Comments ~ 2005: February

Errata: Variations For Brass Band; Transfers and cancellations; Bach clarifies EBBA invitation; Clarification and the Facts; Jim and Rienzi and The Shillingbury Blowers.

Errata:Vaughan Williams – Variations For Brass Band
Prepared By Chris Wormald

There are 7 places where the notes are printed incorrectly in both the score and parts. There are a further 3 places where notes are printed incorrectly in the score but the parts are actually correct and finally there are 5 places where notes are printed incorrectly in the parts but the score is actually correct. This makes a total of 15 errors with regard to the 2005 Second Section Area test piece that I have identified. There may perhaps be more still that I have not personally observed.

Corrections For Both The Score & Parts (7 in all)

1. Bar 7; 2nd Horn should have A as its first note (quaver) not B as printed.
2. Letter B 3rd bar; Solo Cornet should have an E natural not Eb.
3. Letter D 3rd bar; Solo Cornet last semi-quaver is a B natural but the score & parts suggest Bb because the natural sign is missing.
4. Variation VII; Solo Cornet 3rd semi-quaver should be an A not a Bb.
5. Variation XI; Solo Horn 2nd bar should start with a D minim not a C as is printed in the score and parts.
6. 5 bars before letter K; both Eb Bass and Bb Bass have ties missing from their respective semibreves onto their respective dotted crotchets.
7. 4 bars before letter L; Eb Bass, the middle two crotchets of the bar (2nd and 3rd beats) should read E then D, not F# then E.

Corrections For The Score Only But The Parts Are Correct (3 in all)

1. Variation I; Solo Horn & 1st Horn in bar 2. Both should have D then E crotchets in the score.
2. Letter H 4th bar; Flugel Horn minim should be Ab not G.
3. Variation XI; last note of the Glockenspiel solo should read D in the score not Eb.

Corrections For The Parts Only But The Score Is Correct (5 in all)

1. Variation I; Bb Bass has dynamics missing. Bar 7, then the molto crescendo is missing altogether and there is no ‘ff' at all in the Bb Bass parts.
2. Variation I; 9th bar, Euphonium should finish the bar with two groups of 2 semiquavers and a quaver but the parts wrongly indicate a grouping of a quaver then 2 semiquavers.
3. 1 bar before Variation III; 2n Trombone should have a quaver D tied over from the previous bar. The part wrongly indicates a C slurred down from the previous bar.
4. 3 bars before letter D; Solo Cornet 5th note should be D but the part states top E.
5. Letter K 3rd bar; 3rd Cornet first note is a B in the score and should be in the part but a top D has been printed by mistake (copied from 2nd Cornet line in error).

Finally, the unaccompanied Soprano Cornet solo into Variation VIII is frequently incorrectly read (and played) in terms of the final three notes. The rhythm is perfectly clear in the score, yet players and conductors seem to allow these final three notes to be played almost evenly as if the central tie is between two quavers (which is not). The tie is actually from a quaver to a crotchet, leaving only a quaver upbeat into Variation VIII.

Chris Wormald

Bach clarifies EBBA invitation
 
Following the article on 4barsrest eikanger and the ebbc 2006 i would like to make the following statement:
 
Each national association, member of the european brass band association (ebba), nominates their national champion band or nominated band (if there is no national contest) to participate in the ebba european brass band contest. an invitation is then sent by ebba following that nomination.

Please take note that the participating bands in the ebbc must be FIRST NOMINATED by their national federations and THEN INVITED BY EBBA if they agree to this nomination from their federation ! - this means actually that no band can participate at the ebbc - if they are not nominated to ebba for the ebbc through their federation

Markus S Bach

Transfers and cancellations

Can the brass band movement authorities please sort out the farsical situation relating to transfers and cancellation of registration cards? Bands are placed in horrendous situations where players ,having missed the transfer deadline can then apply to have their registration cancelled so that they can play with another band at competitions within the four week cut off  !     
         
Paul Wilkinson
Frustrated secretary

Clarification and the Facts

Normally, I do not engage in this sort of a debate in a public forum. However, I feel compelled to give an unbiased report of my own investigation of the true perception to your readers concerning the North American Brass Band Association and the debt owed to Grimethorpe.

Admittedly, this is an unfortunate situation for all. However, Nabba has no responsibility, at least not contractually, for the debit owed to Grimethorpe. The host band, in fact all host bands, are responsible for making all arrangements concerning this annual event. This is very clear in the guidelines and bylaws of the association.

After some calls were made, all totaling of an hour's time, to current and former NABBA board members, not one person was aware of the situation until recently. The host bands are not required to, but should be in the future; give a full financial report to the board post the competition.

To give some credit to the host band coordinator in 2003, in Little Rock, has come forward and is holding, himself, responsible for the debt. In a memo sent to the NABBA board, less than two weeks ago, he has contacted Grimethorpe and made payment arrangement to resolve this debt in 2005.

The Brass Banding genre in the states is relatively new in comparison to what the tradition represents in Britain and Europe. However, I must say that because of groups like Grimethorpe, Fodens, and Clinicians of good faith, specifically Dr. Bob and David Childs, the movement healthy and moving in the right direction.

It is a shame that imposters such as "Mr. Hershey and Dr.sommebody" seemed to only want to cause invalid unrest here in America with no real basis or concern for the facts. Perhaps this is something they do because they have way too much time on their hands.

If either one of these two "gentlemen" have the intestinal fortitude to make their presences known next month in Chicago, at 6'5' and 270 lbs , I will be more that happy to escort them to the meeting and ensure their safety.

Kevin Cramer

Jim and Rienzi

I have just read your report re Jim signing with Harrogate. I believe you aren't quite correct in your statement re Jim first playing Rienzi with Dyke.

I recall playing at the 1963 Area in St Georges Hall,Bradford with Carlton Main Frickley Colliery Band. The test piece was Rienzi and Jim was top man. I remember this well and how well Jim's sound was suited to the opening middle C which I believe is marked Senza Vibrato.

Jack F French

Brass banding is strong in Manchester Connecticut not Manchester New Hampshire
 
In many ways Mr Baker made my point.  Paul Hindmarsh, in trying to bring band music back to Radio 3, is having to deal with those so generously described as "pompous gits" (proof I was in Manchester England - in the USA such writing would be actionable) who in many cases have a prejudice against the movement.  Perhaps I did not have such a favourable position in the hall as Mr Baker but certainly I found the whistling near to me showed and immature and somewhat yobbish mentality.  The cheering heard at the Proms and such is of a different order.
 
If Mr Baker does not wish for Brass Band music to be considered at the highest level then fine but for many we may be shooting ourselves in the foot by our sophomoric behaviour.
 
Ralph Pearce

The Shillingbury Blowers

Hope you can help, I saw a film a couple of years back  The Shillingbury Blowers.  There is no place in Australia got it or heard of it. Would you now anywhere that would have a copy.
 
John Calder

4BR reply:
We had a good look but can't find a copy either. We do know that it was released in the US under the title 'And the Band Played On'. Can anyone help out John.  If so, please let us know.

The composer speaks about the Norway farce

Replying to Thomas Kristiansen's comment about the judges used in Bergen, I feel I must agree with 4barsRest on this matter.
 
It is vital, in my opinion, to use judges with a knowledge of the brass band. The notes on the page simply don't tell the whole story.
 
