Comments ~ 2008: October

Opinions from the Nationals start to flood in; small minded rants; National overhauls, the use of the apostrophe and even Bingo bands...

Disappointed at lack of banding values 

I'm sure I'm not the only one who was disappointed with Grimethorpe's post-contest concert at the Albert Hall.

I can understand the reasoning behind doing something 'light' after a long day of hearing the same test piece, but this does not mean having to sacrifice our banding values.

A quick glance at the programme beforehand did not particularly inspire, but Grimethorpe's presentation did nothing to appease those reservations (aside from the embarrassing attempts at singing!) The very fact Alan Withington had to turn around to start the applause after every item was verging on embarrassing, as was his insistence on standing the band up after nearly every item. A touch of humility goes a long way.

As 4BR commented, the programme appeared to be thrown together at the last minute. Not only that, but the behaviour and presentation of some of the players during the concert was less than satisfactory, and this is not the first time this can be said of Grimethorpe.

I was at the Gala Concert at the Europeans this year and there were in-jokes and banter going on throughout the performance on stage, and they didn't seem to care what the audience thought of them.

No wonder the brass band movement is sometimes seen as a bit of a joke - you wouldn't have members of the LSO or BBC Symphony Orchestra behaving like that. Audiences remember performers' presentation as much as the performance itself.

I can't imagine many other bands having an opportunity to perform at the Royal Albert Hall and taking it so lightly. Most would have spent weeks preparing a programme for such an event. Last year, whilst Black Dyke's programme featured repertoire that regularly features on their concert programmes, it was still delivered with the military precision, panache and professionalism that we've come to expect from the band.

Then there's the matter of the Grimethorpe website which makes comments such as: ‘Following a disappointing number 1 draw, the band gave a great performance of this year's test piece, only to be placed 7th’  - as if they have a divine right to win it every year.

Comments like this seem to be commonplace on the website. Again you would not find this with top orchestras and in fact other top bands, who don't feel the need to offer personal, biased opinions.

Other than the post-contest concert (and wait!) I must say I thought the day was highly enjoyable with some fine performances from a number of bands.

Congratulations must go to Dr. Ken Downie for what in my opinion was a fine piece of music, which suited the occasion well (despite some criticism of the piece from some quarters).

Glyn Edwards
Stoke

Play band a bingo band!

The National Finals 2008: Let me shove some credit to where it’s due.

The work done by the bands was so very obvious on a great piece. We had all worked out that the first movement was not a RAH friendly ditty, so bravo to all, and I enjoyed most performances. Well done to the judges too - mostly bang on the money for the first 11!
 
Now to the fly in ointment.

This is the most prodigious date in the BB diary, and I suspect it costs the bands upwards of £5/6k to attend.
 
I hear York sponsors this and Kapitol does that, with names up in bright lights accordingly, so why is the prize money still only £2,000, for the winners?

My cat food bill came to more than that and it was born the same year the prize money went up here.  The sponsors, makers and shakers of the Nationals are truly extracting the left-over flow from the Queen's Gate Mew's and providing an insulting poke in the eye with these prizes.
 
The real cost of £2,000 20 years ago is now around £20k, yes, twenty thousand pounds. Yes, jazz it all you want organisers, but really, really, reflect the reward where you mouth is. The number 1 show on earth needs some number 1 prizes, not Brucey with a conveyor belt and a cuddly toy!
 
Here’s a money making idea for them though. As each band marches on to play, each band person puts £10 out their own pocket. 20 bands, 35 in each band = £7000, a gamble, I know, but £5k more to play for!

Bet on your own band to win! Play ‘Band -a-Bingo-Band’.

Let's drag in a sponsor who's not part of the great monopoly brass band retail quangos who loves brass bands for what they are and not for what can be further milked from the movement. We can always dream, but it may be better than the current nightmare we have to put up with.

Phil Lawrence 

More hit than miss

There has been a lot of discussion on Mr Downie's piece for the National Finals both in the comment section of this site, and rather than rush in with a comment I thought I would wait and see how I felt after playing on Saturday...(unusual for me as fools generally do the opposite). 

Was it a good piece? This could be answered from a number of view points...if it is taken from the point of being a test of the capabilities of the competing bands then I think the answer is yes it was.

