Comments ~ 2008: May

More questions on the Austrians, the Salvationists, the Whit Friday goers and even those who need a bit of help on Remembrance Sunday..

The Oberoesterreich question

The recent article about Brass Band Oberoesterreich sent me off to read the retrospective from the contest.  This will also make me a dead cert to buy the post contest CD and/or DVD – I’ve got to hear this!  Based purely on what I have read, there does seem to be a question over the result – but this is nothing new!
 
I was shocked at the first British Open I competed in when everyone started booing at the result (1983 – Connotations, Dyke won, should have been Brighouse).  One of the major reasons that I have given up contesting is because I believe the system is broken and there seems no will from the powers that be to try and fix it. 

I do believe that the people who judge contests for the most part deliver honest verdicts, although I also believe that in the last 150 years some old scores have been settled from the box (not many, but I cant believe it hasn’t happened).
 
Maybe there isn’t a solution that would please everyone which is why we limp on with the same old dross year after year.  In Eurovision week maybe we should try using that as a model (“this is the result of the Yorkshire jury . ..)” – but hold that thought, is it such a mad idea? 

We have lost site of the simple fact that we play in bands to make music, because we like to make music, because we like to entertain people and to bring a little light into peoples lives.  In this case, why can’t it be the audience who picks out the winning bands?  

Would it lure people out of the bar and into the hall if they by dint of holding a ticket were eligible to rank the competing bands?  Would the cynical ‘rent-a-crowd’ bands always win then or would we see an outbreak of honesty?  Would you rather be ‘the peoples choice’ or not?
 
OK this is a little tongue in cheek but could a way be found to make it work?
 
As far as moving parts around and playing with scoring is concerned, I have played in performances where things have been moved around heavily – and the judges didn’t have a clue. 

I have also played in performances where nothing was moved but the judges thought that they had and used it against us in the final shake up.  I guess again the judges didn’t have a clue! 

What is so bad about moving things around as long as the overall effect is one of improvement?  We seem to get hung up on the most juvenile things.  No this isn’t cheating, it is called making music, getting the best performance out of the musical resources you have to work with and is the bread and butter skill of the best musical directors we have. 

Composers don’t always get scoring right, sometimes they deliberately put a part on the wrong instrument just to make it harder for contesting purposes.  

This is a betrayal of themselves – if I was a composer I would score the right part for the right instrument without compromise, but still give enough latitude for conductors to move things around if the players they have to work with require them to do that for best effect.
 
Anyway – my message to Brass Band Oberoesterreich is to keep the faith and belief in what they do, stick to their principals and to heck with convention if it means that they lead us onwards and upwards. 

Let’s not forget that they come from the country that has blessed the world with more musical genius than any other.  BBO seem to carry on that fine tradition.
 
That concludes the opinion of the Bolton jury … for now!
 
Andy Wyatt
Bolton

4BR Reply:
Any further correspondance on this matter should be kept short and to the point please  

The Salvation question - continued...

I can't believe it! I've actually done it! After a lifetime of writing occasional letters to banding publications without, to the best of my knowledge, ever getting one response, for or against, I've finally stirred notoriously apathetic banders into action. I almost shouted Hallelujah! Almost.
 
I had a fair deal from 4BR's Editor with my first offering, and I do have other calls on my time, but I'll crave his generosity to allow me to answer the writers who have responded to my Comment so far. 

They generally disagreed with me, but that's only to be expected as people don't usually write to endorse what's already been said. They're called the silent majority.
 
Jim Yelland sounds like a kindred spirit and is entirely right in finding my views parochial. I agree that in a Creation/Eternity/Afterlife context my complaint is less than trivial. However, 4BR seems to be a suitable Speakers' Corner for a secular-versus-salvationist banding forum, but surely is not appropriate for a theist-versus-atheist discussion.

I do not shrink from that and, if anyone is interested enough to want a reasoned exchange, you could always test whether the Editor is prepared to forward an e-mail.
 
Your reference to international catastrophies is spot on, Jim. Perhaps I can get away with making just one related point. This Wednesday I attended the annual dinner of a secular choir and was stunned to hear the Chairman ask that "this year, in view of the terrible news from other parts of the world, we should thank God for providing our meal". Surely thanking God for our preferential treatment is insulting to those who are suffering.

If God is responsible for one, he's responsible for the other. And (before 'believers' explain to me how whatever is good in the world is down to God, while everything bad is due to mankind's misuse of the free will given to him) I've never heard of any human who can will cyclones and earthquakes to happen.
 
Apropos nothing to do with our debate, but a remarkable enough coincidence to warrant a mention, it just so happens that at the dinner in Sussex I spoke for the first time in several years to Barbara Saunders, a leading light of the choir, who I understand is related by marriage to Mike Saunders, whose Comment about my views was at that moment winging its way from Cardiff to 4BR!

Barbara's husband was a colleague, fellow brass player, and friend of mine up to about 10 years ago. I have no dispute with Mike, whose  banding history seems fairly similar to mine. While as a salvationist he waited 30 years to play with Parc & Dare, I didn't wait and, while a soldier at Regent Hall, played with Hanwell in its Eric Bravington heyday.
 