Certainly, most of the musical factors that need to be judged are common with those in the 'outside' world, but how can you judge a performance of, say, The Holy War or Journey into Freedom without a knowledge of brass band style at the time these pieces were written? To tell a band playing the former piece that their sound is 'too dark' is a nonsense. Brass band DO dark much better than orchestral brass can!
 
It the equivalent of assuming someone who has only heard ever Wagner will be able to 'hear' a Mozart score without a knowledge of the performance style of the classical period. The notes and dynamics used on the page are the same in both cases, but sound very different.
 
To prepare an unknown score of a new brass band piece so that you can tell whether the right notes are being played takes days, if not weeks. I would be impressed if this time had been spent on each score if the pieces were unknown to the judges. Someone with a knowledge of the repertoire is in a MUCH better position to do the job. Would you ask a cat specialist to judge a dog show just because both animals have four legs and a tail???
 
Worst of all, you are also infering by default that specialist brass band judges do not understand the wider world of music as well as, say, orchestral players. Well, of course we do!!!
 
I admire so much of what goes on in the Norwegian banding scene, but you don't always get it right!
 
Philip Sparke

Ibstock dismay 

I read with dismay the situation that Ibstock Band find themselves in, they seem to have been in the middle of dispute over who has the authority to let them perform at their areas in either the 1st or 2nd section. I have seen in the band press over the past months the power struggle between the Regional committees and the British Federation for Brass Bands. These disagreements and disputes only weaken the brass band movement especially as they are both organisations that are supposed to represent brass bands.

The movement is already fast becoming a minority art form with more and more musicians sitting on the fence and no longer participating in banding events, the Ibstock situation will only further disillusion bandsmen. Without a sense of fair play and gentlemanly conduct what chance do Ibstock Band have of truly representing themselves musically at their regional contest. What chance does the brass band movement have to move forward both musically and administratively in the future. Good Luck Ibstock!

John Winterflood
Swindon

Why Bert's Barn?
 
In your news item "UK Banding set for Regionals marathon", the accompanying picture is of "Berts Barn" (aka The Royal Albert Hall).

Why? What's it got to do with Harrogate? Do you hanker after playing there again (too)?

Neil Watson.
Stonesfield Band, Oxfordshire.

4BR Comment:
It is the most recognisable image wecan use to try and cover the Regional Championships Neil - using images of both Harrogate and London would just be too confusing we thought and as the climax of the Regional Championships does take place at the Royal Albert Hall we went with that image.  

No excessive immature behaviour
  
Did Ralph Pearce go to Manchester England or Manchester New Hampshire? I really don't remember excessive "immature behaviour" or "yelling and whistling" at any of the concerts I attended at this year's RNCM Festival.

In any case, the idea that an enthusiastic response to some of the finest playing I have heard in years is a BAD thing, to be discouraged in case some pompous git at Radio 3 doesn't like it, is abhorrent. Presumably we can expect senior beeb figures to castigate proms audiences when they cheer Beethoven 9 to the rafters this summer. Really, there are more important issues to address with the BBC than a bit of cheering.
 
Andrew Baker

Action Research Youth Championhips

A super write up, on a wonderful day.  I wonder what is meant by "We wonder though, how much will they get?"  Does it refer to Action Medical Research or the Walczak team?

The lengthy break allowed John Maines to write his valuable comments on entertainment and the scrutineers to do their job, I think not much more than that.
 
Steph Ward

Just for the record
 
Just to let you know the outstanding soloist name at the Action Research Championships was Tracey Colston and she is the solo horn with Youth Brass 2000.

Alison Harvey

Adjudicating mind games

You wrote:
This year, one of the other judges, Mogens Andresen, actually informed 4BR (and others) that he in fact did not know many of the pieces that were put in front of him for the own choice selections, whilst he had only heard a recording of the set work.  We didn't have the chance to ask the third member of the judging panel (the trombonist Aline Nistad) what her thoughts were, because by that time we were relatively speechless.

I get relatively speechless when you say that an adjudicator must know what a brass band is to make up his mind. This is music we're talking about guys and brass bands, for the most part, are in this category.

These three adjudicators are highly educated musicians and two of the play trombone at a high professional level. They've played thousands of concerts and played more genres of music than most brass band have. Now _this_ is important. An adjudicator should have a broad knowledge of music together with a top education. The three of them got the scores last year and I'm sure they've done their job studying them.
Who says you got to listen to a piece to know it well? (as a conductor and adjudicator or a music student for that matter)

Does Aline, playing solo-trombone in the Oslo Symphonic Orchestra, know anything about playing in an ensemble? Are brass bands so special that they can't be compared to other ensemble types?

Are the methods used for creating music radically more different in a brass band than that of a string orchestra, saxophone quartet or a percussion ensemble?

Thomas Kristiansen
Percussion Ila Brass Band
Trondheim, Norway

A hard choice - but someone had to do it

When I read Alison Watsons letter, I felt that I couldn't have agreed more. I think we were all a little disappointed with the coverage from 4bars on Preston. But then I read the bottom of the letter and it suddenly dawned on me that if I was running a brass band website and had the choice of Preston or Bergen I would have given Brass at the Guild a miss as well! As for cheaper beer, at £2.80 a pint in the Guildhall I felt like I hadn't left London at all.
 
Shame you weren't there 4bars but fair play at the same time.
 
Lewis Edney
Alliance Brass

Scraping to Mr King

But next year you should send some competent people to the Norwegian Brass Band Championships. I'm one of the biggest Stavanger fans, but we are all just giggling of your David King scraping after these rather poor performances. And so are most of the band.

Hans Thommassen

Divertimento - the errata problem

Thank you 4BR for publishing the errata sheets for the test pieces for the area, but why, when there are so many mistakes in published parts have the bands who have paid good money not been told to send their receipts back to the publishers and been issued with new scores and sets of music that have been updated.

I'm quite sure that if these publishers went to a restaurant they would kick up a fuss and demand either a reduction in their bill or refuse to pay if they were told that the chef had forgotten to put the vegetables on the plate but they could have it in a bag and take it home to cook later. Come on publishers, you are doing half a job but being paid full price for it. Are the bands going to get a refund for the time they spend amending your work. I wait with baited breath.

George Fairhurst

Divertimento Errata - number 2

Having no particular interest in the preparation of the 4th section test piece for this years regional rounds (Divertimento - Bryan Kelly), as I am neither conducting a band involved or adjudicating this section, I must congratulate 4barsrest for publishing the extensive errata list.

However, I recently looked in on a band which was rehearsing the piece and must point out the contradictions in the tempi of the 1st and 3rd movements. From my poor memory for example where an Allegro becomes a Moderato if you follow the bpm indication. In fact the third movement (Allegro Scherzo) is indicated crotchet = 100 bpm. Those conductors wrestling with this issue will know that 100 bpm is more of a Moderato.

However to realise a Scherzo (Musical Joke) a brighter tempo than this may be more likely to realise the musical indication. Anyway, I believe that the two most glaring errors have been missed, so some clarification of the tempi indication of both movements might be useful. The real way to tackle this will be to use the tempo that makes the music LIVE! So, good luck to all involved.

Stephen Tighe

Divertimento - Well done Studio!

Thanks Studio - I see the details are up on 4BR and other band news sites! Pretty quick turn around which I'm sure everyone will appreciate.

Mike Thorn
Norfolk Wherry Brass

Divertimento - Errata Official list - from Whom?

Studio Music assured me only a few days ago that the most recent score for Divertimento was error free.

