Comments ~ 2009: September (16th September onwards)

More and more from the British Open - and plenty of opinions it has raised too!

Huffing and puffing

Lots of interesting comments have been made in response to the Steven Mead outburst.
 
At the end of it all when the "huffing and puffing" has stopped and the dust settled everything will get back to normal and carry on as usual.
 
Why? Because the only way there will be any meaningful change in the major contests, including how judges are selected is when all brass bands who want to compete belong to one organisation.

They can then democratically appoint people to represent their interests who can engage with contest organisers on change.
 
Until that situation is reached contest organisers will carry on doing what they think is right.

So, the solution is to stop moaning about the music selections, the start time, the adjudicators, the poor prize money, the charge for bandsmen to enter the hall and all the other "chestnuts" and either support the Federation or devise another unified means of engagement.
 
I hold out no hope for this whatsoever!
 
Tim Mutum

Do not forget the music!!

No one who was present at Symphony Hall, Birmingham, for the European Championships in 2007 is likely to forget the first performance of Hermann Pallhuber’s Titan’s Progress given by Brass Band Oberoesterreich and Hannes Bucheggar.

For those of us whose brass banding DNA is in the British band movement, it was a performance from another planet. Idiosyncratic yet stunningly executed, with a refined musicality and emotion that came straight from the heart.

Perhaps most of all though, it demonstrated that the Austrians have the music of Gustav Mahler coursing through their veins.

It would be unrealistic to expect the eighteen bands taking part in the British Open to display universal empathy with the complex world of Mahler’s mind and inspiration, but on the day it was a very select group of bands indeed that got anywhere near capturing the style, character and nuance of Mahler’s music.

Some approached it as a bravura brass band test piece, replete with bells, whistles and musical sparks flying. Others tormented with painfully slow tempos that threatened to beat the audience into a desperate state of submission.

Yet Hermann Pallhuber had ensured that a host of Mahler’s musical characteristics and fingerprints had been skilfully woven into what is a very fine, but clearly for many bands, a very difficult piece of music to get to grips with.

The Oxford Companion to Music describes a Ländler as “probably the true original of the waltz, being much like it but not so quick” whilst the Farandole is “a lively street dance, in six in a measure time in use in Auvergne, Provence etc.”

Not difficult concepts perhaps, but concepts that in line with the more general clues to be obtained from careful attention to Mahler’s First Symphony, were all there to be grasped.

Perhaps for all of us, both bandsmen and conductors alike, it is sometimes worth remembering the simple fact that the preparation for a test piece should begin before a note has been blown in the bandroom.  

Chris Thomas

 Calm down it’s only a Hobby!!!
 
Early on in the week I was about to put finger to keyboard to write about the fantastic British Open last weekend but was stopped in my tracks that this event had suddenly become the centre of controversy in relation to one bands poor placing.

I am staggered at some of the things that have been said and done in brass bands in recent times. But a letter you printed this week has taken the biscuit.

No doubt that Steven Mead made an error in his timing of his article, and some of the more personal rhetoric of the article, but his points are certainly valid.

Coming from such a performer, they deserve to be listened to.

However, and this is what has staggered me the most, that Bob Childs (MD of the winning band) felt it necessary to write in to your website and make a point of how he thought the judges had done a good job.

Really? It is almost hard to believe! He thinks that the judges that put him first were good judges - what next, the Pope lives in Rome?

I greatly admire what Bob Childs has done at his band, but this was a cheap attack, lacking class. He threw the punch that Ali never threw to Foreman when he was on his way down in 1974.

The eloquence of Dr. Tovey was a joy to read (I didn't agree with everything he said), but this attack was not needed, not helpful, and yet again detracted from the story and the debate, rather than the process.

Stephen Marriott 

Cream rises to the top 

I have reflected on most of the comments and have drawn the simple conclusion that, perfect it may not be, updating it may need but fundamentally the system works.

Over time the cream rises and remains at the top, there are not many, if any contests where anyone will agree 100% with the result.

In my 40 years or so in banding, I have experienced both sides of the coin. In my early days, as a young fiery Scot, this really got to me and I was pretty miserable for some days after the contest but with age and experience I have come to accept it.
 
Now lets turn to last Saturday – It was a great contest, held in a fantastic location in a venue that takes some beating. The weather was wonderful but the music and fine performances kept the audience in the hall for most of the day. The event represented fantastic value. 
 
For those cynical people that say contesting is in decline well this one wasn’t. Due to a last minute change of plans by a friend, I was able to attend and booked my ticket the night before, and nearly all the seats had been sold!
 
