Editorial ~ 2007: April

This month we give our opinions on the real number of championship section bands; the forthcoming Europeans and in praise of Eric Ball.

The real number of top class bands

Are there really 82 championship section brass bands in the UK?

Given that was the number that took part in the recent Regional Championships, then the answer must be yes there are. However, perhaps the correct question should be whether or not there are 82 genuinely competitive championship section brass bands in the UK? The answer to that is surely, no there are not.

4BR has questioned the need for a re-grading of bands throughout the five sections before now, and has found that the proposal to have a comprehensive overhaul of the competitive structure is one that has found broad acceptance – and it would be the first such re-grading since 1991, when the First Section came into being. 

It is of course a very subjective opinion, but someone would have to be the best example of an eternal optimist to suggest that all 80 plus performances we heard from Dundee to Torquay, Swansea to Stevenage at the highest level were of championship standard quality.

As long as we insist on a numerical provision above an artistic one in relation to the standard we wish to accept at championship section level, then it is a situation that will remain with us forever and a day. It is also a situation that handicaps our argument to the outside world that we are a movement that strives for excellence and the highest levels of artistic endeavour.

The average championship section performance at this years regional championships was just that – very average indeed, and the overall standard this year continued in our opinion, to confirm a downward trend.   The best bands remains beacons of excellence, yet far too many are struggling to keep afloat. The number of withdrawals this year was no coincidence. Too many players wonder what is the point of wasting their time struggling to play a piece with a band that cannot compete to win.

‘Isaiah 40' wasn't a particularly difficult set work, yet the number of bands that got nowhere near it was disturbing to say the least. It may be just our own opinion, but in an article to be published on 4BR later this week, some revealing statistics perhap confirms that we do in fact only have less than 50 bands of true competitive championship standard. And that is being generous.

What do you think?
Send an email to: comments@4barsrest.com

Putting on a great European

The European Championships loom ever closer on the Birmingham horizon, and without doubt gives the British Federation of Brass Bands the opportunity to show that it can organise and produce an event of real international importance.

The BFBB has worked hard to gain financial support for the championships and to try and meet the projected £100,000 costs. It is a daunting task for a small organisation to undertake.  

Over the past few years we have seen how great the European can be if run professionally and with detailed planning and organisational expertise. Belfast was perhaps the best European to date, even if they suffered disappointing numbers in terms of ticket sales especially for the main championship contest.

We have also seen how poor an event it can be too – and the horrors of Groningen in 2005 are still fresh in the mind of many of us who were there to experience that debacle.

The BFBB also has its own reputation to restore too – and there are those who still remember the awful mess made at the Lower Section National Finals in Torquay a few years ago.

Still, we are informed that even though there have been some problems, the BFBB is confident that Birmingham will be another high water mark in the history of the contest. Just about everything is now in place, with a healthy turn out of bands (despite the low numbers in the B - Section) a superb turn out of competitors for the Solo Competition and a real sense of expectancy that the Gala Concerts will provide high quality entertainment.

The BFBB has been very ambitious in taking on the enormous responsibility to organise and run the premier showcase brass band festival in Europe, and perhaps the world.

If it succeeds then it will deserve all the plaudits that will surely come its way. If it fails, then perhaps questions will be asked about its very purpose as an organisation.

We wish it well, and we urge every person who feels a responsibility towards the future of brass banding in the UK and beyond to make sure they book a ticket and take at least one friend to experience it this year too. As an organisation who knows too well how to make the most of getting people through it s doors says: ‘Every little helps'.

What do you think?
Send an email to: comments@4barsrest.com

In praise of Eric Ball

How come bands and conductors can no longer understand how to play the music of Eric Ball?

For years his music was the staple diet of any brass band, be it on the contest or concert platform, and its rich amalgam of tuneful lyricism, coupled with stern, but not impossible technical challenges gave limitless pleasure to both performers and listeners alike.

It is difficult to pin point the reason why, but there is little doubt on the evidence of the First Section this year, and some of the numerous abject performances of ‘The Wayfarer', that we certainly have forgotten just how to approach his music.

Perhaps the fault comes from the top bands themselves. They no longer it seem wish to perform his works (or that of Gilbert Vinter for that matter), especially when given the opportunity at own choice contests. It would take a brave conductor and band to put ‘Festival Music' or 'Resurgam' up against a ‘Paganini Variations' or ‘Harmony Music', even though it takes a very good band to play them.

Perhaps the modern test pieces are easier in fact to play – or should we say, technically camouflage. Witness the number of bands who try to cheat their way around the time signature problems of ‘St Magnus' or the opening of ‘Cloudcatcher Fells'. It is very difficult to do that on ‘Journey Into Freedom' or the opening to ‘Kensington Concerto' now isn't it?

Perhaps making at least one section of the Regionals perform an Eric Ball work each year for the next decade may just stop us from forgetting that the very best, and most difficult music to play in fact came from a chap that we are in real danger of forgetting did more than anyone to give brass bands their unique musical voice.

What do you think?
Send an email to: comments@4barsrest.com

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