Really? A few days later you publish an errata sheet from the publishers. Was it from Studio Music? If so, I'll be returning the score I bought as a lemon. And even having compiled this list it's still not complete - in the Bb Bass part, in the last movement, Letter C is a bar late.

And why use this outdated style of print? Assuming all the errors are now known, I could rattle off a much "cleaner" copy of this in Sibelius in a couple of days. In fact, I'm tempted to offer to do it for nothing just because this is such appalling, shoddy workmanship that bands shouldn't have to suffer it. (And yes, I am aware of copyright implications.)

Skcollob to this - I'll think we should play our joker at the areas and play John Cage's 4' 32" instead. Even if the score for this does have errors in it, at least it won't matter. My views, not necessarily anyone else's.
 
Will Elsom

4BR Comment:
The list was sent to us from Studio Music as the offical errata from the publishers.

High standard playing - low standard behaviour?

I attended my first contest at Belle Vue in 1977 - Black Dyke won on Diadem of Gold and as a consequence recorded for Radio 3 a 30-minute concert before what was called "an invited audience". - Those of us who didn't leave as soon as the results were announced.
 
I recall that after their first couple of items, which were greeted by applause tinged by shouting and whistling Harry Mortimer, who was the master of ceremonies, stepped forward and explained to the audience that as this was to go out on Radio 3, and as the image of Brass Bands needed to be placed at the highest level, such behaviour was not helpful to the positioning and hoped for raise in esteem.
 
I attended the recent Festival of Brass Bands at the RNCM.  The quality of musical performance was of an impressively high standard- certainly worthy of Radio 3, but the was no Harry Mortimer to correct the yelling and whistling which marred the event.  Maybe our audiences need to grow in maturity to the same degree that the musical standards have.  If this event can be described, rightly in my min, as the Proms of Brass Banding then perhaps the listeners need to elevate their thinking - or am I getting old?
 
Ralph Pearce
Phoenix Arizona

The BBC and bands

Certainly the BBC's perception of brass bands is as a "minority interest that lacks quality". Listening to recordings broadcast on the BBC, I'd have to agree (please read on before banishing me from your site!). My gripe is with the standard of recording rather than playing.

My belief is that the poor quality of recording is a direct result of the expense spared and lack of understanding in recording brass instruments on the part of the BBC. Unfortunately, these 2 issues are self-perpetuating. The BBC has no interest in investing in a genre in order to improve its audience perception (we have to do that).

Brass instruments are all about tone and if sound is recorded poorly, tone is the 1st thing to suffer. There are 2 distances from which to record brass instruments:

1. close miked, recording the core sound of the instrument.
2. From a sufficient distance to record the over all band in the acoustic.

A balance of the 2 above positions creates a well rounded ensemble sound and can be edited in post production.

In contrast and as an example: what will be guaranteed to create a lumpy sound, lacking in quality, is to place the cornet dedicated microphones just above the front row of cornets. The microphone picks up the directional sound of one or two of the front row, probably more of the 2nd horn player sitting next to the 4th man down, and the lazer-beam edge of the soprano player (without any of the core sound that creates the warmth and maybe some subtly if you're lucky).

The reason microphones are placed in this way is that it works for less directional instruments like the string section. The fundamental difference is that we are all fairly directional (some more than others).

Next time you're recording, have a look at where your mike is.

I remember a recording a few years ago that was extremely well recorded, the mikes were well placed and the quality fantastic. It just happened that we were recording the theme tune....

If those recording us are better educated in brass recording, I'd like to think that perceptions of quality may change. There is also the question of playing to the role we've been given, I know I'd listen more if I expected to hear some more inspiring music.... I think it's 10 years since I heard "Fireworks" or "In Memorium R. K." on the radio. My intention is not to offend, just to raise a point.

Martin Britt
Desford Colliery

Yeovil - do the band really know what they want?

Sorry, but I do feel that I must speak up for the Yeovil Contest. Some years ago I was on the organising committee and we regularly asked the bands whether they wanted closed or open adjudication.

At that time they always voted for closed adjudication. I assume that the organisers are still consulting the competing bands on this subject. Knowing that it is closed adjudication the bands should arrange their programme accordingly and most do.

The success of Yeovil over the years has been due to the organisers consulting regularly with the competing bands and most will know, or will have learned, that the music comes first. I did not agree with the solo prize but thought that the placings were about right.

Alan Gears

Entertainment not education

A quick note to Pauline Hughes; I believe that the pieces chosen for this years area contests are the best that have been chosen in many a year. True, I am sure that the Third Section will feel that 'Tam O'Shanter's' is a very big test, but I am also sure that many of the lower section bands will benefit greatly from working on such great and demanding pieces.

The great thing about this years area's is all pieces are great to listen to from an audience point of view, and hopefully should attract people back into the hall who may have felt that they were there to be educated rather than entertained. 

A. Howgate
Buxton.

The mystery of  Josh Hershey?

Would 4barsrest please come to the realization the John Hershey from Arlington Heights, Illinois in the USA can not be a real person!  John Hersey is the name of a high school in Arlington Heights, Illinois.

It is far too much of a coincidence that "John Hershey" shares such a similar name with this school.

This person always seems to have something negative to say about the way the "powerhouse" Illinois Brass Band has been treated in the past few years.  I wish "Mr. Hershey" would realize that the reason the Illinois Brass has been consistently finishing last in competitions is that they have been consistently playing worse and worse while the rest of the US banding community has seen great improvements in their bands.  Get over it and get to work!  If you care so much about the IBB, hire a real music director, drop the attitude, and catch up with the rest of the United States! 

I have attended every NABBA since 2001 and actually sat and listened to the Championship section.  I've also attended both US Opens.  This has allowed me the opportunity to hear the slide of this "powerhouse."

Would the person hiding behind a false name, get a life and admit who you are rather than taking pot shots and defending a band that's lost any sort of stature that it ever had.

In other news, someone should really pay Grimethorpe.

I proudly sign my real name.

Franklin Jennings
Milwaukee, Wisconsin, USA

Free Speech

I read with mild amusement today (February 15th) the latest attempt by Messrs Hajeski and Hershey to drive the wedge further between their personal associates and the North American Brass Band Association.

Although the U.S. Constitution allows for free speech, it would also be prudent for brass bands everywhere to give and to hear accurate information in such a public forum as 4barsrest rather than the misrepresented, misleading details and misunderstandings prevalent in these letters which are too numerous to waste electrons discussing.  Let's state facts and not air dirty laundry that verges on libel and slander.

And I very much doubt, despite his urgings, whether Mr Hershey will be present at the NABBA Board Meeting next month.  In fact, will the real Mr Hershey please stand up??

Colin Holman
Glendale Heights, IL, USA

The right Lonis Rider was...

The following article, titled "The Lonis rider comes to the Prairie," in 4barsrest, last updated 30-Jan-2005, contains a statement which is incorrect.  In the second paragraph it states, in reference to Prairie Brass Band of Arlington Heights, Illinois, USA, "the band which was formed in 1997 by Dallas Niermeyer."  This band was in fact founded in 1997 by Roger Menning of Crystal Lake, Illinois, USA.

This fact is supported by Prairie Brass Band's own documents.  Prairie Brass Band has a CD entitled "Listen to the Prairie Brass Band."  The insert notes were written by Dallas Niermeyer.  He begins by saying, "Founded in 1997 by Roger Menning,..."  If you look at Prairie Brass Band's website, http://www.prairiebrass.org you will find in their "News" page, in the part which contains archived news items, past issues of "Prairie Brass Press." Every issue lists the Board of Directors, showing "Roger Menning - Founder, Dallas Niermeyer - Conductor." There are also a number of articles which refer to Roger Menning as the Founder, particularly:

Fall 1999 - Volume 1, Number 1 "Features: an article by PBB founder, Roger
Menning, on the PBB as it enters its third year, ."