I've had my say; I stand by my previous opinions and wish to neither add nor withdraw anything. I shall endeavour to resist troubling you again, even if provoked, but I must first refute N. Garman, who really should read letters more coolly before dashing off several demonstrably inaccurate accusations and quoting the SA's already commonly known yearbook-type statistics.

I try to phrase my views with care so please read them the same way, Mr Garman, and you will find, just as examples, that nowhere do I accuse anyone of gloating, and more importantly I clearly make a point of saying the Army's welfare work is admirable.

I suppose you really are sure about the Army's welfare work in the UK not being government or local council subsidised.? It's news to me, and to SA contacts I have consulted today!
 
I'm not really sure of your purpose in quoting your list of figures, Mr Garman - but 1.6 million SA members and adherents worldwide, Wow! Better not compare that with some other denominations though.

Unfortunately, you omitted the UK figure (54,000) for comparison, which shows that fewer than 3 in every 100 salvationists live here, where the organisation was founded! No wonder they're clutching at brass bands!
 
Being constantly on the receiving end of religious exhortations, and having to accept them with good grace, as doubters are required to do, let me for once quote my own favourite 'text' which seems worthy of of N. Garman's (leisurely) consideration:

"He who believes he has not been brainwashed, is brainwashed; he who knows he has been brainwashed, is not brainwashed."
 
With family and friends like mine, believe me, I've been there.
 
Len Atter 
Eastbourne

4BR Reply:
Any further correspondance on this matter should be kept short and to the point please  

Youth rules on Whit Friday

Is it not time that we had some consistency with the rules regulations for junior (youth) bands at the Whit Friday contests?
 
There appears to be  as many different regulations as there are contests. Speaking as a conductor and  Head of Music Service, surely we should be encouraging as many young people into the brass band world as we can? 

It is most frustrating to arrive at a venue then having to tell 6 or 7 players you can't play here only 24 allowed. Most youth bands will have a regular attendance of well over 24 players.
 
It would take little to change the regulations and have consistency throughout all contests. After all there is commonality of approach for 4th section bands and upwards ie 24 player plus conductor. I fail to understand why there is a need to restrict youth bands to numbers.

Upon analysis of results youth bands rarely rise above 3rd section bands despite the fact they may have 35 players etc. Indeed the more players you have there problematic ensemble playing becomes. We need to encourage our young people to get involved musically as much as we are able. Be it in brass banding or playing second fiddle in the junior orchestra.
 
In practical terms our young people are used to playing in the same band every week. They get used to the sound, the balance etc. to find a number of players "missing" because we had to reduce the band really does not help.

My band had 3 first prizes this year yet the one venue I had to reduce the size of the band we came last! Evidence for all to see one might argue.
 
I would propose that youth bands should have a maximum of 35 performers (subject to Health and safety reasons in respect performance space) and no more than 3 players over 18 can perform with the band and not in principal positions.
 
I for one may now become selective in the venues we play at, just to give all our musicians the opportunity to perform.

If we are really serious about getting our young people involved then remove the inconsistency. You know it makes sense!
 
Alan Milnes 
Head of Wirral Schools' Music Service 

Help for Remembrance Sunday
 
I wonder if you can help me. I organise a Remembrance Sunday Service in Lytham St Annes each year.  We have a local school band playing in situ during the service at the Cenotaph in Lytham but our regular marching band, which takes the procession from where they assemble to the Cenotaph and back again after the service, have had to pull out because of declining numbers and growing old.

It would seem that all the other local bands are already committed on that day to services throughout the area.   

I am desperately looking for a marching band to play at this event.  We do of course pay them! Can you help me at all please?
 
Anne McVittie
Mayor's Secretary and Democratic Services Officer
 
Tel :01253 658505
e-mail : annem@fylde.gov.uk

4BR Reply:
If anyone can help, please contact Anne direct 

Thanks someone...

Just want to say thank you to whoever handed my purse into the police at Delph at Whit Friday. Unfortunately they didn't get your name but they did tell me that it was a guy that plays with a band. That really helped to narrow it down!

Thanks again

Stephanie Forbes
Tartan Brass 

Fantastic day

What a fantastic day it was yesterday we are already looking forward to next year! Please could you confirm the date of the Whit Friday contest for 2009. 

Tracey Miller

 No Salvation conspiracy theory

In reply to Len Atter of Eastbourne, I’m afraid that I am also involved in the Salvation Army’s “perpetual day-to-day infiltration of secular banding”
 
As a lifelong Salvationist bandsman, in my teens and twenties, any Salvation Army bandsman wanting to play in ‘outside’ bands could not also play in the Army band. Then the Salvation Army opened its doors to “secular banding” by making its music accessible (and of course purchasable) to all, also allowing its players to become part of the wider banding community.
 
Nearly three years ago I took up an opportunity to join a Championship section band, Parc and Dare, a regret being that I could not take this opportunity 30 years earlier.