Am I still singing bits of it? Yes I am (and even Mrs Corrigan is too) and that's more than can be said of a number of new works I have played over the past three years. Some I have no memory of at all and hope never to!

Having said this I wonder what would have happened if this piece had come forward for the Open rather than the Nationals? Would the third movements have been a bit more interesting from an adjudication perspective with the detail not being lost in the hall?

I wonder if we will hear the piece being selected by a band as an own choice? There is a lot of work in there and the question remains is it worth it for the end result?

Having talked to friends who listened to the piece, they quite enjoyed it. I heard more music coming out of the piece the more we played it and my third finger is now twice the size of the others on my hand due to the exercise it had as I waffled my way through the third page of the barking part!

Overall I think more of a hit than a miss but other people may think otherwise!

On to St Magnus now!

James J Corrigan (LBI) 

Enjoyable experience

Having been to the championships at the weekend, and thoroughly enjoyed the experience, can you please advise if any of the top bands have any future performances in the London area?

Richard Kelsall

4BR Reply:
Try the 4BR classified section and the top bands websites. 

Small minded rant

In response to Alan Michael and his rant about the ISB, can I just say that it is small minded views such as his that will ensure the Christian church continues its decline and will do for the foreseeable future.
 
Let's start a petition to get Songs of Praise off the BBC because Jonathan Ross has a programme on there too, where he sometimes uses bad language...
 
I can't believe that the ISB will ever share a stage with Eminem, and maybe Amy Winehouse can benefit from one of the SA's detoxification centres.
 
The profile of the Salvation Army, and the hugely important social work that they constantly do, has been lifted this week, which can only be a good thing when faced which the hugely difficult situations that we all find ourselves in at present.
 
Alan - if you stand still you'll fall behind.  Striking a balance between maintaining principles and relevancy can be done!
 
Ross Bell
London 

Radical National Solution

Sandy Smith talks a lot of sense in his radical proposals for the reform of national contests.  For this reason I hesitate to appear less than constructive in return.

 However, many of his ideas are not new and have been aired and actually implemented in many contest arenas and whilst having succeeded in improvements in some areas, have also created new problems, some of which were equally as serious in their way as the problems they solved!

The main weakness in any application of Mr Smith’s initiatives goes right down to the adjudication process.  ‘Own Choice’ always brings subjunctive adjudications heavily in to play.  We have all seen this with the ‘loads of black notes’ versus the ‘musicality’ of a piece being argued. 

In an effort to support the thrust of Mr Smith’s treatise I would suggest that the adjudication problem needs also to be drastically addressed first in order for his ideas to have any real success..

Currently, with perhaps the exception of some ‘entertainment’ contests, adjudicators are required to give one overall opinion ie. One set of points, or position in the case where points are no longer being used, this reflecting both the technical performance and the musicality of the band. 

I suggest that two sets of points should be indicated by the adjudicator, one set for technical achievement, and another for the musicality/interpretation of the performance.  The two sets aggregated to give the overall winner. 

This would at least get over the arguments that constantly arise such as did over the decisions made at this year’s  English National contest.  I know that many adjudicators use this aggregate points system anyway but unofficially!
To introduce a free choice of test piece would also give the adjudicator the additional problem of balancing the technical difficulty involved with the standard of musicality of the particular work. 

For example, how would you rate ‘Moorside Suite’ against say ‘Les Preludes’?  Thus the poor old adjudicator would have three aspects to consider over the two present ones!  How you solve that one I don’t know!

Anyway, all power to your arm Sandy for raising the issue and perhaps this might promote discussion and an eventual solution found.

David Arnold 

St Hilda help

I wondered if you would be able to help me? 

I am the great grandaughter of James Oliver bandmaster of St Hilda's Colliery band.  I am trying to find out about him and am trying to find a photo and some simple details about him and what he did. 
 
I am a teacher at a local primary school and thought a way to inspire the children about finding out about their own families would be to find out about mine.
 
Hope you can help
 
Helen Ashton 

Getting facts right

Regarding Mark Howarth’s comment about the local paper in Market Harborough reporting that Harborough finished 7th instead of 14th at the 2nd Section Finals

I can assure him that it was the newspaper that got the result wrong and it wasn’t anyone from the band giving them the wrong information and trying to make the result sound better to the good folk of the town.
 
