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Issue no. 5606 – 27 March 2010
THE BUSY LIFE OF HOWARD EVANS
PLUS: BB EXAMINES THE ISSUES CURRENTLY FACING BRASS EDUCATION IN THE UK
BB 1.indd 1 23-03-2010 19:22:54
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BB 2-3.indd 2 23-03-2010 19:17:43 NEWS Whit Friday crisis averted
by Ron Massey major ‘A’ roads should not be closed and Greater GMP representatives on Tuesday morning. By A crisis that could seriously have affected this Manchester Police and Oldham Council’s Traffic Wednesday lunchtime a press release had been year’s Whit Friday march contests, due to be held Management Section were present to put forward posted on the Oldham Council website saying in the Saddleworth and Oldham district on 28 their joint proposals for 2010, which meant that that the contests would all go ahead as they May, has been amicably resolved. there would be no police presence at eight of had done previously and everything was back In an interview, Bob Rodgers of Delph, Chairman the 11 contests and a large cut in the number of to normal. A meeting of the joint contests was of the Saddleworth and Oldham Distrct Contest officers at the remaining three - Uppermill, Delph called for the evening of Thursday 18 March and Committees, said that two meetings involving and Dobcross. was attended by chief officers of Oldham Council, representatives of the police, the highways Denshaw was asked to consider moving its leading Councillors and the Police Inspector for authority and contest representatives had frank venue and Lees and Springhead, Scouthead and Saddleworth and Lees. discussions about proposed changes that the Austerlands and Greenfield were asked to move Contest organisers were assured that there would police and highways agencies were planning to their street march from the main roads, thus be a police presence at each contest and road introduce this year. The good news arrived at the depriving crowds of the traditional spectacle. closures would be manned by GMP officers at vital end of January, when Oldham Council agreed to In Greenfield, bands have marched along Chew road junctions. The only difference from previous inject cash to cover the Saddleworth and Oldham Valley Road for the past 90 years. Alternatives were years was the closure of traffic through Uppermill, area prizes, as the only money in the kitty at the offered, but the contest representatives pointed such traffic being restricted to public service time was the £1,500 raised by Gilbert Symes and out that such changes would not provide the vehicles and, obviously, band coaches. Phil Beckwith at the concert held earlier that same spectacle for the thousands of spectators “If the four contests had not gone ahead, it month. This meant that all the costs for 2010 were who turned out to see and hear the bands. would have made a complete mess of the whole now covered, which was a great relief to the cash The contests involved were adamant that they operation,” said Bob Rodgers, adding, “Of the 11 strapped contests in the area who were busy could not go ahead under those circumstances. A contests that qualify for the area prize (Friezland trying to recoup the cash lost due to last year’s ‘one out all out’ proposal was put forward and the is Lower Section only, so it was not included) disastrous weather conditions. remaining eight contests were asked to go back to we would have had just seven. With Lees and Two weeks ago, an emergency meeting of the their committees and seek their views on whether Springhead and Scouthead not going ahead, it group was called by Greater Manchester Police to agree to this action. would not have been viable for Greenacres to (GMP) representatives to discuss proposed Oldham councillors were extremely supportive, continue and therefore we would have been changes for 2010. This was not totally unexpected especially as the council is to fund the area down to six.” as, for some years, it had been indicated that prizes. They immediately went into action and, Bob Rodgers concluded, “A lot of influential the costs for the weekend were seen as being by Monday, had held a meeting with their chief people have been involved and I’m very happy too great. The 2004 Road Traffic Act states that officers, closely followed by a meeting with with the outcome.” NYBBGB in the West Country
Plans are well advanced for the 2010 National Youth Brass Band of Great Britain (NYBBGB) Correction Easter Course, which will take place at Taunton Please note that there are two errors in the School from 3 to 10 April. The guest conductor information regarding the West of England will be Professor Nicholas Childs and the guest Bandsmen’s Festival on page 3 of BB issue 5604. soloist will be David Childs. The Artistic Director The march, Keighley Moor (Joseph Cook), is of the NYBBGB, Bramwell Tovey will also be in in fact published by Muso’s Media and not attendance at Taunton for part of the week. SP&S, although it is available from the latter. Similarly, Purcell Variations (Kenneth Downie) is This year’s tutors are Richard Marshall and John in fact published by Egon Publishers, but is also Berryman (cornets), Lesley Howie (horns), Dr. available from SP&S. We apologise on behalf of Robert Childs (euphoniums and baritones), the organisers for any inconvenience caused. John Barber (tombones), Philip Goodwin (basses) and Simone Rebello (percussion). Over the course of the week, the band will Death of Jilly Hills study Dean Goffin’s Rhapsody in Brass, Karl Jenkins’ Euphonium Concerto, which will be performed at the closing concerts by David It is with deep regret that we announce Childs, Vienna Nights (Wilby), Ein Feste Burg the death of Jilly Hills, who passed away on (arr. Farr), Stomp (James MacMillan), Brillante Saturday 13 March after a long illness. Along (Graham), An Age of Kings (Gregson), Goldcrest with her husband, David, Jilly was a familiar (Anderson) and A Breathless Alleluia (Wilby). figure at brass band concerts and contests, The end of course concerts take place at The particularly Bournemouth’s annual Best of Brass Octogan, Yeovil on Friday 9 April and the Town weekend, which David organises. Her funeral Hall, Cheltenham on Saturday 10 April. Both will take place on Tuesday 30 March at 11.00am concerts start at 7.30pm and tickets can be at Hinton Park Woodland Burial Ground, obtained by calling The Octogan, Yeovil on Wyndham Road, Walkford, Christchurch. Family 01935 422884 or the Town Hall, Cheltenham on David Childs, will perform the Karl Jenkins flowers only please. 0844 576 2210. Euphonium Concerto with the NYBBGB
BRITISH BANDSMAN PAGE 3
BB 2-3.indd 3 23-03-2010 19:17:52 Will Black Dyke conquer Europe? Don’t miss out on all the action from Linz!
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BB 4-5.indd 4 23-03-2010 19:27:28 COMPANY NEWS
Besson artists on international duty
Besson artists, Steven Mead and Leslie Neish, recently returned from Erkheim in Germany, where over 80 low brass musicians assembled for a workshop and evening concert organised by Buffet Crampon and, in particular, by local Besson euphonium artist, Markus Mikusch. Speaking to BB about the trip, Steven Mead commented: “My fellow artists, Les Neish and trombonist Lito Fontana, had a great day working with all the local musicians who turned out, despite eight inches of snow falling the night before! The workshop began with breathing and stretching exercises that all three of us suggested to the students. We also sang and got our minds and bodies ready for the long day, before dividing into three groups - euphonium, tuba and trombone - working on basic routines, tone production, range, articulation, flexibility and much more.”
Steven continued: “After lunch we rehearsed the pieces that we would conclude the day with as a massed ensemble, including the finale from Beethoven’s Fifth Symphony and Gershwin’s Strike up the Band, both arranged by Maurice Bale, and the final performances of the works were really outstanding.” Les Neish added: “The evening gala concert with the A7 Brass Band, conducted by Johnny Eckleboom, saw around 500 in attendance, vastly exceeding our expectations, but it really was a terrific occasion and a fitting finale to such a rewarding day.”
Steven Mead is currently in Estonia carrying out some groundbreaking work along with his friend, Bert Langeler, who has masterminded the visit. Between 24 and 28 March, Steven was due to carry out workshops at venues including Viljandi Music School, Nõmme Music School and Tallinn University, focussing on good breathing techniques, developing a better sound and daily routines to ensure improvement. Also programmed are concerts at the Estonian Traditional Music Center in Viljandi, the Ministry of Education and Science in Tartu, Nõmme Culture Center and Tallinn Methodist Church. “There’s a great choral tradition in Estonia, but we’ll be working hard to develop the fast-growing brass movement there,” commented Steven, adding, “In recent years I’ve travelled extensively throughout Europe for Besson, but I’m very excited about advances that we are making in the Baltic states. There are some great players there and I’m sure readers of BB will be hearing plenty about them in the future.”
Along with Steven Mead and the tuba virtuoso James Gourlay, Leslie Neish, is preparing to travel to the USA for a performance of Andy Scott’s Salt of the Earth at the International Tuba and Euphonium Conference (ITEC), which will be held in Tucson, Arizona from 23 to 29 May. Commenting to BB on the forthcoming performance, he said: “ITEC is a massive event and will see literally thousands of visitors over the +, -. )% , *. )% '(&& %)*& * "" !!! " course of the week. I will be performing with Salt River Brass at one of % %*( '(&& %)*& the evening concerts and it promises to be very exciting. There’s a really * "" / / impressive list of artists at ITEC and I’m sure those who attend will love
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BRITISH BANDSMAN PAGE 5
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BB 6-7.indd 6 23-03-2010 19:23:42 COMPANY NEWS How to keep players interested…Drumroll please!
Much time has been spent in the banding world debating about how to For fun, download one of the unique percussionists’ ring tones that Nigel keep players interested and engaged. Conductors have a very delicate has created specially for you at only 99p! line to tread with percussionists; the extremities of repertoire meaning Coming soon to the online shop is the complete range of Acme whistles that the rhythm section could be engaged in multiple tuned parts for and sound effects with a picture of each one, and you can check the one piece, while kicking its heels with a simple bass drum part the next. sound before buying. To receive Drumroll’s April Newsletter dedicated to In addition to that, how do we train aspiring percussionists? Do we really this subject, email: [email protected] provide as much focus on them as we do our brass players, or do we The site will soon give you the opportunity to listen to free interviews expect them to be self-reliant and simply ‘tag along’ with the brass? with the great percussionists of both today and yesteryear, and read One company meeting this challenge head-on is Drumroll Productions, Nigel’s reviews on books and recordings by the great players for you to which has a website dedicated to providing percussionists of all ages enjoy and learn from - all absolutely free! with a source of information and inspiration, whatever their level of Percussion Dictionary: Once Nigel has completed this, you will be able to knowledge. BB caught up with Nicola Page, of Drumroll Productions, tap into the most comprehensive dictionary of percussion instruments which is built around the renowned percussionist, Nigel Shipway, to ask ever assembled! more about this venture. Sign up today for the first of your free copies of Nigel’s series of ‘Secrets “Our website features a wide variety of educational materials,” Nicola you have always wanted to know about percussion but were afraid to ask’ commented, adding, “as well as specialist mallets, unusual and rare sound by going to www.drumrollproductions.co.uk effects and accessory instruments, there is a large amount of information Come and see what else Drumroll Productions can offer you! (some free!) to assist you, the player, to develop your skills in a fun, healthy and enlightened way.” Nicola continued, “In addition to all this, two significant facets of Drumroll Productions are Nigel’s original Studies and Exercises for percussion, available through our online shop as downloads or in hard copy, and his e-book, The Percussionist’s Essential Survival Guide. This book is very much a labour of love, being an exhaustive record of all the professional tricks-of-the-trade garnered from a career of over 40 years of professional playing. It is pure gold and offers the reader a unique and comprehensive view of all the techniques, philosophies and survival skills necessary to enable the aspiring player to develop their fullest potential and can be bought, chapter by chapter, as downloads or hard copy.”
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BRITISH BANDSMAN PAGE 7
BB 6-7.indd 7 23-03-2010 19:23:46 LONDON AND SC REGIONAL CHAMPIONSHIPS Redbridge reinforces superiority in the South
Rodney Newton reports from the London and Southern Counties Regional Championships at Stevenage
Showery weather greeted the bands on Saturday 20 March as they arrived at the Stevenage Arts and Leisure Centre for the 2010 London and Southern Counties Regional Championships. However, this in no way seemed to dampen the enthusiasm and this year’s ‘battle of the bands’ was, as in previous years, well attended.