After all that has been said, in my humble opinion the results were spot on. Again in my opinion there were a small number of bands that overdid the force marks, perhaps trying to emulate the huge full sounds of the very best bands.

These bands were technically able but if I was in the box, I would have found it very difficult to work out their placing however, they certainly would not have featured in my Top 10.
 
So as an ordinary amateur bandsman, I would like to make a plea that this whole situation is not overblown, we get on with our lives and look forward to the next contest wherever and whenever it may be.

After all it is not life and death – only a hobby.
 
Graham Rix   

The Judges’ decision is final 

I am writing following the outrageous behaviour of Steven Mead on stage following the results at the British Open and his subsequent statement on his website and the reasons why he felt that decision had been made.

Firstly, I would like to say that I am rather disappointed that the contest organisers have not issued a statement in support of the adjudicators who were employed by them on the day.

They have a duty of care, and the responsibility for the adjudicator’s welfare lies at their feet. There should, in my opinion, be rules that govern the conduct of performers and conductors and any breaches of those rules should be challenged and a suitable reprimand be placed.

I think that the organisers should take sanctions against Mead to ensure that behaviour such as this does not happen again. Mead should be barred from conducting at the British Open for a year or worse if contest organisers stand together.

If behaviour such as that expressed by Steven Mead on the stage is allowed to take place then we should question why bother contesting.

Contesting is subjective and bands will always be disappointed when they don’t win but that is all part of the movement we accepted when we became involved.

The age of adjudicators has absolutely nothing to do with Mead’s argument.

Describing the adjudicators as having no powers of recall beyond that of the elitist bands and many other broad statements were unfounded.

ABBA should have immediately made a statement defending its members and not attempt to placate Steven Mead by offering to meet him to discuss his concerns.

To those with ideas of following Mead’s example - don’t bother - and to those organising contests, ensure your rules are tightened to prohibit behaviour such as this from ever happening again.

Carole Crompton
Nottinghamshire 

Better to receive than to deliver

Whilst the comments have some validity and were most definitely well intended, I do genuinely believe the delivery was poor, very poor for one of our well respected musicians to behave in what appeared to be an atrocious manner. 

I do however whole heartedly respect a man who publicly comments in a manner and apologises when he believes he has got it out of sorts, so lets not burn him like a witch yet.
 
My concerns are not with the adjudication nor the adjudicators.  Not having been there, nor adjudicated I am not qualified in either way to comment.
 
My angst however is with the approach.  We have too many media opportunities to comment on such things, and enable us to behave in an inappropriate manner.  These gentlemen however deserve to be treated with respect. 

I was always brought up to respect my elders, and I tend to agree with my sainted mother, however I add only if they deserve it. 

Messrs, Read, Relton and Ball have earned my respect and deserve to be treated better, if in only manners, and manners maketh men.
 
On a side note, I have been fortunate to have had many dialogues with Mr Read in particular, and on one occasion we discussed the Vaughan Williams Variations for Brass Band. 

I asked him his opinion of it being considered a 1st section piece.  He said technically it did not pose a challenge for the majority of players in the 1st or top section.  But he did comment that the nuances would be lost on many musicians today. 

He remained in awe of the capabilities of our current crop of musicians for their seemingly brilliant technical standards, but at a potential loss to the music. 

I am in total agreement.  I have always thought we have become quaver engines.  And as for him being out of touch, ask him to be your friend on Facebook, he is there.
 
Whatever opinion may be thought of by Mr Mead of our current key adjudicators, might I respectfully ask that politeness and respect is maintained. 

Like anyone, criticism is received better when it is delivered better.
 
Richard Walker 

Horror read

I read with horror the events of the British Open events.
 
Regardless of anything raised by Mr Mead and subsequently et al, people where I live ask me why I gave up playing in brass bands.
 
I gave up because I could no longer bear the farcical politics and contesting to what purpose I asked my soul very deeply? Hanging up my cornet was not before time after 35 years playing.
 
The recent events have done none other to put me off brass banding for good: It is so demoralising to read and hear what is going on. Does anyone else feel the same?
 
I was brought up with a cornet on my lips and music in my soul to see things turn out like this having been personally taught by Willy Barr, Brian Broadbent, Ian Mackintosh, John Harrison, Bob Platt and yet was so desperately sad to give up but who can blame me having been taught by the best just to let these events have such a tumultuous effect.
 
Yet another nail in the coffin to the movement.
 
Yet, I followed the Black Dyke Video Diary of their tour to OZ and that actually brought so much happiness and sunshine and I even thought of trying to play again.
 