Winter 2000 - Volume 1, Number 2 "This issue features: .member profiles of
PBB Founder, President and trombonist, Roger Menning."

In the Fall 2000, Volume 2, Issue 1,
http://www.prairiebrass.org/news/pbbnews-v2n1.pdf Clark Niermeyer, the
current President of Prairie Brass Band, has an article he wrote, in which
he says,

"Another change was the passing of the torch for Band President from our Founder, Roger Menning, to myself.  Roger served as President and "all round do everything guy" since the beginning.  It's truly an honor to be asked by Roger as his successor.  Roger continues to provide a valuable resource as a member of the Board as a "all round, do almost everything guy."

As President, my goal is to continue the level of excellence that was exemplified by Roger."

I could give much more evidence that I was the Founder of Prairie Brass Band, including concert programs, contest programs and press releases which name me as the founder, and an article I published about my experience founding a brass band.  There is also the testimony of many musicians in the Chicago area who were in the band at its founding and served on its initial Board of Directors, and members of the Illinois Brass Band who I consulted for advice on starting a band, which was before I met Mr. Niermeyer.

Hopefully this error is simply a minor misunderstanding, but as the founder of the band, it would mean a lot to me to have the record set straight. Please be so good as to print a correction, and inform your readers that the Founder of Prairie Brass Band, Arlington Heights, Illinois, USA, is in fact Roger Menning.

Roger Menning
Crystal Lake, Illinois, USA
Founder of Prairie Brass Band
Co-Founder of Chicago Brass Band

Comparisons and Consistency

The official adjudication remarks (Colin Hardy) compared to those of Iwan Fox at Yeovil may bear repeating in respect to the SWT Woodfals Band.
 
Arnhem
The opening ‘Arnhem' march could have been heard in Belgium (especially the soprano player, who is a very fine player, but on this occasion just blew his Jacobs off) - Mr Fox
 
Solid balanced start with good dynamic contrast & all flows along nicely, just odd blip in s cornet in Trio then splits in Sop/Solo cornets then flows along to end. - Mr Hardy
 
Meditation
whilst the euphonium solo, the usually serene ‘Meditation' from ‘Thais' was loud enough to induce a migraine.- Mr Fox
 
Odd untidy parts in opening in Flugel.  Euph plays well & has a good all round range throughout, accompaniments do well & keep in background, nice close.- Mr Hardy
 
Armenian Fire Dance
An even louder whip through an ‘Armenian Fire Dance' .- Mr Fox
 
Fine accurate start with lots of detail & good dynamic contrast & still detailed & well balanced with good rhythmic pulse, percussion blends in well to super finale.- Mr Hardy
 
'mid all the Traffic
‘‘mid all the traffic' which certainly caught the band out dynamic wise - Mr Fox
 
Untidy start but then flows musically & balanced, 27 some lovely sonorous sounds here all way to end..- Mr Hardy
 
Galaxies
followed by ‘Galaxies' by Carl Davies which rounded things off just as they started – very loudly.- Mr Fox
 
Clean start with good detail, Allegro good dynamics & lots of detail observed & good rhythms noted, percussion blends well at all times, moderato + all so secure & in place, all solo entries are secure, 17 glides along smoothly, 18 super detail, 20 so majestic to a terrific close. - Mr Hardy
 
General comments
We thought it a particularly unintelligent performance.- Mr Fox
 
This was a super overall performance with so much to commend.- Mr Hardy
 
Consistency
The theme to their programme centred around the antics of "George" their errant percussionist who was stranded aboard the ‘Aurora' luxury cruise ship marooned in Southampton docks (topical at least, but in reality not very funny).- Mr Fox
 
SWT Woodfalls neatly themed programme made the audience laugh because it was topical and linked nicely to the items they chose. - Mr Fox ??
 
Just thought you might enjoy the comparison. Vive la difference

Dave Barringer
Master craftsman of unintelligent, not very funny PRIZEWINNING performances (and long may it continue)
 
PS. How long was that applause?

4BR Comment:
Touche, Dave

The music is paramount - but did you hear it?

Yes, Peter we have been doing the visual presentation stuff, as you put it, at our concerts for the last 5 years. We also did the same at Yeovil in 2003 & 2004 so we are all well aware and experienced enough to know that the music is paramount. My question to you is did you hear our programme of music on Saturday?

Congratulations to Aveley & Newham on winning the contest as Mr Hardy says, it is his result that counts!

Chris Howley
Principal Cornet Flowers Band

Why not 4BR in the box?

I think that reader's comments from the Yeovil and other contests along with your own from the British Open and recent Norwegian Championships show that adjudication is not an exact science. It is always interesting to hear the basis upon which adjudicators have based their judgements (more interesting if we could hear from them well before a competition…particularly those involving set test pieces) and more interestingly adding to the debate where one feels inconsistency in words vs. results.
 
I would be very interested to read some 4barsrest contest comments from a closed adjudication perspective i.e. placed in a box not knowing the draw, and see what kind of controversial reports you could come up with as a result. Worth a few goes? 
 
Jim Corrigan

12 good men, and true

Could not let Yeovil pass by. Sadly I did not make it to Yeovil, but twelve of my own players did (Hayle Band ) and all came back with the same view that Flowers were robbed. If the Adjudicator had been in the open I just wonder if his view would have been clouded by the visual stuff. I have heard many Adjudicators say closed Adjudication takes away the distractions so they can hear the music.

Long may it remain so!!!!!!!  Maybe some of the blame should be laid at the organisations door, and that they can see that entertainment is a part of the contest, so have one Judge in the open with 25 points, and one closed with 175 points. What we must not do is to stop bands like Flowers doing their stuff, but remember we are all entertainers. So lets play and entertain,
                                           
Derek Johnston.

P.S. as always 4b great site !!!!

Stop carping about!

So 4BR has a go at just about everyone under the sun once more? Lads, I for one am getting a bit fed up of you carping on about what is wrong with everything in the banding world.

Can you put a positive spin on things now and again? There is so much good going on out there in the real brass band world in the lower sections, not just the fantasy world you seem to inhabit all the time. Come on, get it sorted!

Paul Curran

Never mind Norway, what about us Brits?

Why is it that 4BR seems to think it more important to provide pages of information on the Norwegian Championships in Bergen, but do absolutely nothing in respect to the recent Brass at the Guild Hall Contest?

Let the Norwegians get on with their contests and let 4BR start thinking about the ones here in the UK a bit more. Don't 4BR want a couple of days out in Preston instead of a trip to Bergen? The beer is certainly cheaper.

Alison Watson

Grimethorpe and the USA

I have just recently learned, with conformation, that Grimethorpe was not paid for their involvement at the 2003 NABBA competition held in Little Rock Arkansas April of 2003.
 
This is an absolute embarrassment and a possible death sentence to NABBA's future. I can hardly believe that the NABBA board has known about this and nothing has been done to fix this outrageous debacle. Is this a "cover up"? I can tell for sure that the majority of the member bands had no knowledge of this situation. Well, they do now!
 
This is the proverbial black eye that is the last thing the American Brass Band scene needs. On the eve of the annual competition next month in Chicago, I am hopeful that the NABBA board addresses this situation immediately and comes away with a solution, a public apology to Grimethorpe and to all of the NABBA member bands.
 