The Championship Section, held on the afternoon of Sunday, 21 March, saw 12 bands compete on George Lloyd’s English Heritage. A former Royal Marines cornet player himself, George Lloyd knew the brass band from the inside and exactly how to test it (including in this work a stratospheric top E-flat for the principal cornet and top pianissimo B-flat for the soprano cornet, and not one single player last Sunday failed to get either). Adjudicator, Derek Broadbent, commented in his remarks approach. The rest did not seem entirely at ease challenge Friary as the contest unfolded, it was preceding the announcement of the results that and some seemed to find things heavy going left to the final two competitors to produce English Heritage was one of the finest test-pieces from the start and never really recovered. In renditions worthy of taking the remaining ever written for brass bands and that all bands his remarks to the audience at the end of the qualifications. had acquitted themselves well to some extent, contest, Derek Broadbent stated that George Regent Brass and Egham who delivered but two or three performances managed to Lloyd had put some wonderful music in English rather mixed accounts to claim their places at rise above the rest. The clear winner this year Heritage and he just wanted the bands to allow Harrogate, with Alan Duguid’s well-structured was Redbridge Brass, which gave a tremendous him to hear it - the best of them did. reading of the score bringing warmth and account of George Lloyd’s test-piece, placing it The difficulties of Gustav Holst’s A Moorside style to a slightly uneven execution and Chris right at the top of the tree, gaining Best Cornet Suite were amply demonstrated in a Green’s more robust interpretation bringing a and Best Tenor Horn awards for Matt Baker disappointing 1st Section on Sunday, when controlled vitality to the opening and closing and for Chloë Mallett respectively. Following in adjudicator, C. Brian Buckley, was presented movements in particular. second place was Aveley and Newham, which with 17 performances of varying quality. Friary Meanwhile, Staines, Ipswich and Norwich gave a spirited reading under Nigel Taken, while Guildford’s competent winning performance, Co-operative and Haverhill completed a top in third place, Wantage Silver ‘A’ under Philip under the intelligent direction of Chris King, six with performances that held promise, but Bailey gave an impressive performance, with was in stark contrast to the majority of its rivals, far too many individual and ensemble errors. largely secure soloists. In fourth place, Zone One which floundered both in terms of technique Behind these, the rest of the field found Holst’s Brass under Richard Ward had the unenviable and musicality on the 80 year-old classic. “The work a challenge that either bewildered, task of beginning the contest from a number winner was a model of consistency,” Brian befuddled or beat them into varying degrees one draw, but turned in a performance of Buckley told BB after the announcement of of submission or self-inflicted defeat. To find a such accuracy and conviction that it remained the results, adding, “It was a well-structured host of performances at this level undermined the marker until Redbridge took to the stage, performance, not without error, but one that by poor tuning, badly chosen tempi and even with Zone One’s Rory Cartmell receiving the stood out today because the overall approach wrong notes was as depressing as it was Best Euphonium prize. Outside the top-four to the music was intelligently laid out by the surprising. ‘frame’ were Norfolk Brass under David Stowell conductor.” with a convincing reading, KM Medway under There was little doubting Friary’s victory after Section 2 began at 10.00am on the morning of Melvin White with a very musical account it laid down an impressive early marker that Sunday 21 March, with 17 bands tackling Philip and Kidlington Concert Brass under Catherine featured three movements of contrasting Harper’s colourful and descriptive Kingdom Underwood, initially displaying some apparent dynamics and tempi, allied to secure ensemble of Dragons. Jayne Murrill and East London nervousness but quickly settling down. City and solid soloists, with principal cornet Richard Brass decisively won this section with a vivid, of Cambridge under Simon Phillips seemed Straker picking up the prize as the Best Cornet. well-controlled performance. Becontree Brass determined to take no prisoners and gave the under the youthful direction of Adam Cooke loudest rendering of all, while Clacton-on- With Brian Buckley wondering if he would was awarded second place, while Alder Valley Sea Co-operative also went for an aggressive eventually find another performance to turned in a steady account under Roger Burke
BRITISH BANDSMAN PAGE 8
BB 8-9.indd 8 23-03-2010 19:21:35 LONDON AND SC REGIONAL CHAMPIONSHIPS
and managed a third placing. Littleport Brass, percussion section. Below the top-four ‘frame’, 13. St. Albans City (P. Littlemore) 14 under the direction of former Grimethorpe Bradwell Silver, Bletchington Silver and EPB 14. Denham Hendon Brass (G. Davies) 15 cornet player, Nigel Bramley, was the last band Brass all played with confidence, but gave 15. Epsom and Ewell Silver (T. Howard) 12 to play in this section, but gave a good account patchy performances, while Cold Ash, Snowdon 16. Grimsdyke Brass (S. Broughall) 10 of itself and was rewarded with fourth place. Colliery, Royston and Great Yarmouth began 17. Fairlop Brass (K. Jordan) 13 Waterbeach gave a steady, well-controlled confidently, but accidents and insecurity 2nd Section performance under the baton of James Utting, along the way took their toll. Untidiness and Test-piece: Kingdom of Dragons (Philip which took it to fifth place, while Chichester City a feeling of ‘it fits where it touches’ pervaded Harper) came sixth under Martin Grace after suffering the contentions of Cobham and Kings Lynn, Adjudicator: Simone Rebello problems with tuning, ensemble and balance. while the young players of MK Development 1. East London Brass (J. Murrill) 9* Tilbury and Alan Duguid gave a steady reading, Band settled for a very steady reading with 2. Becontree Brass (A. Cooke) 7* while both Colchester and Stantonbury began no flashiness and one hopes that this band 3. Alder Valley Brass (R. Burke) 8* with some insecurity but managed to recover will return next year to try and improve on its 4. Littleport Brass (N. Bramley) 17 well and tied for eighth place. Ware Brass gave position. Unfortunately, Charles Church and 5. Waterbeach Brass (J. Utting) 15 a decent performance under Philip Littlemore, Letchworth bands seemed to find the test- 6. Chichester City (M. Grace) 5 but could only manage tenth place. Below piece an uphill struggle from the start, though 7. Tilbury (A. Duguid) 14 this in the results table, the performances all again one hopes that the players will not be too 8= Colchester Brass (P. Ivey) 12 had good things to commend, but sadly, the discouraged and return next year to try again. In 8= Stantonbury Brass (A. Jenkin) 13 faults and error-count outweighed them. In her his remarks to the audience, adjudicator, Brian 10. Ware Brass (P. Littlemore) 3 summing up, Simone Rebello observed that Buckley, commented that nervousness was 11. Thundersley (R. Morris) 2 Kingdom of Dragons was a piece that relied on probably responsible for some of the insecurity 12. St. Sebastian Wokingham (J. Kelloway) 10 principal players leading their sections and in the playing (particularly in the cornets), 13. Northfleet Brass 1 congratulated the bands’ principals for having together with a tendency to rush and ignore 14. Chinnor Silver (D. Pegram) 6 done so throughout the contest. the dynamic markings. 15. Epping Forest (D. Desmond) 16 16. Brighton and Hove City Brass (M. Hackett) 11 Section 3 began at 10.00am the previous The contest was run, as ever, with exemplary 17. Crystal Palace (M. Gray) 4 day, as 17 bands battled it out to become efficiency by Contest Controller, David Hobbs, 3rd Section this year’s champion. In his address to the and his team, while the audience members Test-piece: Labour and Love (Percy Fletcher) audience following the contest, adjudicator were as enthusiastic and vociferous as ever Adjudicator: Derek Broadbent Derek Broadbent, spoke of the test-piece, in support of their bands. It was with great 1. Fulham Brass (S. Jones) 6* Percy Fletcher’s Labour and Love, as being pleasure that we all welcomed special guest, 2. Betteshanger Welfare Brass (D. Cutting) 7* as refreshing today when it was first written. Peggy Tomlinson from the Yorkshire Region, 3. Hungerford Town (T. Crouter) 14 However, he drew attention to the musical who presented the prizes. 4. Chalgrove (T. Brotherhood) 9 details, including the very opening bar, the 5. BAE Systems Brass (K. Woodger) 1 rhythmic accuracy of which set the standard for Full results from Stevenage 6. Hitchin Band (C. Patterson) 13 the whole piece. Attention to detail by Fulham 7. Wantage Silver B (D. Dullforce) 10 Brass under Simon Jones resulted in a most Championship Section 8. Jubilee Brass (Oxford) (C. Sadler) 5 convincing reading of the piece that decisively Test-piece: English Heritage (George Lloyd) 9. Hangleton Band (R. Baker) 4 won the title, with Betteshanger Welfare and Adjudicator: Derek Broadbent 10. Hemel Hempstead (D. Klein) 12 Dave Cutting snapping at its heels with a 1. Redbridge Brass (J. Wise) 6* 11. Watford (R. Graves) 2 confident and largely secure performance. For 2. Aveley and Newham (N. Taken) 11* 12. Woodbridge Excelsior (C. Lewis) 8 the rest, the top-four ‘frame’ was completed 3. Wantage Silver ‘A’ (P. Bailey) 8 13. Norfolk Wherry Brass (K. Hegarty) 3 by Hungerford Town under Tim Crouter and 4. Zone One Brass (R. Ward) 1 14. Tadley Concert Brass (P. Chapman) 11 Chalgrove under Terry Brotherhood. Below 5. Norfolk Brass (D. Stowell) 9 4th Section these bands lay a dozen performances that 6. KM Medway (M. White) 7 Test-piece: Saint-Saëns Variations (Philip suffered various mishaps along the way, largely 7. Kidlington Concert Brass (C. Underwood) 2 Sparke) of insecurity, tuning and balance, although 8. City of Cambridge (S. Phillips) 5 Adjudicator: C. Brian Buckley among these, fifth-placed BAE Systems, playing 9. Clacton-on-Sea Co-operative (L. Morgan) 12 1. Battle Town (J. Penton) 13* from a number one draw, laid down a good 10. Sandhurst Silver (I. McElligott) 10 2. L.G.B. Brass (I. Stewart) 12* marker for the day’s contesting. 11. Bedford Town (P. Mayes) 4 3. Amersham Band (P. Fisher) 4* 12. Milton Keynes Brass (P. Fensom) 3 4. Harwich R.B.L. Brass (A. Sanders) 10 Section 4, which began immediately after Best Cornet: Matt Baker, Redbridge Brass 5. Bradwell Silver (B. Keech) 8 Section 3, contested on Philip Sparke’s colourful Best Horn: Chloe Mallett, Redbridge Brass 6. Bletchington Silver (N. Hall) 5 Saint-Saëns Variations, with many bands making Best Euphonium: Rory Cartmell, Zone One Brass 7. E.P.B. Brass (M. Turner) 11 a good job of the irregular meters and cheerful 1st Section 8. Cold Ash Brass (S. Sizeland) 16 chuntering. However, it was the slow middle Test-piece: A Moorside Suite (Gustav Holst) 9. Snowdown Colliery (K. Spencer) 15 section that took its toll on most, with poor Adjudicator: C. Brian Buckley 10. Royston Town Band (S. Earley) 9 intonation and insecure soloists bedevilling 1. Friary Guildford (C. King) 3* 11. Great Yarmouth Brass (S. Philpot) 2 performances that had started promisingly. 2. Regent Brass (A. Duguid)16* 12. Cobham Band (D. Ruel) 14 It was a jubilant (and appropriately-named) 3. Egham (G. Green) 17* 13. King’s Lynn Town (S. Ingham) 7 Battle Band under Jon Penton that finally lifted 4. Staines Brass (M. White) 6 14. M.K. Development Band (D. Johnston) 6 the cup, after a bright performance featuring 5. Ipswich and Norwich Co-op (G. Chambers) 7 15. Charles Church Camberley (R. Cherry) 1 secure soloists. In second place, Lewes-based 6. Haverhill Silver Band (M. Ager) 5 16. Letchworth Garden City (T. Welch) 3 LGB Brass pulled out all the stops to give a 7. Soham Comrades (K. Schroeter) 8 * denotes qualification for Finals reading full of character and attention to the 8. Yiewsley and West Drayton (C. Cole) 4 markings under Ian Stewart, while Amersham in 9. Horsham Borough (L. Cole) 11 third place delivered a bright, spirited reading. 10. Cawston (L. Sharpe) 9 Similarly, Harwich in fourth place, turned in a 11. Jersey Premier Brass (T. Pritchard) 2 steady, confident account featuring a good 12. Welwyn Garden City (D. Daws) 1
BRITISH BANDSMAN PAGE 9
BB 8-9.indd 9 23-03-2010 19:21:36 WELSH REGIONAL CHAMPIONSHIPS Tredegar turns the tables in Wales Megan Allen reports from the Brangwyn Hall in Swansea
Tredegar Town Band will head to the 2011 concentrating his band’s efforts towards its hat- contributions from all its leading soloists. European Championships in Montreux in trick ambitions at the European Championships Just missing out was Markham and District, Switzerland after being crowned 2010 Welsh in Linz in a few weeks’ time. despite principal cornet, Lewis West, picking Champion in Swansea last weekend. Although the world’s number one ranked up the Best Instrumentalist Award. This lyrical Conductor Ian Porthouse drew an inspired band produced a trademark performance of performance under the baton of Nigel Seaman performance of George Lloyd’s English Heritage solidity and detail, on this occasion it wasn’t found favour with many in the hall, but just out of his band to beat reigning Welsh, British quite enough, despite an impressive debut didn’t quite catch the ear of the adjudicator. Open and European champion, Cory Band, into performance from principal cornet, Tom The winning conductor was understandably second place. A delighted Pontins champion, Hutchinson. delighted with another victory for his fast- Tongwynlais Temperance, will join the Welsh improving band on the back of its latest Welsh heavyweights at the Royal Albert Hall in For Tongwynlais, there was further evidence to League victory last year. “We are really building October. support its claim to being the new ‘third force’ into a competitive band now, with a great spirit in Welsh banding, as it built on its 1st Section and a desire to get better and better,” Paul Adjudicator, Malcolm Brownbill, told the National title and Pontin’s success of 2009 to Jenkins said, continuing, “I thought we played audience at the Brangwyn Hall that the two top claim its first-ever top section appearance at the really well on a piece that we enjoyed, and the bands were “some distance” ahead of the rest Royal Albert Hall. players were brilliant!” of the field on the day, with the small difference The band’s exciting rendition under the baton For adjudicator Colin Hardy, it was the sense between the two rivals, who have won the title of Philip Harper was noticeably lighter in texture of style and flow to the music that made his 15 times between them since 1994, being the and tonality from its heavyweight rivals, but decision an easy one. “Theirs was a performance overall quality of the soloists on George Lloyd’s clarity of ensemble and secure solo lines were of real merit,” he told BB. “It was so nice to demanding work. enough to just snatch the final qualification hear the control, balance and style of Moorside That observation was further emphasised by place ahead of BTM. Malcolm Brownbill told the played so well.” the award of the Best Instrumentalist prize audience that he had pondered long and hard to Tredegar’s principal cornet player, Dewi before deciding on the bands placed third and With Philip Harper’s South Wales-inspired Griffiths. fourth, opting finally for Tongwynlais. Kingdom of Dragons as the set work for the The winning conductor was obviously a The result saw BTM suffer the disappointment 2nd Section, there was never going to be any delighted man when he spoke to BB after of missing out on London qualification for problems with the bands’ understanding of the results. “I really thought we deserved it a second successive year, after a promising the work on Saturday. In the event, it was today,” said Ian Porthouse, adding, “It was a account was blighted by an increasing error Tylorstown, which hails from the Rhondda Valley magnificent performance and the best this count. Northop led the solid North Wales (a bit further west than the work’s inspiration), band has played for me on a major contest challenge in fifth place, while local