Editorial ~ 2008: May

This month we look at the future sound of the brass band, conspiracy theories and write in praise of Peter Moore.

The Sound Barrier

There is no doubt that the sound of the brass band has changed immeasurably over the last 150 years.

It is hard to imagine just how the great bands of the turn of the 20th century truly sounded – the lightness of timbre, the use of vibrato, the unique colour of the G trombone and smaller bore, high pitch instruments.

In the last 40 years the development has been even more dramatic. The increased influence of conductors and teachers with orchestral experience has led to leading bands sounding more like brass ensembles in sound.

To many observers there is now little direct aural lineage between the huge sounding technical ensembles we hear today and the bands of the great golden era of the movement.

The next step in that development may already be upon us though. 

Those fortunate to hear Brass Band Oberosterreich at the recent European Brass Band Championships in Stavanger, may also have witnessed the future sound of the 21st century brass band.

This was brass band playing alright – but not brass band playing as we currently know it. It would perhaps be more accurate to have described it as a brass orchestra.  

The instrumentation was the same, but the style and execution – and most startlingly, the sound, of the ensemble was truly unique.

We have become gradually accustomed to a more orchestral development of sound in our very best bands – from the likes of Fodens and Desford under Howard Snell to Black Dyke under James Watson and the best European bands such as Eikanger Bjorsvik and Brass Band Willebroek.

Oberosterreich though opened a door, that if others follow, could well see the brass band development into a musical animal of even greater potential – and all through its most appealing, and unique, characteristic - its sound.  

Whether or not others decide to follow however may well signal our desire to see whether or not that great potential can be fulfilled.

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

Conspiracy theories

There is one reason and one reason alone why the majority of brass band contests are closed adjudication. We don’t trust adjudicators.

That is also why brass band contest are fertile ground for the conspiracy theorists of this world. Why blame your inability to play in tune, time, or without error when you can shoulder responsibility for coming out of the prizes on a bloke you trust as much as Gordon Brown on the 10p tax rate.

It is nothing new either – there is an apocryphal story of Alex Mortimer once knocking over a stand on the way to the rostrum at the Nationals, only for the remaining conductors to do exactly the same thing just in case he was making an illicit signal to the men in the box.

Today the errant knocked stand, or dropped cymbal has been replaced by the silent text message, or the ability to question integrity by tenuous association. In the brass band world, the latter is so easy to do its surprising Mohammed Al Fayed hasn’t blamed the death of Diana on a poor result for his local band at the London & Southern Counties Area contest.

The trouble with conspiracy theories is that the more you think they exist the more plausible they become. From the swapping of the Titanic to the moon landings, JFK to Diana herself, the bonkers brigade love nothing better than coming up with explanations for things that in fact need no explanation at all.

Who could they blame, if the judges could see and well as hear what was going on, know exactly who was playing what and where?

Perhaps it wouldn’t stop them at all (the best conspirators can make something sound plausible even when all the facts are against them) – but at least it would give them less of an excuse for coming up with their more ludicrous claims.

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

In praise of Peter Moore

The quite amazing achievement of 12 year old Peter Moore in winning the 2008 BBC Young Musician of the Year, should be celebrated by everyone with a love of brass.

The prodigious nature of his talent is without question, although what will now await him as a performer, unquestionably, is.

In an age when even the classical music world is swamped by performers of limited talent but unlimited ‘visual appeal’, there is sure to be a host of promoters, agents and advisors all eager to try and maximise the commercial potential of a truly fantastic talent.

It is also easy to forget that Peter is till only 12 years of age, and that the flowering of his playing talent will be accompanied by the his personal development as a young man – with all its distractions.

A quick look at the list of former winners of this prize reveals that many, if not all, have gone onto making a fulfilling high level musical career for themselves as soloists, whilst others have opted for life as talented professional musicians out of the solo spotlight. Others have also taken the career moves away form music altogether. 

Thankfully, Peter is surrounding by a supportive family, excellent professional tutors and advisors who we are sure will put his best interests first – and that of the image makers and back slappers, a distant second.

The start of what promises to be a quite exceptional musical journey has just begun. His talent and love for what he does will lead him to the very top we are sure.         

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

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