Comments ~ 2005: September

Fall out from the Open; Why mess with a classic; Black Dyke bias; Ashtongate conspiracy theory; Statto and even something about old Romanian weight lifting uniforms as we get back into the swing of things after the Open.

British Open problems

I must agree with 4BR that the British Open now has a number of structural problems that need to be addressed if the contest is to continue to flourish in the future.

There are still too many bands competing – an ideal number should surely be 15 at most, as this would make it a much shorter day, but fuller of quality rather than quantity. The test piece was excellent this year, but the organization of the percussion was disastrous. Fixed percussion positions are needed.

Give the audience a break. Two breaks are needed. One for 1 hour for everyone to have time to get something to eat, and one of 15 minutes for a leg stretch and toilet break for the judges. Scrap the awards at the end. Worthy as they are they are not required. Why not do them throughout the day, say in the second 15 minute break?

People no longer wish to spend extended time listening to band after band and that is why, as you highlighted more and more people are hand picking the bands they listen to. The time for change is now before it is too late.

Kevin Hopkins
Shrewsbury

Milking the applause

Why is it now the fashion for conductors at the British Open to try and extricate every last once of applause from the audience after they have played?

Receiving genuine appreciation from an audience is one thing – keeping your players on stage and milking it for all its worth by raising every single soloist, section, then turning to every corner of the hall with arms aloft in mock heartfelt appreciation –begging like a puppy for a bit of affection is another.

Some of our leading conductors revealed themselves as rather pathetic figures at the weekend as they wrung every last clap from a hall which found itself fatigued and put off by their vain pleadings! Stop it – it isn't professional or clever – just plain embarrassing.

Roger Fellowes

Why the Black Dyke bias?

Why is 4BR so biased towards Black Dyke and BAYV Bands at every contest? I logged into your coverage from the British Open only to come across it once again. You seem to go over board with praise and platitudes for these two bands (is it because they are conducted by Welshmen) but never have a good word to say about many other bands.

Come on 4BR be fair to all the bands and put your Welsh bias away!

Helen Kealey

4BR Reply:
Did you actually read our live reports Helen? Grimethorpe, YBS? Sellers? By the way - those two bands did come first and second!

Well done Mr Tovey

Just come back from the British Open, and what a great day out it has been – the first time for a while it must be said.

This was because the organizers finally made a proper choice of test piece and not some rubbish arrangement or choice of three as we have had in the immediate past. Well done to Bram Tovey and well done the organizers. All they have to do now is to make the day less long, produce a decent study score and stop people shouting down their mobile phones in between performances!

Geoffrey Wright.
Huddersfield

Bad score

One of the integral parts of attending a contest particularly when its a new piece is to look at the study score and follow the music as you go along
 
This year's study score however just begger's belief and like many people I paid my money first before opening the score - it was totally unacceptable
 
I notice as I am emailing you that you've already put a news item up on 4BR and intend to investigate why the score was produced, let alone sold as it was - good on you!
 
What happened at the Open can't be allowed to happen again - I have tried to read it again since the contest and it is bordering on the impossible.  Personally, I'd be happy for all of my £5 to go to Mortimer Trust as a gesture by way of an apology from the publishers - hence, if they make a loss, they won't make the same mistake again will they?
 
Julie Smith
Manchester

Great Day at best – flagrant profiteering at worse

Great day out at the open marred only by paying £5 for a study score with microscopic print rendering the thing unreadable. Reducing 4 A4 band score pages  onto one A4 page was at best incompetent, at worst, flagrant profiteering.
 
Otherwise, top day.
 
Dylan Richards,
Market Harborough

4BR Reply:
These were just two of the mnay e mails we receivd on this matter. Fair play to the publishers though as they have now since owned up to the mistake and made sure that all the proceeds of the sales go to the Mortimer Trust.

Ashtongate? A possible conspiracy theory?