rival, that produced a classy rendition to claim its first stage. To beat Cory on its current form shows Beaumaris, had to be content with the final top Welsh title since 1989 and head to Harrogate as that we are making real progress, but all the six place on offer. Elsewhere, the remaining champion. The band drew a majestic feel from credit goes to the players who have shown such bands found technical as well as musical the opening Monmouthshire section, followed commitment since I came back to the band.” difficulties with the substantial challenges of by an authentically gritty industrial-sounding Malcolm Brownbill reiterated his written George Lloyd’s work, and although there were Blaenau Gwent, a tranquil Torfaen interlude and remarks on the winner when speaking to BB, brave efforts from Cwmaman Institute, Point of rousing, well-paced Newport Fugue to claim commenting: “It was a performance of real Ayr, Burry Port and Penclawdd, they could have victory in impressive fashion. stature, with so much ensemble detail and no complaints about their final positions in the Conductor, Gary Davies, told BB: “This is a great clarity. The top two bands were magnificent results table. result. We are improving all the time and this and it was hard to separate them, but that extra win sets us up for what we hope will be year to quality in the solo lines came with Tredegar on One of the Principality’s rising bands took the remember. The players all performed well for this occasion.” honours in the 1st Section, where Pontardulais me today and I couldn’t have asked for anything Town, directed by Paul Jenkins, claimed victory more.” Joining Tylorstown at Harrogate will It was the band’s tenth regional victory, its on Gustav Holst’s A Moorside Suite. Pontardulais be Deiniolen, from North Wales, conducted by second in the past three years and its third will now head to Harrogate, where a revitalised Gavin Saynor, whose impressively structured major success of the 2010 season, following Wrexham Brass, conducted by Wayne Ruston, performance also saw euphonium player, Daniel victories at Yeovil and the recent Welsh Miners will join it. Taylor, pick up the Best Instrumentalist Award. Eisteddfod. Tredegar’s growing ambitions will A fluid rendition featuring a neat Scherzo, a now focus on the Grand Shield at Blackpool in flowing Nocturne and a determined March saw Although there was only a small field of six bands May as it seeks to return to the British Open. the band from ‘The Bont’ take the title – its first in the 3rd Section, there was much to enjoy, Although disappointed, Cory’s conductor, at Swansea since 1998. Wrexham, meanwhile, as a number of robust, operatically-inspired Dr. Robert Childs, was one of the first people will take a huge boost of confidence from its performances of Percy Fletcher’s Labour and to offer his congratulations to the new performance, which saw it produce a warmly Love saw adjudicator, Colin Hardy, enjoy his brief champion, before heading from the hall to start textured rendition that featured notable stay in the box. In the end, he chose a colourful
BRITISH BANDSMAN PAGE 10
BB 10-11.indd 10 23-03-2010 19:20:30 WELSH REGIONAL CHAMPIONSHIPS
performance from the fast rising youngsters bands endured on The Talisman last year, and Adjudicator: Malcolm Brownbill of Goodwick, directed by Matthew Jenkins, as the players were understandably delighted by 1. Tylorstown (G. Davies) 12* champion, followed close behind by Llwydcoed, their qualification, as celebratory lemonade was 2. Deiniolen (G. Saynor) 11* conducted by Garry Davies (who enjoyed his ordered from the Brangwyn Hall bar! 3. Lewis Merthyr (G. Pritchard) 3 second Harrogate qualification of the weekend) Each of the nine competitors thoroughly enjoyed 4. Llanrug (P. Hughes) 10 and whose principal cornet player, Iestyn Davies, Philip Sparke’s test-piece, in what was an 5. Blaenavon Town (A. Protherough-Jones) 1 picked up the Best Instrumentalist Award. encouraging show of the grass roots potential in 6. Gwaun Cae Gurwen (G.R. Davies) 7 The young member s of the West Wales band Principality banding. 7. Royal Buckley Town (J. Doyle) 4 belied their years to produce a warmly-hued 8. Crosskeys Silver (K. Bowden) 9 performance that featured supremely confident 9. Briton Ferry (Dr. C. Jenkins) 6 soloists, who seemed to draw inspiration from Full results from Swansea 10. Newtown Silver (S. Edwards) 8 their moment in the spotlight to showcase their 11. Yynshir (D. Evans) 5 talents in the demanding cadenzas. “The band Championship Section 12. RAF St. Athan Voluntary (A.R. Bourne) 2 keeps surprising me with just how well it plays,” Test-piece: English Heritage (George Lloyd) Best Instrumentalist: Daniel Taylor, euphonium, Matthew Jenkins told BB, after Goodwick picked Adjudicator: Malcolm Brownbill Deiniolen up its first ever Welsh Regional title. “It was just 1. Tredegar (I. Porthouse) drawn 8* 3rd Section great to conduct it today.” 2. Cory (Dr. R. Childs) 7* Test-piece: Labour and Love (Percy Fletcher) Adjudicator, Colin Hardy, was very impressed by 3. Tongwynlais Temperance (P. Harper) 4* Adjudicator: Colin Hardy the standard he heard on the day. “The winner 4. BTM (T. Davoren) 10 1. Goodwick (M. Jenkins) 5* was excellent,” he said, addng, “Some of the solo 5. Northop (T. Wyss) 1 2. Llwydcoed (G. Davies) 1* playing I heard today was a delight.” 6. Beaumaris (G. Evans) 2 3. Corus (Port Talbot) (C. Hogg) 4 Finally, in the 4th Section on Sunday morning, 7. Cwmaman Institute (C. Roberts) 9 4. Ogmore Valley (A. Jones) 2 there was a wonderful victory to celebrate 8. Point of Ayr Colliery (J. Hinckley) 3 5. Oakeley Silver (J. Davies) 6 for Crwbin, which hails from near Kidwelly 9. Burry Port Town (C. Roberts) 6 6. Ebbw Vale (C. Thomas) 3 in Carmarthenshire, conducted by Michael 10. Penclawdd Brass (D.A. Small) 5 Best Instrumentalist: Iestyn Davies, cornet, Thorne. The band has valiantly supported this Best Instrumentalist: Dewi Griffiths, cornet, Llwydcoed contest over the last decade, sometimes coming Tredegar 4th Section with barely a quorum of players, but through 1st Section Test-piece: Saint-Saëns Variations (Philip the hard work and determination of its regular Test-piece: A Moorside Suite (Gustav Holst) Sparke) conductor, Jeff Jones, it saw all that hard work Adjudicator: Colin Hardy Adjudicator: Colin Hardy pay off in wonderful style to claim its first-ever 1. Pontadulais Town (P. Jenkins) 6* 1. Crwbin (M. Thorne) 3* Welsh Regional title. Jeff, who also worked 2. Wrexham Brass (W. Ruston) 5* 2. Upper Rhondda Brass (N. Seaman) 7* tirelessly behind the scenes all weekend, was 3. Markham and District (N. Seaman) 7 3. Newport Borough (A. Hathaway) 6 for once speechless, following the win for the 4. City of Cardiff (Mellingriffith) (G. Ritter) 4 4. Pontypool (P. O’Leary) 9 band that is stamped on his heart, while Crwbin’s 5. Abergavenny Borough (S. Sykes) 2 5. Mellingriffith 2 (D. Griffiths) 4 soprano player, Bleddyn Roberts, picked up the 6. Parc and Dare (D. Griffiths) 3 6. Rhyl Silver (M. Robinson) 5 Best Instrumentalist Award. 7. Rogerstone (J. Jones) 1 7. Abertillery Youth (D. Evans) 8 Joining Crwbin at Harrogate, also for the first Best Instrumentalist: Lewis West, cornet, 8. Oakdale (R. Probyn) 1 time, will be Upper Rhondda Brass, directed Markham & District 9. Ruthin Town (J. Powell) 2 by Nigel Seaman, which made its debut at this 2nd Section Best Instrumentalist: Bleddyn Roberts, soprano, contest in 2005. The band’s youthful vibrancy Test-piece: Kingdom of Dragons (Philip Crwbin was a joy to both see and hear after the struggles Harper) * denotes qualification for Finals
BRITISH BANDSMAN PAGE 11
BB 10-11.indd 11 23-03-2010 19:20:38 NORTH OF ENGLAND REGIONAL CHAMPIONSHIPS Reg Vardy regains No by Steven Symonds
Having witnessed arguably the finest bands this contest was the NASUWT Riverside Band. under the experienced band trainer, Steve in the land get to grips with their respective Conductor Ian Robinson gave a controlled and Malcolm. section test pieces at St. Georges Hall, I was keen thoughtful reading, with concise direction at to see if the good bands folk of the North East all times. Although a back row cornet short, the 2nd Section glory went to local band Cockerton could cast fresh musical light on what is proving band played with an extra trombone, which Prize Silver and conductor George Nicklin. to be highly popular test-piece selection only complimented a solid cornet and middle- This is a band on form at present, with a for 2010. With adjudicator John Berryman band lineup. As always there were some less hardworking and committed team around the reinstalled in the box after the conclusion of a than satisfactory performances primarily due stand. The band also managed to collect the somewhat rejuvenated Section 4 contest that to the occasionally over zealous instrumentalist Best Soprano award, after a great contribution morning, and with a good sized audience keenly disturbing the ensemble. Ubiquitous balance from Laurence Pearl, and the Best Bass Section anticipating a tough challenge ahead, last year’s and intonation issues often arose in the prize. The band will surely look forward to second-placed Reg Vardy Band under the slick exposed lower dynamic sections, inevitably Harrogate with growing confidence. There was direction of Professor Nicholas Childs got the costing bands valuable points. Clearly for some also much anticipation to hear the recently Championship Section off to a confident start. this piece was perhaps too great a challenge to formed Catterick Brass and its conductor, Stuart After not so much as a minute’s playing, the be worthy of a higher position on the day. Halliday. The band’s contesting début was a real Sports Hall’s sodium lighting appeared to fail success, with a second placing which provided completely, leaving a lowly emergency lighting Meanwhile, in the keenly contested 1st Section, a platform for the ever-impressive Brendan strip left to barely illuminate the band after a Wheeler to pick up the Best Euphonium prize second or two of complete darkness. Thankfully, (his contribution was one of the highlights of maximum lighting power was quickly restored, the day). no doubt to the relief of both band and conductor alike. A town centre power cut was Bands competing in the 3rd Section had been promptly announced as the culprit of what, getting to grips with Percy Fletcher’s Labour fortunately, was not a potential catastrophe for and Love with the intention of impressing Reg Vardy. adjudicator, Kevin Wadsworth. It was Ferryhill Town under the direction of Susan Norris which While a handful of principal cornet players chose did just that, with a very lyrical and assured the safe option of omitting the fabled loud, high performance of the work. York Railway Institute E-flat in favour of the soprano cornet covering Band will be delighted with second place after on a somewhat more comfortable note, there a performance that impressed many listeners were some exceptions to this rule. A completely around the hall. clean cornet line was rarely heard on the day, but notably strong and stylish contributions It was a good day out for Stape Silver Band, came from principals Richard Martin (guesting which managed to take the number one spot with the NASUWT Riverside) and the evergreen in the 4th Section and also scoop the Best John Gill at Fishburn. Although the Reg Vardy Cornet and Best Euphonium prizes too, after a cornet section seemed unusually subdued convincing performance of Philip Sparke’s Saint- throughout, Tina Mortimer, impressed the Saëns Variations. NASUWT Riverside Concert adjudicator enough with her lyrical sound to under the experienced baton of John Bell award her The Tim Holmes Memorial Trophy (NASUWT Riverside Band’s solo trombone) was for best Principal Cornet. Further awards were runner-up, securing the second qualification handed to the bands principal euphonium Paul place for Harrogate later this year. This is a Robinson, soprano cornet Tom Glendinning Nicholas Childs fine, developing band which can only benefit and the band’s percussion team. The Doug from the enthusiasm of its conductor, who was Cairns Trophy for Best Basses was awarded the exceptionally hardworking and determined delighted with the result. to Fishburn Band. Reigning champion EYMS Hull-based Barton Town, under the charismatic failed to impress John Berryman, resulting Richard Evans, proved the worthy winner with The overall picture in Darlington was that of in a disappointing seventh place. The band’s Gustav Holst’s deceptively difficultA Moorside a vibrant North of England brass scene , and performance under Stan Lippeatt had many Suite as the test. As a deserved bonus, the band there were many positive comments, smiles merits, most notably an understated lead took home the Best Bass Section and Best and discussion to be heard until the last euphonium line, and a gutsy solo cornet Trombone prizes. Narrowly missing out on the performance of the day at 7.00pm. contribution. Looking for continued success at top spot was Wansbecks Ashington Colliery
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BB 12-13.indd 12 23-03-2010 19:08:11 NORTH OF ENGLAND REGIONAL CHAMPIONSHIPS orth of England title
Full results from Darlington Championship Section 3rd Section Test-piece: English Heritage (George Lloyd) Test-piece: Labour and Love (Percy Fletcher) Adjudicator: John Berryman Adjudicator: Kevin Wadsworth 1. Reg Vardy (Prof. N. Childs) drawn 1 1. Ferryhill Town (S. Norris) 1* 2. NASUWT Riverside (I. Robinson) 5 2. York Railway Institute (G. Eddison) 8* 3. Fishburn (A. Morrison) 9 3. Ripon City (M. Dibb) 4 4. Felling Band (G. Tindall) 3 4. North Skelton (T. Oldroyd) 2 5. Kirkbymoorside Town (J. Woodward) 2 5. Kirkby Lonsdale (A. Greenwood) 7 6. Easington Colliery (D. Hirst) 4 6. Dunston Silver (S. Murrill) 3 7. East Yorkshire Motor Services (S. Lippeatt) 8 7. Marske Brass (A. Prest) 6 8. GT Group. Peterlee (S. Malcolm) 7 8. Bearpark and Esh Colliery (V. Eckerman) 5 9. Westoe Brass (S. Kerwin) 6 9. Durham Constabulary (K. McDonald) 9 Best Principal Cornet: Tina Mortimer, Reg Vardy 4th Section Best Soprano: Tom Glenndenning, Reg Vardy Test-piece: Saint-Saëns Variations (Philip Best Euphonium: Paul Robinson, Reg Vardy Sparke) Best Basses: Fishburn Adjudicator: John Berryman Best Percussion Section: Reg Vardy 1. Stape Silver (M. Breckon) 10* 1st Section 2. NASUWT Riverside Concert (J. Bell) 4* Test-piece: A Moorside Suite (Gustav Holst) 3. Backworth Colliery (D. Beckley) 2 Adjudicator: Kevin Wadsworth 4. East Riding of Yorkshire (P. Andrews) 5 1. Barton Town (R. Evans) 1* 5. Trimdon Concert (P.Ash) 9 2. Wansbecks Ashington Colliery (S. Malcolm) 3* 6. Stanhope Silver (S. Robson) 7 Tina Mortimer, Reg Vardy 3. Shepherd Group (R. Wilton) 7 7. Knaresborough Silver (R. Ilsley) 1 4. Harrogate (R. Waite) 4 8. Kingsway Printers Cleethorpes (S. Askew) 8 5. Flookburgh (J. Iveson) 5 9. Spennymoor Town (J. Davidson) 11 6. Murton Colliery (D. Noble) 2 10. Swinton and District Excelsior (N. 7. Durham Miners Association (A. Exley) 6 Sutherland) 6 Best Bass Section: Barton Town 11. Lanchester (D. Brennan) 3 Best Percussion: Shepherd Group Best Cornet: Laura Breckon, Stape Best Trombone: Stuart Clark, Bass Trombone, Best Euphonium: Beth Breckon, Stape Barton * denotes qualifi cation for Finals
2nd Section Test-piece: Kingdom of Dragons (Philip Harper) Adjudicator: Kevin Wadsworth 1. Cockerton Prize Silver (G. Nicklin) 5* 2. Catterick Brass (S. Halliday) 6* 3. South Milford Brass (M. Davison) 7 4. Dearham (G.J. Williams) 1 5. Northumbrian Water Ellington Colliery (J. Fenwick) 4 6. Houghton Brass (T. Gibson) 2 7. Billingham Silver (V. Evans) 3 Best Euphonium: Brendan Wheeler, Catterick Best Soprano: Cockerton Best Basses: Cockerton
Composer of ‘English Heritage’ George Lloyd
BRITISH BANDSMAN PAGE 13
BB 12-13.indd 13 23-03-2010 19:08:19 BRASS EDUCATION
As Britain approaches a General Election, Roy Terry looks at the current
