, so maybe that is why no-one pays me.....). I just thought that it was an interesting juxtaposition of ideals. A bit similar to the Olympics, a competition ideologically for amateurs where the only true amateurs (until recently) were the boxers. Something to chew the cud over in the New Year.

Richard B. Parsons

Why oppose new ideas and new composers?

As the debate unfolds about ‘modern' music and about new blood and new composers, I find myself asking a rather basic question; Why do some members of the banding community oppose new ideas or new and in particular young composers?
 
Surely bands, of all people wouldn't want to be turning there back on the very people that create the sheet music that sits in front of them from rehearsal to rehearsal.
 
Why is there such a resistance? Brass Banders have it lucky I think, there is no way a serious orchestral composer would let performers dictate what should be written or what should not be written.
 
The Brass Band is very much an audience driven idiom, and believe me, us composers know this, it always seems as if bands don't realise that us composers don't take audiences and general tastes into consideration, and of course, being the industry it is, yes we have to, but I certainly do not and would not let my musical voice be used as a pawn for a bands pleasure in playing a piece.
 
What I would like to see happening is some alliance! Composers need bands so their music can be heard, bands need composers to have something to play, or have I got it all wrong?
 
It is true what Phil Lawrence said, why would new composers write for Brass Band if there seems to be some rebellion against it, or at least not open complete acceptance in the banding community as a whole. It does seem a tad strange that some banders do bring composers down and trample all over their hard work, and it extents right to the top men as well.
 
Now of course, I'm sure a few of you are going to be roiled up by my little stab at some banders, but hey welcome to our side of the tracks! And, I'm only writing this because I am a believer in team work. And that's it. We are all here to do a job, composers can only write what they feel passionate about or have a desire to do, so let's not spoil it, as bands, you are there as our voice of reason, to bring our scores to life…….make us smile and let us have a real want to continue to write for the Brass Band in new and exciting ways and let's all harness the power of music making within the Brass Band. Let's have a bash at that.
 
It would be considered unprofessional for a composer to ‘diss' a band for not playing his/her music the way he wrote it (ah, now we're getting somewhere!) so in return, composers would like to be encouraged to write more and more music, music which is evolving with the times, or indeed is completely unique from every other style of music.
 
I'm sure in the 50's and 60's they had Music Appreciation classes at School, did they not? Mmmmm, what happened to that?
 
James McFadyen
Composer

More power to tuba players

The ABRSM Grade 8 syllabus includes a number of original pieces for Tuba, which have been arranged or were written originally for Tuba (EEb Bass) and band.
 
The Gregson Concerto is a good challenge - I was fortunate (or stupid, not quite sure which) to play it with an orchestra. Reasonably easy to put together with the band/orchestra as well.
 
The Horowitz Concerto is for band but is not as tuneful as the Gregson (and I think that it is harder). All depends what your top register is like (mine has its days!) and if the audience will like it.
 
The Capriccio by Rodney Newton is also good, Ditto those old favourites like the Bass in the Ballroom (Roy Newsome) and - if the band is doing a children's concert "Tubby the Tuba" - the band part is down a tone from the orchestral version, which means that, the highest note is a (treble clef written) top C.

also:
 
Tuba Tapestry - Michael Brand
Tuba Smarties - Herby Hancock (tuneful and easily put together with the band).
 
I have a book called the 'Tuba Source Book' and it lists hundreds of solos & music for Tuba. There is a piece I have just spotted called "The trouble with the tuba is....." by William Renton (Kirklees Music) for example.
 
Even the sacred Vaughan-Williams Concerto has been arranged for Tuba and band (again what is your top register like ?)
 
But like all Tubas solos ask yourself "will the audience like this piece or will they just fall about laughing when they hear a tuba playing a solo - believe me; try getting your bass section to play one of the Eric Ball bass quartets in front of the band and you will have them in stitches let alone a concert audience!
 
More power to tuba players!

