Comments ~ 2007: November

Shedding a proverbial tear; Naive about new works; Memories; Mark Condron and much more as we head for the Xmas carols...

Shedding a proverbial tear...

This is a subject (as all might know) is close to my heart!
 
Mr. Harmer has let the proverbial nostalgic tear cloud judgment on his statement. I’m a tad confused on the repertoire he quoted though; Isaiah 40 & Contest Music? I don’t really see this as going back as these are fairly recent milestones in the BB contest repertoire, but as to Meistersingers  & “Franc Judges” ? Moi bette noir going back to article http://www.4barsrest.com/articles/2006/art600.asp
 
It is human nature to push forward in all areas (gimmie an iphone), I see the concert and the contest being totally different, and it is! When “Contest Music” hit the Music panel, it was viewed with a similar attitude in sympathy with those who wanted to “go back” and stay back forever. Now we look at this work as a masterpiece (which it is) yet only 30+ years old? Lesson in the witnessing!
 
We have to start from somewhere to create new works that might not be created for the contest to start, but do end up being a contest work, this way round often provides a more pleasing contest work. I have noticed within the last few years that, some (some, I said) commissioned works contain various over contrived musically massed hurdles for the players loosely strung together via smudged musical form.
 
Composers have to start somewhere, and I wish all you players would grasp the nettle for once, if you keep on playing “when I were a lad” music (and when I were a lad it was “Contest Music” funnily enough) we don’t really go forward in a band testing musical sense.

Oh I know what you are all about to say -  “Well there’s no bloody tunes to be 'ad these days” and you’re probably right, but that’s not my fault if the same 5/10 composers (to compose) and their (previous) works are always chosen to come up with the same formulaic concoction! The works are chosen basically to please the “when I were a lad” lot as you’ve all got you finger stuck in the pie of Resurgam!

There more composers you give a chance to, there more variety one gets, and not forgetting that composers will develop (if they’re any good) and bring better works to the platform every time. Look at Mozart and Beethoven when they started composing for their local bands! Early Mozart sounded like Haydn, early Beethoven sounded like Mozart, early Brahms sounded like Beethoven; but just look where they developed to.
 
I love the great works, don’t get me totally wrong, and love to listen to them, in concerts ONCE!

But, listen to Franc Judges 20 times in one day (given where bands technically are in the 21st C), well, we did the other year and; (“zzzzzz”)

“Oh, has the last band finished?”
 
Phil Lawrence

Challenging Brass 

Does anyone remember 'Challenging Brass - a little gem from (I think) Gilbert Vinter to celebrate a radio brass contest in the early 60's?

Is it on general release for bands to buy and who would likely have it? If not, was it recorded, who by and on what? If anyone knows I'd be grateful.

D. Walsh
Burnley 

Euph comparisons? 

I was wondering if you were thinking about doing a euphonium comparison between the Besson Prestige and the top York euphonium!  I saw you did the cornets a while ago, but the euphoniums would be great as well. 

I hope you are considering it! 
 
Christian Riesebieter
USA

4BR Reply:
We will - if we can get our hands on them both at the same time!

Don't be naive about new works

I must disagree with some of the comments made by Mr.Harmer.  Whilst Eric Ball did indeed leave a legacy, I have issue with his apparently derogatory view of modern test pieces.  I encounter this 'Because its new, difficult and not always tonal it must be rubbish' attitude an awful lot.  

Classical music crossed the 'Must have a tune' barrier 100 years ago with the impressionists and later, the serialists.  Just because it doesn't have a romantic, almost operatic duet is it substandard music?  Stravinsky, Schoenberg, Berg, Webern, Berio and countless other genuinely revolutionary composers would disagree. 

If everyone through history had the attitude that 'Change in music is bad', and 'They don't make 'em like they used to' we would still be singing madrigals and motets and William Byrd etc would be top of the charts!  Sure there is music that one could describe as modern that doesn't really work for band.  Bingham's Prague, compositionally, is a fantastic piece. 

A brass band test piece? Well it is regretful yet somewhat expected that many players and band audiences treat it with such distain.
 