The first two test pieces that I had to play were ‘Journey to the Centre of the Earth’ and ‘Essence of Time’. ‘Essence of Time’ is based on a biblical passage. Peter Graham comes from a Salvation Army background. There are some exceptionally good Salvation Army composers and some exceptionally good Salvation Army players heavily involved in banding outside the Salvation Army. 

There are a lot of composers and exceptionally good players who started off their lives in the Salvation Army.
 
I celebrate (or commiserate) on our results with a glass of diet coke and ‘respect’ the fact that others use the opportunity to have a good drink. Parc and Dare and Cardiff Canton bands have mutual respect for each other after participating in a joint concert earlier this year.

Later this year Cardiff Canton and Cory will also give a joint concert, each band respecting the other.
 
Years ago Rugby was in a similar situation to banding in that Union and League were using the same skills but not allowed to transfer from one to the other. Now these skills and talents are interchangeable and are allowed to be.

I do not see people claiming that Rugby Union is involved in perpetual infiltration of Rugby League when the WRFU’s Millennium stadium is used to stage Rugby League big games.
 
Why can’t people accept that when playing in a Brass Band, staging a concert or ‘sponsoring’ an event people have their own motives, the end product being an enjoyment of participating in music in our own particular way.

If someone gets excited and says “wow that band were brilliant” or says” I got a blessing from that band’s playing” what is the problem with either statement?
 
Let’s stop looking for religious (or not) conspiracy theories and celebrate brass banding at whatever level we participate.
 
Mike Saunders
Cardiff

Fair rant - but in context...

Len Atter’s rant against the increasing intrusion of the Salvation Army into secular banding life is reasonable enough.
 
But coming in the same week that  ‘god’, whoever ‘he’ may be, has at best permitted, and at worst caused the violent deaths of at least 300,000 innocent lives in Burma and China, Mr Atter’s concerns seem rather parochial.
 
At times like these, one feels that what is needed in the world is a lot less religion, and a lot more humanity.
 
And now, back to more important issues of brass banding….
 
Jim Yelland
Hinckley

SA in its right place...

In response to Mr. Len Atter’s essay on his gripes with the SA:
 
The quote Mr. Atter refers to in his first paragraph will of course have reference to God – it’s written by the Army’s equivalent of a minister. 

Surely Mr. Atter can allow the composer that grace. I don’t think the contest is run by the SA and therefore Mr. Atter’s tirade should be directed (in my opinion) towards the people who invited Bob Redhead to compose the test piece – rather than at WOB/SP &S.
 
Mr. Atter should further read my question addressed at the “fellow dissenter”; this has yet to be answered. And how dare you, Mr. Atter, accuse someone of being a gloater without having any knowledge?
 
By the very nature of the email, Mr. Atter is revolting against the “take-over”, so his fourth paragraph makes no sense.
 
Mr. Atter’s next point is that bandspersons are capable of withdrawing in protest – yes, they are, so why don’t they? I think it’s because the music produced by recent SA composers has, in general, been pretty good. 
 
Unless Mr. Atter knows otherwise, I suggest he withdraw his libelous and insulting remarks about the “man-on-the-street’s pound coin”.

Thank you for putting the SA in its place Mr. Atter.

Now here are some figures for you.
20,000 people reunited every year
1.6 million members worldwide
3,000,000 meals served every year at community and residential centres
79,000 prisoners visited each year in 134 prisons
3,000 homeless people given food and shelter every night in 59 centres
776 local church and community centres
636 elderly people accommodated every night in 17 residential centres

Now, if all the money “on-the-street” is going to the “take-over” of brass banding, how is this work funded? Unlike the USA, it’s certainly not through government help.
 
I’m not a Salvationist (any more) but this SA bashing is getting a bit much.
 
N. Garman 

A Musical/Spiritual Minefield 

I am writing in response to Len Atler's letter regarding the Salvation Army.  There are a number of issues raised and I will give my opinions on the topics I can give a response to.

Firstly, the English National Championships have commissioned Robert Redhead to write a piece for the competition. 

Now the organisers of the competition know full well that he is a Salvation Army Lieutenant Colonel and they have obviously looked to see what his compositional output has been like over the years, so they know what they are getting into by appointing him to write a piece.

Why would they expect him to write anything else other than a work of deep spiritual meaning - it's a gift he has been given and it is in his nature to do so.

Secondly, are you saying that bandsmen should exercise more ethical restraint when preparing works.  This isn't just an issue involving Salvation Army music, but all music with spiritual depth. 

Would you have second thoughts playing the music of Philip Wilby: Dove Descending, New Jerusalem etc.  What about Handel's Messiah?  Its not easy.

I agree with some of your thoughts, I am a Salvationist myself and I too am confused about some things but at the end of the day World of Brass is a business, a business that seeks to aid our movement and as all businesses should strive to do - make money. 

I can assure you though that the money given to the Salvation Army does not go to help sponsor major banding events.  This is a completely different element of the Army's work.

Just my thoughts but I feel this discussion may not be over.

Adam Moore 

Critical look at the music we play

Am I alone in thinking that we need to look critically at the music being presented to us for competition?
 
