Comments ~ 2010: April

Some people have been getting a bit hot under the collar...

Like it or not - we are here to stay

Oh dear, here we go again!

According to Keith Irvine, it seems that my band (EYMS), are not welcome in the Northern Area, and not worthy of being in the Yorkshire Area! Allow me to comment on your 'rant' to clarify one or two points.

You state that we would "never in a million years" qualify from our former home of the Yorkshire Area.

How do you know Keith? 

Both Hepworth and Carlton Main have qualified from Yorkshire in the last few years. These are bands we have beaten on the contest stage in recent times so what's to say we wouldn't have beaten them in the Yorkshire Areas as well?

Bands such as Barton and South Milford would also have done well in ANY area, as their records at the national finals in recent years shows, so your opinion on this one is flawed my friend.

Keith, why will returning 'from whence we came' halt the slide of the North East bands?

How will more North East bands be competing at National standard? Surely your bands are at the standard they are at regardless of whether 'us outsiders' compete in Darlington, Bradford or on Jupiter.

How exactly are we preventing your local bands from improving? We're not competing for the same players surely? After all, we are 110 miles from Durham.

Why is Durham relevant anyway - we compete in Darlington not Durham - a mere 90 miles away. Incidentally, we are approximately 70 miles from Bradford, so perhaps we're not close enough to Yorkshire either. Maybe we should form our own regional contest and keep everybody happy.

Keith - some facts. Bands are unable to choose which Area they play in. This is decided only by geographical location. So, whether you like it or not, we ARE members of the Northern Area, and proud of it too.  

Of the 40 odd bands to compete at Darlington this year, approximately one third of them were from outside the 'rightful' northeast district - EYMS, Kirkbymoorside, Barton, Flookborough, Harrogate, Shepherds, Catterick, South Milford, Ripon City, York Railway Institute, East Riding of Yorkshire and Knaresborough all spring to mind (apologies to anyone I may have missed).

Without these bands Keith, you wouldn't have much of a region. It seems to me that you just don't like the competition.

One final point Keith. The regional boundaries were set circa 1993 or 1994. That's at least 16 years ago!! How much longer are we to be treated as outsiders?

Keith, we're here and here to stay - get over it.

Neil Johnson
EYMS Band

Raising a North East smile

Couldn't help but raise a smile at the post by Rick Dines in which he stated:

Yorkshire Imperial has won in their history 11 regional titles.

Yorkshire Area Champions: 1968, 1970, 1975, 1976, 1977, 1980, 1981, 1988, 1993
North East Area Champions: 1969, 1971

I couldn't help but notice they'd been left of the list.

This confirms that even in the sixties and early seventies, Yorkshire bands were allowed to compete in the North East Regionals.

Mind you I was just a nipper back then, just starting out in banding and can recall hearing Yorkshire Imps at the CISWO contest at Blackpool Winter Gardens, Empress Ballroom thinking they were a fabulous outfit.

But can anyone recall whether Dyke, Grimey or Brighouse were winning all the Yorkshire areas then, so therefore allowed a top Yorkshire band to enter the North East Area?

I would also like to thank Keith Irving for agreeing with my original post of boundaries in the NE area

Steve Perry

Master of his art

We all know that Stephen Mead is a master of his instrument, up there with the greatest names of all time.  

But when he stated on his website  "Alla Czardas is the most technical 6.5 minute solo I've ever played"  then my curiosity was more than piqued.  Whats more, there is a MP4 free download of Stephen playing AND also a PDF version of the music which is actually a clarinet works, but who cares?  

I used to think thatI was a reasonable euph player, but no longer, I'me just a beginner compared to this kind of genius.  I defy your readers to listen and read with Stephen and then think otherwise.  Bravo Stephen, Bravo.
 
See for yourself with this link.

www.euphonium.net/download.php
 
Jim Owen
Old Hall Brass

Judging impressions

Ian Browmbill questions the move at the Scottish Open to seperate the adjudicators.

Perhaps Ian the incident at the Scottish area 4th section contest a few years back influenced this as a "well known" adjudicator in his remarks at the end of the section announced from the stage that it was great to meet up in the "box" today with an old friend and have a great chat about old times.

Funny I was under the impression that he was there to adjudicate the bands.