I am sure that most of the bands that are competing this year in Chicago are going to take an opportunity to find the facts and have their representative respond in an appropriate manner. I would not be surprised if there was a bail out or other such notions by bands that are associated with NABBA.  At least there is the US Open! What an absolute embarrassment to all of us here in the United States. Rest assured that this person will do his best to rectify this debacle. How dare we do this to our friends across the pond!
 
Dr.Mike Hajeski
Chicago, IL 

USA needs to pay up!

What an outrage! The North American Brass Band Association has done the unthinkable! Nabba has purposely miffed it's membership for nearly two years in not coming clean concerning funds due to Grimethorpe in 2003.
 
"They" will tell you that it is not their responsibility since the "host" band made all the arrangements. Hogwash! The NABBA Competition in 2003 was a NABBA sponsored event, not a "host" band event! What on earth could the NABBA Board be thinking? To date Grimethorpe has not been paid their expense. Tragic!
 
Next month, the annual event will be in Chicago. I would suggest that all or as many NABBA members flood the board meeting and demand clarification and a solution to rectify this unfortunate embarrassment.
 
As tough as it is to get sponsorship and exposure for the fine work that many Bands are doing here in the states, something like this does so much damage to American Banding. NABBA has already lost bands such as The Illinois and the Columbus Brass Bands. These two former powerhouses have been force out because of the ridiculous politics and unfair judging tactics that have been perceived.
 
If NABBA is to continue at all, they need to do some serious reorganization and apologize to their membership, Grimethorpe and the rest of the world in Brass Banding. And Europe thinks it has problems!
 
John Hershey,
Arlington Heights, IL

No complaints about 'Comedy'?

Note in the "complaints" about the regional test pieces, 'Comedy' does not seem to feature - no surprise!!. It is a tough test for the 1st section but what a pleasure to practice and play - and its great music too.  I have enjoyed every moment so far. All we can (all) hope for now is that on the day we reward our efforts with a performance to match - and then its up to the man in the box as ever.

I strongly recommend particularly to those of you who may not have heard the piece, that you support your local 1st section and go listen to this piece. For once you may find a rewarding alternative (unless you are looking for technical fireworks !!)  to the bar. Good luck everyone in all sections.

Graham Rix   

Now to call it an end on the test pieces

I think it is time to stop going on and on about the selection of the area test pieces now. We are fast approaching the final run it to the first of the areas with most coming down to 4 or 5 weeks away now and the last think I and many others want to hear is how bad it is when we are the ones working on them.

Personally I am working on Tam O'Shanter and I think it is a very difficult BUT achievable piece for third section bands.

It is a TEST that is for sure but my band have thoroughly grasped it and are working very hard with some very good results so far. It has not been the impossible piece that everyone has said it would be, far from it. There are many areas that are playable and call for sympathetic tuneful playing and of course there are bits that are extremely technical. It will, and is taking a lot of hard work but we will go and do our best like every one else.

BUT - for heavens sake, it has been chosen, it has to be played. Let's stop moaning and get on about making as good a job as we can. We are all in the same boat. We all have the same demands per section and yes some bands will make better job of it than others but is that not the main idea. Someone will win and others will not. That's a contest.

Dave Neil

Change of venue - 4BR please take note!

I send this e-mail to inform 4barsrest that the venue for this years Scottish Regional Championships is the Caird Hall, Dundee and not the Motherwell Civic Centre as you have advertised on your webpage. To date the information has not been corrected. 

Could you please change it A.S.A.P. to avoid any  confusion for the paying public who may indeed turn up at Motherwell and be extremely aggrieved.
           
Mr. Sullivan
(Dundee, City of Discovery Brass Band)

The good old Beeb!

The Good Old Beeb..2 and a Half hours as a showcase for the Brass Band on Wednesday 9th February !  A brave decision no doubt championed by Paul Hindmarsh to place our amateur movement where no one gets paid, in a primetime slot and for that we should all be thankful. Professor Gregson, the Doyen of the tuba James Gourlay and other distinguished contributors spoke eloquently about our niche medium and why it holds such appeal to those that succumb to its varied charms...

Grimethorpe, B&R, Fodens and the ISB should be pleased that their supporting contributions were worthy of airtime. It was a surprise seeing the advertised playlist that one ensemble was placed centre stage as the pinnacle of our medium. I wouldn't have known, if I hadn't had tuned in for the evening that, for a while it wasn't a bandumentary but surely that would be at odds with the BBC's policy on advertising. A public service broadcaster has a duty to provide a balanced output in whatever form that takes.

It was a great weekend for those that participated and spectated but sadly a huge disappointment that the listener at home didn't get to hear a true picture as not all contributors were deemed worthy of proper airtime. Perhaps they couldn't climb to the top of that mountain.

L Barton

Having a rough time off 4BR

As a band, we really feel that we have had a rough deal in your Top 200 Bands.
 
Here is the recent results from Preston:-
 
Brass at the Guild
6th February 2005

Championship Section
Guild Hall
Adjudicator : Derek Broadbent

1. Alliance Brass
2. Pemberton Old Wigan JJB
3. Wingates
4. Northop Silver
5. Poulton-le-Fylde
6. Vernon Building Society Poynton
7. Longridge
8. Marsden
9. Blackburn & Darwen
10. Drighlington
11. Llangrug
12. United Co-op Milnrow
13. Kippax
14. Freckleton
15. Tintwistle
16. Hade Edge (J.E.Dickinson Longley Farm)
17. Derwent Brass
18. Jackfield (Elcock Reisen)
19. Riddings
20. Wire Brass
 
As you can see, we came 5th beating many of the bands in the top 200 and even 100 (Freckleton). We have done this on several occasions in past 2 years & feel that you should review our position (out of the 200) as soon as you can.
 
Your comments would be welcome.

Andy M Moore 

4BR Comment:
All will be revealed in the next rankings which are due out soon Andy. Just a little more patience!

Name the names at the BBC!

Give us the BBC Radio 3 email address and postal addresses and I'm sure some of the 30000+ per week readers of the superb 4BR site will get writing…
 
Ed Latham
Redbridge

4BR Comment:
You need to write to the comment and complaints department of the BBC.

The address is for the attention of:
Roger Wright,
Radio 3 Controller
PO Box 1922
GLASGOW
G2 3WT 

Or you can comment on line through bbc.co.uk/radio3 and then click onto the programme you want. Good luck!

Remember it is about judging the music

Two comments from me in one month is too many, but can't let the Yeovil contest comments be totally one-sided.

If the audience wants visual and aural entertainment, let them go to a concert (or a show or a film). Interesting question: Do Flowers do their visual presentation stuff at their concerts? The Yeovil contest is principally about presenting an entertaining programme of MUSIC, and long may it continue as such. If a band chooses to do visual stuff that's their choice, but they know it's closed adjudication and should accept that the result is based on what the adjudicator hears. And those complaining about the result? Is it just possible that what they saw got in the way of what they heard? Is it just possible that closing off the adjudicator had the desired effect of allowing him to judge the quality of performance and entertainment value of the programmes?
 
Peter Hartley
Bournemouth

Treated with contempt

As a member of the audience at Yeovil on Saturday, I feel that I (and the rest of the audience) have been treated with utter contempt.

Yes, the contest was well run but the results were a complete farce from top to bottom and ruined what was otherwise a very enjoyable day. The name of the game is (or at least should be) entertainment - so how can it possibly be right that Flowers who had the most entertaining (and musically satisfying) programme came 4th?