Describing modern test pieces as purely technical exercises is naive at best.  I'm am positive that whilst composers of test pieces today have the need for some difficulty at the back of their creative minds, Eric Ball and his contemporaries probably did as well. 

The difference is the level of technical difficulty acceptable at the time.  Now I'm being very careful here... I'm not saying bands of yesteryear were worse... rather than the acceptable level of difficulty that one was able to write for 30 years ago is different to now. 

There are notable exceptions but to give an example... Heaton's 'Contest Music' was, I believe, conceived in the 40's!  He presented it decades later and it was still refused as it was seen to be too difficult.  These days, whilst remaining incredibly hard, it is well with in a top bands grasp.  I'm sure Mr Sparke, Mr Graham etc would feel offended if they knew anyone though their music was composed out of anything but creative integrity.
 
In reference to the following quote made by Mr Harmer:
 
'Why not go back to some of the old test pieces like  - Resurgam, Contest music, Isaiah 40, The Mastersingers, The Judges of the Secret Court etc.'
 
Resurgam was used as an own choice at a recent NWBBA contest; Isaiah 40 was this years area piece; Contest Music was the open piece (one of three choices) in 2004 and an own choice piece of a band at the Europeans this year; Judges of the secret court was last years nationals piece.
 
Oh yes... and in reference to old pieces...  Life Divine is appearing at next years Butlins whilst Eric Ball's Festival Music is being used at next years areas as well as Epic Symphony being chosen for next years Senior Trophy.

Now I realise we do champion some new composers in contests these days but from the evidence presented in the above paragraph... are we not going 'back to some of the old test pieces' enough??!!

Gareth Westwood

Memories  

As I sit here pondering the meaning of life, inevitably my mind turns to memories and how too soon we forget deceased individuals from our social circles or work.
 
I would love the opportunity to remind individuals of one such person, who made big impressions on the brass band world, both locally and nationally, my father, Harry Smith.

Dad was a non-player, instead preferring to expend his energy into the administrative side of banding. As secretary of several West Midland bands, he soon got a feel for their needs and the need for some strong leadership and insight at national level.

Becoming secretary of the Birmingham and District Association led to some firm friendships soon being established and it wasn't long before I would come home from school to find individuals like Harry Mortimer, sitting down drinking tea, or listening to my dad's Mario Lanza or Harry Secombe record collection!

This led then to his involvement with the BFBB, as treasurer, and a life totally wrapped within the movement.

The 'Birmingham Association' became the 'West Midland Association', and several annual contests were established, one of which still occurs, moving to Leamington Spa after dad's death.

One of dad's greatest friends was Dick Arrand. A very clever and perceptive individual, Dick shared dad's passion for everything banding and they soon became recognised as a team and great shakers of the movement, not always being popular with their focus on changing some sometimes out-dated views of the brass band scene, but always keeping the profile high and the approach fresh.

Whilst my brother Matt and I were both regularly banding, mom would complain of dad's pre-occupation making her a 'band widow', but she recognised dad's drive and knew that he had found his real vocation in life.

Sadly, dad's banding career came to a sad end when he contracted cancer at the age of 49, and he died in the January of 1977.

So, when the present generation compete for the second section title at this week's Leamington contest, and the 'Harry Smith shield' is handed to their band, I hope that this little snippet of information helps them to appreciate the significance of the trophy, and the importance of not forgetting those who have devoted their lives to improving our movement.

Mark Smith 
Walsall

The Mill in the Dale

We are looking for the sheetmusic of "Praeludium" by Järnefeldt arranged by Hallum and also for "The Mill in the Dale" by S. Cope.

Can you help us please? Thanks in advance.
 
Alsemberg Brassband p/a Luc Oscé
Belgium

4BR Reply:
Anyone help?

Mark Condron 

Having read the messages in the Book of Condolence (which is on the Times and Star website), it is obvious that Mark was a man that touched many people’s lives.
 
For my part, I first met Mark around 15 years ago when I was chairman of the Flimby Saxhorn Silver Band.  Mark was our new conductor, struggling to understand West Cumbrian; he would often tell the tale of the apple scrunt.
 