John Gilmour

The right opinion

To James McFayden
 
I have been in contact with both Philip Wilby and Martin Ellerby who have been providing information about their pieces and giving their views on the subject for a short while now.
 
I think you have mistaken who's opinion is more important and relevant for this essay, yours or the composers of the pieces I am writing about.
 
Emma Havard

Rivers of Blood in Darlington?

Hi Gents, enjoying the 4BR comments and articles as much as ever.

In response to Steve Perry's comments on the above subject; I whole-heartedly agree.

In my own opinion, the Northern Area organisers now appear to be too focussed on getting more bands to compete at the Dolphin Centre, regardless of whether or not they actually belong up here in the first place!

Take EYMS for example; as good as their results have been over the years in the Northern Regionals, never in a million years would they have qualified from their former home - The Yorkshire Area, and as a result 'Northern Area' bands have continued to have their noses pushed out by 'Johnny Foreigner'.

I mean for God's sake, the clue is even in the title of 'East YORKSHIRE Motor Services'! - Tell you what; I wonder if one or two of our own bands fancy a move North too?

Maybe Reg McVardy, McRiverside or McFishburn would be as welcome in the Scottish Area? (I mean, after all, we're only 110 miles to the Scottish border - perversely the same distance from Hull to Durham!

Same argument with Barton and Flookborough.  

They bring nothing to the Northern area in terms of developing players, and to my knowledge, (barring the 2010 results for EYMS) other than turning up to take a ticket to London/Harrogate and some prize money, what have they actually contributed?! - NOT ONE SINGLE THING!

Far be it from me to deliver a 'Rivers of Blood' speech (ask your Dad, younger readers!) However I can see a day coming in the not-too-distant future, where we'll have no actual winners 'rightfully' from the Northern area, in ANY section.

Then, and only then, will it dawn on the North East banding community, which we've witnessed and allowed our own downfall.

The North East standards will not go on the slide if these bands were to "return from whence they came" - quite the contrary; More North East Bands would be competing at National standard, giving the players experience against the UK's best.

Sorry if this seems a bit of a rant, but this has been on my mind for some time, and I bare no ill-will to the bands I've mentioned.

After all, if someone offered me a free lunch, I wouldn't exactly turn it down!

Keith Irving
North East England

Keep Scotland closed

It is not like me to disagree with my highly respected colleague, Mr Peter Fraser MBE,  but I feel that on this occasion I must. While he and his team may feel that it is time to trust adjudicators I believe firmly that the time honoured tradition of closed adjudication should be maintained.
 
One significant reason for maintaining the staus quo is that closed adjudication, while not removing it entirely, minimises any potential for questioning the integrity of the members of an adjudication panel, something I feel is essential.

While more illustrious musicians than myself may feel that they can recognise a band sound to the point of recognising the soloists and not be influenced, I find this difficult to take on board.

I believe that while the intention may be to go forward with an open mind most humans can and are influenced by certain factors relating to those whose performance they are judging.

If we take the football analogy how many times do we hear that small teams do not get treated fairly by referees when playing Manchester Utd, Chelsea, Celtic or Rangers though I am certain the officials go into such matches with an open mind.
 
If we are going down the line of changing adjudication, then when there is a panel rather than individual could we go back to the system employed by the early English Masters when all the adjudication team were seperated.

This always resulted in truely independent comments and marks with results that were fascinating and entertaining.
 
James Corrigan

Progressive Scots?
 
You report that the Scottish Open has made a progressive step in introducing open adjudication.

Those of us who are not in favour of open adjudication think of it as a backward step.

My crisp tenner says that neither the British Open nor the National Championships will operate it in the next ten years.

To your favourite Charity if I am wrong.

Allan Littlemore

Encouraging Celts

It's really encouraging to see open adjudication is to be introduced at the Scottish Open this year but why do the organisers feel that the judges have to be separated?

A well thought out consensus of informed musical opinion is I feel what it is required at all our contests - for me the separation of judges led to far too many unsatisfactory placings at The Masters and audiences and performers more often than not felt let down by the system.
 
Anyway, the day that all the boxes are dismantled and tents shredded the better for me and good on the Scots for making a start.
 
Ian Brownbill

The Times are not a changing...

David Read's exhortation to bandsmen to start writing to the national press is well-intentioned, but having read both his and Alwyn Green’s letters it is obvious why they were not published.  