A 40-year consensus slogan policy was ‘Can’t pay? - Can’t play’. What Things started to unravel when the scheme We British have always done things differently had taken 40 years to build often disappeared was rolled out throughout the country. David to our continental cousins. It’s called literally overnight. It’s only relatively recently Milliband’s successor as minister was still ‘pragmatism’. The stereotype that used to be that politicians have started to wake up to the wedded to the dogma that all budgets should trotted out was the French education minister, phenomenon of ‘unintended consequences’. be handed over to head teachers, which who could look at his watch and know what At the same time local authorities were meant, of course, that there was nothing to was being taught in every classroom in the reorganised. The Inner London Education stop them using the money for other purposes. country! In Britain, however, the curriculum Authority was broken up, along with it its well- We now have a situation in which, yet again, ‘evolved’. resourced music service. Some of the shire what started off as a national system has been The spread of instrumental teaching and the counties, among them Berkshire (which had infected by ‘postcode lottery syndrome’. Even development of local music services was part long been a beacon for musical excellence), so, it is claimed that by 2011, over two million of this ‘evolutionary’ culture, and for 40 years were divided up into unitary authorities. If pupils will have had the opportunity to learn it worked. From the post-war years through to music services survived, it was by the skin of a musical instrument for free for at least one the end of the 1980s, local music services were their teeth. In the 1990s, 50 music services year (you can find an evaluation under the title developed and managed by educational and went to the wall and music inspectors/advisors ‘Wow. It’s music next’ on the Federation of social entrepreneurs, otherwise known as music became a virtually extinct species. Music Services website). advisors or music inspectors. The names of Everyone who saw and heard the Simon Bolivar Michael Toll (Newham), Bryne Knight (Croydon), Ten years of reconstruction Youth Orchestra from Venezuela when it visited Michael Rose (Bedfordshire) and John Stephens The election of the Labour government in 1997 this country was blown away. Politicans and (Inner London) would feature high on a roll saw the tide start to turn. The Sunday Times commentators were impressed by el sistema – of honour. It was also important to have a recently expressed the view that the last decade the teaching programme behind it and started supportive director of education (think Andrew had been ‘the best ever for the arts’. Speaking at to agitate for something similar here, especially Fairbairn in Leicestershire). the Royal Society of Arts this week, the Culture because it was focussed on social regeneration. Music education flourished in this ‘golden Secretary, Ben Bradshaw, was able to say that Too many of them did not even know that age’ because a political consensus had been arts funding has risen by 83 percent since 1997. we used to have something similar and it got established. You found the same commitment In 1999, the Labour government introduced smashed up. However, the public support for to the music service in Conservative-controlled the Music Standards Fund to repair the damage such a project was such that pilot projects Croydon as in Labour-controlled Newham. So of the 1990s and rebuild local music services. have been set up in Scotland in Stirling, and much was achieved because tuition and the The Music Standards Fund for England stands in Liverpool, Lambeth and Norwich under the loan of an instrument were free, and because at £82.5m per year, and this level of funding is name In Harmony. teachers took responsibility for spotting guaranteed until 2011. Here we come to another constraint - the pilots emerging talent in children from the most David Blunkett made a pledge that every child have only been guaranteed funding for two unlikely of backgrounds. who wishes to should be able to learn to play years up to 2011. After that, no one knows a musical instrument, and so we arrived at what will happen. This kind of short-termism 10 destructive years the Wider Opportunities scheme. Providing was singled out for comment by the Chief The end of the 1980s saw the emergence one year’s free tuition with an instrument Executive of the Royal Opera House, Tony and eventual dominance of the ideology of for primary school children, it was initially Hall, at the Royal Society of Arts’ recent State the market. Forget co-operation – that was launched through pilots in a small number of of the Arts conference. Called upon to chair a for wimps – making schools compete with local authorities when David Milliband was government committee, he was shocked at each other would drive up standards. Market schools minister. (he was also instrumental in the number of initiatives giving funding for no ideology was accompanied by a subsidiary committing to the Music Manifesto). longer than three years. He went so far as to say theme of regarding local education authorities It’s a bit of a feature of current initiatives that that the failure to commit for the long-term had (LEAs) as the ‘baddies’, consisting purely of they are actually ‘rediscoveries’ of what used to damaged the chances of a whole generation unproductive bureaucrats. The government happen decades ago. The Wider Opportunities of young people. Particularly when working in of the day too often had only a superficial scheme uses whole class teaching. In the case disadvantaged areas, it’s almost better not to knowledge of how the maintained education of strings, it’s an approach pioneered in east have started a music project in the first place. system worked. Ministers seemed unaware London by Sheila Nelson. In the case of brass, Good quality music projects can help young that local authorities were also home to it’s the ‘apprentice’ model of learning used for people reach performing standards they never specialist teaching teams – for special needs, decades by brass bands (the Jupiter Soundstart dreamt of. To pull the rug from under them and of course, for instrumental teaching. The band scheme is being used in a number of when the funding comes to an end is little short 1988 Education Act saw more and more of schools). There is now of course a mass of of criminal. the education budget handed over to head research evidence showing the advantages teachers to use as they saw fit. The ‘unintended of group teaching over individual lessons. So Where now? consequence’ was that the majority diverted many essential musical skills can in fact only be In two UK countries, budget cuts have already the instrumental teaching element of their taught in a group context. At the pilot stage, taken effect: budget to other purposes and either phased the funding was given to local music services, In Scotland, 10,000 teachers recently out or started charging for it. The undeclared which then offered a service to schools. demonstrated in Edinburgh against widespread
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BB 14-15.indd 14 23-03-2010 19:19:56 BRASS EDUCATION
nt state of arts funding and examines some of the major issues ahead
cuts in education funding. The cuts already buy their services. a truly national music education system needs seem to be having an adverse impact on Commendably, a few authorities give the protected funding if a postcode lottery is to be instrumental teaching. money to schools but require them to use the avoided. In Wales, there has already been a cut in money for music. If the heads divert the money funding, again because control of funding elsewhere, or if they charge for instrumental What do we want? was transferred to schools. A £17m music tuition, it is clawed back and redistributed to While the tide may have turned, it is vital to development fund had been set up in 1999 the schools that use it as intended. keep up the momentum in campaigning for to reverse a decline in school music. It helped In 2009, Karl Jenkins accused the Assembly long-term political commitment. more than 60,000 young people by financing of abdicating its responsibility to young When everything that moves now has to a growth in musical activities. From April music makers. Education minister, Jane Hutt, be ‘world class’, international comparisons 2005, these funds were transferred to local commissioned a review of music education in may help to concentrate minds. To take one authorities, and music services had to put Wales by a group chaired by Emyr Wynne Jones, example, Finland has the same budget per head in a bid for funding each year to their local and the group is due to report by the end of for music education as England, but that means authority, competing with other priorities. April. The political parties will then frame their that the national government is putting in five In 2006, the Chief Inspector of Education for policies prior to Assembly elections in 2011. times more than ours and local government Wales, Susan Lewis, reported that nearly all of With a general election approaching, we are is putting in eight times more than ours. As a Wales’ 22 local authorities had made cuts in starting to see the emergence of party policies nation, we are competing with countries with their music services. She said: “Music services for the future. Ben Bradshaw, the Secretary of much more resilient national and local music now face an uncertain future. The reduction State for Culture, told a meeting at the Royal school systems. The constant ‘one step forward- in funding recently has had an adverse effect Society of Arts earlier this week that there was two steps back’ scenario that characterises so on the range of tuition and musical activities a strong case for not cutting the arts budget. much of UK policy means that countries such as that schools can provide.” The difficulty is At three percent of Government spending, Norway, Korea and China are forging ahead. compounded because, not only do music cuts would make little difference to the deficit, There is now no lack of substantial evidence to services have to bid against other local services, whereas each £1 spent produced £5 in revenue. show the effectiveness of UK music projects, the funding they receive is delegated to schools The creative economy makes up 10 percent of and representative organisations are already and they then have to persuade each school to GDP, employing 1.97 million people – 7 percent gearing up to lobby politicians in the run-up to of the workforce. It is the only sector that has the general election. grown during the recession. The Association of British Orchestras (ABO) Speaking at the same RSA meeting, Jeremy has published ‘A Platform for Success – a five Hunt said that commitment to the NHS, the year vision for orchestras’. It includes a call on environment and the arts were essential aspects government to support music education by of a ‘modernised’ Conservative Party. guaranteeing that music education continues Speaking at the Menuhin School in January, to be delivered in schools as part of the formal the Conservative Shadow Culture Minister, curriculum, including providing the opportunity Ed Vaizey, set out four elements of a good for children to learn a musical instrument. It cultural education. It should introduce every also spells out the commitment that can be child to the arts; it should give every child the expected from orchestras. chance to learn and master some parts of it At last week’s meeting of the Music Education for themselves, e.g., to play an instrument; it Council, Deborah Annetts of the Incorporated should find and nurture the exceptional talent; Society of Musicians (ISM) quoted a recent poll it should play a part in transforming lives and for ISM by YouGov which showed 91 percent aspirations. agreeing that every child should have the He appeared to see a continuing role for Youth opportunity to learn a musical instrument in Music which, among other things, provides school and over 75 percent backing the current funding for the National Youth Brass Band level of funding. She also pointed out that there of Great Britain. However, he criticised what are 12 million voters with school age children he referred to as ‘a blizzard of initiatives’ and who have a vested interest in good quality hoped ‘to bring some coherence, stability and music education. ISM is contributing to the long-term strategy to the sector’. It should MEC’s position statement, which will put the perhaps be noted that the Conservative case for consolidating the progress made in the education shadow, Michael Gove, has so last ten years. far made no commitment regarding music Members of the banding community, as players, education. teachers and as parents, can add their voice to However, all three main parties still seem make sure music education is a major issue in wedded to handing control of as much of the the coming election. It would be tragic to see education budget as possible to head teachers. the clock turned back yet again. Much needs to be done to convince them that
BRITISH BANDSMAN PAGE 15
BB 14-15.indd 15 23-03-2010 19:20:02 FEATURE The busy life of
Rodney Newton meets conductor and educationalist, Dr. Howard Evans, and learns about his life and career Dr. Howard J. Evans has a well-established musical career as a pianist and teacher, as well as a conductor. This began with a varied musical education, commencing with studies on brass at the age of seven. By the age of ten, he was also studying the piano, together with the French horn and cello. He later graduated with a B.Mus. (Hons) degree from the University of Manchester, and also obtained LRAM, LTCL and ARCM (Hons) diplomas in piano teaching and performing as well as brass teaching. As a postgraduate pianist of the Royal Northern College of Music, Manchester, he obtained a Diploma in Performance Studies. His piano studies were undertaken with the British pianist, Gordon Fergus-Thompson (famous for
BRITISH BANDSMAN PAGE 16
BB 16-17.indd 16 23-03-2010 19:18:43 FEATURE f Howard Evans
his recordings of Debussy, Ravel and Scriabin), Since January 2007, he has been working as well. I took Leyland to the RNCM Festival of and later with the distinguished Russian a Visiting Lecturer in the Music Division at Brass in 2008 and looked after Grimethorpe pianist and international teacher, Sulamita Salford University in the area of performance, for some six weeks in the summer of that year, Aronovsky. As a young pianist, Howard won and in October 2008 was appointed as a giving concerts and taking the band to the a place on the Yehudi Menuhin ‘Live Music Visiting Fellow. During the last few years he Deal Festival. This year, I appeared at the RNCM Now’ scheme for young performers. He has has also been in demand as a guest conductor Festival of Brass with Brighouse and Rastrick since performed extensively at many venues for a number of bands, including directing a and, after the Regional Championships, I will throughout the United Kingdom, both as a Celebrity Brass Band in the new recording of continue to conduct Leyland, undertaking a pianist and conductor, including London’s the brass version of Karl Jenkins The Armed recording project with it and guest soloist, Queen Elizabeth Hall, Manchester’s Bridgewater Man - a Mass for Peace, appearing with Leyland Brett Baker, with whom I have worked a Hall and the Royal Albert Hall. He has also made Band at the RNCM Festival of Brass in 2008, number of times before in the Netherlands regular visits overseas to Canada and the USA, and Grimethorpe Colliery Band as a guest and with Boscombe Citadel. The highlight of as well as in many European countries such as conductor for a series of concerts. In addition last year was being able to complete, under Holland, Norway, Sweden, Germany, Austria to these assignments, he undertakes work as the supervision of Professor King, a portfolio and Switzerland. an examiner for the Associated Board of the for my Doctor of Musical Arts degree at Salford Royal Schools of Music and maintains a piano University.” For many years, Howard has been a guest teaching practice. conductor at numerous summer music For over 12 years, Howard Evans has been an schools, participating in the training of many Regarding his appointment at Salford examiner for the Associated Board Royal Schools young Salvationist musicians. In 1988, he was University, Howard commented: “Some of Music. From this standpoint, he remarked, “I commissioned as a Salvation Army officer, months after I had finished my contract in the am very intrigued by the current debate about spending four years as a full-time minister Netherlands, Professor David King asked me adjudication these days. I have done a little work and being appointed National Bandmaster for if I would use my skills at