I have recently been involved in competitions where new commissions were involved. Brass Bloot (don’t have Norwegian Character set on the keyboard) was presented for the Europeans and Macbeth (small b for some reason) for the Scottish Open.
 
I have noticed a trend of what I could only call lazy scoring and duplication. As a barking iron player I tend to note when other people have the same line as me (This is a skill I learned from baritone playing legend J M Ferguson of Whitburn fame allowing one to focus energies on those areas where your contribution would be of most value!).

The aforementioned test pieces had large areas where I was playing the same as the second baritone (for Macbeth it was almost a unison part), or second horn, or the trombones. My able deputy took great pleasure in highlighting the parts he felt were unique to his part in Brass Bloot and the bar count was not high! Perhaps I am missing the musical point and this all adds to the texture enhancing the richness of the sound…or possibly the opportunity for musical effect through intonation clash.

But being a bit old fashioned I call it lazy writing which while I can accept from the red hymn books or items used for practice I cannot for major competition pieces.
 
Re duplication…..the two pieces mentioned have significant replication….get the Sibelius manual and look for the cut and past option (I think it also allows you transpose if you want to take it up or down a semitone or more).

Yep a reprise is not uncommon in music..but the amount in a 15 minute test piece should not be excessive. This complaint can be levelled at more than the above two pieces but they are fresh in my head at the moment.
 
I think that composers need to recognise that test pieces for such competitions need to fill a number of criteria and one of the major ones is that bands should not feel short changed by the effort put in on their construction!
 
Perhaps again I miss the musical point but I fear I am not alone in this!
 
Jim Corrigan 

Well done Trevor

I have just read that the Masters Dedicated Service Award is to be presented to Trevor Groom - Fantastic!!

Trevor, the `master` of the euphonium and yet the most modest of any bandsman I know deserves this award.  A true and dedicated bandsman. An absolute credit to the movement.

Congratulations Trevor!!!

Maggie Betts 

New band problems
 
Pauline Bateman wrote:
 
1.  "New" bands are formed annually in this region from existing players from high section bands who than take the prizes at the Areas and contests, leaving us shocked and depressed at once again not making the finals.

2. The other problem is that if a band does not compete for a couple of years they can then register in the 4th section and not surprisingly win the contests.
 
Though I realise that each individual band is rapidly promoted into the 3rd Section and therefore will compete in the higher section the following year. This has happened in our 4th Section at many competitions in the last 5 years.
 
This seems very unfair to the strugglers in the 4th section and takes away chances to progress.

I think that the rules should be changed to possibly grade a new band to move them up to their appropriate section?

Or do the people recreate these bands mainly to win prizes and prefer the lower sections because they are easier prize money.”

I cannot see this happening, however the obvious (in my mind) solution to this problem would be for all “newly-formed” bands to be automatically registered in the Championship Section. If they deserve to be there, then they will not have unfairly taken prizes/qualification places in lower section contests en route.

If they’re not good enough, then it might take a few years for them to take the natural route of demotion until they find an appropriate level, but at least that might dissuade a few of them from forming unnecessary new bands just to go “pot-hunting”.
 
I realise some people will argue that it is unfair for a newly formed band to immediately gain access to the top section without having “served their time”, as it were. However in my view it is the lesser of two evils.
 
As Pauline says, another option might be to have some sort of grading panel, however the cynic in me immediately wonders what is to stop bands “downgrading” their performance at whatever sort of review or audition process might be put in place, simply to ensure that they are not graded into a section where they might not win anything …
 
Gareth J. Green
MD The Egham Band 

Wrong Radio Times

In the next issue of the Radio Times, 17-23rd. May, Danny Scott wrongly states (on page 134) that Brighouse backed Terry Wogan on his version of the Floral Dance.
 
It was in fact, Hanwell. The two records were issued seperately, in two different arrangements in two different keys.
Andrew Pryce Jackman arranged and conducted the Wogan version.
 
Charley Brighton 

Right 4BR

Just to say that it was the wonderful Walter Hargreaves who took us in 1985…..we didn’t qualify in 1984.
 
James Corrigan

Half decent Blackpool

At last, as a bandsman I was rewarded for my hard work with a ticket that enabled me to hear the other bands (without paying!). 

Why do all contests not take this opportunity to increase the number of people in the audience, instead of complaining about how few there are in the auditorium?

Many people don’t like the trip to Blackpool for a variety of reasons but with three half decent venues to play in all under the same roof….
 
Nicholas Garman 

Spanish Main?
 
I would like to know why there was nobody manning the door to the Spanish Hall. The audience was allowed to wander in and out while the bands were playing. 

At one point, people were sat on the tables just outside the open door eating their lunch. The doors at the end of the corridor were banging every few minutes.
 
I mentioned this to one of the staff on the main door of the Winter Gardens and he said he would mention it to management ... needless to say, nothing was done.
 
The Grand Shield however had plenty of staff and even had somebody to show the audience out! Or should I say "Grand Sheild" as the big sign outside said. 
 
They obviously had the same person organising the personnel as spelling the signs.
 