If you want your letter to appear in the illustrious columns of one of the quality dailies and bang the drum for brass bands, here are a few suggestions:

1.  Keep it short and to the point.  Make one point only and make it well.  Quality national dailies do publish long letters, but usually only on subjects of national interest or importance, into which category brass bands do not fall.  

In the 13th April edition of Mr Read's paper of choice, The Times, the longest letter runs to 283 words and is about public sector pay and pensions.  The shortest letter is just 12 words long and no less effective for that.  Remember that, unlike web-based publications, newspapers have a finite number of column inches.

2.  You need a 'peg' on which to 'hang' your letter. The recent flurry of press articles about brass bands was a response to the about-to-be-broadcast 'A Band for Britain' programme on BBC1.  Without relevance to the news agenda, letters about brass bands are unlikely to be published.

3.  In your letter, don't disparage journalists or their industry by accusing them of treating brass bands with disrespect.  It makes it sound as though you have a chip on your shoulder and is unlikely to endear you to them.

4.  Know your chosen outlet and tailor your letter to it.  This can only be done by reading the journal in question over a long period of time in order to become familiar with its house style.  

With the greatest of respect to this esteemed website (which I hope is going to publish this letter!), what is good enough for 4BarsRest or The British Bandsman may not be good enough for the quality national press, whose readership and staff are more demanding when it comes to things like style and literacy.

5.  Quality journalists like accuracy of detail.  They might edit the occasional typo or missing comma if the letter is otherwise good enough, but if confronted with an effort which, for example, features arbitrary abbreviations, fails to capitalise the word 'British', misspells the names of two British composers and ascribes a knighthood to a third who was never knighted, they might just consign the offending item to the spike!  

Check and recheck that letter before you hit the 'send' button!

I trust that everybody will now be picking over my letter to see if I have obeyed all my own rules (I haven’t!)

Jim Yelland

Opinions and facts

Sorry Alan Morrison, you are entitled to your opinion on closed adjudication and others will have theirs, but you might want to check your facts too.

There was in fact a period of just over three months before a concert I conducted with Grimethorpe and the English Nationals, not two weeks.  

Had I been allowed to judge at this contest in closed adjudication, I like many other many judges, would have been been able to recognize Grimethorpe's sound and soloists (at that time), just as many of our seasoned brass band judges able to recognize bands such as Black Dyke and Cory today.

But, it would have made no difference to my critical faculties and judgement. None whatsoever.

I just hear better when I'm not in a box or tent and I might be able to better remember performances, spot applause milking and comment on unwritten mutings (the decoration of cornets with miniature duvets, hats, etc)...well, come to think of it..it probably wouldn't happen would it ?  

Steven Mead

Taken as Read in the Times

I was interested to read the excellent letter sent recently to the Sunday Times by Alwyn Green.

You may wish to know that around the same time I sent a letter to The Times, which unfortunately was also not published.

I do feel strongly that we should take the opportunity to promote ourselves to the press and the media in a better light whenever the opportunity may arise, to try to rebuff the ‘cloth cap’ image that they so often wish to portray.

I was encouraged    recently that the Financial Times Magazine published an excellent and well researched article featuring Hammonds Saltaire Band, we would wish for more articles in the national press along the same lines.

The more letters that are sent to the editors of the serious national press, whether they print them or not, to encourage this trend may help us in the long run.

Times letter

Sir:

May I say how much I enjoyed reading your recent article “Where there’s brass “ and more so because your columnist Emma Pomfret treated the subject of brass bands with seriousness and careful research, she did not resort to the usual patronising  ‘oompa oompa’ nonsense that we have come to expect from much of the media today.

Brass Bands have been an important part of Gt. Britain's amateur musical heritage for nearly two centuries.

Most bands do play an important part in their local communities such as in Armistice Parades, Carol Concerts, Garden Fetes, Charity Concerts, etc. but there is much more to banding than that.

What the general public perhaps does not know, because the media rarely mention it, is   that this country leads the world in brass banding, countries all over Europe, USA, Australia and New Zealand copy the British example.

At the present time the Cory Band from South Wales are the European Champions and also in 2009 won the World Championship Competition in Kerkrade Holland.

Although amateur in name the top bands in Gt. Britain play to a professional standard and perform concerts in the worlds finest concert halls. Many of the brass players in the professional symphony orchestras emanate from brass bands.