Salford University. I in this area in Holland, and I also sat with Philip The Salvation Army in the United Kingdom had no hesitation in accepting his offer, and Sparke to adjudicate the final Reading contest and, in May 2000, was appointed Director of started to teach there in January 2007. My role a few years ago. My personal feeling about this Music in the Netherlands. During a period of and responsibilities have grown immensely is that the temperature is running a little high nearly six years, he was also conductor of The here since then, and I direct the Classical and and becomes quite emotive at times. It seems Amsterdam Staff Band, undertaking major tours Band Performance Programme. This involves to need some careful rational thinking and, to the USA in 2003 and the United Kingdom a number of activities, including work with over the last few months, I have been looking in 2005. Since April 2002, he has also had the Salford University Brass Band, mentoring the at some serious research articles in relation to added distinction of being the Bandmaster of final year conducting students with the Adelphi performance and many of the psychological and Boscombe Citadel Band. Under his leadership, Brass Band, directing the wind band and the physical attributes that pertain to the way we the band has produced a number of fine choir and tutoring the final year elective recital relate to live performances of music. When I get recordings, including a CD entitled Locomotion, students, where my piano skills are used as the time, I would like to place some of this in featuring guest soloist Steven Mead, which well in accompanying some of the students. a brass band context, with specific relation to won the inaugural Bobo Award for recording As well as contributing to various modules of adjudication and some of the ramifications for excellence in the euphonium solo category, music study as a lecturer, I also work closely us in brass bands. I would hope that it would named in honour of the legendary American with Duncan Winfield, our expert Concerts allow us to consider and think through the tuba player, Roger Bobo, who presented it at Manager, in the planning of our performances choices we have and the direction in which we the International Tuba and Euphonium Festival at the University and within the community need to move.” in Denver, Colorado. elsewhere. This involves commuting from Weymouth via Bournemouth, where I continue Although Howard Evans’ present life is settled, In 2008, under Howard Evans’ direction, to conduct the Boscombe SA Band (and the future remains uncharted territory, and, the Boscombe Band took part in a joint have done so since 2001), while I was also when asked where he would go from here, concert with Foden’s Band, giving the first commuting to Holland. Fortunately, in the he replied, “Sometimes you can’t be sure. All performances of two works by Ray Steadman- newer climate in which we live these days, a I know is that, at different times in life, doors Allen. The band also released a significant number of events with the band have included have opened and I have found my direction by historical survey on CD of Salvationist other Championship bands as well and, over taking those opportunities. Life is pretty busy meditational band literature under the title the last two years, we have promoted concerts at the moment and I am not looking for new Sanctuary. with Foden’s, Woodfalls and, more recently, directions, but simply want to make the most In 2005, Howard completed with distinction with the amazing Fountain City Brass Band. of the current opportunities that seem to be a performance-based Masters degree at Having a base up in the north-west, I have coming my way.” Salford University, majoring in conducting. found myself working with other bands as
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BB 16-17.indd 17 23-03-2010 19:18:45 TALKING POINT Lost chords… found melodies Professor Philip Wilby looks for music behind ‘contest fever’
Finding ourselves in the grip of ‘contest fever’ once more, I have spent some time recently sitting among the audiences in a number of contest venues. Some of these halls are spacious and Victorian and allow a measure of thoughtful seclusion, whereas as others, especially those with numbered seats, as in St. George’s Hall in Yorkshire, demand that listeners are arbitrarily placed in close communion with each other. Inevitably, this has the effect of placing supporters of rival bands dangerously close, and on such occasions, my only defence is reclusive silence. Invariably, placing us all together in such close quarters, means being party to other peoples’ conversations, and I have been wondering what might score highly as ‘the most overheard remark at a band contest’. I confess that I have a preference for those remarks that are made before the announcement of results, after which passions tend to run on fuel of an uncomfortably high octane. For me, the most intriguing observers tend to be the older listeners, generally ex-players, who observe that, whilst technical ability increases year on year, musicality has suffered as a result. Well, talk is cheap, as they say, but I decided that I would try and look a little further into this oft repeated remark to try and find some substance behind the opinion. Musicality is a natural gift. However, it can be helped on its way by a little understanding, and a few comments of a technical nature may be useful. Melody has its own logic, of course, and a beautifully delivered melodic solo must show an instinctive understanding of each phrase’s construction. Looking at this classic melody by Elgar, (written in Yorkshire as an engagement present for his wife-to-be in 1888) we can observe a number of essential elements.
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Each four-bar section has its own centre of gravity. Not all the notes are equal in importance, and we may do well to work on the principle that higher notes are significant notes. Look first at bracket A. Here the melody is flighted towards the centre, by use of dynamic (the hairpins), and by relative height. Equal in importance to the stress given to the repeated Fs in bars three and four is the role of the opening two bars. These are upbeat preparations, essential in creating a context for the climax to arrive happily.
Anticipation in life is as good as reality!
The next four-bar phrase is similar enough to seem like a repetition, but moves significantly over the phrase end into the next eight-bar conclusion. Now, things become especially interesting, since this last phrase then is twice as long as both of the preceding passages, and contains the peak of the melody, a high A in Bars 11 & 12. Most importantly, the shape of the first phrase, occupying four bars is the same as that occupying the whole 16-bar melody (See bracket B). However, with the increased length comes increased content. As a piece of writing, it is flawless, and helps the performer to give a perfectly modulated reading of it. Play this as the composer has marked, and ‘virtual’ musicality can be created. Needless to say, the best final performance needs to sound as instinctive as it seems cerebral. However, in this case the composer has done all the important work. Even though in some decline, there are many traditional slow melodies that are still in use within the bandsman’s repertoire. Indeed, those older players who were schooled in such performances regard their passing as a significant loss. They argue that facility and quality of sound have replaced the subtlest shaping of melodies that was so highly prized in Thomas Alva Edison former times. Each instrument had its favourites: Stanley Gordon’s The Iceberg, King of the Northern Seas was the piece of choice for the lower instruments, Liddle’s 1896 classic, Abide with Me, undoubtedly a favourite
BRITISH BANDSMAN PAGE 18
BB 18-19a.indd 18 23-03-2010 19:15:52 TALKING POINT
for the euphonium, and the cornet soloists It quieted pain and sorrow, of ‘Area’ contests? I wondered if this method of frequently performed Saint-Saëns’ Softly Awakes Like love overcoming strife; interpretation had died out, or whether it still my Heart. Unsurprisingly, like the hymns that It seemed the harmonious echo, found its place in the higher realms of our musical bands still favour as warm-ups, these items are all From our discordant life. education system. Andrew Porter is a euphonium songs, and it was the words of those songs that specialist, now studying on the bandmasters’ shaped the performance. In a similar way, the However, for lovers of the slow melody course at Kneller Hall, but also a recent graduate great contribution of the Salvationist composers tradition, the story does not end there. from the Royal Northern College of Music (RNCM). is still the way in which the texts of the band Unsurprisingly, the song was one of the very He numbers Steven Mead, Bob Childs, David King melodies are still associated in the listener’s first pieces of music ever recorded, by Thomas and the London Symphony Orchestra’s Patrick minds with particular phrases and sentiments, Edison in 1888, the year after its composition. Harrild as his main teachers, and remembers how which come from an unperformed text rather Most surprisingly, it was not performed by one each of them has adapted the time-honoured than from the instrumental music. of the great singers of the day, but played on text-based method to their own ends. As an However, the greatest classic of its type was the cornet! Enthusiasts may care to listen to this ex-member of Professor King’s multiple award- written on 13 January 1877, by the leading earliest of recordings on the Wikipedia website winning band at YBS, he is used to such traditional British composer of his day, as he kept vigil by article dedicated to The Lost Chord. Thomas methods of searching out extra eloquence from the bedside of his dying brother. Arthur and Edison exported his Phonograph to London in his melodic thinking. At the RNCM, Howard Snell’s Fred Sullivan were as close as two brothers 1888, sending with it a number of recordings, variations on Thomas Hardy’s favourite song, could be, and it was Fred who found success including the first ever recording of a brass Drink to me Only proved to be case in point. Set as first as a singer and comic actor. Fred it was that instrument. The piece is shortened, of course, a test-piece for the euphonium class, the students stole the show as the judge (...and a good judge and is also incomplete. It is also clear that the all studied this score starting from the original too!) in Arthur’s comic masterpiece, Trial by Jury. soloist knows a version of the tune, but not the verses. Equally significant, Andrew, as an aspirant However, as the playwright, F.C. Burnand, wrote: text. He adds notes, here a pair of quavers, there Army bandmaster, finds the method of great ‘The brothers were devoted to each other, but a dotted rhythm, but is in no sense trying to relevance in his daily work, and is keen to pass the Arthur went up, and poor little Fred went under.’ paint the same picture as portrayed by the poet. method onto the next generation of players who As Fred struggled with his final illness, Arthur Of course, this was the first ‘demo’ and it is will fall under his direction. It seems, then, that the Sullivan watched and waited, and sketched out quite amazing that it survives so well after more future for a valued technique, which is possibly that greatest of all Victorian ballads, The Lost than 120 years. Nevertheless, we can do better uniquely used by brass band players, remains Chord. service to the composer. Here is Sullivan’s secure, and many friends among the ‘contest The text had appeared some years earlier in setting of the original text. critics’ can sleep easier in their beds, secure in 1858, by the most popular poetess of her age, Adelaide Proctor. In Arthur Sullivan’s setting, however, it seemed to catch the mood of the moment, and within 20 years was being sung by Caruso as a fundraiser for the Titanic victims, G 5 5 5 5 5 5 5 5 4 5 5 5 5 5 5: 5 B 4 5 and recorded by Queen Victoria’s favourite 6HDW HG RQH GD\ DW WKH RU JDQ , ZDV ZHD U\\ DQG LOO DW HDVH P\ performer, Dame Clara Butt. 5: 5 5 5 B 5 ? The piece has a great deal of varied content. G B 5 5 5 5 B Being concerned with the story of the organist ILQ ZDQJHUV LGHU G 2GO\ YHU WKH QRL NH\VV\ who improvises distractedly and discovers, either by accident or divine intervention, a chord that links us directly to the sweeter music of a heavenly realm,. It is, of course, a particularly On the face of it, the rhythmic structure, with its the knowledge that traditional musicality rests rich example of sentimentalism, but its technical many repetitions of crotchet and two quavers in good hands. But what of Edison’s marvellous handling is of rare value. The introduction and seems un-prepossessing, and a poor player can machine? Arriving in London, it was demonstrated coda, with its imitative church counterpoint, easily produce too many short-term stresses to fashionable society, including one attended as well as the modal cadence at the words, The through the repeated notes. However, the words by Sir Arthur Sullivan himself. Asked to record a Sound of a Great Amen, are significant. Here, the help us to see longer and more interesting speech about the Lost Chord recording, he sent music paints the words appropriately. Equally, phrases, especially in the alternation of feminine a message back to Edison, saying: “I can only say Sullivan is highly successful in catching the and masculine endings to the lines. A singer is that I am astonished and somewhat terrified at the poem’s natural crescendo, moving from doubt led to see the four-line verses as containing two result of this evening’s experiments: astonished at to hope in a single sweep, and taking in some phrases at the most. Brass players could certainly the wonderful power you have developed, and turbulent harmony and a full throated reprise on be expected to take only one breath after the terrified at the thought that so much hideous the way. As Clara Butt said of it: “What we need word, Ease. A longer illustration would also show and bad music may be put on record forever!” now is more songs like The Lost Chord. There is how masterly is the construction of Sullivan’s tune, something of the grandeur of Beethoven in it.” taking us from the first note to the last in a single Modern opinions will differ, of course, and I have dramatic span of nine text lines, ending with a heard some performances that seek to paint grave repetition. it as a Victorian tear-jerker. On the other hand, there is a growing awareness of the power and I know not what I was playing, influence of such music. It is, in my own view, Or what I was dreaming then; quite possible to regard The Lost Chord, with its But I struck one chord of music, suitability for amateur performers, as an early Like the sound of a great Amen, example of a mass cultural icon, which reveals Like the sound of a great Amen. something of huge relevance to each and every one of us. The song is about something greater What, then, of the current crop of young players, than itself or its performers, and therein lies its whose melodic playing is being so thoroughly abiding influence. scrutinised during the current crop
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BB 18-19a.indd 19 23-03-2010 19:15:55 FEATURE
A rising star with an open mind
Rodney Newton meets the outstanding young composer, Lucy Pankhurst, and learns about her life and her musical outlook
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BB 20-21-22-23.indd 20 23-03-2010 19:19:27 FEATURE
