Editorial ~ 2006: October

This month we give our opinion on the need for the judges not to take the Fifth; Conducting woes and in praise of Professor Philip Wilby.

Judges can no longer take the Fifth

Its not that often that the adjudicators at a brass band contest come away as the most popular people in the eyes of the audience after the announcement of the results. But the consensus of opinion following the Lower Section National Finals is that they gave themselves one almighty boost to their popularity stakes.

The unfortunate misunderstanding over the contents of the letter sent by the Association of Brass Band Adjudicators (ABBA) to the organisers gave rise to a very uncomfortable few minutes at the conclusion of the Third Section contest on the Saturday that was only overcome by the quick thinking of the two judges Kevin Wadsworth and Steve Prichard Jones, both of whom emerged with considerable credit for their actions in taking the initiative to speak when clearly the audience had been misinformed. 

The final outcome of the incorrect announcement by the organisers that ABBA had instructed their members not to speak, was met by a pretty hostile reception from the audience, and should once and for all end any possibility of any future adjudicators opting for the judges equivalent of taking the Fifth Amendment. 

Giving a brief and intelligent synopsis of the reasons behind an adjudication decision (as was made by all eight judges at Harrogate) should now be seen as a necessary requirement of fulfilling adjudication duties at any brass band contest – from the European, British Open and National Finals down.

ABBA has made its decision to request that its judges do not speak at what it calls the ‘most prestigious' contests and it is based on understandable and well argued opinions from many of its most respected members. One of the strongest of these opinions is based on the belief that competitions such as the British Open and National Finals are of such importance that they equate to events that take place the orchestral music arena such as international piano, instrumental or vocal competitions. It is believed that having the adjudicators illuminate their judgments by addressing the general public of the reasons behind them (as they argue is not done at these events) is seen to demean the competition itself.

There are those who agree with this stance and those who do not, but perhaps the first indications that public opinion in the brass band movement on being informed on how and why a result was reached was possibly provided by the reaction of the audience at Harrogate.

Lets us hope it doesn't take another episode like that to show that ignoring audiences wishes is done at the peril of both organisers and adjudicators alike. It demeans no one to take the time to explain.

What do you think?
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Conducting woes

Whereas the general appreciation of adjudicators rose quicker than Gordon Brown's poll ratings after the Harrogate Finals, it seems that the general perception of conducting technique to be found in the brass band movement is perhaps at an all time low.

An indication of this was clearly found in the struggles many bands had on the weekend in coherently following the instructions of their MDs - especially in the more complex rhythmical sections of the test pieces they performed. 

One of the great strengths of the British brass band movement has always been the enthusiasm and passion of its conductors who invariably at the lower levels are self taught, gaining experience, success and failure through trial and error on a contest or concert platform. Invariably however, many of those who do take the first steps on a conducting career in banding are unable, or unwilling to undertake an apprenticeship in the basic arts of conducting technique by either seeking professional help or gaining valuable hands on tuition by attending bespoke conducting classes. 

The number of conductors at Harrogate who mimicked the flamboyant stances of some of the current movements top conductors was amazing, as was the response they got from their bands who couldn't tell what on earth many of them were actually beating at times.     

In Norway basic conducting technique is seen as an essential requisite for any aspiring MD, with music schools, colleges and universities making it a core element of their musical training. It may have resulted in a procession of technically perfect yet rather passionless conductors taking bands at all levels there, but it has also meant that the vast majority of players have a very clear idea very quickly of who is in control and what they are doing. Even in the lowliest bands the MDs display techniques that are in advance of the standards we see even in the top section here in the UK.

It would be a great shame if we lost the passion and individuality of our conductors to be replaced by automatons beating time. Where would we be if we didn't have the likes of the great one offs such as Fred Mortimer, Walter Hargreaves, Arthur Kenney or David King?

The question also has to be asked though, is how much better would many bands be if they had conductors who understood and were willing to improve their own skills too.

What do you think?
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In praise of Professor Wilby

We have been very lucky in the brass band world to have enjoyed the skills and talents of many fine composers over the years: from the great originals of the 1920's and 1930's through to the likes of Vinter, Gregson and Sparke.

None though has perhaps had such an impact as Professor Philip Wilby. 

After he had written ‘…Dove Descending' for the British Open in 1999 he himself believed he needed time away from writing extended test pieces for the medium and as a result it was not until this year that he finally returned with ‘Vienna Nights'. The break seems to have rejuvenated him to even greater musical heights for his homage to Mozart by way of Mahler, Freud and Schoenberg was an opus of such brilliance that it has become regarded as a classic of the brass band genre almost immediately. 

In age when pyrotechnical brilliance sometimes outshines the need to make music first and foremost, this was an example of a mastercraftsman at the height of his creative musical powers. 

The brass band movement owes Philip Wilby a huge debt of gratitude not just for ‘Vienna Nights' of course, but also for his complete cannon of works great and small. Let us hope he doesn't take another seven years before he writes for our major contests again.

What do you think?
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