Although I have absolutely no connections with the Ashton under Lyne Band, I would like to offer my congratulations to them for what I thought was an excellent showing on Saturday at the 'Open; they should all be very proud of themselves! I can only imagine the amount of hard work they must have put in; having heard most bands, their performance was not out of place and you wouldn't have thought this was a first section band - they are first section aren't they? - well done none the less! This must say something for the standard of banding at the present time shouldn't it?

Having heard what I thought was a lack lustre and definitely disappointing performance from my favourite band, Grimey, whom I had outside the top six anyway, Ashton should be disappointed with second to last place as I feel their performance wasn't a million miles off Grimey, despite all the sycophancy that followed Grimey because they are Grimey I guess. For me Grimey had an off day and that's that.

I will also say that I find it very odd that a number of people traveled over to Birmingham to support Tredegar as they 'knew' they would be getting relegated this year? I must be missing something am I? How were Tredegar possibly last anyway? Someone always has to be last I know, but I wouldn't have had Tredegar there. This being the case, it looks like Ashton and Tredegar may have been involved in something political (Ashtongate anyone?), as I heard at least two bands that were placed in the top ten that maybe should have been placed lower than them - a few of the more 'eminent' musicians I spoke to on the day were not in disagreement.

Continuing, I enjoyed Hepworths' somewhat 'bravura' performance and they deserved their top ten placing as did Reg Vardy's too. Their Bass end, not forgetting the irrepressible Paul Robinson on Euph and one of the Munsters on Bass Trom (alright Gareth? teehee....), I thought particularly excellent. Again, I thought they should have been higher than 9th, and maybe could have swapped places with Hepworth for me, who incidentally had one of the best top Trombones on the day in my opinion.

Dyke and Cory were interchangeable for top spot and it went basically down to what the men in the box were after....YBS, just a few too many little slips costing them? Cory's was definitely the more sensitive, musical performance but Dykes' was very technical and precise; I did hear that Dyke were a little disappointed in their performance and they thought there was room for improvement! Good on 'em! that's just what you want to hear I think - at the top but striving to be even higher - good on yer!

Finally, this was my first visit to Symphony hall, having eventually got there due to the bizarre signpostings or lack there of, and my first open since it left Manchester.

This place can't be better than the Bridgewater Hall can it? I thought the shopping centre layout and the pink decor in the hall a bit much and was there really only one bar open the entire day?

Get the Open back to Manchester I say!........though I have yet to visit the Sage which is even closer to home!

In closing - a great day out with the typically bizarre contest placings.........welcome to the weird and wonderful world of Brass Bands!

Oh and finally finally, well done to Michelle Ibbotson - totally, totally deserved!

Shaun Roche.

The stats tell the story of the best bands at the Open

I thought the attached might be of interest to your readers.  Being a bit of a closet brass band anorak and statistician during the day, I took it upon myself to see which bands could claim to be the best British Open Bands of the Decade. 
 
Anyway, attached is results which lists the best bands, I used the following scoring system 
 
1. -  10 points
2. -   8 points
3. -   6 points
4. -   4 points
5. -  2 points
6. -   1 point
 
Currently BAYV and BlackDyke are running close for this decade, no surprise to anyone who'd heard them at the weekend – still mystified by Grimethorpe's placing. There were a few surprises for me.
 
Just how dominant Black Dyke were in the 70s especially given they missed a year, how Cory could win a hat trick at the Nationals in the 80s yet not even muster one top 6 finish at the Open, the strength of banding in the Midlands in the 80s, with three of the best ten – what's happened there then? How good Morris Motors were – a southern band?
 
It also reveals who the truly consistent bands are – Black Dyke, Faireys, Brighouse, Grimethorpe, Fodens – who feature in every decade. Hope is of interest
 
Andy Stone (Otherwise known as statto!)