The young euphonium player from the Cory Band, David Childs has just returned from New York where he received a standing ovation when he gave the US Premiere of the Karl Jenkins “Euphonium Concerto” in the Carnegie Hall  Isaac Stern Auditorium

Our foremost composers Sir Edward Elgar, Sir Ralph Vaughan Williams and, later Joseph Horovitz, Harrison Birtwhistle, John McCabe, Brian Kelley, Philip Wilby and many more of today's finest composers have all written for brass bands.

There is no doubt that the decline in British industry has taken its toll in recent years and the number of bands has fallen, so it is heartening that an all party Parliamentary group for brass bands has been formed to help keep this great british musical tradition.

I welcome the recent interest in the press and television, I hope that they will copy your example, do some proper research and not just concentrate on the “Brassed off” image

Yours faithfully

David Read MBE

Why Fishburn?

I read following the withdrawal of Flowers Band at the forthcoming English Nationals Contest that Fishburn have been invited to participate in the event.

I am at a loss to understand from the contest organisers why, and by what criteria the band gained an invitation.

Surely with recent results you would expect a band on form to at least be asked to attend.

I take nothing away from Fishburn that is a band I have admired over the years. However, the NASUWT Chester le Street Riverside band has enjoyed some cracking results of late both in the region and nationally. Why have they been overlooked?

John Bell
Solo Trombone NASUWT Chester le Street Riverside Band

4BR Reply:
Fishburn were the next band in the rankings as at April 2009 - the date used for the 2010 contest.

A poor area?

How on earth has Camborne band not moved up the rankings when we didn't have a bad result at Yeovil and came 2nd at the Regionals?

It’s a mystery why bands such as Tongwynlais are flying away getting higher and higher when they only achieved a 3rd at their regionals.

Do you consider the West of England to be a poor area for ranking points, because I can assure you that we're not after achieving 8th at the nationals?

James Sturgess

Repertoire

To Emma Havard, the pieces you mention from Wilby and Ellerby are not pastiche or parody pieces.

I think you have mistaken their placement within the brass band repertoire.

James McFadyen

Workshop works wonders

I had the pleasure of attending the NABBC/ABBA Regional Test Piece Workshop January in Cleckheaton, and found the whole experience to be one of great benefit.

The workshop commenced with an introduction to the Fourth Section test piece given by Ian Brownbill, who delivered an extremely incisive and informative critique of ‘Saint Saens Variations’.

The irrepressible John Roberts then led the Skelmanthorpe Band in what I would happily describe as a forensic examination of the requirements of each section: a thoroughly well planned, sequential, and logical examination.

I was mesmerised, although I managed to ask a few questions (as did many others) of Dr Roy Newsome of tempos (not negotiable came the reply), the use of rubato, keeping melody lines flowing, dynamics and more.

Dr Newsome was excellent, the notes I made were copious, the effect upon me, a jolt of enthusiasm.
 
As a reasonably experienced MD at this level, I noted every single word that was proffered during the workshop, not only from Ian Brownbill, and the excellent John Roberts and his band, but also from the body of the floor, where the ABBA members were still sat intently and contributing freely and willingly.

I have a relatively young band, a 13 year old principal cornet player, 6 youngsters under 15 years old, and I left the workshop enthused by my experience and motivated to put my learning experience into a plan of action for the regional performance on March 14th at Bedworth.

We played off the number1 draw in a field of 24 and came 2nd.

To the generators of the ABBA/NABBC collaboration, my sincere thanks and appreciation on what was a thoroughly enjoyable learning experience.  

Sincere thanks to John Roberts and the Skelmanthorpe Band who had taken the task at hand very seriously and presented the workshop for one purpose only............. to provide much needed help and insight into what was an enjoyable and exciting test piece.

I would urge all conductors to attend these future events.  
 
Alan Needham
MD Market Rasen (RPC) Band

Magnum bonus

In your comments column, Paul Field enquired, quite reasonably, about the bonus track on Leyland Band’s latest CD, Penlee.  

Since I thought your reply was brief, less than generous and completely uninformative, I would like to take this opportunity to tell Mr Field the details.

The bonus track is ‘O Magnum Misterium’ by Morten Lauridsen.  It is about the birth of Christ and was originally composed for choir.  

4BR says: “If it is good enough it should be included on its merits and not as a bonus”.  