James Hill

Merry Christmas Mr Lawrence

Of course your point still holds, Mr Lawrence. My sign off (using 'pedant' as my middle name) was inferring an element of 'tongue-in-cheek', nothing more. :)
 
It is a shame, indeed, that Walton in particular, didn't write more for band, when I think of the two excellent CDs Dyke produced (on ASV and Doyen labels, the former a winner of an orchestral recording award) of Walton transcriptions, which only served to convince this humble lower section brass player that there's a wealth of his material which works for the medium. In the end, the tenor of your soapbox (i.e the 'slagging off' of 'different' music) will, I fear, only serve to put off the likes of Judith Bingham from composing for brass band again. I mean, where are the brass band works of James MacMillan, Steve Martland, George Benjamin etc.? (Okay, cue another pedant to tell me they've all contributed works!) :) :)

Dave Payn

The best baritone players?

In reply to Natalie, (wife, girlfriend, mother?) and her praise of G. Brindle. This name is new to me, and I can only surmise that the player is also relatively new to the top class brass band scene. I cannot speak for Katrina, but as you well know I have been playing baritone at the very highest level for about 24 years.

I like Mr Brindle do not like to push myself forward or talk my game up. I like to think my playing does that for me. The 4BR Band of the Year was judged by a knowledgeable panel of my peers and my inclusion was not the easy or obvious choice - its the culmination of 24 years of hard graft and a few reasonable performances along the way (including a few on Montage), more than any this year. Is it that Mr Brindle, because he now plays for Dyke, that Natalie thinks he should be included?

I would say continue to put in more quality performances in the future and I'm sure the recognition you deserve will come your way. Congrats on your hat-trick by the way. This in no way an attack on Mr Brindle or Natalie but merely my response to what I personally thought was a bit of a dig at my inclusion in the Band of the Year. If this seems like I'm being a bit petty, it's not my intention. I'm proud of my achievements and my numerous contest wins and am justifiably touchy when I perceive (rightly or wrongly) a dig at me by someone I don't even know. 

Bob Blackburn
Solo Baritone YBS band

But he is the best!

I would just like to agree with Natalie's comments on Gareth Brindle. Having sat next to Gareth in bands for a few years I feel qualified to say without any hesitation that he is a superb player, fantastic bandsman and one of the nicest guy's you could wish to meet. Worthy of a place in anyone's Band of the Year in my book.
 
Garry Williams

Ifor James

It is with great sadness that I hear of the death of Ifor James, Horn Virtuoso and former Professional Conductor of Besses o' th' Barn Band.
 
Although I was only 7 when I attended my first brass band concert (which was, incidentally, that which contained the Premiere of "In Memoriam R.K."), Ifor's influence on Besses stayed with me throughout my banding career indicating to me exactly how much could be achieved by brass bands.
 
To my knowledge, the last time that Ifor appeared with Besses was on their tour of Finland in 1986 where he performed as guest soloist in concert and also on a Finnish Radio broadcast. A proposed tour of Germany following those appearances was, unfortunately, not to be following the sudden death of my Father at Ifor's house in Germany whilst making the preparations in 1987. Since then, he has remained a strong family friend.
 
For those who remember your contribution to the Brass Band Movement, Ifor, we thank you greatly, and you will be missed.
 
Keith Johnson BSc.(Hons) AMRSC
Director
Besses o' th' Barn Band Limited

Bums on Seats - Canadian style

This is an interesting topic but, I believe, not a new one either for the Brass Band or the operators of concert halls in general.   I fear that we are victims of our age and live concerts, and that includes contests of course, must compete head to head with spectacular entertainment available right in the comfort of our homes!

The most successful and awe-inspiring concert halls in the world are fighting a constant battle with the same phenomenon.   Concert halls are not large enough for the crowd pulling rock concerts and so lose out on that market too.

A major part of the challenge is to make it worthwhile for people to leave their homes, incur some additional expense and perhaps some discomfort during travel etc. in between.   The offering has to be able to compete with what's available via the television and even the home computer.  The reality is that a band concert or contest loses when compared to some of the spectacular offerings available through those other mediums.