Then this fiasco.
 
Grimethorpe and their saga spring to mind.
 
Mr Mortimer must have been so embarrassed and if the events took place that are factual, then Mr Meads actions were a complete disgrace to the good name of the British Open.

I cringe.

Bob Harwood
Banbury 

Reasons not to attend
             
The main reasons for reduced attendance at top contests are mobility and electronics.

Even the most committed bandperson is likely to have a second, third or more significant interest, whether it's Manchester United, internet poker, their children's activities or holidays in the sun.

Priorities have changed; family and individual budgets have to be managed accordingly. Band membership is falling for the same reasons.

Even though it's very difficult to see a banding future other than gradual decline, we are a million miles from extinction.

However, we will eventually have to accept that, as with participation in minority sports, if you want to compete you will have to pay to do so.

The band I play with just performed two successful concerts. The audience loved them, but why would they pay to listen to 20 bands playing one piece.

I wouldn't and I don't.

Peter Hartley

Disappointing

I've been competing at the British Open Championships for over thirty years and like most other bandsmen I've lost more than I've won. 

Disappointment comes with the territory and I cope with it by shaking the hands of the winners and vacating the Hall as quick as possible!

Naturally I was over the moon with the result last Saturday. However, I am saddened to learn that Steven Mead is now questioning the ability of the three adjudicators.

I was even more disappointed to hear that whilst the winners were celebrating on stage he was arguing with the organisers of the event.

In my opinion Mr Read, Mr Relton and Mr Ball are three of our top adjudicators and they do not deserve the petulant behaviour of a disappointed conductor.

If Steven has a good reason for complaint surely the correct procedure would have been to write to the people concerned after the event and discuss any issues in a mature way.

I think he owes Mr Mortimer and the adjudicators an apology.

Bob Childs
MD The Cory Band 

More care needed 

Whether it be the British Open, Area qualifiers or any other competition that carries with it the possibility of relegation after a poor placing, Mr Mead is right to say care is needed when grading the bands not achieving a podium place.

Too often, competition placings outside the prize list make no sense beyond what order the remark sheets were perhaps picked back out of the litter bin after the prizewinners have been selected.

Relegation can have serious consequences for any band – particularly disillusionment and loss of players (or even sponsorship) - and so adjudicators' skill and attention is required throughout the entire afternoon or morning.

More care placing the "rest of the field" would also make it harder to justify criticising adjudicators.

Oh, and I believe David Read once said something nice about my playing in a lower section contest over a quarter of a century ago.

Mind you, we were lucky enough to win that day.

Keep up the good work, 4BR.

Russell Cavanagh 

Well said Tovey 

I would just like to say that I agree with the sentiments of Mr Tovey. 

I believe there is a way of going about things, and if Mr Mead does believe that change is needed, which I am aware is an opinion that is held by many, then surely this is possible without being quite so defamatory to individuals.

Chris Pannell  

Mutterings on a Theme of Adjudication
 
Steven Mead was clearly very angry on Saturday when his band, Whitburn, were placed 17th, although 4BRs comments were much more praiseworthy than that place suggested.  

Those of us who have long been involved in banding know this feature of contesting only too well; the trouble is no one has found a solution to these inconsistencies.
 
Steven points to the ‘aging adjudicators’ powers of recall’.  As a reluctant member of the septuagenarian group myself, I recognise his diagnosis, but don’t think it is as simple as that. 

That is not to say that we should not take his point that not even adjudicators go on forever.
 
Having got near to boiling point myself on a number of occasions, I have since laughed at the incidents, although sometimes that process has taken a very long while indeed.
 
There was the incident many years ago, at a North West Regional Contest, when one of the two adjudicators told the audience that he and his fellow adjudicator agreed, quite independently, on all ten or so places, from first to last.

My reaction then, and now, is ‘pull the other one’.
 
People of my generation will well remember Ann-Marie Sizer’s experiment at the National Championships Final with open adjudication.  She was a keen advocate, so set out to prove her point with parallel adjudication.
 
After the first year she delayed announcing the results.  When eventually they were published, there was very little correlation.  These weren’t ‘ageing adjudicators’ nor even inconsistent about the lower places, these were for the first six!
 
Maybe there is a hint of logic in what Steven says about powers of recall.  His band was drawn very late.  Were the adjudicators tired, or was it because they had sorted out the top places so the important work for the day was done?
 
We have to acknowledge that adjudication is not a science; I doubt if it can be classed as an art.  Shouldn’t we just settle for it being an opinion?
 