He brought humour, a quick wit, enthusiasm and a means of inspiring people in a way that I’ve never quite been able to put my finger on – he just knew what words to use and how to use them!  He had quite a list of catchphrases!  As a fellow bass trombonist I learnt a lot from him, both in the bandroom and in his kitchen; indeed I play on his old trombone. 
 
I’m sure that it won’t be long until he has a “flipping good band” going up there in heaven; although I suspect that he won’t be able to use one of his most famous (or should that be ‘infamous’?) quotes, exclaimed during a moment of frustration at our lack of passionate playing: “In the words of the Prophet Isaiah, ‘It’s got no b***’!”
 
Cheers, Mark.  It was fun. 
 
Colin H Hoodless
Cumbria

In praise of Philip Sparke 

In response to the editorial, ‘In praise of Philip Sparke’ I must also add my support. Philip is the reason I became a composer and more importantly why I am still one.

What I find really fascinating is that while many of his peers are Dr’s and Professors, Philip has shown that all he needs is a music degree and a good dollop of passion for writing.

Among my favourite works of his are Partita, Year of the Dragon and his lesser-used Cambridge Variations. These pieces, while old, still hold their own today.

The worst thing anybody can do to is give him an honorary doctorate. I think that would be an insult and if he really wanted a PhD, I’m sure he would have done it long ago. I don’t think it is unreasonable for him to be nominated for knighthood and I believe this would reflect the work he has done far more accurately.

A lesson to all young composers is to look at Philip Sparke. He’s the archetypal brass band composer. No fancy titles, he just gets on with his job of being a composer and that is the single most important lesson a composer can be taught.

James McFadyen

Anyone seen an old sop? 

Can anybody help me?
 
I was wondering what happened to a soprano player who was from the midlands area. I do not know his name, but I know he played with Amington and Nottingham city band in the 80's and 90's. He also used to go to the local solo contests.

He had one of the best soprano sounds that I ever heard but for some reason did not go forward to play with the "Bigger" named bands.  I do not know his name but I know he had a brother who played as well.

I always thought he would go on to be a name in the band world (he may well be?) but I have not seen him for some years now. Does anybody know him? and does he still play?
 
Peter Bray
Leicester  

Army pleasures

I had the pleasure of being among the 400+ audience for the British Army Brass Band's inaugural concert at Princes Hall, Aldershot, yesterday.  

Top-quality playing with each half lasting more than an hour!  Bringing together the Army's top brass players to form a brass band is a truly excellent idea - it should have happened long ago in my opinion.
 
I wish the band every success for the future and hope it's not too long before they perform again. I also hope a CD is on their agenda.
 
Simon Smith  

Lets go back

I was very interested to read John Clay's comments.I was lucky to be present this year  2007 and to hear the Dyke miss out and I felt for Richard Marshall - who's playing I have a lot of adoration for but Grimethorpe under Alan Withington were just brilliant.
 
John mentioned about 1967 performance of "Journey into Freedom" and again I was there as a young 22yr old and met Eric Ball for the first time.I really don't believe we have filled the hole Eric Ball has left as the Test Pieces today are to test the skill of the players rather than Test Pieces which stand the test of time being judged on a performance factor.

Why not go back to some of the old test pieces like  - Resurgam, Contest music, Isaiah 40, The Mastersingers, The Judges of the Secret Court etc.
 
Finally, Let us go back to having a concert at night with 4/5 Bands on a say roster system to negate arguments of who should be invited.
 
John R Harmer
Gosford Salvation Army Band
NSW.  Australia 

End of Sellers

Isn't the end of the Sellers band symptomatic of a greater malaise in banding as a whole? 

Banders, bless `em, will go anywhere anyhow to help out other bands and to be fair to the so-called mercenaries, the majority- even of the best- will do it just asking for expenses and with the price of fuel who can blame them for this. Even if you only play for your local band the amount of commitment needed is immense. 

How many relationships have foundered on `Oh I've got band jobs from now `til Xmas`?These unregistered and lower section bands are often struggling now for new young players, the next generation, as parents feel that the level of commitment form THEM is too high. 