Are the bands in the Senior Cup not worthy of the same level of respect as those in the higher contests?
 
Sharon Meredith 

Well done Peter

Can I just publicly say a massive WELL DONE to Peter for his superb playing and winning of the prestigious Young Musician award. 
 
Having been a 'bandswoman' nearly 40 years and also have a degree in music, (on which I resisted my lecturer's wish for me to change to French horn from Tenor Horn), I took my 10 yr old son who also plays 3rd cornet down to Cardiff to support all the young talent (but most of all Peter!) 

He has proved an inspiration to my son - being a similar age. 
 
Not only this but I hope his win may well have eradicated the age old stigma amongst so called 'professional' musicians of brass bandsman being second class musicians who just entertain the 'tramps & dogs' in the park on a Sunday.

 I thought when they were plugging what a 'privilege' it was for the young players to play in such a wonderful hall in front of a 'full' professional orchestra - ' I bet that boy has been playing in contests and concerts in venues just as grand as that for years'!  As for the 'professional' orchestra - they couldn't hold a candle to a championship band! 

Indeed Peter was the only one who could assert his position as soloist above them - the other finalists struggled to make themselves heard - they were not at all sympathetic in accompanying - they obviously don't employ the band strategy of 'one man to a part' when having to play ppp - accompanying the delicate yet superb strains of the classical guitar for example!   

For once I feel the talent nurtured in banding has won over true classical musicians - WELL DONE PETER - 2008 BBC YOUNG MUSICIAN OF THEYEAR - an exemplary ambassador for what an upbringing in the world of Brass Bands can produce!  - Keep it up!!

Joy Newbould 

Who do they think they are?

On 28th June (in addition to its perpetual day-to-day infiltration of secular banding) the Salvation Army will throw its contesting band allies into action at the English Masters Championships, when 16 big guns "seek to portray the majesty, eternal and infinite qualities of God" - the biblical christian god of course - as in Salvationist Robert Redhead's test-piece "Psalm 8".

Psalm 8's the one which also explains that human beings are made in God's likeness and have dominion over all other living creatures.
 
A few weeks ago a lady correspondent to 4BR briefly wrote of the SA's "takeover" of all UK banding, and her view that nothing could be done to stop it. I hope she made her comment as a fellow-dissenter, not as a gloating Salvationist, but, either way, I guess she's quite right.

I see no likelihood of the process being reversed, but at least objectors can salve our individual consciences by making our reservations heard. I know Salvationists who also are unhappy about diluting what they consider to have been previously clearer objectives.  I'm not going to spearhead a revolt, at 80 years of age, but I'll certainly approve of anyone who does.
 
You may remember a TV series a couple of years ago, which followed the efforts of a choral conductor to raise a choir from unmusical scratch in an inner-city school to a standard acceptable for performing at the Royal Albert Hall.

I particularly noted how two of the children refused to sing some of the programmed songs because their words were offensive to them. Surely bandpersons are equally capable of making an ethical stand, so I look forward to saluting all those who withdraw from playing at (or attending) the English National on the grounds that the test-piece offends their different faith, or their unbelief, or simply their right not to be manipulated involuntarily into doing the SA's job for it.
 
I suppose the Salvation Army could always apply a level playing field by, for instance, in return for their beliefs being promoted in the music pressed on secular bands, arranging to have readings from Richard Dawkins inserted into every SA band practice. Now I'll wake up!  It doesn't work both ways.
 
A friend who is better informed than I am about banding politics and finances is of the opinion that (I quote) "Without the Army's money the demise of banding would happen even faster than it is." 

That may well be so, but I doubt whether the man-in-the-street imagines his pound coin placed in the Army's collecting box is going to that cause. The usual riposte (rightly or wrongly; people believe it) is that SP&S Ltd is purely a profit-seeking business entirely separate from the mainstream evangelical organization. If it is, then it shouldn't be trading on, and under, the publicly sympathetic Salvation name.
 
Let's put the SA in its place: SP&S/WOB is only one sector under the Salvation Army umbrella (together with domestic ministry, missionary work still presumably, and the certainly admirable social services - the latter being where that man-in-the-street believes his pound coin is directed) // the Salvation army is only a splinter of the UK christian church // according to the BBC's website only 6.3% of the UK population are churchgoers // of that 6.3%, 44% are black (which suggests a different dilemma for the banding movement to face another day).

In this perspective, although itself a minority pursuit, surely the banding movement is strong enough not to have to jump whenever the Salvation Army says jump.
 
It always takes something picturesque for a sermon to remain in my memory, but I do recall one in the mid nineteen-fifties by an SA Major Gregson (father of Edward Gregson) on the subject of the sin of pride.

He spoke of having to take care over his own weakness and how earlier in the day he had been strutting down the main street, chest proudly stuck out, in front of a band of 30, flags flying, drums beating, when he was stopped in his tracks (I imagined the bandsmen stumbling over him, which is why I recall it) by the thought "Who do we think we are?"
 
Over half a century later, I have to paraphrase his thought - "Who do they think they are?"
 