In 1994, at the British Open, my band, Leyland/BNFL was placed first off number 15.  Black Dyke was second off number 16.  The following year, with the same conductor, and virtually the same band, we were drawn number one and were placed 19, while Dyke were placed first off number 15. 

In 1996, Leyland BNFL was placed third from number 13 draw, but Dyke, again with an almost unchanged line up, were placed 14 because they were drawn number one.
 
This illustration is, frankly, quite unacceptable, as was the comment some years ago of an eminence gris adjudicator who summed up the performance of the band playing first with the comment “Quite good for number one”.
 
Then there is the thorny question of interpretation.  Some years ago, 1995 to be precise, the set work at Cambridge was Philip Wilby’s wonderful ‘Paganini Variations’. 

Two weeks before the contest Richard Evans was indisposed, so we were able to secure the services of Markus Theinert, the tuba player with the Berlin Symphony Orchestra. Perhaps it was the influence of Herbert von Karajan, but whatever, he took the tempo extremely slowly.  We all liked it. 

When Richard returned he listened to Markus tempo and couldn’t believe it.  He said, much as he liked it, he dared not be so reckless with the tempo markings, so he took it a little faster, but still slowly. 

We were awarded second place and afterwards, speaking with the composer he said “I had not realised that it would sound so well when taken so slowly”.
 
This year, in a very important contest, we were very severely downgraded because we did not play the test piece in the way the adjudicator knew the composer would want it; a composer who had been dead for 40 years!
 
In my recorded music collection I have three different recordings of Mahler’s Second Symphony.  I bet there are fifty more.  Perhaps the adjudicator would like to tell me which one reflects what Mahler wanted.
 
There was an enlightened time when the All England Masters had separate boxes for the adjudicators.  

That was until at a contest some years ago, when the myth of common agreement was blown apart for all time when the three separate adjudicators placed a particular band first, first and thirteenth, respectively.  

On the aggregate system the band that was given first prize was placed first by none of the adjudicators.  I believe the contest promoters came under very strong pressure from the Association of Brass Band Adjudicators to revert to a common box; their slip was showing.
 
Steven Mead has every right to be anxious that quality adjudication extends right the way down, not least because relegation is a threat to a number of bands in the lower places.  My own band suffered very badly a while back, but not through unfair adjudication. 

Our problem was that the bands below us were in their years of ‘probation’ in the British Open, so, although we were nowhere near to the bottom, we went down.
 
Just imagine that Manchester United are fourth from the bottom of this year’s Premiership.  The three teams below them are those promoted from the Championship last May, so United go down.  We would see a re-enactment of the Peterloo Riots!
 
So, I say to Steven Mead, yes there are a number of things which could be done to improve adjudication, so go to meet with the Association of Brass Band Adjudicators and put you points, as forcibly as you choose.  It could well improve matters for all of us.
 
While I am very proud to be the Chairman of Leyland Band, these comments are mine, and mine alone.
 
Allan Littlemore 
Sandbach

Basil Fawlty?

In response to Mr Whittingham’s comments about last weeks Open I must ask, in the style of the great Basil Fawlty ‘would you also like Symphony Hall moving a little to the left?’!!!!
 
Andrew Norman 

Old boys network 

I note with interest that Mr Tovey's concerns around Steven Mead's comments about the standard of contest adjudication are pre-fixed with the disclaimer that he did not actually attend the 2009 British Open. 

It appears that a number of the brass band movement's "Old Boys network" have mobilised to take Mr Mead to task, despite not actually attending the contest! 

With respect, had Mr Tovey attended the contest, he would perhaps be in a better position to comment.  

As a matter of interest, is there a representative of ABBA who is able to confirm which members of its office-bearers were in attendance at arguably the most important contest in the UK calendar?  
 
Mr Tovey also states that "if you enter a band contest you should abide by the judges’ decision", which I largely understand and agree with.  However, does this mean that by entering the contest, the participants waive their right to comment on the outcome? 

Clearly not. 

Mr Mead is articulating a viewpoint that is shared by a large portion of the contesting community and in my opinion, should trigger an attempt at reform that is long overdue.

I would also question Mr Tovey's statement about Mr Mead's "ageist" generalisations.  Without wishing to sound overly flippant, until someone from ABBA formally states that none of it's membership suffer from any form of hearing disability, then technically Mr Mead's statement may hold a modicum of truth.

Mr Mead's statement, whilst containing an element of what can only be described as knee-jerk response, was well thought out and cannot simply be dismissed as sour grapes by those who would prefer to retain a dysfunctional status quo.