This can even be seen in the falling level in players in county brass bands over the last 10 years. Money , or lack of it, isn't going to be the reason for the demise of banding in this country. The death knell will be from a lack of young players ,not at top level as talent will always rise to the top, but in depth throughout the movement. 

All my tribe love banding but it hasn`t half made a hole in our pockets. Not every potential bander has parents who are quite as mad as we are!

M Carradus.

PS: So long Sellers- not loved by everyone but a shame such a talented young group of players won`t be together to see their full potential realised. 

Coventry remembered

I would like to add to the comments of Peter Bale and Ed Latham.
 
Coventry School of Music band changed their name to Coventry C.P.A Band and appeared as such in the Championship Section in the early 1990's. They then changed their name to City of Coventry Brass Band after the demise of City of Coventry Band.
 
Jaguar have given their name to at least three different bands.
 
A band known as Jaguar Cars Works Band competed in the Grand Shield at Belle Vue in 1959, 1960 and 1961. Indeed they won it in 1961 and played at the Open that year.
 
The current Jaguar sponsored band developed as described by Peter Bale.
 
City of Coventry Band was formed in 1939 by former members of Coventry City Salvation Army Band and continued to operate as a Championship Section Band until the early 1990's when it was disbanded. They played 34 times in the British Open between 1940 and 1992 gaining top six placings 8 times including their win in 1981 at the last British Open to be held at Belle Vue. This was billed as the "Contest of the Century" by the British Bandsman.
 
Ed Latham is incorrect when he states that the Band was known as Jaguar Cars (City of Coventry) Band at the time of their 1981 win. However, they were known as such during the period 1984 to 1991 and appeared "in the frame" at the Open under the Jaguar banner in 1988 when placed 6th conducted by Ray Farr when the test piece was "Contest Music".
 
Thus, when the Band won the British Open conducted by Major Arthur Kenney playing "Variations on a Ninth" by Gilbert Vinter, they were known as City of Coventry Band. 
 
Ray Stuttard
Tamworth  

Keeping the name alive

Just read your account of 2006 London and southern counties regional championships. 

My name is Bryan Stillwell, younger brother of Derek Stillwell. It is very pleasing to see his name still mentioned in Brass Band circles. I will pass on this information to his wife and sons( Nick also played in the Luton Band).

May I Wish you all the very best in keeping the ' Brass Band World Alive' .  

Bryan Stillwell 

Frank Berry - again

Having probably belatedly read the comments about Frank Berry may I perhaps add a couple. 

Being an orchestral trombonist standing in the middle at "Dyke" one might expect me not to "appreciate" Frank's vibrato but it was a unique and individual approach to the technique. His vibrato never cut through the band sound and I do think it made a special contribution to the wonderfully rich and controlled sound being made at that time.
Beyond his trombone playing what a gentleman and what a bandsman. 

According to the stories I was told, before he joined Dyke, to take up the principal trombone seat, in his previous band he had served twenty one years as principal cornet, principal euphonium and principal trombone and then on moving was accused of having no loyalty! I don't remember him missing one rehearsal or engagement and quite happily moving down to give a younger man an opportunity. Do we need to look any further for clues as to what is missing from modern banding?

Oh yes, he also once told me he was disappointed I hadn't felt it necessary to mention one split note in a rehearsal - it kept him on his toes!
 
David Loukes
Ashton
Cornwall

Right story
 
In response to Anne Bangor’s criticism of Dyke’s decision regarding to Arfon Owen.
 
I believe Nick Childs has done entirely the right thing by encouraging a young man to establish himself in his profession instead of risking his profession for his band, which after all, does not pay the mortgage. I’m sure once Arfon has settled into his new job he will return to the banding scene, thankful to Mr. Childs for his guidance at this time.
 
Let’s not “have a go” without knowing the full story eh?
 
Nicholas Garman
St Albans

Remembering the terror of it all...

Just to remind Gordon (Simpson) that I too have vivid memories of that very first Brass in Concert in 1977.
 