John Pacey
Harborough Band 

Adjudication strategies

Personally, I believe there are two basic adjudication strategies depending on who's in the box. 

1) Degree of difficulty of a piece IS taken into consideration.
2) Bands are marked solely on how they play their piece - regardless of difficulty.

Therefore, some bands push themselves to the edge by selecting music with major hurdles others select a more conservative piece but aim to play to perfection. Some adjudicators make allowances for the degree of technicality, others don't.

There are equally convincing arguments on both sides and I don't wish to take anything away from winning bands at recent contests because on the day, they gave the adjudicator what he wanted.

All I ask for is for a formal decision as to what strategy conductors should adopt when selecting pieces and assurance that all adjudicators will judge using the same criteria in the future. Their job is a thankless one sometimes - let's give them and conductors some clarity here.

My own opinion falls on the side of allowing bands to progress by pushing themselves to their limit by selecting a difficult piece and being rewarded for doing so. So what if a few clips and slips are observed - or should we resort to playing number 7 in the Hymn books.

Eddie Hill 

Wash over the apostrophe

I try to let these thing wash over me, but I have just looked at four pages on 4BR, and every single one of them contained an "it's" which should have been an "its"...

His, hers and its have no apostrophe. It matters.

Judith Hayes
Daventry 

Slightly confused

I was slightly confused for a while by the title for this year’s Nationals: “2007 coverage”.
 
Darren
Virtuosi “Dark Horse” GUS band!

4BR Reply:
Sorry about that - we will get it fixed

Amazed and delighted!!

In reply to 'Amazed and Disgusted Alan'.
 
It would be very easy for me to attack your argument on the basis that you haven't read the article right; the Salvation Army haven't been donated a million pounds as you suggest, (it's an undisclosed sum), the figure you put forward is actually what Universal are reportedly spending on promoting the band.
 
My problem with your letter is twofold...firstly your disparaging comments about the Salvation Army, and secondly your comments about 'association with these artists'.
 
You talk of Christian values being sold short for £1m and fault the SA for being commercial and turning a blind eye. 

The very basis of this agreement - as I see it - from the SA's perspective is the opportunity to spread it's message to a wider audience than ever before, and also getting some more band music out there...surely only a good thing!

The pessimistic route taken with regards to the other artists signed to the label is in my view, entirely wrong. Surely it is a good thing that a label with these 'bad artists' now has something 'good' to offer as well.

The message and music of the Salvation Army will surely now be able to permeate through better and have a positive influence on people, giving Joe Public the option of choosing something healthy and wholesome instead of the more disreputable stuff already on offer.
 
I'm no great thinker, but I can see the bigger picture here, I just wish some people would think a bit more before expressing a blinkered view of things!

As regards to the news itself...I'm Amazed and Delighted!
 
Matt Ingram
Croydon 

Serial commentator

At risk of becoming a 'serial commenter', I must reply to a couple of posts I have scoured myself. 
 
In regard to the recent posting made by Tim Gadson.  I have not heard the latest Downie piece at the time of writing.  But I am a bit bewildered by his apparent rant at so called 'serious' music and the audience that follow it.
 
What 'serious' music have we had to contend with recently at the Nationals and what is this 'seriousness' you speak of? 2006 - Judges of the Secret Court; 2007 - Music for Battle Creek.
 
Now I am sure both Berlioz and Philip Sparke would want their music to be classed as 'serious'.  If their music isn't serious, what is it? What of Elgar's 'Enigma Variations' of 2003 or ‘Masquerade’ - a classic of the repertoire.
 
Second, I cannot find any 'serious' or 'squeaky gate' repertoire that has been terrorising our ears recently? 

Indeed the repertoire chosen for contests is a fairly eclectic mix that is neither too far removed from tonality or too 'superficial'. If you think Eden is 'serious' listen to the latest NMC recording by the Fodens Band.  Even this CD doesn't go near what 'serious' music sounded like in the classical world even as far back as 50 years.
 
I am a fan of this so called serious music as much as I am the music of Spark, Downie, Heaton and Stevie Wonder. It’s called being eclectic.
 