2000's:                                                      1990's:

1. BAYV  - 43                                          1. Faireys - 61
2. Black Dyke – 39                                   2. Black Dyke - 44 
3. YBS – 27                                             3. Leyland - 41
4. Fodens – 21                                         4. Grimethorpe - 32
5. Faireys – 14                                         5. YBS - 31 
6. Whitburn – 10                                      6. Marple - 24 
6. Grimethorpe – 10                                 7. Fodens - 17
8. Brighouse – 6                                       8.CWS Glasgow - 12 
8. Scottish Co-op – 6                               9. Brighouse - 11
10. Kirkintilloch – 4                                  9. Sun Life - 11 

1980's:                                                      1970's:

1. Black Dyke – 50                                  1. Black Dyke - 74
2. Faireys – 40                                         2. Yorkshire Imps - 40
3. GUS – 34                                            3. Brighouse - 32
4. Grimethorpe – 28                                 4. Faireys - 30
5. Fodens – 27                                         5. Grimethorpe 26
6. Leyland – 23                                        6. Stanshawe - 18
7. Desford – 16                                        7. Cory - 16
8. Brighouse – 15                                     8. Wingates - 11 
9. Coventry – 13                                      9. Desford - 9 
10. Hammonds – 12                               10. Fodens - 8
                                                              10. CWS Manchester - 8
                                                              10. Carlton Main – 8

1960's:

1. Faireys – 62
2. Grimethorpe – 46
3. CWS Manchester – 30
4. Wingates – 26
5. Morris Motors – 23
6. Yorkshire Imps – 20
7. Black Dyke – 19
8. Brighouse – 18
9. Fodens – 16
10. Ransomes – 13

Why ruin a classic?

Why is it that the bands in the First Section will have to perform a ‘new' version of a classic test piece – ‘Pageantry' by Herbert Howells?

I am a great admirer of Philip Wilby and his works, but why on earth did he think it was right to add parts to a piece that has stood the test of time in its original form? Would he be happy if the next time one of his pieces is used, someone decides that it needs extra percussion or a second soprano part?

And the excuses for doing it? Oh come on. Leave our best works alone and concentrate on some of the more modern rubbish that can very well do with a make over.

Colin Watson

No surprise who does the fiddling

It came as no surprise that we find out that the publishers were behind the ‘up dating' of ‘Pageantry'. Wasn't it the case with ‘Epic Symphony' a few years ago as well?

There is no good reason for messing around with works of this quality – remember the excuses they came out with when the Moor of Venice was revealed to be a printing nightmare a few years ago as well. They didn't do much to change that rubbish then did they, as they knew it wasn't to be played again. This is just another quick buck scheme that the banding world has fallen for once again.

Howard Long  

Granada Band of the Year

In reply to Dave Weston's question regarding Granada Band of The Year on DVD and also the BBC contest - contact a guy called Eric Willan from Park Records, Burnley.  He has copied some old videos he had onto DVD's and has quite a good collection. I don't have a contact number but I'm sure you'll be able to find one on directory enquiries or whatever.
 
Hope this helps!
 
Carina Halliwell

Return of the pest controller

Martin Boardman here again ( I wrote to you in June regarding pest control and Roberts Bakery Band). Anyway I'm back again after a spell of dispatching rabbits and other pests to the great field in the sky. (usually whilst listening to Roberts bakery Classic Brass Vol 2). I was very surprised to read that Iwain Williams was conducting YBS. Last I heard he was building trailers and horse boxes. Well Done Iwain!
 
Martin Boardman

4BR Reply:
Have you been sniffing the pest control products Martin?

Make and model please

Can you tell me what make and model flugel horn is used by Iwan Williams on his recording?

Ian Scott

4BR Reply:
We don't know Ian, but we are sure someone will tell us.

Up grading percussion sticks

I"m 'upgrading' my percussion stick collection and am having difficulty in finding some really good shops to buy some. Can you point me in the right direction of the best percussion shops in England please?

I would be most grateful.

Dave Cosens

4BR Reply:
Anyone from the shed building union help please?

Don't give 'em back!!!

Re: Faireys request for their old uniforms back can I on behalf of Besses request that if any of our ex jackets ( the grey check ones) are knocking around that they definitely don't send them in !!!
 
Dave Aston
Besses

4BR Reply:
We remember then well Dave. East European Olympic grey - last seen on the Romanian womens weight lifting team at the Moscow games. Hopefully they have all be burned.