We stood just feet away from Grimethorpe behind the stage drapes as they rounded off their programme with "Mr Lears Carnival" and "The Great Gate of Kiev”, clutching our music folders in shaking hands - which did indeed contain the stunning finale "Hootenanny".
 
We were justly rewarded for our efforts! Talk about a steep learning curve.
 
Sandy Smith
Holmfirth  

Walter Rees 

"And finally - the conductors. Not too sure if Walter Rees is still with us," (Iwan Fox article on November Time Team)

Walter died last year as reported here, quoting my local paper:

http://www.themouthpiece.com/vb/showthread.php?t=22195

http://www.thisisbuckinghamshire.co.uk/search/display.var.805587.0.walter_rees.php

Neil Watson 

City of Coventry

Much enjoyed Iwan Fox's article on the 1978 Rothmans Championships but would like to help if I can with your uncertainty on the demise of the City of Coventry Brass Band, which became the Open winning Jaguar Cars (City of Coventry) Brass Band in 1981.

It is a little confusing since there is now a Jaguar Cars Band and also a City of Coventry Brass but both of these are totally unrelated to the aforementioned band which disbanded in the early 1990's I think. 

I used to play for City of Coventry Brass which was previously Coventry CPA and before that Coventry School of music founded by the great Len Pepper and winners of the Grand Shield in 1975 (or thereabouts).  The current Jaguar Band was for many years Rolls Royce Coventry Brass Band changing to Jaguar about 7-8 years ago when Jaguar wanted to sponsor a band again having lost their own band (the original Jaguar band) several years before.

Therefore in the mid eighties when I started banding there was the great Open winning Jaguar Cars (City of Coventry) Brass Band, Coventry School of Music Brass Band and Rolls Royce (Coventry) Brass Band the latter two still being in existence but having changed their names such that you may think either one might be the greater Jaguar (City of Coventry) band of before.....

Hope this helps

Ed Latham
Adelaide
South Australia

ps I'm sure an article on the original City of Coventry Band would be an interesting read.... 

Defunct...
 
Regarding the bands that are now defunct, City of Coventry should be included in that number. 

The present City of Coventry Band was granted that title by the City authorities, having previously been the Coventry School of Music Band.  I recall this being a matter of some contention at the time, particularly with members of the previous band, which had folded following the loss of the sponsorship from Jaguar Cars. 

Just to add to the confusion, the present Jaguar (Coventry) Band was for many years Coventry Festival Band, before gaining support from Rolls Royce from 1982 to 2002, when Jaguar took them over!
 
Peter Bale 

Fantastic weekend at Pontins

Another great weekend at Pontins, our grateful thanks must go to the organisers for a fantastic weekend. It is with amazement that such a large event can go ahead without many apparent hitches.
 
There was one slight criticism I must make however, that is for the fourth section at least, no-one from the band was allowed on the platform to reset the chairs prior to the band entering the stage, this let to a complete farce as players used to one set up encountered a completely different layout of chairs, leading to each band looking totally unprofessional as they came to sit and had to start moving furniture. 

I can understand that perhaps this was done to reduce the time between bands, especially after the terrible lateness of fourth section finishing in 2006, however I do believe that this year the system led to extra time between bands rather than less.
 
Again many thanks to the organisers for a fabulous weekend.
 
Paul Keogh
Denton Brass 

Sinfonietta anyone?

Does anyone know where I can get a full recording of ‘Sinfonietta’ by James Curnow?

James McFadyen 

I cannot believe it!

I cannot believe that you are saying that Arfon has left the band (Black Dyke), he would never leave of his own accord, and the band was his life. 

Everything he has done for the last 6 years has been done solely with the band in mind.  

Yes, Arfon has just started a new career and is finding his feet but his dedication to the band has not diminished any way. Why then does the band find it so difficult too support him through his difficult time?

Instead of abandoning a loyal member and then making out that it was his own decision.

Ann Bangor 

A Fourth Section test piece?

Well I heard it (2008 Fourth Section Regional test piece) a couple of times and liked it but it was not until this week when our band got it out that I realised that this piece, whilst being very nice to play and also very nice to listen to, is just not taxing enough! 