Well I suggest impartiality tells us that it is certainly good enough, as the adjudicators judged it have won for Leyland Band the £500 prize for the ‘Best Arrangement’ at Brass in Concert.

It was originally intended to release a Leyland Band recording of it in November, in time for Christmas, but complications prevented it.  

It was never intended we put the item on the Penlee CD, but the idea came from our Composer in Residence, Simon Dobson.  Since the CD is the music of Simon Dobson and Kenneth Hesketh, it was decided not to list it.

Jason Katsikaris only decided to use ‘O Magnum’ on the Leyland concert for Brass in Concert after the recording, by which time the decision to add it to the disc had already been made.

Time and again we see the same pieces trotted out on the latest CD releases.  To have an entire CD devoted to contemporary brass music from two very fine composers makes the whole disc a bonus.  

Maybe, when 4BR eventually gets round to reviewing it, great credit, and thanks, will be given to Simon Dobson and Kenneth Hesketh.

Allan Littlemore
Chairman
Leyland Band

Morrison's moral implications...

Yes, I admit, Jim Yelland`s `wry smile` had me quickly searching through 4BR archives of comments and letters in May 2007 to find out what was my `trouble with consistency regarding the ability of the box to render bands on the stage anonymous`.

Something I didn`t realise I was afflicted with, but having read Jim Yelland`s letter in May 2007 things started coming back to me.

It suddenly occurred to me why I didn`t reply to his comments at the time and at the risk of re-opening the Steven Mead affair of 2007, (the first one!), I feel perhaps I should now, despite at the time thinking the misunderstandings of Jim Yelland`s letter was not worthy of replying at the time.

In his third paragraph Jim Yelland says: " In one breath he (Alan Morrison) asks us to believe in the integrity of the box as a means of ensuring anonymity for the bands, and in the next breath casts doubt on that integrity “ (by suggesting Steven Mead was right to step down from adjudicating Grimethorpe 2 weeks after he conducted them at a concert).

For me, anyone with common sense can see these two comments are not related.

Firstly, the integrity of the box ensures the anonymity of bands for the adjudicator. Secondly, someone who has conducted a brass band at any level should not sit in judgement of said band two weeks later!

If they do the integrity of the person concerned and the band is drawn into question, not the box!

Jim Yelland makes the basic error of thinking it matters whether or not Steven Mead would know it was Grimethorpe or not. He may know or may not, it doesn`t matter, it is the public perception of whether there is a possibility he might know and having conducted the band two weeks previous, that was obviously the case.

His removal from the adjudicators box was best for the integrity of the band, the person, and the contest, because any result could be interpreted as being in favour or against the band in question.

From memory I believe Steven Mead actually admitted in his 4BR review that Grimethorpe would actually have to play `out of their skin` to win if he was adjudicating. Why?

Surely they should only have to play the best performance of the day! It works both ways, but this statement shows why an adjudicator should be whiter than white and have no recent association with any band he/she adjudicates.

Since this episode ABBA has addressed the situation and reminded its members, who after all have the final say in accepting appointments, about the moral implications of adjudicating a band they have been involved with and have sensibly suggested a 3-6 month period of distance between them before adjudicating a contest a band they have been involved with is participating.

Regarding the rest of Jim Yellands letter I note and appreciate his agreement that 4BR should explain their hypocrisy.  I wait with bated breath!!

Alan Morrison

4BR Reply:
4BR’s clear opinion in regard to matters concerning adjudication has been published in its editorials for some considerable time.

Don't forget Imps

For your information:
 
Yorkshire Imperial have won in their history 11 regional titles.
 
Yorkshire Area Champions
1968, 1970, 1975, 1976, 1977, 1980, 1981, 1988, 1993

North East Area Champions
1969, 1971

I couldn't help but notice they'd been left of the list.
 
Rick Dines

And the music was...

With regards to the question asked by Gary Mattison in your comments page, the piece played is called 'Conquest of Paradise'.

David W Ashworth

Brass in Concert date?

I am hoping that 4BR can help with clarifying the date of this year's Brass in Concert weekend please?  

Having attended the enjoyable North of England contest, their programme advertised the date for the weekend of 13th-14th November (which would be Remembrance weekend) but the website for the competition states a week later.  

The Sage told me on Monday 22nd that the date is not officially confirmed yet, but every chance it will be 20-21st?  