In need of a recording

As I was mentioning to you on the phone this afternoon, I am acting on behalf of Jack Greaves who is the Historical Research Officer for the Band Association of New South Wales.
 
Jack is now at the point of publishing a history of the Newcastle Steelworks Brass Band of N.S.W. who visited England in 1924. Along with the book he was hoping to release a set of CDs of the recordings the band made while they were here, thinking he had a complete set in 78 rpm form. Unfortunately, Jack now realises that he is one recording short, and this is how he describes the missing disc:
 
78 rpm disc record by Australian Newcastle Steelworks Band
"Imperial" label (blue) catalogue no. 1348 recorded 1924
"Torch Dance" (from "Henry V111") (Edward German)
 Coupled with "The Wee Grenadier", played by the Crystal Palace Band.
 
As you may have guessed, I have no knowledge of the world of brass bands, but I have agreed to act as UK contact for Jack as my grandfather was in the Steelworks Band and Jack has been helping me with family history research. My contact details are as follows:
 
Alan Hall,
5, The Terrace,
Kirby Hill,
Boroughbridge,
North Yorkshire,
YO51 9DQ
Phone: 01423 322396 (Mobile 079018 34017)
Email: hallmardon@aol.com
 
Jack informs me that he only requires an audiotape or a CD recording of the   original disc, and not the record itself, though I am sure he would love to purchase a copy if one was available.
 
If you have any suggestions about how we might proceed with our search, or can help in any way, both Jack and I should be most grateful.
  
Alan Hall

Drivel, predjudice and a great big leg pull....

I have recently read your comparison of the 'top of the range' Eb Horns from Besson and from Yamaha, and I must admit that it is quite some time since I have encountered so much drivel and palpable prejudice in what is supposed to be an informative service for us (your readers). Either that , or it is a giant leg-pull.

Under the heading of "Build Quality" etc., how can your Reviewer suggest that Besson are better built than the Yamaha? Has he/she ever actually looked at them side by side?

In my 16 years experience as a Band Instrument Repairer, the complete opposite has been the case. (I am not just talking about just Horns here, but the complete range of Brass instruments)

He starts off by making a spurious reference to a time when Yamaha (according to him) made instruments from discarded rubbish, whereas the only rubbish in sight here is his own statement. His next statement about the solder on the joints not having been "burnished" enough, beggars belief.. He obviously has no clue as to what the process of burnishing is, and even if he has, why on earth would anyone want to burnish lead?

The rest of the "Review" continues in more or less the same vein, by making totally substantiated criticisms of the Yamaha instrument at every possible opportunity, while, at the same time glossing over the more obvious inadequacies of the Besson. (Mr. Reviewer, your bias is showing)

I'm sorry, but I really think that if this is to be the standard for any other instrument comparisons, then it would be better to forget the whole idea of these reviews.

By the way, I have absolutely no connection with Yamaha, good, bad, or indifferent and hold no brief for them. However, I do think that FAIR play is important. On that note, why not include the Courtois instruments in your table of comparisons? Only when you get an informed and impartial reviewer of course!

Christy Smith,

4BR reply:
Thanks Christy. We stick by our review of both instruments but appreciate your point of view based on your experience. Out of the two we were sent, the Besson was the best – in our opinion. There was no bias involved, and it may have been a different result if another reviewer gave his or her opinion - and we did have them both to play on for a considerable period of time thanks to Normans Musical Instruments who kindly lent them to us. We couldn't get our hands on a Courtois, so that comparison will have to wait for another time.

Inexplicable love for Willebroek

I have long suspected that 4barsrest has an inexplicable love for the Willebroek band from Belgium, and when I today read through the articles and the News Desk, this was definitely confirmed. Here you have a complete article telling us that the Willebroek band starts its rehearsals for this season. Well, in fact all bands in the world starts their rehearsals these days, but they don't get an article at 4barsrest.com about it anyway.

Really - who cares?! I mean, if you haven't got anything to write, well then don't write!