The obvious target is the adjudicator who must have some strange ideas about entertainment (and certainly cares little for the views of the audience). Or perhaps the entertainment element is lost slightly if you are stuck in a wooden box ?!  Now there's a thought !  Time for the organisers to act I think (as recommended by David Read two years ago) or else you risk losing your audience and your bands.  Please never let the mistakes of Saturday be repeated. 

Emma Hanley

YBS and the Euros

Dear Mr Jan Westenhusien,

You write here about YBS and the decision of the band not to participate to the Europeans at Groningen:
"Their decision is purely based on money and has nothing to do with music. The players of YBS have shown themselves to be thoughtless and rather self-centred"...

Let me say you that I had the privilege to organize twice a tour in my country for YBS and David King, and I can assure you that the money was NEVER a central preoccupation for the musicians of the band and their manager! On the contrary...

As regards the European Contest, I want just to bring to your mind (you must have a short memory!) that YBS and David King did more than any bands in UK and in Europe to promote and develop this contest, and for example, as you speak about money, that they spend a lot of money to give unforgettable gala concerts and command new brass band pieces: Hymn of the Highland, Apocalypse,
Music of the Sphere, ...

You write again:

"So YBS are not going to the European Championships. Should we be sad about this? No."... I give you only one little advice: hear the YBS performances of Chain, of Concerto Grosso, of Aubade for example at the Europeans and perhaps you will not write comments of such a stupidity! It's simply distressing... Any brass band listener can only be sad that the greatest band of the 15 past years doesn't go to the European!!!

Daniel Zumbrunnen
Switzerland

Well done to the Alliance

Congratulations to Alliance Brass, John and all the guys on a splendid result, well worth the effort and long trip.It is really heart warming to see young people making such an effort. Once again well done and more power to you. All the best for the Areas.

Eric Tooley

Where were you 4BR?

I have been disappointed in 4BR this year as I am playing in Preston Guild Hall contest tomorrow and have done for the past 4 year and every year I look forward to your predictions and also to see the other band to see who the competition is, but this year you haven't done this and I would like to know why this is. I know some of it is only fun but I feel like it is a bad sign.
 
Mark Blakeson

4BR comment:
Sorry Mark, but we didn't have the time to give the full pre contest coverage this year, but we didn't receive the information about the bands etc until very late from the organisers. We did have a team there though and a full retrospective will be appearing in the next day or so or even sooner. 

Bands and the BBC - Radio coverage starts!

Just to say that the  BBC/RADIO 3 is broadcasting on Wednesday  9th Feb-from 7pm-9.30pm the RNCM Festival of  Brass!!!!! 

Tom Stone

4BR Comment:
Thanks Tom. Go to the news desk and all the details are there fore the programme, both on the radio and on the net. Happy listening.

Don't have a go at Wagner Mr Fox!

I really must take issue with you over comments about Richard Wagner in the Regionals 2005 CD Review.
Have you ever listened to Parsifal or Tristan und Isolde?  Have you ever been to a performance of a Wagner opera "Live"? I can't believe that you have ever done any of these because if you had I don't believe you could make such crass and ignorant remarks. The music of these later operas, and the Ring Cycle, contain some of the most beautiful, subtle, and moving music ever written.

To condemn him as "Hitler's favourite composer" is a cheap and hackneyed insult which has nothing to do with his music. If Hitler had liked Shakespeare or Mozart would that make their artistic output any less great?

Rienzi is by no means Wagner at his best- it was his first completed opera and bears very little resemblance to his later works. There are many fine musicians in the brass band world whose musical interests extend beyond the confines of the rehearsal room or next contest. You do them a disservice and only show your own lack of wider musical knowledge when you condemn one of the greatest composers of the 19th century in such a dismissive and ignorant manner.

Matt Somerton Rayner 

The best bunch of Flowers

Having just returned from the superb day out that was Yeovil, I have to say I was dumbfounded at the results!!!  Flowers was robbed!  What was the adjudicator thinking?
 
Are we going to get an insight into his mind and see the comments?  Was it down to choice of programme, entertainment value or what?  As for the soloist prize - again, all soloists were great, but with no disrespect to the winner, I felt that the bass soloist was robbed - I didn't know so much could be achieved with a 'bucket sized' mouthpiece ;-)  (Being a flugel player I am more used to things on a more minute scale!!!)
 
It is still a surprising factor to me that an entertainment contest can take place behind closed adjudication - there was some superb 'entertainment' apart from the playing - and how right the welsh band were, shame they slightly got the rugby score a little exaggerated, but they did get it in the right favour!!!
 
I spent the whole day in the theatre, with my husband and two children - ages 8 (learning Cornet) & 11 (Grade 5 Percussion) - we all watched all of the bands play.  The children's verdict on the most entertaining band in their opinion ... "the band in the red and green".  They enjoyed 'George's Postcards' and all the work that had gone into that and also the 'birds getting shot', but the total programme that held their interest from beginning to end was Flowers.
 
Congratulations to all those who took the trouble to enter the contest, many thanks to Yeovil Town Band and all the other people who work tirelessly to ensure a great contest year on year, but sorry Mr Adjudicator - you didn't get it right ;-)
 
The Worth Family
Cornwall

Judging on what you see and hear

I have just come back from the Yeovil Contest, and once again I must ask: Why have an entertainment contest when the adjudicator is closed away in a box at the back of the hall?!

It just doesn't make any sense. Lots of bands put hours of work into preparing to show off their talents not just with their playing, only to find that it is all rather pointless. And just to emphasise the point – Flowers then come 4th after producing the best mixture of both the visual and the playing on offer all day. What a disappointment from the organisers. Please sort it out!

William Courtauld.

Why the closed adjudication?

Nice to speak to you at the Yeovil contest on the weekend, and I look forward to the 4BR retrospective. I would just like to say that for yet another year, the Yeovil Contest organisers seem to be missing the point of it being called an entertainment contest. Having closed adjudication rather defeats the objective rather doesn't it?

This is a brilliantly run day, but this needs to be sorted out, or the bands will decide not to even bother to entertain in the future.

Ian Jones

What is wrong with paying your way?

With reference to you editorial concerning the European and the participation of the YBS Band.  You are quite right to point out that the decision for the reigning champions not to attend is a matter for them, and them alone, but you tend to wonder how committed the band really is to the contest when the players are not prepared to stick their hands in their own pockets and pay their own way to attend the contest.

Lots of the other bands do just that, so why not YBS? It rather makes their press release on their decision not to attend seem rather pathetic. If they believe they support the EBBA Contest, why not stump up the money and go and play. It is so disappointing.

Kevin Giles

Thoughtless and self centred

So YBS are not going to the European Championships. Should we be sad about this? No. Their decision is purely based on money and has nothing to do with music. The players of YBS have shown themselves to be thoughtless and rather self-centred. They won't pay their way to get their band to the contest – makes you wonder what future the band has now the sponsorship money has dried up doesn't it?
 
Jan Westenhusien
Belgium

Laughable Regional choices

Well done 4BR! About time someone spoke up about the rubbish choices made for this year's Regional Championships. Are they having a laugh or are the Music Panel just totally way off beam with their choices.

If ‘Rienzi' was a bad enough choice, who on earth thought bands in Sections 2 and 3 could play ‘Variations for Brass Band' and ‘Tam O'Shanter's Ride' eh?  It is laughable and shows that the future of banding in this country is undermined by thoughtless actions from people who should know better.