Len Atter
Eastbourne 

Thanks Dyke

Black Dyke were again in top form playing at the Royal Court Theatre, Bacup, Saturday 10th May, as guests of the 2nd Rossendale Scout Group Band. 

With a varied program, some fabulous solos, and this after a busy schedule all day for some of them, either coaching young players from various bands within the valley at a specially organised workshop, or conducting at Blackpool, they again thrilled a sell-out audience!

Not the biggest or most prestigious of venues, but the band produced a sharp and stunning quality performance, and the playing by all sections was tremendous, although, being a bass player, (or purporting to be one anyway), I have to pay tribute to the bass section. Just how they make that sound! 

Without going into detail, PLC's Walking with Heroes to start with, brought us all to the edge of our seats. It was a white knuckle ride from there onwards! 1812 to finish, with Matt Routley's Stentorian narration, before resuming his position at the business end of a BB bass. Just awesome! 

An unusual choice for the encore was Widor's Toccata for Organ, instantly recognizable, for its florid high cornet passages, and massively powerful flat bass line theme, recapped at the Finale. I say flat, because Nick Child's conducting of it, with broad and expansive gestures made you know what he wanted from the bass end, and boy didn't we all get get it?

Oh. I nearly forgot to mention the Scout band, who played out of their skins, sandwiched as they were between the Dyke slots. The march Winchester Revival, Glorify Your Name, and Valero was their choice, followed by a joint performance of Gaelforce.

Thanks to them for getting Black Dyke to the valley, lets hope they come again next year!

Dave Walsh 

4th Section problems

My band is a small local band in the rural north of England. Players are few and ageing and players travel from the surrounding area to the band.  

Our problem with the 4th section is that as there is nothing below us we have no cushion to rest on.

There are two issues which are demoralising to the band

1.  "New" bands are formed annually in this region from existing players from high section bands who than take the prizes at the Areas and contests, leaving us shocked and depressed at once again not making the finals.

2. The other problem is that if a band does not compete for a couple of years they can then register in the 4th section and not suprisingly win the contests.
 
Though I realise that each individual band is rapidly promoted into the 3rd Section and therefore will compete in the higher section the following year. This has happened in our 4th Section at many competitions in the last 5 years.
 
This seems very unfair to the strugglers in the 4th section and takes away chances to progress.

I think that the rules should be changed to possibly grade a new band to move them up to their appropriate section?

Or do the people recreate these bands mainly to win prizes and prefer the lower sections because they are easier prize money.
 
At least this year we made the finals.

I wonder what other people in our position think,

Pauline Bateman 

Apology is forthcoming

On Wednesday evening, I received a telephone call from a Manager of the British Federation of Brass Bands, discussing the letter which I had submitted in 'Your Comments' a short while ago and highlighting an error which I had made.

I wrote, and I quote;' In fact, I recall the Brass Band Registry, through the British Federation of Brass Bands, raised the allowed players per band to 40.'

I was told that this quote was totally incorrect, as it was the actual Brass Band Secretaries who submitted a referendum paper issued by the British Federation of Brass Bands some while ago, who had actually requested this increase in the amount of playing members who where registered with the British Brass Band Registry.

I must admit I was never made aware of any referendum by my past Band Managers or Secretaries, I wonder how many others did not know either?

I was also informed that this rise in individual bands player membership had nothing to do with the depletion of Brass Bands, a point which I must admit I tend to disagree with but then again, I am allowed an opinion.

I hope that Mr Morgan will accept this apology from me, on behalf of the Federation.

However my opinion is still the same as back in 2004, that is that if we do not grab hold of the situation and rebuild and revitalise our movement very soon, we will not have one to bother about in 20 years time.

David W Ashworth
Oldham 

Mark Nightingale

Can I just add Mark Nightingale (Cockerton silver band) was a member of Durham  Police Band where I had the pleasure of playing with him.

He was a seriously, in these times, fine gentleman, and also a fantastic soprano player who could have, without a shadow of a doubt played in any section in the north east area and been nothing but a superstar.

My family was hit quite hard with the tragedy, and knowing people care so much is an absolute blessing, and tribute to a man who did nothing but be modest and support others, no matter what their standard or intentions.

I am very deeply moved that he will be remembered

Chris Gomersall 

Thornton memory 

The Black Dyke Band performed at the Hall For Cornwall, Truro on Sunday evening 4th May. 

 This was, as usual, a thrilling occasion with a packed audience cheering to the rafters.

At the end of the performance, with the safety curtain down, the band played 'Deep Harmony' stopping the leaving throng in their tracks to listen to this moving rendition.

Some of the audience thought it was, perhaps, a second encore and that the curtain came down to early.

I now understand that it was the band's own tribute to David Thornton's father who passed away on Saturday. 

The fact that David not only appeared with the band on Sunday but played his solo brilliantly makes his performance all the more outstanding and is very much a tribute to the fantastic spirit that has been created in the band by Nick Childs and the players.

 Needless to say, I found the performance absolutely outstanding.

 Alan Gears

Fabulous Austrians

Please may I express to the whole movement that having listened and watched the live video streaming of the Own Choice performances today from Stavanger, that I quite literally could not listen to any more of the performance by Brass Band Oberosterreich.. 