Just a quick one regarding Sandy Smiths comments.  What a controversial idea that may well work but for the attitudes of some adjudicators. 

We have already seen in the Euro's this year what effect a new piece can have on a bands chances when compared to the 'in piece at the time'.

I'm just afraid that if everything went own choice, it might create a 'sub-contest' in which bands might try and find the most fashionable piece or a piece which the adjudicator would like the best.
 
Gareth Westwood

Amazed and digusted

Am I the only person who seems faintly amazed and disgusted by the decision of the Salvation Army to allow the International Staff Band to be promoted on a recording label that has artists such as Eminem and Amy Winehouse on their books? 

At a time when Christian values seem to be undermined at every opportunity, perhaps the ‘donation’ of a £1 million to their hard pressed coffers made those involved turn a blind eye on this occasion, or does the deal mean that we can now buy recordings featuring some of the following lyrics from fellow ‘artists’ such as Eminem in SA shops and trade stands.

A lot of people think.. that I worship the devil..
that I do all types of.. retarded s**t
Look, I can't change the way I think
And I can't change the way I am
But if I offended you? Good
Cause I still don't give a f**k

or:
then in a couple of minutes that bottle of Guinness is finished
you are now allowed to officially slap b***hes
you have the right to remain violent and start wildin

or:
Put my LP on your Christmas gift list
You wanna get high, here b***ch just sniff this

C*m on everybody -- get down tonight

It seems even supposed Christian values have a cheap commercial price now. It equates to £1 million and the chance to top the pop charts for Christmas ahead of 'Take That'.

If the Salvation Army wants to spread the correct Christian message through its premier brass band, then surely it could have done so on its own recording label.

As a Christian, this decision brings shame on all those involved to allow Christian values to be cheapened by association with these artists (and others on the Universal label) in such an overtly commercial promotion.

Alan Michael
Bristol 

Radical National solution

With the ongoing debate about suitability of test pieces for different sections and the perceived discrepancy of the standards of the bands within these sections is it time to look at a radical solution to the problem?
 
Make the Nationals, both qualifying and the finals themselves, an own choice test piece event, allowing new music as well as existing works, with a given time limit for each section, increasing from Section Four through to Championship.
 
The advantages would seem to be many.
 
It would allow bands to really play to their strengths, showcasing the best of the talent they have throughout the band. It would also allow the exposure of much more new music, as well as perhaps resurrecting some neglected gems of the repertoire. 

With sensible choices by the MD’s of each band there should really be no excuses for hearing sub-standard performances of music which does not match the abilities of each band. An increased variety of listening may also have a positive effect on audience numbers.
 
The music panel have an almost impossible task on their hands each year in trying to choose just one work for each of the sections which will satisfy all the criteria required, from “doing the job” as a test piece, providing stimulating rehearsals, giving the audience an enjoyable musical experience, etc. etc.
 
The constant barrage of negativity, which they receive, must make them question why they bother sometimes.
 
If we really want to let bands flourish without the perception of being held back by poor test piece choices then throw the ball back in to the bands’ court – let them all choose a test piece which they believe will best showcase the talent they have round the stand, and then sink or swim by their own choices.
 
A choice of two or three different works for each section may also be suggested by some but, in my opinion, would never work as such a short list will inevitably lead to the pieces being listed in some sort of order of perceived difficulty before a note has been played. A totally free choice is the only way.
 
I may be wrong in my next assertion but I would imagine that, of all of those involved in contesting, those with most against such a move would be adjudicators as removing the set test piece also removes one of their long held “comfort blankets” of comparing musical performances – but other national, and indeed international, music competitions seem to manage perfectly well in adjudicating performances of varied repertoire – why not the brass band?
 
I hear from banding colleagues and read in the band press constant reports about players giving up, for various reasons, and indeed bands folding through lack of players. We really do need to look at some drastic solutions to stem the demise of our movement – perhaps this is one?
 
Sandy Smith
Holmfirth 

4BR balancing act

Well done 4BR – on one hand you upset and load of people and on the other you make the others happy. It’s a neat trick.