Why would the North East Regional Contest advertise one date and the Brass in Concert website have a different one?
 
If it is the 20th-21st November, then according to the Scottish Brass Band Association website, that is also the same weekend for the Scottish Youth and Scottish Open contests.
 
If both clash, then it asks the question, how has it happened and surely there will be more losers than winners here?  

Surely contest organisers can communicate about dates and it really is about time that there was an online calendar accessible to all for administrators to use and so people can plan ahead and avoid such clashes.  

I'm sure many have thought about the same idea, but with apologies for any cynicism, it seems too simplistic to be implemented.
 
Tony Webb
Durham

4BR Reply:
We understand that the confirmed date is the 21st November

Double whammy

May I thank the 4BR team for your kind comments regarding our youth band and the senior band (NASUWT Riverside) at the Northern Regional Championship.

For myself it was particularly good having a double helping of success gaining second place conducting the youth band in the fourth section and then playing and gaining another second place in the championship section. A double whammy of qualification!

Both bands had a great day. I am so happy for the youth band that worked tremendously hard on what is a lovely piece of music. They are a special group. They have a busy year ahead and very soon will be moving into our own new purpose built, state of the art band room.

At the last count we had nearly forty young members of the band. Who says banding is dying?

John Bell 

North East area?  

It’s that long since I posted a note and corresponded with you, although still an avid reader of comments.

So I'm asking just out of geographical interest, how can Barton based in the Humber region and Flookborough based just out of Morcambe Bay be in the North East Area contest?

I know they've been in it for the last few years as we've actaually been beaten by Barton, but come on, why not open the boundries to say "Taunton" in Somerset to allow some quality bands in other areas to compete and win in sections up here that they couldn't in there own back yards?

Just a thought.....................

I also wonder how many other North East competitors are also confused as to where the North East Area ends?

Steve Perry

Foden's five not unique

Just wanted to mention that in your report regarding the 2010 North West Regional Championships you mention that...

’The Foden¹s Band created their own unique piece of national history at Blackpool in the weekend, where they won the North-West Regional title for an unprecedented fifth year in succession.’

This is in fact not unique as The Oldham Band (Lees) made it 5 wins in succession last year (albeit in different sections).

Keith Welsh

Areas not working

Just when is this brass band world of ours going to get real and realise that the present system of area championships is not working?  

Especially when you consider the backward looking ideas of those in charge of the NW areas, time after time they ignore the wishes of the majority and still only appoint ONE adjudicator to decide our fate.  

Well ime not going to rattle on anymore on that old chestnut, no, my 50 years of brass banding has taught me that the best way forward is to SCRAP the areas altogether, we don’t need them, they are costly, and unreliable.  

My idea is not new, but needs mentioning one more time in the hope of recognition and support.  

Look at our local contests; they are slowly suffering from apathy and lack of support from local bands.  Now if we were to revert to a system whereby each contest had a number of points awarded for position earned, then at year end, all points would be totalled and the top finishers could then be offered a chance of the finals in London or Harrogate.  

Think about it for a moment, local interests in contests doubled, a fairer chance of promotion/relegation based on several performances, not just one.  

Any area that does not have "enough" contests, then the money saved could be used to promote new contests which can only be good for brass bands in this country.  

All this BEFORE we go to Blackpool means it will save hundreds of others shouting "we wuz robbed".

Jim Owen
Old Hall Brass

Parody help
 
I'm currently in my final year at Birmingham Conservatoire studying Tenor Horn and am in the process of writing an essay discussing pastiche and parody in brass band test pieces based on works by classical composers.

I was wondering whether you would be able to help me in finding some figures for my research. I am looking to find out when the first brass band test piece was written, how many test pieces currently exist to date and if possible, how many of those are based on classical works.

I understand the latter of my questions is going to be very difficult to find out but if the other two questions are answerable, I would be most grateful for your help!

For the essay itself, I am looking at Ellerby's 'Tristan Encounters' against Wagner’s ‘Tristan and Isolde’ and Wilbys ‘Vienna Nights’ against Mozart’s piano sonata in A so if you have any articles that you know of written on either of these, that would be really helpful as well.

There appears to be very little research available on this subject but I am still keen to persevere with it!
 
Emma Havard

The talented Mr Tubb

Just wondering, why is the fabulously talented Ben Tubb not on this list?