It was from beyond this earth; electrifying, beautiful: the most musical performance I have ever heard in all my 51 years on this planet, 45 of those in music.
 
It was like the band itself was alive: Fabulous.
 
There are no other words one can describe their stunning playing and it quite simply moved me so much I had to leave the room and all my years of banding suddenly came flooding back.
 
If there was anything good happening in our troubled world today, that performance without doubt was the best thing ever.
 
My Goodness.
 
Robert [Bob] Harwood
Banbury 

Euro ages
 
First of all congratulations for giving us the chance to watch live all performances of the participating bands. 

We had a pleasant evening yesterday discussing among musicians after our rehearsal and watching our own conductor in action in Norway.  What I noticed was the obvious difference in average ages of the participating bands.

Is there a chance to make a list of average age of the participants?  Interesting to see how big differences will be.  Aren’t you curious?
 
Best regards from Belgium
 
Filip Van Engelgom
 
Does the youngest participant still come from Belgium, Lode Violet?

4BR Reply:
We don't know who was the youngest player this year - young Lode was on repiano cornet and seemed to do a great job for his band. As for the age range? Top class banding is now very much a young person's game. 

Ostend dates

Thanks for your coverage of Stavanger. We couldn't get there, so it was great to keep up on 4barsrest.
 
Do you have the actual dates of Ostend 2009 so we can make some plans?  Sorry we can't find them on any website.
 
Shirley Hutchinson

4BR Reply:
Go to the EBBA website and all the dates are there. It's the same time next year we understand and you can follow the links to book your hotels etc already with the Belgians. 

Live streaming

Just like to say how much we enjoyed watching and listening to the European. 

It was so enjoyable, and the quality of the video and sound even though there were one or two slight interference due to a thunderstorm, was excellent. 

Can this be done for other contests?

Cheryl & David Meredith

4BR Reply:
It was a great innovation for the Europeans, but whether or not it will appear again the organisers will have to weigh up the costs we are told. 

Welsh champion?
 
I was saddened to read the report about Cory's damaged instruments stating that they are Welsh Champions, I thought that this title now belonged to Tredegar since they beat Cory at the Welsh Regionsals this year. 

My understanding is that whoever now wins the Welsh Area automatically becomes Welsh Champions. 

Please correct me if I am wrong.
 
Mary Jones

4BR Reply:
The Welsh champion does attend the contest - but a year in advance due to the timing of the Welsh area contest. Cory won in 2007 as so went to Euro 2008, whilst Tredeagr won in 2008 and will go to Ostend in 2009 with Cory as reigning European champions. 

The Wee Professor

I think the wee Prof conducted Kirky in the 1985 contest not the 1984 ?
 
I was there with Lewis Merthyr.
 
Paul Williams 

French cap
 
Can you precise that the soprano cornet player  for the European Youth Band this year comes from France. It was me!
 
Olivier Richeton 

4BR Reply:
Now everyone knows

Dopes!

In your article "European Countdown: 6 days to go", you speak about Switzerland (my country). 

You told in the 1st point that Switzerland legalized marijuana in 2002. It's absolutely WRONG!! Marijuana is illegal in Switzerland.

In 2002 there was just a democratic vote about use of marijuana, and Swiss people say NO! So marijuana stays prohibited. It's just tolerated in medical use.

Thank you for rectification and Good bye.

Cédric Vergère 

Nightingale remembered

Thank you so much for carrying our recent press release re the above (http://www.4barsrest.com/news/detail.asp?offset=75&id=7631 ) 

You wouldn’t believe just how much those who were closest to Mark derived so much pleasure (tinged with inevitable grief) from seeing this entry on 4BR – and of course  we all would rather have not been in the position we are in.

Life is precious, and so is the world of brass banding.  Thanks 4BR for all you do to preserve and further develop a wonderful musical institution of great heritage and tradition.

With gratitude

John Steel
Cockerton Prize Silver 

Australian Band World remembered...

As an Australian I am sorry that this magazine is to cease.
 
It will do some harm as all the items, reports, special notices and info on what's happening will not be available in one location.

I get the magazine from a friend and find they are a good read and very informative. I implore the administrators of the Magazine and try to find a solution to keep it going.
I am a Salvation Army bandsman and would say that the Salvation Army did the same thing and shut down the Musician, which was a magazine published for the Salvation Army's musical forces including bands.

Now we have a quarterly creative ministry magazine shared with Pipeline, I think.

Bands and bandsmen and women have lost contact as to what happens in the different states and locations. The loss of articles, advertisement of Concerts and programs and in particular how bands and other group are doing and progressing.
 
Don't make the same mistake the Salvation Army did and find a solution as Brass Banding in both the Brass Band Movement and Salvation Army have to grow and improve as the youth are our Bands of tomorrow.

The Salvation Army bands have been allowed to diminish with no premier band evident in NSW.In Victoria it is a little different with the Melbourne Staff Band and concerts and visiting Overseas bands in existence, not so in NSW.
 