It's interesting to see that when top bands have come to Canada on tour, particularly in the Toronto area with which I'm most familiar, they have generally played to full houses.   I've personally travelled round trips of many hundreds of miles to places like New York City, Rochester, Detroit, Flint and Ottawa to hear top bands such as the I.S.B., Black Dyke, Desford, Hendon and Enfield.    It was pretty sad to see the I.S.B. playing to a half full house in Toronto on their last trip.  I've also travelled back to the U.K. to attend the National several times and the Eric Ball program in Nottingham.

I make that personal observation because, for me, attending such events is a special opportunity, one I look forward to.   It also means renewing acquaintances with old friends and making new ones.   The events though still retain that something unique and out of the ordinary for me.   I'm not alone of course as many others make the annual pilgrimage to the RAH each October from various parts of the globe.   So perhaps the opportunity that is so special for some has become mundane and not worth the effort for many in the U.K.   I've never been able to attend the Open or the European, something I hope to correct one day.

The brass band is very much a niche market and must be recognized and marketed as such.   World of Brass and 4BarsRest have addressed the previous void by making CD's readily available to a global market.   A similar approach is needed to resolve the empty seat dilemma.   I don't have many specific suggestions, that as they say is "above my pay level", or more specifically not my area of expertise.   Here are some points for discussion:

1.  Is the contest too long because it includes too many bands?  Should something be done and if so what can be done to weed out the so called lesser bands?

2.  Have the same adjudicators at the Regional level so they apply points on a consistent basis;  regardless of where they place, bands not earning a minimum number of points are disqualified from the final.   That would add a whole new dimension to the Regional finals too.

3.  Keep the trade stands in the main hall; why invite your audience to go shopping outside?    Make it easy for patrons to slip out for a bit, make their purchases and get back in.

4.  Are the adjudicators really "blind" when in the box.   Surely the distinctive sounds of most bands and their soloists are not hidden behind the curtain.

5.  Display the assigned scores following each performance (has that ever been discussed?).

Thanks for the opportunity to comment.

John Brooks
Cambridge, Ontario

Problems with West Side Story

I've noticed that the Eric Crees arrangement of Dances from West Side Story that this piece has been performed by a few bands recently but we are having troubles trying to find details of the publisher and where we can purchase a score and set of parts. Can anyone point us in the right direction?

Keith Williams
Rayleigh Brass

4BR Comment:
All we know is that you have to be very careful with West Side Story. Playing arrangments of it may need agreed permission. As for buying it? Perhaps someone out there can help further.

Letter from a pedant

I cited these composers knowing that a small example of their works had been transcribed, & one composition. I meant, what if these composers had really composed for brass band, as in several works or more each! My point still holds. Those who compose now (as in, prolifically) have got the recipe right for what banders want in general, but the names of these composers don't change very much. We need new blood to come in and compose, with different ideas, and we need them to multiply and stay Mr. Payn.
P Pedant Lawrence.
 
Phil Lawrence

Bums on Seats (They may go numb by the time you read this one though)

I have just read the majority of the discussion about "bums on seats" and found it very interesting. There are two distinct arguments going on here. One regards the concert performing context and the other regarding the contest performing context.

On the first of these categories, the concert, I agree with Nick Walkley that presentation is all important, especially regarding the standard concert process behaviour i.e. walking on and off stage and perhaps even the standardised programming of march and overture etc or even the uniform? A change in the style of the uniform might be interesting? Audiences for concerts are certainly different to those going to the contests.

Concerts have a variety of styles, if not predictable, and offers more entertainment for those who don't have a fundamental understanding of the delicacies of playing the instrument. I've asked audiences over a widely dispersed geographical area whether they had enjoyed the concert and they have said they had. When asked about competitions they have had little interest in attending any, even if they were next door to their homes. The period in history that saw bands as a part of popular culture has passed and it would be folly to believe that it could ever command the interest it once did. Trying to broaden the appeal however is a worthy cause and the presentation or "spin'' of band concerts is all-important in this exercise. The success of such a process may be limited since the image that banding has is still relatively dated and linked with a society that no longer exists i.e. when there is a documentary on mining or a social history programme inevitably there is a banding soundtrack behind. Whilst we strive for exposure to a more general audience, this should be tempered by the need to have the right kind of exposure!

