Editorial ~ 2008: November

This month we give our opinions on inventive programmes, the preoccupation with numbers, and praise the quartet.

Inventive programming

Which way is the brass band entertainment programme heading?

Searching new musical ground, or drawing in its reins and seeking solace in the tried and tested, the familiar and conservative?

At the beginning of the year, there was much talk of innovation and fresh thinking for the genre. Bands were reheating old musical menus to such an extent that not even Gordon Ramsay could make them palatable to the paying public anymore.    There seemed to be a real mood for change.

In a couple of weeks time we will see just how inventive and fresh thinking conductors and their bands have actually become, as the cream of the best bands in the UK (and Norway) lock entertainment horns at Brass in Concert.

Have we finally freed ourselves from the interminable mix of swagger march, lame humour and film music finales, or will we sit there and be force fed a diet of UK Gold inspired repeats, rehashes and tortuous comedy items once more?

The Norwegians continue to push the musical boat out (as was shown at their recent SIDDIS Contest), whilst the Americans will surely opt for more razzmatazz at the forthcoming US Open. Even the Australians and New Zealanders recently gave it their best shot at the FABB Championships.

The Brits?

It’s been five weeks since the Nationals, over two months since the British Open, so plenty of time to focus resources and ambitions on what to do at The Sage.

Brass in Concert is a fantastic event – the showcase for what should be the very best in brass band entertainment.  Our top bands should have no excuses for not being able to try something new and exciting in each of their programmes. 

If they can, and do, then we are in for a real treat (Brighouse last year for instance) and the entertainment contest can look forward to an invigorating future. If not, then all those good intentions have amounted to nothing at all. 

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

Numbers, numbers, numbers? 

The brass band movement is hamstrung by the numbers game.

From audience figures, to the number of entrants at contests, players allowed in bands, to prize money, points awarded to people on committees. Numbers are everything.

However, such is the preoccupation with numbers that we have failed to appreciate the real need for quality over quantity.

By all accounts the National Finals sold about half the 5222 seats at the Royal Albert Hall this year, Pontins had just over 70 bands at Prestatyn, nearly every contest sees bands borrowing players, prize money remains low at most events, points have disappeared, average ages on committees get higher and higher. 

Numbers, numbers, numbers.

If we concentrate on the quality of the numbers rather than the quantity  of them, then things may look a little different in years to come.

More people will buy tickets to major events to listen to better bands, playing for bigger prize money, at better organised contests, which players will want to perform at and supporters wish to play an active part in.

Then the numbers game (and the outcomes on the accountant's bottom line) becomes truly reflective and relevant to us all. 

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

In praise of quartets

Why are so many players no longer performing quartets?

For years, the classic line up of two cornets, horn and euphonium (and variations the on) was part and parcel the staple musical diet of young (and old) players at all levels of the banding world. Not anymore it seems.

The brass band quartet is now in real danger of becoming a footnote in history, replaced by the ‘ensemble’ or ‘ten piece’, an outdated relic of our musical heritage.  At the recent British Open Solo & Quartet Championships, the entry list was a shadow of its former self.

It would be a huge error of judgement if it did.

One of the most satisfying disciplines of playing, the quartet develops appreciation of style, texture and balance as well as enhancing stamina, and soloist qualities. The benefits of regular quartet playing to a developing player are immeasurable. 

In other musical spheres it remains an integral part of performing, from classical strings, to jazz and even rock and pop. Not so the brass band it seems.

Perhaps we need a new generation of composers to write for the genre - a new Gilbert Vinter to reinvigorate it, or for established performers to use it as a means of displaying their talents more inventively.

It used to occur. GUS, Fairey, Black Dyke, Fodens – all took the discipline seriously, but now, when was the last time you heard a quartet performed in a band concert?

The time has come not just to save the brass band quartet from extinction, but to breath new life, reinvigorate and celebrate it, as it deserves.  If not, the whole banding movement will be the poorer for its passing.

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

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