For the record, I enjoyed the comments made by Iwan Fox on the Fourth Section and his retrospective on the First Section. Telling it as it is will always get up some people’s noses, but in this day and age what do expect?

Nobody is a failure, no one is at fault, and there’s always somebody else to blame. No wonder we are such a state.   

Keep up the good work and don’t let the b*****ds get you down.

Paul Hinton
Barnsley 

Downie delight

Having heard the Kenneth Downie ‘Concerto’ at a recent rehearsal of a competing band at London, I must disagree with the chap who thinks it is a load of rubbish.

It may not be the greatest test piece ever, or the most memorable, but given some of the choices we have had to put up with over the years at the Finals to try and keep the so called ‘intellectuals’ happy, I can only congratulate the organisers.

Give me more of Mr Downie any day of the week and let the minority enjoy their artistic ‘serious music’ on their own – which would be the case if any more of it is played at the Royal Albert Hall in years to come. 

Tim Gadson
Sunderland

Damned if you do, damned if you don't...

Oh dear 4BR it seems as if your damned if you do and damned if you don't.  

Once upon a time you were right royally slated for writing negative comments about performances that might not have caught your ear.  

Sure they were a little close to the line, sometimes tongue in cheek and sometimes just plain blunt but above all, honest. Yes honest they were but you still got pelters from all directions accusing you of all sorts from favouritism to ignorance to arrogance.
 
Now I come across yet more complaints from 'loyal readers' complaining of yet more travesty at your latest set of remarks. On the whole this year I found your comments (with regard to Harrogate) positive, funny and largely constructive if not dressed up a little with the odd pun etc.  but is that not what journalism is all about?
 
What do these people want? At the end of the day, at the contest in question I am almost positive you would have come across some playing that might not have, at first listen, been 100% pleasing to the ear. 

When your honest about it you get slammed... When you try and be a little more sensitive with it by dressing it up somewhat, you still get slammed.
 
I honestly don't know what you guys are supposed to do in the eyes of some of your readers and all I can say is thanks for the positive comments you made about EVERY BAND in my section. 

Keep up the good work.
 
Gareth Westwood  

Half empty or half full...

I have read with interest the comments about all the bands taking part in the 1st section finals and I feel very concerned indeed.
 
The assertion that every band, perhaps bar two, taking part was not up to the task to the point of embarrassment is a callous and off hand description that I would not expect to receive on such an occasion.
 
Each band that took part has spent many months preparing for this very day and we all know this whether we are playing, supporting or providing the much needed home family support. 

Of course there were slips and tuning issues throughout the bands, even the winners were not error free, but to down play these efforts can only defeat the objective of taking part.
 
Why must the glass be half empty and not half full. Why can commentators not applaud the finalists and leave their personal comments to themselves. Yes, point out the good and not so good parts during the live updates and match band against band with informed comment gained from the many years of experience reporting these contests but do not loose sight of the event itself.
 
Jersey Premier Brass is fairly new to the contest scene and we have tried our best to do well so please do not bend our instruments around our necks. All the bands taking part across the sections have received similar treatment for many commentators and this does not seem right at all.
 
The adjudicators have a difficult task and they pull no punches as we all expect. If it is the case that bands are not up to the task at the finals then why are they there. What happens between the areas and the finals to make them so bad. I would suggest nothing. 

The adjudicators are all very skilled people and are also prone to mistakes, just like the rest of us, but they are the arbiter of the fact and who are we to rail against them.
 
Choosing the music is a thankless task therefore what is in front of us is to be played to the best of our abilities, whatever that is, and hope that the judges and listeners agree with our reading.
 
I have the view that all the bands in the finals are brilliant and are winners in their own right now being judged against their peers at the highest level. Most of us are not professionals and do not have access to the funds and training that many Championship section bands enjoy but again everyone knows this so why be so negative to all but the few.
 
We will try very hard to secure our place at Harrogate next year so that my mum, now aged 88, can sit and watch her little boy play music on the big stage.

Keith Sunter BA Hons Mus., Dip Mus., Dip Eur. Hum.
Jersey Premier Brass 

Candid honesty

I have, as always, looked forward to the aftermath of the Lower section finals at Harrogate, the usual rolling out of hard luck stories, and the "we wus robbed" scenarios.