Whilst entertainment is a main feature of concerts, education should play some role. People may argue that they don't like Contemporary Music, and it is their prerogative to do that, however these same people must realise that banding cannot and should not revolve around the compositional style of certain individuals, whether this music is Eric Ball or Phillip Wilby. Whilst I like the music of Cyril Jenkins (Life Divine), I also like the music composed by Judith Bingham and other composers outside of banding that are beyond cotemporary.

If everyone turned around and said ‘I don't like that never play it again' and the bands listen the public would soon complain that the programmes performed by every band in their local town hall play the same pieces each time they appear. So in conclusion to this section I think the concert is an important vehicle not only in the regard of entertaining an audience but by subtly educating them in the various styles that are available to the band. Surely this would not only educate the audiences, but also the players who would benefit from playing a different style of music and give them an added challenge.

Since I play with a band that has sell outs throughout the country and abroad and I can state that audiences like what I describe as "cheese" and I appreciate the enjoyment these people get through this type of music. However as a player and a musician I enjoy playing a vast variety of different styled pieces and this I think should be understood by those in the audience. Band players are surely there to also enjoy themselves otherwise they would simply be going through the motions! I think a conductor has a difficult job in balancing both these processes and those that are successful achieve full houses in their concerts, although I admit having a "famous" name has a large part in the size of their audience. The media also have an important role in promoting the variety of concert programming and also the subtle nuances that aids in the creation of a particular identity for a particular band.

As for contests, I think we preoccupy ourselves with the idea that more people would come to the event if the music we play is more like Wagner than Phillip Glass. I hate to be the bearer of doom but there might by a 1% rise in the attendance of a contest where the test piece has a load of Eric Ball like melodies or a Wagner transcription but the audiences will decrease because there isn't enough musical variety to tempt those not immediately associated with the movement in some way. The BBC channels have a lot of music concerts and festivals, these reach a broader public than banding could ever have at this moment in time. Given the option of staying at home and watching a festival, whether this involves the Proms or Glastonbury or Brecon Jazz Festival they have a variety of music that all people enjoy. In the case of Jazz, modern, Bebop, Big Band or fusion are recognisable styles that may occupy a 6 hour space, not to mention the variety that exists within the groups that perform these kinds of music.

In comparison, brass band contest (barring entertainment contests) that last perhaps 5 hours demonstrate one piece of music, played by a group that has the same amount of playing members, that a performance lasts approximately the same amount of time etc. Surely anybody can see that a member of an audience would rather have a variety of styles in a day out rather than small differences of interpretation and the highlighting of mistakes, that are unless blatantly obvious hidden from most in the audience!

So, does the music we play in a concert matter? Yes, because we reach more people that often don't live and breathe brass bands. People like Mr Wormald and Mr Walkley have the right ideas and are in positions to implement plans to aid banding for the future.

So, do the music we play in contests matter? No. In a contest we play to a specific minority, which includes family, friends and those wishing to be armchair adjudicators baying for the blood of victims of mistakes. Bands reach few people other than other banders in the context of the competition. Would playing Wagner-esque pieces get new people interested, probably not, it would simply appease those who already go to the contests. Would playing Contemporary music, in that I mean those defined as "Prague-esque" music, get more people to go to contests? I highly doubt it, it would turn those who already go away. Whether the option of giving bands a choice of 10 test pieces of various styles would create further interest? Who knows!

Its time that competitions should be run along the lines of Festivals, such as those held at the Royal Northern College and be presented and publicised in both wider musical and cultural periodicals and magazines, maximising the amount of people that would know about the concert, not just advertising in band media for band people to read.

As for the attack on Contemporary composers, variety is the spice of life. If Beethoven only composed in the style of Bach he would simply be Bach 2 (and no, that's not a name of a film, and no, it doesn't involve the line "I'll be back!"). A composer, like a player and any other individual changes his style and processes as he develops, expecting a person to stick to a structure of melodic phrasing and lines as a composer that wrote beautiful melodies from 30 to 40 years ago is simply a ridiculous argument. Times change and although some people want to remain stubborn in their view that we should continually perpetuate a museum culture in our musical taste I hope those who write different types and styles of music continue to do so irrespective of those who know them.