4BR reply:
What have we done to upset you? Favouritism towards Willebroek?  Now there's a crime even if it was true.  The news item you refer to was send to us as a press release by the band for publication. Where it may be considered something of nothing to you, I'm sure supporters of the Willebroek Band around the world are pleased to read they are alive and kicking and looking forward to the contest season ahead of them. 
 
4barsrest does not in any way discriminate towards bands and the news it publishes and we personally congratulate Willebroek, not just for being a great band and fine ambassadors for brass banding in Belguim and Europe, but as a band that recognizes that there's nothing at all wrong with some pro-active publicity through the use of our news service.
 
How disappointing it is though that you thought there was some other agenda behind the publishing of the news item.

In defence of the Regional CDs

Catching up on the recent comments (having been in the bandstand all week) I was surprised to see no-one springing to the defence of the way that the Regional test-piece CDs are produced.

I am only interested in buying recordings made by competent bands. Why would anyone want to hear how NOT to play a piece of music!? Surely these CDs are just a useful guide to conductors and players, and definitely not to be copied slavishly as though for an examination. In my experience the performances have been at least acceptable.
 
Any criticism of who records the pieces is irrelevant. This is a commercial enterprise. If you don't like the way it's done don't buy them. What would be useful and of interest to me would be lists of existing recordings of such pieces. Since in many cases there are none for the lower sections, why don't goodish bands include good lower section test-pieces on their CDs?

For example, Bournemouth Concert Brass sell a CD with a mixture of music on it, including Peter Graham's "Dancing in the Park" and Alan Fernie's "Royal Mile Suite". (See www.bournemouthconcertbrass.org.uk) Has anyone recorded Darrol Barry's excellent "Salford Sinfonetta" or Joseph Horovitz's "Sinfonietta"? Is their a brass band discography of pieces longer than 9 minutes, listed by composer?
 
Peter Hartley

Thanks from Bedford to Malta

The Bedford Town Band has recently been touring the Mediterranean island of Malta between the 11th and 17th August 2005. During this tour the band performed a total of 5 concerts. The band has also been the guest of the Society of Saint Mary and King George V Band Club of Mqabba-Malta, for the occasion of the traditional annual village festa of Santa Marija, celebrated between the 9th and 15th of August.

The list of concerts held in Malta by this Brass Band was; Marsaskala (11th), Zebbug &
Marsalforn-Gozo (12th) and Mqabba (13th, 14th, 15th). For each concert there was a very good audience and the band received a 'Well Done' on every occasion. The most important concert was held on the 14th August in Mqabba. The great performance of that day will be remembered for sure !! Present for this concert also was the Deputy/Acting British High Commissioner in Malta. The Bedford Town Band had also some official meetings with the Town Councils of Marsaskala, Zebbug-Gozo, and Mqabba. On each occasion a message from the Bedford Town Mayor was read and presented to the Maltese Town Council.
 
In the name of the Society of Saint Mary and King George V Band Club of Mqabba-Malta, I wish to thank first of all Mrs. Sue Blunt, Band Secretary, who worked hard so that this event could gain this success. We would like to thank also Mro. Chris North, Band Director, and his Maltese wife Mary. Thanks also Mr. Tony Wiles, Band Manager, and all the band members who played in Malta. Thanks to all these people, this year's festa was a special one. Hope that in the future there will be more UK bands who will be interested to visit Malta during our village festa. We promise to help and make your trip in Malta a memorable one, an experience not to forget.
 
Those interested: Please email on alfgalea@maltanet.net
 
Alfred Galea

And on return home...... a visit from the noise inspectors

I have just been informed that the Band friend of ours, that the Bedford Town Band, has been presented by a Noise Abatement Notice, which will be banning them from practicing in their present Band Room.

The band has just visited Malta and superbly represented the UK in our country. We, here in Malta do not even think about something similar to occur. Being an organization promoting culture (music, arts, banding) and Maltese traditions (Our traditional Maltese Festa of Santa Maria), we get plenty of backing up in such problems. So, I ask; "Why that should happen in the UK?"
 