Gordon Macdougall 

Never forget! 

Many things spring to mind when I read of this latest outburst, firstly...surely he does not think he is the first to moan about a contest result? 

While I may totally agree with his remarks and also to those of John North (also in 4br comments) the annual post-contest "we were robbed" barrage will ALWAYS be there irregardless of whatever organisation runs it. 

Secondly, and on a similar theme, has the NW regional committee taken on board the uproar from the masses regarding their recent "non-vote" for two adjudicators in the box? 

No doubt, they will be hoping that the whole issue will "blow over" and we will all forget it! 

WelI I for one will NEVER give up in trying to get justice and a level playing field for our bands in the NW.  Whilst apathy may have ruled as far as the bands who did not return thier voting slips, lets redress this imbalance NOW.
 
Jim Owen
Old Hall Brass 

A good argument 

I never could resist a good argument!
 
Must I be the one to point out that every bandsman who has ever contested has at least one story of unfair adjudication.

Over the past thirty years there are still several which haunt me still.
 
As some of your other contributors have pointed out, if you have difficulty in accepting the final result then you shouldn’t contest!

After all, there is a certain amount of subjectivity about the end result.
 
However, I do find myself in agreement (much to my chagrin) with the erstwhile Mr Mead in his quest for change. There are many younger, well respected, members of the brass band movement who should be given more of an opportunity in the box at major contests.

For me this is even more of an imperative with some of the modern test pieces.
 
(Whilst I’m at it, I also got fed-up with hearing that hackneyed phrase during an adjudicators summary on the more mature test pieces “we played it better in my day.”)
 
I do however offer one anecdote which must have happened some fourteen years ago. When we (the band I played for at the time) found out the late and well respected Geoffrey Whitam was to adjudicate at a local contest one our players responded with the comment “not deaf Jeff!” 

Not my words, don’t shoot the messenger.
 
Although it is some years, as you will see from my address, since I have participated in the British band movement I still follow events with a keen interest and must confess that I shudder at seeing certain names on the adjudicators list.

Certainly when I last played for a band in England if we knew a certain (well known and prominent) adjudicator was presiding at a contest then we would actually think twice before entering; knowing that our style did not curry favour with this particular person.
 
Perhaps, on the subject of adjudication,  the UK should take some tips from the North American Brass Band Championships. Here the adjudicators dictate their remarks onto CD as the band plays, marks are allotted for each band at the end of each individual performance.

Over recent years the championships have not been frightened to use the talents of Steve Sykes, Russell Gray and Sheona White to adjudicate bands at the top level.
 
Unfortunately, however, it is not the first time this controversy has been raised and once this proverbial storm in a tea cup has died down I doubt we will see any change.
 
Chris Clark
Boyds,
USA 

Congratulations Cory and Mead

At first congratulations to Cory of course! An immense band for an immense performance!

Then congratulations to you Steve! At last someone - and here an immense musician- dares say and write what most of people think since many years! 

For the 1'000'000 times William Relton and David Read were the judges of a great brass band contest! Yes, they are (or they were) great musicians, but is the brass band movement really unable to change???

This is just impossible to imagine in any other artistic contest: could you imagine that the Festival of cinema of Cannes has each year the same jury????

It's non sense... I presume that there are enough great musicians in UK to have some changes! 

Some years ago the manager of Fairey said to me that instead of having each year Misters Read or Relton (already...) , it would be a perhaps good idea to invite for example Simon Rattle or this kind of musical personalities...

I think it's not necessary to have played cornet with Black Dyke to be able to judge music, even brass band music, and between Simon Rattle, Gardiner, Norrington or many others, it could be probably possible to find someone with new eyes on brass band music!

Daniel Zumbrunnen
Switzerland

Do not forget the winning sop
 
I would like to say a public well done to Richard Evans (Soprano Player with Desford) on winning the Brian Evans Memorial Trophy at the British Open last Saturday. 

He is a fine player who deserves some recognition for all the hard work and dedication he puts into his music making.  

It is also good to see such talent making a significant mark on the banding scene.

John Storey
Coldstream Guards Band 

When less is more? 

To Alec Gallagher, I feel you missed the marketing angle of the Boosey & Hawkes banner ad.

Bad grammar or not I think they were going for the “less is more” angle. Who’s ever heard of the saying “fewer is more”?

James McFadyen 

Rivals please

I would very much like to see you do a test comparison between the Prestige and the Sterling euphoniums.

Tom Chapman

4BR reply:
If someone will send them to us then we will be happy to oblige

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