A number of years ago, I helped to judge a French horn music than I was accustomed to Steven Mead, Roger Bobo, John Miller, Sheona composers’ competition run by Brighouse and reading an E-flat part. I also played trombone White and Lesley Howie. I also took electives Rastrick Band. Among the many entries, which a lot, perhaps even more often than horn. I during my undergraduate years with Simon were mostly pastiches of John Williams, was would help out in the intermediate youth band Parkin and John Iveson and, in addition, I had one that stood out as being completely original on Friday nights and then swap to horn for the the opportunity of working with the composers and owed nothing to John Williams, Vaughan senior group every week. I was also a member James MacMillan, Sir Peter Maxwell Davies, and Williams nor anybody else. The piece was aptly of the Frodsham Silver Band for a year or two. Menachem Weisenberg.” entitled Mischief and the composer was a young Although a very small 4th Section village band, After she gained her first degree, Lucy’s musical lady by the name of Lucy Pankhurst who, over this was the closest brass band for me and was education continued with postgraduate studies the next few years, established herself as one of run by a lovely group of people. I wasn’t given and she finally graduated with a Masters the most interesting new voices in music brass a specific seat, and basically I would turn up degree in 2007. In addition to her career as a band. She was born in Liverpool in 1981 and and play whatever needed playing, depending composer, she has been working as a brass is the only musician in her family. Regarding on who else was there. One week I would peripatetic teacher in Halton and Warrington her resonant name, there is a vague possibility, play horn, the next I might be on euphonium, since 2006. She said: “I hope eventually to study although very tenuous one, of a connection cornet or bass. It was a normal thing to have at university for a PhD, but realistically, this with the famous Emmeline Pankhurst of the only five or six people at rehearsals, so it was won’t be in the near future.” The first pieces Suffragette movement. Tenuous family links an interesting experience. There were no other Lucy composed were for her GCSE exams and aside, Lucy shares the same originality of bands in the area at that time, so the first time she commented: “I thoroughly enjoyed it, but outlook and the same determination as that I had ever played in a ‘real’ brass band was never really considered that I was any good eminent lady of the past, although one doubts during my first rehearsal on 2nd horn at the at it. I remember one of the pieces was called that she will ever venture as far as chaining RNCM with James Gourlay. Needless to say, I Terezin, which was based on the atmosphere at herself to the railings of Buckingham Palace! was petrified! I was a member of the Cheshire the concentration camp in the Czech Republic Lucy Pankhurst’s musical career began in a Youth Brass Band for a while, but, being very which we had visited during a tour with the somewhat random fashion, and she explained: shy, I found it rather difficult to mix in such a school choir. It freaked out a few people at the “I don’t like conforming to things if I can get huge group of people and eventually decided time, as it was very dark and very ominous. away with it, and I would go to great lengths that my efforts were better put to use in the I actually met the external examiner for our at school to not be ‘cool’ and do things the many other ensembles I played in at the time exams a few years later, who was covering for same way as other people. I seem to remember and towards my A Levels.” our A-Level teacher. She recognised my name basically deciding that I wanted to play the and reported that she had been ‘thoroughly trumpet, just because I didn’t know anyone else Lucy received her first brass lessons at Fairfield disturbed’ by my piece - I wasn’t sure whether who did (I’d always loved music, but up until High School from Tony Whittingham, for to take it as a compliment or not! Realistically, that point, I’d never played an instrument nor whom she now works as a teacher herself I have only been composing properly since even thought of it as an option). However, the at Halton and Warrington Music Centre. She 2004, when I started to think about what I was school didn’t have a trumpet to spare, so, after related: “I studied the tenor horn with Tony for doing a little more, rather than just letting several weeks of mithering, my teacher gave five years before taking a year of lessons with ideas fall out of my head onto the page. My me a tenor horn instead. I remember going Brian Taylor prior to entering college. I also first compositions away from exams were for home and demanding that my mum wrote a continued my trombone lessons with Tony recitals at the RNCM. Being a tenor horn player, very stern letter to make sure that I was given up to that point. When I started at the RNCM, I am acutely aware of the vast gap in repertoire a trumpet as soon as one became available. I had lessons from Sandy Smith for two years for some brass instruments. Due to this, I was However, when one did, it was put straight and then studied with Owen Farr for my final asked to compose several horn and baritone back in the store cupboard to gather dust, two years. From a playing perspective, he has, pieces, including a work entitled Vicious Circle as I’d already found my ideal instrument. My without a doubt, been the greatest influence for solo baritone, brass sextet and percussion older brother, Mark, is heavily into music and on me of all of my instrumental teachers. He trio, in which the soloist had to perform various especially enjoys live concerts. He has just as was always supportive and helpful when we different instrumental techniques and execute eclectic a taste as I do, so we frequently go to were fellow students, and when he became my a bloodcurdling scream which, I can say with gigs and music festivals together. He is naturally RNCM tutor during my 3rd year B.Mus. studies, unequivocal certainty, took the audience by musical and is a self-taught guitarist. If he had my playing improved so much that I was surprise! I also wrote several ensemble pieces wanted to pursue it, I’m sure he would have almost unrecognisable. As a composer, Adam and numerous solos for final recitals, including been an excellent musician.” Gorb has been my only formal compositional my own. I thoroughly enjoyed writing for tutor, but he was such a positive, driving and unusual combinations of instruments and Lucy was educated in Widnes at Moorfield enthusiastic mentor, I couldn’t have asked for would experiment with any mad ideas I had. Primary School and Fairfield High School, where a better guide. Throughout my M.Mus. he was A piece for solo tuba, brass septet, celeste, she began her musical studies in Year 8. She 100 percent supportive and, rather than telling piano and glockenspiel was particularly then went on to Priestley Sixth Form College in me how I should be writing, he nurtured what interesting texturally. My first few attempts at Warrington before entering the Royal Northern natural ability (for want of a better word) I had. full brass band compositions were actually silly College of Music (RNCM). In addition to the I am very grateful for his guidance over the arrangements of things; they were experiments tenor horn, she studied the trombone up to two years I spent as a composition student. It I suppose. Over the summer of 2002, I Grade 8 level before attending the RNCM, but was a very new concept for me and, for some completed a massive medley arrangement of these days the instrument rarely leaves its case. people in the department, I was rather amusing themes from 1980s children’s TV programmes. At Priestley Sixth Form College she studied (“A female tenor horn player writing music? It was never intended to be played (which was singing, learned to play the bagpipes and also – how quaint!”) so the support I received was a good job, as I got a bit carried away and it claims to be able to ‘bang out a mean drone’ indispensable for me. He never told me that ended up being almost 20 minutes long) and on the Tibetan singing bowl, but the tenor horn I couldn’t do something, regardless of what I sat down with a CD player, my horn, some has always remained her primary instrument. kind of mad idea I had come up with that manuscript paper and my laptop every chance By her own admission, she had a rather week. He even encouraged my writing for brass I got, and scored the whole lot by ear. It was unconventional musical ‘upbringing’ as a tenor band, which resulted in the piece, Ascension great fun. horn player, spending the majority of her time (which I included in my Masters portfolio). I playing in wind bands and small ensembles. was also lucky enough to have lessons from “One of my first serious compositions was She recalled, “I was more used to transposing inspirational teachers such as James Gourlay, a tenor horn concerto for Owen Farr. In
BRITISH BANDSMAN PAGE 21
BB 20-21-22-23.indd 21 23-03-2010 19:19:30 FEATURE
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BB 20-21-22-23.indd 22 23-03-2010 19:19:32 FEATURE
retrospect, it was a rather ambitious venture although it depends very much on what mood to terms with the fact that I’m not going to get to take on as a first project, especially scoring I’m in. My preferences change very quickly - I it any closer to what I originally wanted. The for brass band, but it didn’t occur to me at the enjoy listening to very heavy, harsh music one thing that doesn’t ever change for me is time. I just had ideas and wanted to write them as a means of escapism, but similarly, also to that I always work with a transposing score. down, and that was the end result. I had my first intricate and delicate melody, which captivate Perhaps it’s the performer in me, but I like to contemporary brass band piece performed at the imagination. Sometimes I might even want see exactly what the musicians will see as they the 2006 RNCM Festival of Brass as one of the to listen to something which acts like an audio play. I find working with a concert pitch score winning compositions in the Young Composers’ massage and just let my brain switch off for and transposing instruments very cold and Competition. Outside the RNCM, the first music a while. Even if I don’t like a piece of music clinical, and I feel detached from the music.” of mine that I heard played in public was a I always try to appreciate it, although that In recent years, Lucy has been working closely piece that I wrote for the 2005 Single Reed doesn’t always work! as Composer-in-Residence with Wingates Band. Festival in Harrogate. Conducted by Andy This has offered her music platforms such as Scott, it was called Romany Beck and scored “There are so many fiercely talented composers the 2007 US Open (in which her piece, Wicked, for massed clarinet and saxophone ensemble who have new, vibrant ideas for the brass was awarded Best New Composition), Butlins and was great fun to write. The thrill of hearing band idiom, it seems sacrilegious to not contests, The Great Northern Brass Festival at something that you’ve written being played embrace these concepts and sounds. After Manchester’s Bridgewater Hall and countless for the first time is astounding; it’s as though all, it is not the intention to supersede the concerts. She also expresses appreciation life has been breathed into the music you current manifestation of the British brass band, for the encouragement of prominent brass put onto the page and it becomes a tangible, rather to expand upon and potentially allow band personalities, commenting: “Working living thing. There’s nothing else like it - it’s something new to be born from it. When with amazingly supportive people such awesome!” I write I am very inconsistent, and I never as Black Dyke’s solo euphonium, David adapt or adjust anything, because I’ve never Thornton, and the conductor, Jason Katsikaris Regarding her own music and her outlook in composed anything in exactly the same way (with Leyland Band at the 2009 Brass in general, she said: “My influences and tastes before. I usually don’t have a lot of control Concert Championships), has also been an are very diverse, but suffice to say that I enjoy over the compositional process and I have immeasurably positive experience. In turn, this any music which has an impact and grabs been described as an ‘instinctive’ composer. has led to forthcoming première performances hold of you, whether you want it to or not. The influence of rock and funk music is obvious in a lot of my more recent works for band, but I have also been told that the concept of folk music is also often present in the majority of my writing. I do find that my works for ensembles other than brass band tend to be a lot more ‘contemporary’ in nature. I do not like the term ‘brass band composer’, as I believe it is all too often used as a derogatory expression. I am also, in general, not a fan of the dreaded ‘test-piece’; the very concept of a test-piece seems positively anti-musical to me and, as a performer, I find the entire contest process tedious, draining and essentially rather dull. However, in the brass band category, I am a huge fan of Torstein Agaard-Nilsen’s work, and Johan De Meij’s Extreme Makeover is a great concept (and fantastic fun to play!). I admire the expertly sympathetic scoring and beautiful melodies of Eric Ball, the daring ideas behind Golland’s Sounds and John Pickard’s epic Gaia Symphony. I know where I want the music to go and I at the brass festival in Cardiff, concerts in Malta, tend to let myself be pulled there, rather than Holland and an exciting commemorative Over recent years, there have been numerous mathematically figuring out how I’ll do it. I venture this year with Wingates. Also, being works that are beginning to shine a different enjoy the journey; I never quite know what’s friends and in regular contact with other young light onto the British brass band scene. Torsion going to happen. If I have a strong idea, I have composers in the brass band ‘movement’ has and Penlee by Simon Dobson are beautifully to write it quickly before I lose it, or it goes stale. also been incredibly supportive for me. By written test-pieces which, although incredibly I often have a piece already fully-formed in my speaking to other like-minded individuals, it challenging for the performers, are still very real head, so that it spills out from my brain onto the becomes apparent that we are all aiming for the pieces of music, utilising inventive musical (and page, where I then have to make sense of it, or same thing, and it is so refreshing to find such technical) ideas into the idiom. I do genuinely diffuse the sounds I want onto the score. Other camaraderie and support from contemporaries, believe that there will always be a certain times, I just have a snippet of melody, or a with competition and rivalry being intrinsic to degree of difficulty in getting anything that rhythm or a ‘groove’ from which the rest of the the brass band world.” Summing up her work sounds ‘new’ played, enjoyed and accepted by piece slowly germinates. Every piece is different. ethos, Lucy stated: “I feel very bound and stifled the brass band world. However, I have been It has to be alive in my head, but if it’s not when I try to impose guidelines to every aspect quite fortunate so far in my experiences and there, it’s just like trying to wring out a dry of my writing. I know it doesn’t work for me, so I the few pieces of mine that have been thrown cloth and can get physically painful trying to just don’t do it. When completed, a good piece out into the brass band waters have, for the create something from nothing. Due to this, I of music should feel as though it has always most part, been enthusiastically accepted (or, have written some pieces in a matter of hours, existed - you were merely the vessel in which it at least, not publicly rejected!). Personally, I whereas some take months of working and had to be written down. It doesn’t matter what try not to generalise with composers or music adjusting until I’m either satisfied with the instruments I write for, my rules always remain and just try to enjoy the sound for what it is, outcome, or (more frequently) just have come the same - I have no rules!”
BRITISH BANDSMAN PAGE 23
BB 20-21-22-23.indd 23 23-03-2010 19:19:32 Great offers for ‘Mad March’!
S/H Besson International cornet, lacquer £395.00 S/H Boosey & Hawkes Imperial cornet, BSP £229.00 S/H Boosey & Hawkes Regent cornet, SP £125.00 S/H Yamaha YCR-2330 cornet, lacquer £249.00 N Besson Sovereign cornet, lacquer £1,250.00 S/H Besson Sovereign tenor horn, lacquer £1,095.00 N York Prescience tenor horn, BSP £775.00 N Besson Sovereign tenor horn, lacquer £1,895.00 N Yamaha YBH-301s baritone, BSP £1,375.00 N York Preference baritone, BSP £2,395.00 N Besson 1000 series 4v euphonium, BSP £875.00 N Besson Prestige 4-valve euphonium, BSP £4,575.00 N Conn 88HCL Bb/F trombone, lacquer £2,395.00
Coming soon a selection of second hand Sovereign instruments & percussion; Call us for details.