He's got to be up there with the other very talented composers mentioned?

Fiona Loftus

The proper title

Thank you for the continued provision of a wonderfully informative website for the brass banding community.  

The only criticism I have is the continued use of the incorrect term ‘Scottish regional championships’ to describe the Scottish Championships.

This is not and never has been the name of the contest (for the obvious reason that Scotland is a country not a region!), and while the event serves the same purpous as the English regional contests with regard to selecting bands to compete at Harrogate or The Albert Hall- it is also a national championship in its own right and I believe may even predate the existence of the British "national" contest.

I hope that you will strongly consider a change of terminology in this regard.

Oisin Plumb

Wry smile

I raised a wry smile when I read Alan Morrison's letter about the inconsistency in 4BR's attitude towards open adjudication (with which, incidentally, I agree) and its recent editorial on the appointment of top section conductors to adjudicate in regional contests other than their own.  

Mr Morrison has himself had trouble with consistency regarding the ability of the box to render bands on the stage anonymous, something I drew attention to in a letter published in the May 2007 Comment section.
 
But on this latest matter Mr Morrison is right.  Either 4BR trusts adjudicators to be impartial or it does not.  

I think Mr Morrison is entitled to an explanation, and it would be helpful if you could share that explanation with the rest of us.
 
Jim Yelland

The good times and the bad Times...

Given all the current media coverage we have enjoyed, I was rather disturbed to find that not all of it was accurate or symtathteic to the banding movement.

One such article was written by the critic AA Gill. I attach the copy of the e-mail I sent as a reply.

Copy of email to the Sunday Times Editor

Dear Sir,

I regularly read AA Gill and enjoy his humour and absurd opinions in equal measure. I have certainly never taken him seriously.

However, his cheap jibe about brass bands sounding the same whether good or band warrants a firm answer.

Assuming that he can hear and understand music he should have some idea of musical excellence in one form or another.  Let's examine facts: The last five principal trumpets in the LSO (including the two current incumbents), all came from the finest British brass bands.  

The same applies to the Trombones, Tuba and principal Horn.  This is repeated right across the major orchestras, opera houses and big bands in the UK.  The world renowned Jazz trombonist Don Lusher came from a brass band.  Even in the USA, Canada, Australia and New Zealand the story is the same.  

The principal trumpet of the New York Philharmonic came from a US Salvation Army band where he still plays (the principal trombone of the Montreal Symphony has an identical past). I can give similar instances in Sweden, The Netherlands and Belgium.

Three distinguished current British conductors started in brass bands. Composers and diverse as Holst, Vaughan Williams, Malcolm Arnold, Bliss, Howells, Harrison Birtwhistle, Rubbra and Ron Goodwin have contributed to the British brass band repertoire, as have many across the world including Hans Werner Henza.

Yes, many small towns and villages have to do the best they can with the limited pool of players available to them, but the finest bands reach a truly virtuoso standard of music making which is unmatched in any other amateur form of music.

I am a professional musician with over forty years experience in the finest orchestras in the land and I am proud of my brass band background and the people (mostly amateur Salvationists) who taught me and turned me from an enthusiastic child into a professional capable of earning a living at the highest level.  

Perhaps he should try to master one art form, instead of cynically abusing the thousands of committed and men, women and youngsters from all walks of life who maintain our uniquely high standard of music making in the brass band movement.

Alwyn Green

Assistence please

Hello, I am writing to you to ask for assistance in identifying a piece of music I recently heard in the BBC2 programme "A Band for Britain".

The piece in question was the one played by Dinnington Colliery Band (on their own, NOT with Grimethorpe) at the Sheffield Civic Hall in the final programme.

Gary Mattison

Penlee Bonus track

Could you advise me if there a bonus track on the Leyland ‘Penlee’ CD.

My CD seems to have a track 10 which lasts for 6 mins 12 seconds but there is no information in the booklet regarding this track?

The booklet only shows 9 tracks
 
Paul Field

4BR Reply:
There is indeed an additional track on the Penlee CD. 'Bonus' tracks have been a bit of a fad of late, and one we hope soon goes out of fashion. If its good enough then it should be included on its merit.

Help with my move

I am moving to Southampton in September and I am struggling to find a brass band to join. Could you please let me know of any 1st Section bands in and around Southampton?

Tom Gilbertson
 
me@tomgilbertson.co.uk

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