My observation this time around though is to applaud you on your comments re: boorish behaviours after the results. I was there also, sat two rows behind our learned journalists, perhaps just to ensure that I don't live on another planet, and do hear the same things.

Can I suggest that your reporting of Dick Evans summary was somewhat misleading, as I certainly never heard him apologise for "getting it wrong" in the choice of test piece (Shipbuilders). 

I heard him clearly state that the piece was chosen to "test" bands that would be competing in the higher section from 2009, and as such they would be required to get their heads and fingers around more challenging music. The piece certainly did that, and the bands that will prosper in the higher grade proved that principle with their performance and result.

Surely a broader, more imaginative approach can be taken on the choice of test piece in the lower grades, not for the finals necessarily, yet certainly for the qualifiers.

To me, it is remarkable that 20 bands who qualify on '4 Cities Symphony' are then tasked with performing the 'Shipbuilders' at the finals. Let us not be surprised that the quality suffered as a result. 

Yet lets not apologise for getting it wrong, where no apology is necessary, as technical ability should be measured in relation to the basic requirements of making music at this level.

I am a firm believer that the "best" bands should always progress, and that the tests should be set out with that in mind. 

Is it beyond the realms of possibilty that when a "qualifier" is chosen to test the grass roots, there is also some thought given to the relationship between the standard and requirements of that chosen piece, and the set piece that will be presented for test at the finals.

The adjudicators are wise people who know what is required at this level, and certainly would have a clear indication where the difficulties would present themselves within the music.

I applaud Dick Evans and the panel on their bravery in selecting a piece that should be playable by 3rd section bands, after all that is what these qualifying bands aspire to do.

I also applaud the candid honesty in his summing up, his encouragement to all concerned, and to everybody there present a right and proper result.
 
Alan Needham
MD Dronfield Band 

Local press for local people...

A friend of mine who lives in Market Harborough phoned me yesterday evening, asking for results of the Second Section Finals at Harrogate.

He informed me that he had read in his local paper (The Harborough Mail) that Harborough Band had done exceptionally well, coming 7th. They also reported the band were very pleased with their result, as last year they came 15th; an improvement of 8 places.

Perhaps the person who misinformed the Harborough Mail should report their real result, but then 14th doesn't sound as exciting as 7th, does it?
 
Mark Howarth
Coventry 
 
ps. Well done to Haslingden and Helmshore Band, and their conductor, David Holland, who did come 7th. 

Don't put us off - just yet...

In response to Iain Fleming’s comments on 'Concertino'. 
 
I respect his opinion but he should be aware that there are other opinions out there which conflict with his. I am enjoying playing the piece, especially the Copland-like middle movement.

It will be interesting to hear what the general consensus is after Saturday. I just hope that his published comments before the contest won’t put people off attending.
 
Nicholas Garman 

Help at hand for the eyes

Regarding Cheryl's recent comment about the new website design being poor for people with visual impairments, I have to agree with her.  If you are interested in making it more accessible for all users could I suggest you have a look at the web site of the Royal National Institute for the Blind (RNIB) http://www.rnib.org.uk

If you look under 'Good Design' you will find a whole host of information relating to access issues including more accessible web design.

If you want to see a good example of an accessible website then have a look at our own http://www.guidedogs.org.uk you will see that you can alter the size of text (useful for people who need a larger font) and also set the screen to show text only which is ideal for those using screen reading software.

While you're at it why not sponsor a pup?

You could even run a contest on the website to come up with the name.........mmmh on second thoughts, having spent the best part of 30 years in brass bands, maybe that's not such a good idea after all!

Hope this helps.

Colin D. Gallagher
Bandsman (retired)
South of Scotland District Team Manager - Guide Dogs 

Albion Dockyard Band?

I am looking for information about the Albion Dockyard Band in Bristol. If there are any ex-players still around I would like to hear from you.

I can be contacted at albiondockyardband@yahoo.co.uk 

Ron Carr
 

Stop taking the mick...

Its not very often I feel the need to protest about how people behave or their actions. On this occasion I feel quite strongly. 

Although my band and myself haven’t competed in this year’s Regionals or Finals, I do find that time and again that your organization take a more disrespectful attitude to the lower sections - especially the 4th, with The Shipbuilders Suite.