In such situation, hoping to be of help to these good friends of ours, I would like to place some appeals:
 
(1). To all lovers of Brass Banding in the UK:
 
Please stand up and try doing something in this situation. If similar problems begin/continue to arise within UK Brass Bands, that would mean a slow death for Brass Bands in the UK !! Would you agree with that? The Bedford Town Band at this moment ended up with no place where to rehearse. What would be the end if they will not find a solution for this?
 
(2). To authorities concerned:
 
You must help such organizations. They are promoting culture in your country. With the Bedford Town Band here in Malta we have met a good number of youths, all eager to learn music and all true lovers of art. Indirectly, Brass Bands could be a good place, helping to keep youths and next generations away from modern temptations which would ruin their lives. We, lovers of Banding in Malta have set up a motto to promote music: "Drugs ruin your mind and health. Music opens your mind and gives you a good scope for your life!"
 
(3). All those near Bedford Town who might help:
 
If you can help by providing some temporary practicing place for the Bedford Town Band, please contact immediately Sue Blunt, Band Secretary (email: sue.blunt@ntlworld.com ). Rest assured that you will be proud about helping the Best Brass Band in your area !!
 
Hope these comments from Malta will help.
 
Alfred Galea

The love of pedal power

Just a brief one. It seems to me entirely reasonable for a commissioned composer to stipulate just how his own creation should be played. After all, only he knows what is in his mind & to reproduce that he's written notes on paper, surely a simple concept to all musicians aspiring to recreate the composer's ideas. I refer,  of course to "pedalling", a technique used by bass players to produce an effect, usually requested by the sign 8va, as identified in his foreword. I'm a bass player. I love hearing pedal notes, especially as played by our top players. They have their place. The notes that is. Let's keep it that way!

David Walsh

Incredulity!!!

I read with incredulity your endorsement of Mr. Tovey's instructions not to take liberties with this year's British Open selection, "The Night to Sing."  If a composer does not wish to expose his work to interpretation by others, he should keep it locked in a vault, bringing it out only to conduct himself and then lock up the parts again.

But when a composer publishes his work, that act immediately exposes the piece to scrutiny and, yes, varying interpretation, by other conductors, whether in a contest or a concert performance.  It is a sorry piece of art that can only be interpreted one way - and one that, once the definitive performance is given, will have a difficult time receiving subsequent performances.  Real music, like real art, speaks to each of us in different tones and different ways. 

Penalizing certain types of "tampering" by bands and/or conductors is a slippery slope, begging other shackles on conductors like tempi, volume, balance, etc, etc.  Should we then do away with conductors and turn some of the finest musical organizations in the world over to automatons that are programmed not to stray from the markings?  How ludicrous is that?

The question should not be "Did the conductor stray from the printed page?"  Rather it should be the effectiveness of his variation - did it enhance or detract from the appreciation of the work - and then judge accordingly.  There are hours and hours of recordings of any particular Beethoven symphony, each with its merits and flaws.  The success of any one recording is the judgement of the listener not as to its faithfulness to Beethoven's intentions (which no one today can know), but the success in painting a musical portrait that is stimulating, evocative, characteristic, and myriad other qualities that go into the appreciation of a musical performance.  The finest bands in the world perform at the British Open.  They should not be required to play with one arm tied behind their backs.

Thomas Runty

Looking for information about some strong willed women of yesteryear

As you may be aware our society is having a special one-day event mid October to celebrate 20 years as a society and I am trying to furnish a stall about Votes for Women and especially local suffragettes.  I have asked at Brighouse library but they have nothing there and on checking through some newspapers I find mention of 2 ladies at this time from Brighouse who are Miss Tordoff and Miss Bottomley and Mrs Gledhill from Elland. 

Do you have any photos or articles about that period of time I could possibly use, please?  All the research I am doing about this is of course voluntary but if you feel you wish to make a small charge for me "picking your brains" as it were then let me know. I am off down to Hebden Bridge to-day to try and check up on their local ladies - their library were extremely helpful when I was down there a few weeks ago.