Pauline Hughes

Kicked in the teeth

This year's music selections for the Regional Championships could very well sound the death knell for many lower section bands up and down the country. Why pick music that is too hard for bands who struggle get a full band of players on stage, but feel that they are obliged to support their local associations contest once a year. This has been a kick in the teeth, and I know that there are a number of bands in my area (Yorkshire) who have felt that the pieces for the Second and Third Sections have done irreparable damage to their bands.

Ian Chisholm

BBC tripe!

What do you expect from the BBC 4BR? They don't want to feature brass bands on Radio 3 because they don't think we have enough quality? What a loud of tripe!

Were anyone from the BBC actually at the RNCM Festival to hear some sublime performances from our very top bands of music that for the most part fits their remit for the station perfectly? It is not about quality it is about snob values. They don't like brass bands because they don't fit into their rocket salad, feta cheese and Chianti wine meals lifestyles. I for one will be writing to the head of the station and will be asking some pointed questions. Thanks for highlighting a serious problem for our movement.

Mr L. Poulson

Give the media the tools - RNCM miss a golden chance

The RNCM Festival of Brass was a great event, but why complain about the BBC when the media coverage and provision from the organisers themselves was so poor?

Having blanket coverage in the brass band media is one thing (and well done 4BR, BBW and the BB) for covering the event so well, but as someone who regularly writes for national newspapers, you have to ask what resources did the organisers put in to attracting the arts correspondents from the newspapers, local and national television and radio?

None it seems, as when I asked at the venue if there was any press resources (flyers, press releases, interview room, internet facilities etc), I was told that there wasn't. The national press and media will only cover events such as this if they are given the tools to do it, and on this occasion the tools were simply missing.

The organisers must understand that they have to provide more to attract better coverage – just hoping that someone will turn up and report on an event when there is nothing there to make their job easy or accessible was a very poor oversight.

Steven Meadow 

Why are we not in the 200 club?

Just want to know why were not in the top 200 on your list having come fifth in the brass at the guild at the weekend and other reasonable results in the last year (s), particularly looking at Freckleton, Longridge and other North West bands that we've beaten in the past being listed.

Colin Tarry,
A member of Poulton-le-Fylde Brass Band.

4BR Comment:
The updated ranking will appear in the next week or so, so look out to see if your recent good form has shown itself in the table.

Looking for 'Excelsior'

You comment that there is no recording of ‘Excelsior'. I can tell you that there is a CD from 1999 by St Helens Youth Brass Band called ‘Excelsior', and it features the piece, ‘Excelsior' (as the title suggests).

Sarah Chapman

What about us 'oldies'?

Just enjoying your introduction and predictions for Yeovil 2005 when it suddenly struck me how many prizes were going to be handed out for the youngest player in different sections.

What about the "golden oldies" then! Naturally I am not referring to myself but come on lads the last time I won anything Iwan Fox was still able to run round a football pitch for 90 minutes (well 45 at least and that gets you back for calling me "ageless")!

Seriously though, it was very sad to hear that Iwan has called it a day and I can only echo Alex Kerwins' comments – here was a player who really did let his playing do the talking.On an instrument renowned for it's ability to self destruct Iwan was Mr. Consistency himself and respected by those who played with him and against him.

So at a time when silverware is being dished out wholesale to the "whippersnappers" lets hear it for the more mature amongst us and hope that Iwan, just like ‘ol blue eyes, will be back sometime in the not too distant future.

Hope you and the family are well Iwan – Welsh banding in particular will miss you. I know I'm getting old now because my back goes out more than I do!

Rob Burnett

The bands and the BBC

Congratulations on your February Editorial.

At long last our brass band media has noticed that we are not getting a fair share of national broadcasting time and is doing something about it!

The unfair  treatment by the BBC of brass bands and its music is nothing short of scandalous. Letters to the corporation do no good at all, they have their mantra type replies already written. We need friends in high places to support our cause,  in the same way that John Prescott and Kenneth Clarke support their minority interest, Jazz!( You will see what I mean in one glance at the Radio Times). One or two big names could do the same for us! Perhaps Neil Kinnock who, I understand is one of our friends could help? Do the Mandarins at the BBC know that he has already taken countless CDs of the Tredegar Band and others to impress his friends back in the European Union  in what he believes to be a very important part of the United Kingdoms musical culture!

I  believe that this  is one of the most important issues for the future of banding, it is no accident that in recent years, there has been a  decline in banding in  proportion to the decline in the number of broadcasts. We are no longer in the public eye (or should I say ear!) as we once were. It is ludicrous to suggest as they do, that our Championship Bands could not give regular quality programmes both on Radio 2 and Radio 3 and I should know! It is equally ludicrous to say that audiences would not enjoy them as much as some of  the minority programmes that they do favour!

We pay our licence fees,  we should be treated as fairly as other minority interests,   the BBC should know that we are  no longer happy to accept from a public corporation 'a few crumbs from the rich mans table' Keep up the good work, 4barsrest, this is far more important to us than the usual 'is the box in the right place' nonsense! You and the rest of the brass band media can lead a good crusade on this issue. (Why not get together!)  You told us recently at  the recent ABBA. A.G.M.of the power of  internet communication, I believe you, now  lets use it to our advantage!

David Read
Adjudicator

Looking for help with 'Gresford'

My name is Peter Crookston  and I am writing the biography of Robert Saint, the miner and brass band musician from County Durham who composed the famous anthem 'Gresford' which will be familiar to all colliery brass bands. It commemorates the 256 men and boys killed in the explosion at Gresford Colliery in Wales in 1934, and it has now become the miners' anthem.

It was  composed by Robert Saint in 1936 when he had left the mines and was serving as a bandsman with the band of the Royal Northumberland Fusiliers. It was first performed at the Durham Miners' Gala by Brancepeth Colliery Prize Band in 1936.

In 1939, 1947 and 1948 it was performed by the massed bands of 10 north-eastern collieries, conducted by Rpbert Saint. He died in 1950, aged only 45, from a lung disease he had contracted while a miner.

'Gresford'  has become part of the traditional ceremonies at the Durham Miners Gala. It is always played before the speeches begin. And last year four bands chose it as their piece to play to the politicians and union leaders assembled on the balcony of the County Hotel in Durham to watch the march-past of the miners' lodges with their band s and banners.

It is possible that some of your readers may have played in those wonderful massed band performances of the late 1940s or they may have played in brass bands with Mr Saint, who was a member of several brass bands between 1943 and 1949. Someone now in their mid-to-late 70s would have been a teenager or in their 20s at that time. If they would be kind enough to get in touch with me I would very much like  to interview them. because their memories could make a very important contribution to my book.

Peter Crookston

My address is 84 Portland Road, London W11 4LQ.Tel. 020 7243 4280, or email
peter.crookston@officegarden.demon.co.uk

4BR Comment:
If anyone can help please contact Peter direct.

Just for the record - or CD as the case may be 
 
Thank you for Iwan's glowing review of the CD release ‘Ad Optimum' from the Brass Band Buizingen with guest soloist Peter Roberts.  Naturally, I agree with every word of your sparkling analysis.

However, there are a couple of inaccuracies, which might prove confusing and perhaps should be (pedantically) cleared up…
 
You are quite correct to say that the outstanding new work from Johan Evenpoel ‘Ginnungagap….seeming emptiness' was the set work for the Netherlands National Championships of 2004, but this was not won by Willebroek, and Buizingen were not runners-up as these bands are Belgian and compete in the Belgian National Championships!