86 Front Street, Bedlington Northumberland, NE22 5AE T: 01670 822085 F: 01670 820592 E:[email protected] www.dennistoddmusic.com All major credit and debit cards accepted
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BRITISH BANDSMAN PAGE 24
BB 24-25.indd 24 23-03-2010 19:24:46 COMPANY NEWS
Summertime, and the listening is easy! by John Ward
Looking for some music for that summer concert? The R. Smith catalogue would have to be on a foreign tour for that!) is William Broughton’s Deep contains a multitude of options, and below BB also takes a look at some River. Based on the old spiritual, this laid-back, Count Basie-style number repertoire from The Judd Street Collection (concert music from The will give your trombone section a chance to shine. Salvation Army). Two concert opener options come next in the form of Robert Redhead’s First, we bring you classic marches from the pen of two ‘greats’, Wilfred A Fanfare of Praise and Dudley Bright’s Paean. Both are up-tempo, based Heaton and Leslie Condon. Condon was very much at the heart of SA on Christian songs of worship, and would really grab the attention of music making until his tragic death on Christmas Eve in 1983. His concert your audience! Another work in a similar vein, albeit more extended, is march, Celebration was written for the International Staff Band in 1966 Stephen Ponsford’s Kerygma, which reveals several influences, including and is arguably his most popular and oft-heard work. The score is one of Peter Graham and Philip Sparke. real intricacy and brilliance, and will provide bands with an alternative Time passes quickly and it’s amazing that think that is over seven months to the familiar contest march model. Heaton’s Praise is another concert since BB announced the appointment of Philip Cobb to the principal march which still sounds as fresh and inventive today as it must have trumpet chair of the London Symphony Orchestra. His friend and former done in 1949 when it was first published. This is a familiar march to many, ISB colleague, Paul Sharman, wrote a solo especially for him, based on but discover this work of a master afresh by purchasing a set from R. several SA tunes and in a style very reminiscent of Virtuosity. Flourish will Smith! be a big test for the soloist but at the same time, a flashy, fresh and fun option for your paying public! Moving to an entirely different genre, we turn to music with a real big- band influence. Barrie Gott is a prolific and gifted arranger of light music, Finally, we look at an expert arrangement by Torgny Hanson of music by and his Lightwalk has been immensely popular since its first performance Shostakovich. Folk Dances is Dimitri in fun mood, although your cornet at the Star Lake Music Camp the mid 1980s. This catchy swing number and euphonium sections will require fast fingers to adequately portay the features the flugel horn in particular, and will prove an extremely effective light-hearted nature of the music. concert number provided that conductors have done their homework For more information, contact R. Smith and Company on 01933 445442. on the style. Perfect for a hot and humid afternoon (although your band
THE JUDD STREET COLLECTION Music for your summer concert
CELEBRATION Leslie Condon £29.95 DEEP RIVER William Broughton £24.95 A FANFARE OF PRAISE Robert Redhead £29.95 FLOURISH (Trumpet Solo) Paul Sharman £29.95 FOLK DANCES Shostakovich arr. Torgny Hansen £29.95 KERYGMA Steven Ponsford £39.95 LIGHT WALK Barrie Gott £24.95 PAEAN Dudley Bright £24.95 PRAISE Wilfred Heaton £29.95
Send for our latest catalogue: Telephone: 0800 137 817 R. Smith & Company, 66-78 Denington Road, Fax: 01933 445441 Wellingborough, Northants, NN8 2QH, England E-mail: [email protected]
BRITISH BANDSMAN PAGE 25
BB 24-25.indd 25 23-03-2010 19:24:49 Demersseman wrote many works for trombone with six independent valves, which is a modern- cousin to the euphonium. Through the work of editors, Luc Vertommen and Gery Dumoulin, the entire catalog is now available in two volume Virtuoso Music for Brass CD editions. These are spectacular editions (now £9 for a limited time), for study and practice.
STUDY FOR A BMUS (HONS) DEGREE FIRST CLASS TRAINING EXCELLENT PROMOTION PROSPECTS VARIED SPORTING ACTIVITIES GENEROUS SALARY HIGHLY-COMPETITIVE PENSION
2010 AUDITION DATES: MARCH JUNE JULY
BRITISH BANDSMAN PAGE 26
BB 26-27.indd 26 23-03-2010 19:16:29 Philip Biggs Brass Festivals presents The Great Northern Spring Brass Arts Festival The Bridgewater Hall, Manchester Sunday 9th May 7.15 pm - Gala Evening Concert The Cory Band and The Foden’s Band Tickets: £12 - £24
12 noon - The Wingates Band - £9.50 2.15 pm - The Leyland Band - £10.50 4.15 pm - Brighouse & Rastrick Band - £11.50 All inclusive daytime tickets - £23 All inclusive daytime & Gala Evening Concert tickets from £26 Available from The Bridgewater Hall Box Office Tel: 0161 907 9000 Fax: 0161 907 9001 Email: [email protected]
BRITISH BANDSMAN PAGE 27
BB 26-27.indd 27 23-03-2010 19:16:40 2010 All-England Masters International Brass Band Festival
on Sunday 30 May
Held at a new venue, The Lighthouse Theatre, Kettering
Championship commences at 10.00am Test-piece – An Epic Symphony by Percy Fletcher Tickets - £16.00 Tel: 01536 414141
Gala Evening Concert at 7.30pm featuring Stavanger Band (Norway) and Co-operative FuneralCare Band Tickets - £16.00 Tel: 01536 414141
Sponsored by Yamaha and David Goswell
The Octagon, Yeovil Friday 9th April 7.30pm CLASSIC BY Cheltenham Town Hall Saturday 10th April 7.30pm DESIGN
National Youth Brass Band of Great Britain
Guest Conductor Dr Nicholas Childs
For tickets: Yeovil: 01935 422884 Cheltenham: 0844 576 2210
These concerts are supported by the Trustees of the Stanshawe Band
BRITISH BANDSMAN PAGE 28
BB 28-29.indd 28 23-03-2010 19:08:57 BRASS ROOTS
Lochgelly Band has finally achieved its long- held ambition to return to the Championship Section, following its performance of Gustav Holst’s A Moorside Suite at the recent Scottish Championships in nearby Glenrothes. The band was last in the top section of Scottish Banding in 1989, so it has been a 20-year journey to return to the top. That journey began with a long, slow slide down the sections until the band hit rock bottom by finishing in last place in the 3rd Section in 2001, resulting in relegation to the 4th Section. Eb bass player, John Martin, commented: “This seemed to act as a catalyst to galvanise the band, and a win in the 4th Section in 2002 was quickly followed the next year by victory in the 3rd Section. Second place in 2005 saw the band promoted from the 2nd Section and Lochgelly seemed to find its level in the 1st Section as it showed consistency with mid-table results for the next couple of years. The arrival of Paul Drury as Musical Director in 2007 proved to be the springboard for further success. Paul further consolidated the bands position while also developing and strengthening the personnel. This all culminated in the recent win and with it a return to the ‘promised land’ of the Championship Section.” out in first place - 20 years of frustration and “There were a few sore heads and sick notes in John Martin added: “The band almost took the hope all released in one mighty roar.” the morning, but we’ve waited so long for this roof off the Rothes Halls as our name was read Band Chairman, Neil McCormack, remarked: day we’re going to savour the moment!”
The 70 musicians of the Cornwall Youth Brass will visit the Columbus area of Ohio, will depart Band, under the baton of guest conductor, from the UK on 1 April, returning eight days later Richard Evans, will have the privilege of giving on 9 April. no less than three world premières at their The musical highlight of the tour will be the Easter Gala Concert. The band will be working band’s performance, on Saturday 3 April, at on the challenging music during the four-day the 2010 Ohio Brass Arts Festival (OBAF), held residential course at Truro High School for Girls in the wonderful acoustic of the Weigel Hall, prior to the concert. In addition, the course will the concert hall of the Ohio State University concentrate on the music of Cornish composer Music Department. The band will be the first and bard, Goff Richards, who is the band’s Music international group to perform at the Festival, Advisor and who will be the guest of honour at which is now in its fourth year. SHYBB will the concert. perform alongside a number of Ohio bands, Composer, Darrol Barry, who was a pupil of including the Brass Band of Columbus and the Goff Richards at the University of Salford, has Central Ohio Brass Band (COBB). Mark Bousie will written a major piece called Three Cornish also appear as guest soloist with COBB during its Legends, which he has dedicated to him as, ‘the contribution to the Festival. fourth Cornish legend’. The three movements During the trip, the band will also give a concert of the descriptive piece are entitled, Tintagel, as guest of the Hilliard Darby High School Hell’s Mouth and The Wraiths of Portreath. The Band and perform during the Easter Sunday band was honoured to be asked to give the first celebrations at the Church of the Ascension performance by the composer, whose music The guest soloist on the course will be Owen in Columbus. SHYBB will also take part in a has been chosen for all sections of next year’s Farr, principal horn of Cory Band. He has masterclass at the Ohio State University, where it Butlins Mineworkers Brass Band Championships chosen to mark the occasion by giving the first will hopefully be able to pick up some tips from at Skegness. performance of a new work written for him by music professors and put some extra shine on its The second première has also been dedicated to Andrew Baker entitled Dragon Dances. programme for its forthcoming participation in Goff and has been written by a member of the Intensive rehearsals will prepare the band the Premier Section of the National Youth Brass Cornwall Youth Brass Band - cornetist Christopher for the rare privilege of giving three world Band Championships. Bond. Chris, who won a competition to write a premières, among the other music, at its Gala Mark Bousie commented: “When the band fanfare for the band at last year’s Easter Course, Concert at St. Michael’s Church in Newquay at is not performing while in the States, its has called the new work Behold the Power of God. 7pm on Monday 5 April. members are very much looking forward to Explaining the title he said: “The meaning of trips to Cleveland (where they will visit the Godfrey, Goff’s given name, is ‘God-peace’ and the Rock n’ Roll Hall of Fame) and various tourist meaning of Richards is ‘powerful ruler’ - my title attractions in Columbus. Following the combines both Goff’s forename and surname. BB tremendous fundraising efforts (over £50,000) The piece is not only named after him, but St. Helens Youth Brass Band (SHYBB) and made by all members of SHYBB over the last is dedicated to him - he has been an inspiration Musical Director, Mark Bousie, are putting the few months, the band’s excitement for its trip throughout my brass band upbringing and his final touches to their preparations for their of a lifetime is tangible by all involved with the music never ceases to amaze me.” forthcoming trip to the USA. The band, which organisation.”
BRITISH BANDSMAN PAGE 29
BB 28-29.indd 29 23-03-2010 19:09:03 WIRELESS BRASS PROFESSIONAL NETWORK We take every possible precaution to ensure the accuracy of the details A to P given below. However, we cannot be responsible for changes to stated times or running order. MAURICE BALE. BSc, Arranger, Godiva Music. ALAN JENKIN. B.Sc., LTCL, BBCM, Cert. Educ., Conductor, Adjudicator. 18 Raleigh Road, Coventry CV2 4AA. Tel. 024 76 459 409. Friday, 2 April, 2130-2200. BBC Radio 2 4 Beauchamp Close, Neath Hill, Milton Keynes, Bucks MK14 6HZ.
Listen to the Band. Eric Ball is probably the most popular composer Tel/Fax. (01908) 604818 (Home), 224251 (Music Centre) DUNCAN A. BECKLEY. BA. Conductor, Band Trainer, Adjudicator. of brass band music, whether for The Salvation Army or for the wider 07901 552235 (Mobile), Email [email protected] 26 Ruskin Avenue, Wrenthorpe, Wakefield brass band world. He provided The Salvation Army with some of its most WF1 2BD (MOB) 07973 389707 memorable music and wrote several competition test-pieces that provided TERRY JOHNS. A.R.A.M. Composer/Conductor/Adjudicator Email: [email protected] new challenges to the Championship Section bands of the time. He had 55/6 Waterfront Avenue Edinburgh EH5 1JD great success as a conductor, leading both Brighouse and Rastrick and CWS JOHN BERRYMAN. ALCM, LTCL, Conductor, Adjudicator. Email: [email protected] Mobile: 07777603675 (Manchester) bands to victory in major championships. Add to that the fact 12 Beaufort Drive, Barton Seagrave, Kettering, Northants. NN15 6SF that he was editor of British Bandsman for nearly two decades and it’s not Tel. (01536) 722991. STEWART LEWINS, BA (HONS) Conductor hard to appreciate the affection and respect that his name still generates 74 Southampton Street, READING in the band world. Tonight Frank Renton celebrates both his music and NICLAS BLIXT. Music Director, Telephone mobile: 07786694491 his influence in a programme that includes Festival Music, Tournament Band of the Swedish Home Guards, Uppsala Email: [email protected] for Brass, his famous Star Lake march and a classic for Good Friday, The Ingvarsgatan 28, Uppsala Kingdom Triumphant. Telephone home: 46018267613 ALAN R LEWIS. B.Phil, LTCL. Website: arlmusic.com Email: [email protected] Akay Lodge, Sedbergh, Cumbria, LA10 5SH. Listen to the Band is also available all week via Radio 2’s website www.bbc. Website: http://www.niclasblixt.info co.uk/radio2. Click on the playback section to hear the show, on demand, for Tel: (015396) 22230 (w) a week following transmission. MALCOLM BROWNBILL. Band Tutor, Conductor, and Adjudicator. 49 Pike House Road, Eccleston, St. Helens, Merseyside. WA10 5JZ. STAN LIPPEATT. B.A., L.R.S.M. Conductor, Adjudicator. Tel. (01744) 28642. 