Thanks for a great Magazine and for all connected with Band World and for their time and all their efforts.
 
Band World - RIP
 
 John R Harmer
Gosford Citadel Band   NSW 

The right Audrey Hepburn!

On this page it is claimed that "Actress Audrey Hepburn, probably most famous for her role in the film ‘Breakfast at Tiffany's’, was actually born Edda van Heemstra Hepburn- Ruston in Brussels", which is incorrect:

Her name at birth was Audrey Kathleen Ruston, as can be seen here in a copy of her birth certificate.

Richard 

Concert and Contest - the difference

Reading Gary Jones recent email about Concert bands and the relative merits of contests and concerts, I was reminded of the difference between the two: 

At a concert the audience hopes you will play well - at a contest they mostly hope you wont!

Pedr Roberts 

Some things never change...

In August 2004, I was asked by Iwan Fox to write an article for 4Barsrest where invited people were asked to voice an opinion on a topic which was of interest to them. They called it 'Soapbox'. 

I wrote this article, which is held in the 4BR archive under the heading 2004 articles, regarding the way I felt our movement was heading and my opinion of the way forward. Your latest editorial raises the same comments as I made so many years ago: Loss of bands, change of Area boundaries, regrading etc.

We still have the powers at be, telling us what we can and cannot do, nothing at all has happened to improve anything. In fact, I recall the Brass Band Registry, through the British Federation of Brass Bands, raised the allowed players per band to 40. 

As a result of each band being permitted this ridiculous number of players, several lower section bands have suffered and in some cases have had to disbanded because of the lack of players.

An extra 5 players per band means that for every 5 bands with 40 registered players equals another band going under. It's not rocket science to work out that the movement could not possibly sustain this increase.

Lets have it right, if the Federation call it 'doing everything possible to improve the movement', then all I can say is that if they where in business they would have gone under years ago.

The Brass Band movement has registries for players in three different countries England, Scotland and Wales, all trying desperately to make a system of controlling players, work but not speaking to one another.

I still say that it is time for all registries to merge and become totally independent from any governing or organizing body. The present situation does not control movement of players between these different Areas. I am aware of players in the past, having more than one registration card.

If this is the case, how can it be said that the Registry is on the ball and under control.

It really is time for a great deal of discussion, which must include bands from all sections, to sort out this mess which we are having to endure before the 'powers at be' destroy what we all hold dear.

David W Ashworth.
Oldham 

The demise of the Gala Concert
 
I have just had a look at the program for the English Nationals for this year and see that the Gala Concert has been cancelled. 

Although I have not had the opportunity to attend, I live in Sydney in Oz and it's a long way to come although I attended the Nationals at RAH last October and really enjoyed it.

The point I would like to make is that when I lived in UK from 1973-1977 the Nationals had the Contest all day and the winning band again performed the Test Piece at the conclusion of the Contest when the results were announced.

Then in the Evening the Gala Concert took place with five bands (mostly Massed items) on stage with guests - ie Choirs, Soloists etc and concluded at approx 10.30 - 11.00pm OK it was late but it was worth it.

Why can't we go back to that format, especially for the Nationals at RAH in October? Many Bands, supporters and others agree it was fantastic.

Brass Banding will be the winner and what a days banding and music making will be heard. We must promote the Brass Band and this is no better way to do it.
 
I am a Salvation Army Bandsman in OZ and play cornet in the Band at Gosford (50miles North of Sydney).
 
How about some comment and discussion on my comments.
 
 
John R Harmer
Gosford SAlvation Army Band
Gosford NSW Australia

Top man Tait...

As an ex Assistant Principal and later solo cornet player of some 25 years service with Ever Ready now Reg Vardy, the recent news that after 30 years Brian Tait had left the band rekindled some fond memories for me - the end of what for me was the best cornet section I had ever had the pleasure to be a part of.

When I joined the band in 1982 Brian was on ‘top man’, the late, great Wilf Bedell on bumper up, myself on third man and Keith Lawton on fourth man.

After a couple of months I was asked by Wilf if I fancied playing bumper up. Of course I jumped at the chance and spent almost 5 years sitting next to Brian.

During this time we had some great successes, notably 3rd prize on "High Peak" in the long defunct Joshua Tetley competition, and more notably  in 1987, 4th at the British Open on ‘Freedom’ conducted by Eric Cunningham.

Brian's playing was superlative. Straight after the Open result I left the band to travel to the Isle of Wight because of a job move, so I could not even enjoy the bus trip and celebrations on the way back home.

18 months later I was back in the band and stayed on solo cornet until I left in 2007.Various players moved in and out of the front row during that time and I enjoyed all of the time we spent working hard together and also the considerable successes and hard times that we had too. You will all know who you are reading this.

Banding is a lifelong venture, a challenge and a pleasure; sometimes bleak, and sometimes very rewarding. Alas it can be fraught with politics, and clashes of personalities. Sometimes we can let ourselves become blinkered and forget the path we have travelled along together. I would just like to say that it was hard work but I really enjoyed the trip.

Thanks for the memories!

Gordon McGeorge
Riverside Brass

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