In fact, Buizingen used ‘Ginnungagap…' as their own-choice piece in the 2003 Belgian Championship and were placed second behind Willebroek.

The winners of the Netherlands Championships of 2004 were Amsterdam Brass (Rob Goorhuis) – a Dutch band, surprisingly enough! 
 
Andrew Elliott
Belgium

4BR Comment:
Thanks Andrew, we will amend the review accordingly. 

A bit too easy with the negatives? 
 
With reference to your January editorial, it's no surprise that 2004 was essentially more of the same, but your negatives were perhaps too easily tossed out.

In particular I think we should remember that the BFBB, in a context where most bands are totally self-absorbed and see each other as rivals rather than as part of one entity, has moved from being a complete joke to bordering on credibility. The registry now works and the rules are now well and truly 20th century rather than 19th. It is too easy to criticize a lack of "blueprint" when they have the inertia of the local associations and regional committees round their necks. Although I'd welcome some radical changes - scrap all the regions for a start - there's no point in trying to do stuff like this if you can't carry the majority with you. I'm afraid it's slowly, slowly, catchee monkey. And where are the people with the will, the energy and the insight to do a better job?
 
Perhaps you should start a debate on what the essential elements in this "blueprint" should be. The whole thing we call a movement is so wrapped up in contesting that most of us can't see the wood for the trees, so things like how many adjudicators and choice of test-pieces seem to dominate whereas, as you partially imply, money will eventually be the major factor in determining the future, whether it's the cost of contesting or the cost of tuition when schools and/or bands no longer provide it for free. As an example, if the Europeans eventually fail, it will probably be cost not warring factions that finish them.
 
Yes, it seems likely that we are in the early stages of a decline (I'd love to know what the average committed membership per band is compared with 10 years ago), but we aren't alone in this: it's part of a bigger picture of general social change. As I've said publicly before, I don't see much in the way of positive change until committed band people understand some fundamentals:
 
1) If you want quality in your hobby you'll have to pay for it. Witness the ever-rising cost of engaging good conductors, percussionists and Bb bass players. I estimate the typical total cost of taking a Championship section band to e.g. Blackpool for the weekend is somewhere between £4 - 5000. If a typical band has 20 committed members that's £200-250 each. This is not out of bounds compared e.g. to golf as a hobby, but brass band people don't see it that way (and most of them get "free" equipment).
 
2) Contesting is self-indulgence. Why expect an audience? I've thought about this and I can't conceive of any way to make "entertaining" a straight contest between 20-odd bands with a single test-piece (however "good"), except to a few anoraks. If someone else can, please enlighten me. Once again, if we want it that way it's probably us who will have to pay for it.
 
3) Survival will eventually require more collaboration and less "them and us".
 
Peter Hartley
Bournemouth 

It's not all about money
 
I can only speak for Cwmaman Band and our views of attendance at local contests, but it does NOT come down to the prize money on offer. If so, all bands you kindly mentioned would not attend the area either.
 
The cost of a conductor's expenses for a full week of rehearsals before a contest is a major factor as well as band members out each night hoping that their girlfriends/ wives etc haven't left them when they get home.
 
The main reason for non-attendance by some Championship Bands is the diluted title of Champion League Band of Wales as opposed to the Champion Band of Wales which is always decided in March each year. To get all Championship Section bands to attend local contests, a "carrot" has to be dangled in front of everyone's nose - Qualification for the European. This is what we want!!
 
We want to be playing against BAYV, Tredegar, Beaumaris, BTM, Tongwynlais, Parc & Dare etc. four times a year and not just at the area. We all know BAYV will probably win every contest, but this will hopefully put " bums on seats " and inspire future talent from the lower sections.
 
As a young lad I was inspired among other players in Cwmaman Band by the likes of Cory during the 80's and seeing Welsh talent on stage at every contest. That inspiration was made reality in October 2004 with our first appearance at the RAH.
 
We at Cwmaman and other championship bands have written into South East Wales Brass Band Association to change and revert back to four contests per year to also include North Wales Bands before Welsh banding becomes a thing of the past. We are hoping that a decision to re-introduce a 4 legged Welsh competition linked to promotion/ demotion every two years will ensure all Welsh bands attend out local contests. 
 
Tim Malpas

The magical Alan Morrsion
 
I've just read your review of "Somewhere Over the Rainbow", the newest CD release of Alan Morrison and I was struck by how well the reviewer, Iwan Fox, managed to capture the real essence of Alan's presentation on this, his seventh solo CD effort.
 
To be sure, the world is not short of outstanding trumpet and cornet players; some boasting of superb technical skills, others with great musical sensibilities, and still others with super chops or wonderful jazz capabilities.  Few, however, embody all of these qualities and many more as does Alan.
 
However, having heard all of Alan's solo CD's, as well as numerous live performances - including the unlikely ones on piano and even tenor sax (!!) - the quality that continues to impress the most is his consistent ability to PERFORM.  As we all know, it is one thing to play well and quite another to really perform.  That nearly magical ability to rise above a technically skilled and accurate presentation to the level of the inspiring musical performance is something that few players achieve, and certainly none achieve more consistently or frequently or with such apparent ease, than Alan Morrison.  A  wonderful player of course, but a truly magical performer as well.
 
Dallas Niermeyer
Conductor, Prairie Brass Band
Arlington Heights, Illinois

Message for James McFadyen

I have  just read your comments on 4barsrest and can assure you that not all bandsmen have their heads in the sand but sadly, our movement seems to have quite a few, if your ever down in Cornwall then please feel free to call in, I would be delighted to meet you as I am always looking for interesting music, and maybe music that's a little different,
                            
Derek Johnston
 
PS. as always 4b great site.

Consign it to the dustbin
 
I was disappointed to read that bands in South Wales want to return to the 4 contest system to pick the "Champion Band of Wales". I though we'd laid that spectre to rest. When I played in a championship section band in North Wales in the 80s we were resigned to the fact that this system meant that we would never get the opportunity to represent Wales at the European, because all the relevant contests were in the South, and we simply couldn't afford to go - in fact for many years we went to the North West Area rather than Wales because of the cost and because even winning the Welsh Area didn't get us a European place. I have no doubt that this proposal heralds a return to the bad old days.

BAYV have already intimated that they will not have the time to support this and I suspect the same goes for Tredegar and Cwmaman, if not others. This move will therefore exclude the very best bands in Wales, as well as those from North and West Wales who cannot afford to travel to 4 contests in South Wales every year. This will not in any way revitalise banding in Wales; Scotland has no need of such a system and yet banding in Scotland appears to me to be thriving with an energetic and innovative association at the helm.

Leave the 4 contest system where it belongs; history's dustbin.

Andrew Baker

One for the correcting fluid
 
Can I just correct a piece of info that appeared in your preview to the Butlins. I know it is only a little matter but you said that Haslingden & Helmshore (1st section) finished 7th at the area last year. This is in fact incorrect. We actually finished 3rd in the 2nd section and have actually been in the top 6 for the last seven consecutive years - and we have the glass trophies to prove it - right from 4th section and through 2nd section. The Butlins contest was in fact our first attempt in the 1st section.

Kath Thacker
Haslingden & Helmshore Band

Two things not expected from Butlins
 
"Enjoyed" and "Butlins" were never two words that I would ever expect to put in the same sentence. Looks like there's a first time for everything. Just don't tell any of my mates!

Nigel Brinklow

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