60, Sixth Avenue, Edwinstowe, Mansfield, Notts. NG21 9PW. World of Brass Radio. John Maines introduces a weekly one-hour Tel (01623) 822672 Mobile 07875 138776 programme of the best of international banding. Commencing on Fridays, C. BRIAN BUCKLEY. C.Chem., FTCL, LTCL, ALCM, Conductor, Adjudicator, the rolling programme of the most recent four shows can be accessed 24 Band Teacher. ‘Egmont’, 81 Gabalfa Road, Sketty, Swansea, JANE LLOYD. MA FVCM, LGSM, ALCM, PGCetEd, Dip Mus. Conductor, hours a day, seven days a week, 52 weeks of the year on www.worldofbrass. West Glamorgan SA2 8ND. Tel. (01792) 205896. Performer, Arranger, Teacher. Northampton & East Midlands Area. com (then click on the WOB Radio link) or www.worldofbrass.com/wobradio Tel: 01604 675188 DOUG CLARKSON. MISM Conductor/Arranger/Composer This week’s programme includes: Foden’s (Elgar Howarth): Salome (Rimmer); 33 Ings Mill Avenue Clayton West Huddersfield KEITH MacDONALD. N.A.B.B.C., A.L.C.M. Conductor, Band Trainer, Black Dyke (Nicholas Childs): Mountain Views (Moren), Eden (Pickard); Telephone mobile: 07872539378 Adjudicator, Author (see website). 20 North Haven, Seaham, Grimethorpe (Phillip McCann): St. Francis (arr. Himes); Fairey (Simon Telephone work: 01484437437 Stonehouse): South Pacific (Rodgers); Scottish Co-op (Robert Childs): Peace Fax: 01484437436 Email: [email protected] Co. Durham SR7 0DS. Tel: 0191 581 4224 (home), 07949 947703 (Golland - soloist: David Childs); Grimethorpe (Elgar Howarth): Pineapple Poll (mobile) Email: [email protected], [email protected] (Sullivan/Mackerras); St. Helens Youth (Lynda Nicholson): Liberty Fanfare BOB CHILDS. DMA, M.Mus(dist), ARCM(hons), FLCM, PGCE, Euphonium Website: www.keithmacdonald.co.uk (Williams); Sellers (Phillip McCann): You Raise Me Up (Lovland - soloist: Soloist, Conductor, Teacher. 13 Parc Plas, Blackwood, Gwent NP12 1SJ. Darren Stott); Leyland (Russell Gray): The Sand Volcano (Goldsmith). Tel 01495 226106 (home), 07966 263881 (mobile). [email protected] JOHN MAINES. Conductor, Adjudicator. 46 Hill Crest Road, Offerton, http://www.bobchilds.co.uk/ Stockport. SK2 5QL. Tel. 0161 292 9443. Local Radio for next week (Mobile) 07901 528059. Website: www.johnmaines.co.uk Sunday, 28 March, 1905-2000. Sounds of Brass - Worldwide. FM DAVID DAWS. Cornet Tutor, Conductor 3 Chevalier Close, Stanmore, Middlesex HA7 4YW frequencies: Bristol 94.9, Cornwall 95.2, Devon 103.4, Gloucestershire Tel. mobile: 07956844364 STEVEN MEAD. Euphonium Soloist, Conductor, Adjudicator. 104.7, Guernsey 93.2, Jersey 88.8, Somerset Sound, Swindon 103.6, Email: [email protected] 10 Old Forge Road, Fenny Drayton, Nuneaton, Warwickshire CV13 6BD. Wiltshire 104.3. Tel/Fax: (01827) 711964, Mob. 07971 843668, DR. KENNETH DOWNIE. DMA. BA(Mus) Dunelm. Kantara, Email: [email protected]. Available on the world wide web. Live on Sundays at 19-05 British Time or at 8 Downs Road, South Wonston, Winchester, SO21 3EU. any time for seven days after the broadcast. To hear this week’s programme Tel: (01962) 883031 Internet: www.kantaramusik.com access www.bbc.co.uk/iplayer/radio scroll down to Local Radio and click on Dr. ROY NEWSOME. PhD, B.Mus, FRCO, ARCM. BBC Devon. 17 Belmont Drive, Seddons Farm, Bury, J. STUART FAWCETT. OAM, LDBBA. Conductor, Adjudicator. Manchester BL8 2HU. Tel. 0161-764 2009. 23A Mill Moor Road, Meltham, Holmfirth, HD9 5JT. Tel: 01484 309500. Phillip Hunt presents a programme of brass band recordings and news. This week’s programme includes: Foden’s (Michael Fowles): Imperial Echoes PHILIP NEVILLE. MIMIT. BRUCE FRASER. Adjudicator, Conductor, Composer. (Safroni arr. Ord Hume), Hittin’ ‘em up (Hackford arr. Wright); Leyland (Jason Lomond Music, 32 Bankton Park, Kingskettle, Fife. KY15 7PY. Brass Instrument Repair Technician Katsikaris): Penlee (Dobson); Tredegar Town (Ian Porthouse): Little Red Tel. (01337) 830974. Email: [email protected] 74 Babington Lane, DERBY Bird (Richards - soloist: Geraint Chamberlain), Dragon’s Rise (Hall); Hendon Tel. mobile: 07790676282 Citadel Band of The Salvation Army (David Rudd): Flourish (Sharman - MORTEN E. HANSEN. Conductor and Adjudicator. Tel. work: 01332290762 soloist: Philip Cobb); Black Dyke (Nicholas Childs): Mountain Views (Moren). Fjelldenden 10, Stavanger, Norway. Fax: 01332290762, Email: [email protected] Tel 0047 9901 4386. Email: [email protected] Website: http://www.nevillebros.com Requests and Comments welcome at e-mail. [email protected] COLIN HARDY. Member NABBC, Adjudicator and Conductor, GRAHAM O’CONNOR. Conductor, Adjudicator, Band Trainer. Monday, 29 March, 2100-2200. Manx Radio 25 Thirlmere Avenue, Wyke, Bradford, W. Yorks. BD12 9DS. 19 Rosehill, Mosborough, Sheffield S20 5PJ Time for Brass. Frequencies 97.2, 89 and 103.7 FM and 1368 AM and Tel/Fax. (01274) 674174. Email: [email protected] worldwide on www.manxradio.com 0114 2514425 Mobile: 07903 310951 Click on Listen FM or Listen AM for the programme at the time of broadcast DAVID HIRST. Conductor and Adjudicator. Email: [email protected] or on Listen Again for a week following transmission. The Cottage, Main Street, Milton, Newark, Nottinghamshire. Tel. 01777 872339 Fax 01777 872852 MAJOR PETER PARKES. ‘Kamet’, Holme Lane, Rockley, Ian Cottier presents a programme of brass band music and comment. Email: [email protected] Retford DN22 0QY. Tel: 01777 839 144 Mobile: 0781 800 6965
BRITISH BANDSMAN PAGE 30
BB 30-31.indd 30 23-03-2010 19:25:39 CLASSIFIED TALKING POINT DIARY DATES ADVERTS
Inaugural concert of BRASSFUSION BandsBRITISH man the leading international brass magazine A list of forthcoming events that have been advertised in British Bandsman. (10-piece and quartet) Sunday 13 June at 4.00pm at Chapel Royal, The leading international brass band magazine Incorporating Brass North Street, Brighton MARCH Band News, British Mouthpiece and International Bandsman 27 - Perth. Black Dyke Band, 7.30pm, Perth Concert Hall. Tickets on the door, or ring Sian on 07881 808654 Managing Director APRIL CDs Trevor Caffull 9 - Yeovil. National Youth Brass Band of Great Britain, 7.30pm, The Octagon. Finance Director 10 - Cheltenham. National Youth Brass Band of Great Britain, 7.30pm, Town Hall. Beverley Phillips 10 - Letchworth. Concert for Haiti, featuring Stephen Wilkinson (cornet), 7.00pm, Letchworth Free Church. MIDLAND CD Editor 16 - Tunbridge Wells. South London Fellowship Band with guest soloist Dudley Bright (trombone), 7.45pm, We hold one of the world’s largest selections of brass & Kenneth Crookston Tunbridge Wells SA - TN2 4UT. military band CDs including most BB-reviewed CDs. Associate Editor 16 - Belgium. Brass Ensemble from the Royal Wind Orchestra of the Belgium Guides, Brass Band Willebroek and Order on-line at www.ukcd.net Professor Philip Wilby Glenn Van Looy (euphonium), City Theatre, Mechelen. E-mail: [email protected] Features Editor 17-18 - Belgium. Flemish Open Brass Championships, sections B (12.00pm) and A (6.00pm) on Saturday, and Tel: 0044 (0) 121 244 4605 or 6 Rodney Newton sections D (10.00am) and C (2.00pm) on Sunday. Fax: 0044 (0) 121 680 9018 Contributors and consultants 17 - Stroud. Tredegar Town Band, 7.30pm, Subscription Rooms. Peter Wilson 18 - Hove. SCABA Spring Contest. See www.scaba.co.uk for more details. Visit Steven Mead’s website: Dr. Robert Childs 18 - Birmingham. Black Dyke Band performs The Armed Man with Halifax Choral Society and Sheffield Philharmonic Chris Helme Chorus, 7.00pm, Symphony Hall. www.euphonium.net Pat Herak 18 - Manchester. National Youth Brass Band Championships, Royal Northern College. Alan Jenkins 24 - Newcastle. Black Dyke Band, 7.30pm, City Hall. Lt. Col. Graham Jones MBE NEW! Mike Kilroy MAY Ron Massey 1 - Slough. Charley Brighton (euphonium), 12.00pm, St. Mary’s Slough. www.euphoniumstore.net Dr. Peter Meechan 2 - Buxton. 47th Annual Brass Band Festival, Pavilion Gardens. Tim Mutum Frank Renton 8 - Stroud. Fairey Band, 7.30pm, Subscription Rooms. INSURANCE 8 - Derby. Black Dyke Band, 7.30pm, Assembly Rooms. Robert Richardson John Stirzaker 9 - Manchester. The Great Northern Spring Brass Arts Festival, Wingates Band (12.00pm), Leyland Band (2.15pm), Brass Band Brighouse and Rastrick Band (4.15pm), Cory and Foden’s Bands (7.15pm), Bridgewater Hall. Roy Terry Insurance Services David Thornton 15 - Blackpool. The 90th Spring Brass Band Festival (Grand Shield, Senior Cup, Senior Trophy), Winter Gardens. 312 High Street, Harlington, Hayes, Carl Woodman 15 - Portsmouth. Portsmouth Citadel Band with special guest, Roger Webster, 7.30pm, Portsmouth SA Citadel. Middx. UB3 5BT Malcolm Wood 16 - Weston-super-Mare. 42nd Own Choice Contest, contact 01934 514960 for more details. Tel: 020 8759 0825. Fax: 020 8564 9063. THE ORIGINAL SCHEME 16 - Crawley. SCABA Entertainment Contest. See www.scaba.co.uk for more details. Editorial OFTEN COPIED—NEVER BETTERED 21 - Portsmouth. Solent Area Fellowship Band with guest soloist Julian Poore (trumpet), 7.30pm, Portsmouth Telephone: 01506 882985 Underwritten by Norwich Union Citadel SA - PO1 4HA. Fax: 01506 881596 22 - York. Black Dyke Band with special guest, Yorkshire Youth Brass Band, 7.30pm, York Minster. Email: [email protected] 30 - Kettering. All-England Masters International Championship (10.00am) and Gala Concert featuring Stavanger Display and classified advertising and Co-operative Funeralcare bands (7.30pm), The Lighthouse Theatre. INSTRUMENTS John Ward A selection of good second-hand band and Telephone: 01132 707214 JUNE orchestral brass instruments available. Email: [email protected] 4 - France. Evening Gala Concert featuring Flowers Band, Amboise, Loire Valley. For details, please telephone 07974 412269 Accounts 5 - France. Evening Gala Concert featuring Brass Band Rijnmond, Amboise, Loire Valley. Hazel Foster 6 - France. 16th French Open Brass Band Championships, Amboise, Loire Valley. Telephone: 01933 445442 Subscriptions and Trade Orders 13 - Tonbridge. The Big Brass Bash, events all day including performances by Aveley and Newham and Bones Apart, MUSIC Hazel Foster The Hop Farm Family Park. For something different, Telephone: 01933 445442 27 - July 3 - Holland. Allan Withington’s Conductor Summer School, Leeuwarden, contact [email protected] Typesetting and Artwork for more details. try arlmusic.com GK Graphic Design VOF
Cover price: £1.25 WANTED BRASS BAND MUSIC SUBSCRIPTION RATES 12 months 6 months ORDER ON-LINE UK £56.00 £30.00 Europe £75.00 £45.00 SPECIAL OFFERS ON Rest of the World £115.00 £60.00 London Stedfast Association Brass Band INSTRUMENTS (52 issues per year) welcomes players on all instruments to join this www.bandsupplies.co.uk DIRECT DEBIT (only for subscribers living in the UK) London-based band. We practice, as a minimum, on the second Thursday of each month at Wesley’s Tel: 0113 2453097 One month: £4.85 (saving nearly 10% on the cover price) 12 months: £52.00 (saving Chapel (near Old Street and Moorgate London Underground stations) from 7.30pm to 9.30pm. 20% on the price of a weekly copy from newsagents). Contact us for a direct debit form. Retired players with a Boys’ Brigade or Girls’ Brigade would be particularly welcome. E-Bandsman - Only available to overseas readers - online edition direct to your desktop. Contact [email protected] or tel: 01784 440047 FOR SALE £52 per year or £30 for 6 months. You can subscribe to E-Bandsman with a credit or debit card, or pay by a sterling cheque/bankdraft. A selection of ‘top make’ second hand euphonium log onto www.britishbandsman.com Salvation Army ‘Range Finder’ mouthpiece, model number A COR wanted. mouthpieces for sale. Some hardly used. Tel: 01832 733317 Can be tried out in London area. £8.00 – 10.00 each. Please make cheques payable to British Bandsman. Tel: 0208 947 0547 Subscriptions, accounts and general enquiries Telephone: 01933 445442 Make this space work for you by advertising in British Bandsman classified. Fax: 01933 445435 Email: [email protected] Telephone: 01132 707214 Email: [email protected] Internet: www.britishbandsman.com ALL CLASSIFIED ADVERTS PAYABLE IN ADVANCE (inc. VAT) Although we welcome unsolicited editorial contributions, photographs Rate 42p per word. Bold type 44p per word after first three words. Minimum charge £7.00 per week. 1” single column box £26.00 (inclusive of and artwork, we can not accept responsibility for their return. The opinions contained in the magazine are not necessarily a reflection of those held by wording – Maximum 35 words). 2” single column or 1” double column box £52.00 (maximum size). Box No. £3 extra. Receipts require s.a.e. the publisher, its editorial advisors or consultants. Neither does the publisher Advertisements with cheques (not credit cards) payable to British Bandsman should be sent to Classified Dept., British Bandsman, accept responsibility for claims made by those advertising in the magazine. Material in this publication may not be reproduced or transmitted in any form 66-78 Denington Road, Wellingborough, Northants. NN8 2QH to be received not later than first post on the Monday 12 days without the Editor’s written permission. British Bandsman is published weekly and is a wholly owned subsidiary of before the desired publication date. Salvation Army Trading Company Ltd.
BRITISH BANDSMAN PAGE 31
BB 30-31.indd 31 23-03-2010 19:25:40 OUR BEST SELLING RECORDING
ALL MARCHES ON VOLUME I ARE NOW AVAILABLE IN THE JUDD STREET COLLECTION (A4 Landscape full scores, A4 portrait band parts) £24.95 each The Red Shield 29534 Star Lake 29506 Silver Star 29958 CD 25022 The Invincible Army 29959 £13.95 £9.99 Soldiers of Christ 29962 California 29953 Anthem of the Free 29952 Rousseau 29957 Mighty to Save 29955 Crown of Conquest 29954 In the Firing Line 29961 Emblem of the Army 29963 Torchbearers 29951 Wisbech Citadel 29960 COMING SOON! Under Two Flags 29964 Rosehill 29956 Fighting for the Lord 29756 Montreal Citadel 29838 CD 25061 £13.95 £9.99
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All CD/DVD orders for UK [including N.I.] delivery, irrespective of quantity, are subject to a carriage charge of £2.95. All other UK deliveries will incur a carriage charge of £4.95 irrespective of size.
BB 32.indd 32 23-03-2010 19:26:30