Are you contemplating coming to our event (October 14th) at NBLC - there will be 3 speakers - one is John Spencer of the Duke of Wellington's regimental museum and another will be Tony Sharpe re. Shibden Hall. I'm going to try and collate any info. I may have and dress-up for the day - must get sewing some ribbons! 

Mavis North

Midlands Area - 64.4% said yes

At last we finally get two adjudicators at the Midland Area. You would think bands would be pleased. Alas not! Scare mongering has set in at the first opportunity to try and scupper any plans for change.

A fiver for a bandsman's ticket?

Having spoken to several MRC officials I am told that the figure is to be nowhere near the muted £5 each charge. However what if it was?

Brass banding seems to have the mentality where it shouldn't cost anything to do it. Perhaps the people complaining are members of the "won't pay subs " brigade. A minimum contesting band would have 17 members.

Put up your subs by 50p a week and hey presto £442 in the bank. Any other hobby would have large associated costs. Anyone checked out the cost of a ticket for a football match lately? A fiver wouldn't park your car let alone see the game.

The need for two adjudicators is long overdue, but because of the fixed pricing structure of the areas, the cost has restricted this.

Whose wishes???

66.4% of bands wished to see two adjudicators according to the BFBB survey, which is two-thirds by my maths (also noted is that only 35% would prefer no prize money to pay for the second adjudicator)

The Area contest is the "be all end all" of any competitive brass bands calendar. To be told that you were poor by one adjudicator brings in the old "we was robbed" gag. To be told by two, perhaps bands will take
notice of them. Also the bands that are placed will feel they are deserving of their position.

If money is the problem, then don't do it. If you can't afford it you shouldn't be there. Save the cash and stay at home. Full marks to the MRC for finally giving us two adjudicators if not a little late.

Just one final thought. Can we have them in separate boxes!

Chris Baldwin

And if you want to complain - why not join the committee?

There has been quite a lot of criticism lately regarding the Midlands Area committee decisions, e.g. two adjudicators, costs, venues, blah, blah.

The simple solution to all those who are not happy with these decisions is to get off your arses and do something about it - like join the organising committee. It's easy to make judgements from your armchair.
Just my tuppence worth.

Nigel Brinklow

Conducting technique - your are never too old to learn

Firstly, let me commend you for retaining an archive - I've just made a Google search on "conducting technique" and was able to go straight to this piece http://www.4barsrest.com/articles/2004/art400.asp .
Secondly, what a superb article.  All brass conductors would do well to read this over and measure their current performance against it; you're never too good to learn. 

Finally, good baton technique is almost impossible to self-teach; you can only go so far.  I have found that the only learning tool that comes close to professional (i.e. expensive and difficult to access) lessons is Denise Ham's DVD's "The Craft of Conducting" are amazing (about £20 each).

They treat learning baton technique in the same way as learning an instrument.  The importance of each gesture and the economy of movement is an eye-opener (especially after watching 20 conductors at a contest).

Perhaps a review would be in order ?
 
Chris Evans

The return of Granada Band of the Year on DVD?

Any chance of Granada TV releasing the Band of the year programmes on DVD? Likewise the BBC?
 
Dave Weston

4BR reply:
All we can suggest Dave is that you write to the BBC and Granada and ask if they have any plans to release some great old footage from these contests - bearing in mind that much output from that time may now be lost or they feel would be too expensive to process onto DVD..

Any help for a old Cossack in need of a Lament?

Having recently heard Call Of The Cossacks and being a Flugel player, I fell in love with the solo Doyle's Lament.

However, I was dismayed to find out that this solo cannot be purchased as a separate item. As a fourth section band(Pendennis Brass, Falmouth, Cornwall)it would be unrealistic and wasteful to buy the complete suite as we could not possibly attempt a lot of it!

Since hearing this solo I have trawled the net unsuccessfully to find a contact address for Peter Graham and was hoping that you might be able to help. I'm determined to have this piece even if it means grovelling to the man.

Thanks and here's hoping.....

Chris Verann

^back to top