It seems like the people out there have no idea about the real standard of 4th Section banding out here.

Jim Owen
Farnworth & Walkden Band

Indelible memories of Brass in Concert

Just been reading the article on the 1978 Brass in Concert.  Some of it is hilarious to look back on. 

Disappointed though that you didn't choose 1977 though. As a former member of Whitburn we played in that one, the inaugural contest, and although we finished last (boy, were we rubbish that day) following Grimethorpe onto the stage remains one of my indelible memories.  

They finished with 'Great Gate of Kiev' and their sound as we waited backstage to go on to my young ears (I was 15!) was simply awesome.  In those days, they made us wait behind a big curtain literally just behind the basses and percussion!  Sandy (Smith) and I just looked at each other and thought, we've got no chance!

Oh, and what did we finish with 20 or so minutes later?  To be honest, I can't remember but it was definitely either 'Skirl' (which had been specially arranged for Whitburn by Allan Street to finish our concerts over the previous year or so) or, perish the thought, 'Hootenanny'!  I hope to hell it wasn't the latter but I think it might have been you know.  

The testpiece that year was 'King Size' by Roy Newsome - another advert for fags! Would anyone be brave enough to play that today I wonder?

Ah! - the memories.

Gordon Simpson

Good ideas

The idea of replacing the set test piece with an own choice selection in the lower sections is a sound one and in need of careful consideration by the powers that be.
 
There is constant debate on what really constitutes a suitable standard of test piece for 2nd,3rd and 4th section bands with some set piece choices leaving bands frustrated or disillusioned long before the contest takes place.
 
The use of an own choice test piece would have many benefits.
 
1. It allows every band to play a piece which shows its own personal strengths.
 
2. Sensible choices by conductors can help in the development of less experienced players without them loosing interest in music which is either too easy,too hard or too dull.
 
3. The impact on audience interest.
With a greater variety of music to listen to and the chance that all bands play closer to their own potential perhaps more people will be attracted to listen.
 
4. There may even be the chance for more budding composers to get their work heard.
 
On the slightly different note on allowing 10 extra under 16 players - excellent idea.
 
Is it at all possible that some of these ideas will be forwarded for proper discussion or will the wheels of progress continue to grid to a halt ?
 
Sandy Smith
Holmfirth  

Berry context

I feel I must echo David Hirst's comments re. Frank Berry.  I think it is very easy for players nowadays to be critical of the players of yesteryear, but we must try to take things in context with the playing styles of the times. 

Up until a few years back, it was very common for trombones in the brass band world to use smaller instruments, play everything either very short or with a wide vibrato. I am currently tranferring some of my LP record collection to MP3 and have greatly enjoyed re-discovering some lovely old recordings, including Dyke with Mr Berry playing. 

Although the playing is noticeably very different from the way we play now, there is no argument that this is very fine, very musical playing. It is also worth noting that the tracks on most brass band records up until quite recently were usually recorded in one take, without the luxury of cutting and splicing.

Interestingly enough, I was teaching a cornet player a couple of years back. She had set her heart on joining the Royal Marines as a bandsman (or person!), but didn't really have many good pieces under her belt to play at the audition. She came to her lesson with the air-varie 'My Old Kentucky Home' and played it quite well, but in a modern, vibrato-less way. 

We had a chat about playing styles and I sent her away with some recordings of Harry Mortimer, Jack Mackintosh, Bill Lang etc. She was able to capture the style almost immediately and passed her audition a couple of weeks later, with panel commenting on her use of rubato and stylish performance!

Brass playing over the last 100 years or so, has been a gradual evolution of style, coupled with musical education and the availability of better instruments. However, I feel that to have arrived at the present, we must attempt to understand where we have all come from. I wouldn't dream of turning up to work playing like Frank Berry, but I respect who he was and what he achieved nonetheless.

Duncan Wilson
Cambridgeshire 

The Berry legend

Just read the unkind comment about Frank Berry.  What a great player he was!  An integral part of a legendary band, he contributed a great deal to the special Dyke sound of that time. 

If I achieve half of what he has, I shall retire very happy!
 
Chris Thomas

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