You seem to take great delight in taking the ‘mick’ out of this piece and the bands that play it, yet when it comes to the top sections there seems to be a plethora of respect and totally different way of handling the writing.

It would be gratefully appreciated if you respected the lower sections as you do the Championship Section Contests. I am not alone in this either. 

Tim Wheeler 

Tabloid reporting

4barsrest has no doubt revolutionised the way brass banding is talked about, and how brass banding sees itself, and is to be applauded.

However, I do wonder what is going on when reading the comments for the 4th Section Finals in Harrogate. I know the test piece is called 'Shipbuilders', but the appalling run of puns and gags on a naval theme is extremely tiresome and gives the reader absolutely no idea of how the playing has actually gone on stage.
 
A National’s finals performance is an important event for a bandsman, perhaps particularly in the lower sections, as it is a real chance to perform on a big national stage.

The comments you give on the 4th Section performances therefore strike me as rather dismissive of the efforts of these players, and the significance of their moment in the national banding limelight.

A little less tabloid punning, and a little more respect for these performances would be very welcome.
 
Dafydd Sills Jones 

Boorish behaviour

I was reading your comments on the 4BR website, postcard article, and I notice that you mentioned about the boorish behaviour when Oldham (Lees) results were announced

I was there, and I am not sure whether or not you realise that the "boorish behaviour" was actually from the players of Oldham (Lees) who were not happy with the result that they achieved.
 
I can assure you that there was no other behaviour like this when the other results were announced. 
 
S K Sharpe 

Well done organisers

I would like to thank the organisers of the Nationals for the excellent consideration shown to disabled players at Harrogate. 

When the information regarding the contest arrived there was a note asking us to contact Kapitol if we had any disabled players who might need assistance. As one of our Bb players is in a wheelchair I did that and the help he received was superb.

As soon as I went into the draw I was told where the lifts were for him and what arrangements had been made. He was collected from the changing rooms. A volunteer was provided to push him from there to registration and then via a backroute up onto stage.

Afterwards he was again pushed from stage to where the photographs were being taken and then back to the changing area. Although ramps are provided at other contests we have never been offered the level of assistance that was given here and it did make a great deal of difference to us.

So I would like to say thanks very much to all concerned.
 
Michelle Garbutt
Murton Colliery Band 

Wrong date

Gentlemen - I think you'll find that "Salute to Youth" was the top Section Area piece in 1962, not 1961 as stated in the news item.

1961 was "Le Preludes" and 1963 was "Rienzi"
 
Ian Wilkinson

4BR Reply:
Well spotted Ian! 

Downie disappointment

Well here we are again with the National Final looming. As a member of a competing band in London this year and having been spoiled with recent test pieces such as ‘Music for Battle Creek’ and ‘Rococo Variations’.

I was really looking forward to the challenge of ‘Concertino for Brass Band’. You may have noticed the past tense in my last comment (which was deliberate) because after running through the piece for the first time, the only positive thing I can say is it is short! This in my opinion is a very weak piece, poor to play and I should imagine the same experience for the listener.
 
Mr Downie why?  - you are undoubtedly a talented composer. Organisers why? - you are trying to attract people back (which seems to have been the trend in recent years) then in my opinion this is likely to have opposite effect.

Finally, a plea from the heart of a not so young bandsman.

When choosing a test piece please remember the players who give their time and weeks of graft to get it prepared and choose a piece that's not just the right length but has a chance of giving enjoyment to players and listeners alike, a difficult balance I know.

This one in my opinion has neither.
 
Iain Fleming 

Australian curry player

Just had a quick glance at the above article about Paula Russell and thought you were having a laugh?  The other finalist was called Josh Rogan?

You've made that name up surely, no way someone would call their Son after a curry.  I found it funny anyway.
 
Jim Brailsford 

Pen and paper

James McFadyen, asked in the comments (17th September) who else along with himself and Leigh Baker compose by hand. Well sir, may I join your small club.

I have always arranged and composed by hand.  I do not use a computer; I do not have a Sibelius or anything like that either. My method is using manuscript paper, a Parker Fountain Pen and Quink Ink.          

Keith Stanley James Lever

^back to top