Editorial ~ 2008: August
5-Aug-2008This month we look at the need for vibrato, the need for a contest break and in priase of school being out...
The Vibrato Wars
Where would we be without vibrato?
According to the eminent conductor Sir Roger Norrington, perhaps in a better musical place, especially in regards to music composed after the death of Queen Victoria.
Whilst the classical music world debates the pros and cons of a vibratoless ‘Pomp and Circumstance’ – by all accounts old Elgar liked his music but hated the addition of the words - the brass band world has been wondering about the same horny old chestnut for quite some time now itself.
It would be a pretty rose tinted spectacled romantic who would have you believe that a return to the nanny goat sounds of the early 20th century would be a good thing for modern bands, but you don’t have to be overtly traditionalist to rather despair at what seems to be the current trend towards the production of huge slabs of metallic tonal output by many of our top bands.
Technical advances in instrument design, a move towards technically more difficult pieces of music at the expense of lyricism, and the establishment of orchestral inspired teaching for brass students all seem to have made tasteful vibrato an optional ‘add on’ rather than a basic requirement of good brass band playing.
When delivered with tasteful reserve (and when done properly), the use of vibrato brings warmth and body to both solo and ensemble playing – an essential tonal characteristic of even the most modern and progressive brass band.
Without it, a brass instrument and a brass band can sound remarkably lifeless, despite the brilliance of the technique on display.
Perhaps historically, Sir Roger and his cohorts are technically correct, but when was making music that moves the emotions ever played successfully by cold hearted academics?
What do you think?
Send an email to: comments@4barsrest.com
Give us a break
By all accounts the test piece for this year’s British Open could well take up to 18 minutes or more to perform – depending on the musical inspiration of the conductors on the day at Symphony Hall.
Some conductors we are told are already employing the musical theory of elasticity to try and capture every last ounce of possible emotion from Edward Gregson’s score.
With the contest not due to start until 11.00am, there is a real likelihood then that given the amount of percussion involved, the time bands take to get themselves set up and ready to play, and the ever growing fashion for milking every last drop of applause out of an audience, the whole event may well stretch into the mid evening once more. It could be two and a half performances an hour.
With that in mind, perhaps the organisers should insist, rather than recommend, that a break of up to 45 minutes should be made in proceedings at the halfway point – to assist in minimising the threat of fatigue on both adjudicators and audience alike that would make running the Olympic marathon in Beijing seem like a pleasant stroll in the park.
It worked surprisingly well at the English Nationals a couple of months back – the judges themselves were grateful for it they said, as it allowed them time for reflection and discussion, as well as for refreshment. There were not too many complaints from the audience either as they had time to get fed and watered before heading back to the hall to enjoy the second half of the contest without having to pop out for a ‘cup of tea’ performance.
Even with 17 bands this year at Symphony Hall, it just seems like a good idea – and one that would make the event more ‘audience friendly’.
It would also be nice to report that for the first time in many a year, Symphony Hall was actually very nearly full for all the bands taking part, and not just for the ones that didn’t coincide with the need for a pot of tea and a sticky bun to keep the sugar levels up.
What do you think?
Send an email to: comments@4barsrest.com
Schools out!
Despite the second half of the 2008 contesting season being very nearly upon us once more, the ‘close season’ does give the brass band movement a chance to enjoy itself away from the rigours of test piece rehearsal and home practice.
At venues up and down the country Summer Schools and Brass Band Courses are in full swing, as players young and old, beginners and advanced, take the opportunity to enjoy brass band music making free of the stress and anxiety of contest preparation.
The National Youth Bands of Great Britain, Wales and Scotland, the various Summer Schools such as Swansea and Bromsgrove and many smaller community projects and schemes are now an integral part of the musical landscape during the contesting hiatus – and all are remarkably successful too.
So if you do get the chance to support any event with a brass banding flavour do just that – from a concert in the local park to a day out at a Summer School or community event. You will be surprised just how much fun there is on offer and how much you may learn from it too.
What do you think?
Send an email to: comments@4barsrest.com