Richard Jones 

4BR Band of the Year

Just wanted to comment on the 2004 Band of the Year.
 
I know that you will think I am bias and there are many great players and you are not able to list all of them, however, I would have thought that Gareth Brindle solo baritone of Black Dyke would have been listed.
 
I have never done anything like this before but feel compelled to write on this occasion, as I cannot keep quiet any longer.  This year Gareth joined Black Dyke form Fairey's and not only did he give one of the best performances on baritone of Montage (British Open) that there has ever been, he also completed his personal hat trick of Nationals wins.
 
Gareth is not a person to push himself to the front and therefore does not get the publicity he deserves.  I apologise if you feel I am being forward I just ask that next time you don't just go for the easy and obvious options.
 
Natalie

4BR Band of Principals? 

I have to agree with Lyndon Powell re: The Band of the Year and filling it with principal players.
 
My experience in banding has shown that (with a few exceptions) people who were principal players and who subsequently played in other positions had some difficulty fitting in, blending sounds and playing as part of rather than leading a section.
 
I realise that this would make the selection of the band a more difficult task. How does one select the best 2nd baritone, 2nd horn or third cornet player...but it would take the band away from being an all star brass?
 
Jim Corrigan

British Open and Nationals CDs?

I'm a Danish brass band enthusiast, and I wanted to ask why you can't buy British Open and Nationals of GB on CD's?

Peter Vallebo

4BR Comment:
You can now. The Nationals has just been released and can be bought through the 4BR site, whilst a CD and DVD of the British Open will be available very soon in fact. Eyes peeled.

Variations on an Arban

It is true that there is more than one Arban, but they are variations on the original single volume. There is no second Arban. There is the full-unexpurgated version with duets (I think this was published in Japan as of late) and this does really go on some. There is a German edition with material not to be found in the B&H version (Kneller Hall, Royal Marines), there are also cut down versions published by Leduc in France in the 1930's also containing material not found in our beloved B&H edition.

The old leather-bound German version is really worth getting. Besides the cornet bible, Arban, there are also two other grand methods out there worth a look. Gatti, in three separate vol's, or one grand vol, is great fun and has some fantastic duets in, great for fingers and quick awkward slurs in the tarantella mode. And Eby, two vol's here, and bit long winded and antiquated (a slight orchestral approach), lots of duets and pedal tones to explore!

Phil Lawrence

What about Britten, Bax, Walton, Delius, Rubbra and Warlock then Mr Lawrence?

I shall shy away from commenting on the main arguments of Phil Lawrence's 'soapbox'. (That'll be 'yellow' as opposed to 'pink', I guess), but on this point:
 
'Just imagine if Britten or Walton, Bax, Delius, Rubbra, Warlock, Bliss had composed for band'
 
Well, they didn't produce much but...
 
Walton - The First Shoot (arranged by the composer from his ballet music of the same name)
Rubbra - Variations on The Shining River
Bliss - Kenilworth, Belmont Variations (the latter albeit, scored for him by Frank Wright)
 
Dave 'Pedant' Payn

The Great St. Magnus Mystery 

It was with great interest that I listened to the BAYV Band giving their rendition of St. Magnus at the Euros, as I'd never heard their performance before.

However, I was amazed when I started to think to myself that this performance of St. Magnus sounded so similar to the performance given by the YBS Band (I should know as I was playing with YBS!) On closer inspection, both performances are identical...i.e.some splits in exactly the same places!!

I Think that the NOW Thats what I call Brass CD actually features the YBS version of St. Magnus and not BAYV Band as it states on the programme sleeve!!

Dewi Griffiths

4BR Comment:
You are quite right Dewi. We have spoken with SP&S and they have confirmed that the recording used on the CD is on fact that of YBS and not of BAYV. They have apologised to everyone for their mistake and have explained that it was a human error that should have been detected. We certainly didn't spot it when we reviewed the CD (although to be fair, we didn't really expect it to be a wrong track), so we are a little at fault as well.

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