issue no. 5675 - 23 july 2011 - the leading international … · written applications detailing...

Price £1.25 Issue no. 5675 - 23 July 2011 - THE LEADING INTERNATIONAL BRASS MAGAZINE - www.britishbandsman.com

BB 1.indd 1 19-07-2011 16:01:12

BRITISH BANDSMAN PAGE 2

Follow us on Facebook at www.facebook.com/YamahaNeo

The new standard in brass band instruments

Scottish Brass Band Association

Development Manager This is a challenging role in promoting and developing opportunities

for young people in Scotland to participate in brass bands.

SBBA is recognised as one of the most effective brass band development bodies in the world. We have had outstanding success

in creating new youth bands and in running events efficiently.

The post requires a good understanding and knowledge of brass bands, as well as experience of working with local authorities and

young people.

It will involve managing our 5 part-time regional development officers, and liaison with local bands and schools, Heads of

Instrumental Teaching in Scotland (HITS), and local authorities, as well as internally with the National Youth Brass Band of Scotland,

SBBA Area Associations and member bands.

This post is for an initial period of 15 months.

Written applications detailing relevant experience and a CV should be sent by 31 July to [email protected]

For further information, please visit www.SBBA.org.uk

Funded by a grant from Creative Scotland.

Registered Charity in Scotland No. SC033163

BB 2-3.indd 2 19-07-2011 15:59:34


NEWS

Adjudicators Association boost for UKBBA working party

The third Kiveton Community Woodland Brass Festival, organised by the

Yorkshire and Humberside Brass Band Association in partnership with the

Forestry Commission, took place last Sunday (17th), with the top prize in the

competition going to Trinity Girls Band.

The event took place on the site of the old Kiveton Park Colliery, South

Yorkshire. The site has been reclaimed by the Forestry Commission and

includes a natural amphitheatre where the bands performed their 20-minute

entertainment programme.

Open to 3rd and 4th section and unregistered bands, the event had a full

entry of 12 bands. The music adjudicator was Mike Kilroy, while entertainment

judges were Councillor Peter Blanksby and Brenda Bradley.

The results were:

1. Trinity Girls

2. Hade Edge Youth

3. Thurlstone

Best Soloist: Gillian Hinckley, Trinity Girls

Best March: Hucknall and Linby

Best Hymn: Dronfield Colliery Miners Welfare

Sheona White

mouthpiece

competition winners

In June, Yamaha announced the arrival of

its new Sheona White Tenor Horn signature

mouthpiece. To celebrate its launch,

Yamaha had ten to give away and all our

readers had to do was answer the following

question: Name the three types of brass

band instrument currently available in the

Yamaha Neo range. The correct answer was

tenor horn, euphonium and BBb bass.

The following readers will soon be

receiving their new Sheona White Signature

Mouthpiece in the post: Janet Lymath

(Leeds), Amanda Mars (Worsley), Pat

Parkinson (Cumbria), Garry Smith (Leighton

Buzzard), Mary Ransom (Faversham),

Kenneth May (Greenwich), Alan Poultney,

P.J. Lyons (Bolton), Sam Brodison (Co.

Antrim) and George Guyer (Burnley).

To keep up to date on all Yamaha Neo

developments visits the Facebook fan page

at www.facebook.com/YamahaNeo or the

official website: uk.yamaha.com/neo

The United Kingdom Brass Band Alliance

(UKBBA) working party, nominated by the Brass

Band Summit in July 2010 to formulate an

umbrella organisation for banding in the UK,

received a timely boost this week with a show

of support from the Association of Brass Band

Adjudicators (ABBA).

Plans for a third Summit meeting were recently

put on hold when discussions reached an

impasse over the working party’s proposal that

entry to all major contests in the UK would be

dependent on each competing band being in

membership of its own national federation. The

group received a further setback in June with

the withdrawal of Kapitol Promotions, organiser

of the National Brass Band Championships

of Great Britain, as well as a number of its

regional associations deciding not to support

the proposals, while Butlins, although

indicating support for the UKBBA, announced

that it would not be implementing any entry

restrictions on its events in the near future.

Speaking on behalf of the ABBA, the

organisation’s Public Relations Officer, Malcolm

Brownbill, commented: “At the Executive

Meeting of the Association of Brass Band

Adjudicators, held on Monday 11 July, it was

unanimously passed that we as an association

should publicly acknowledge our support for

the formation of the proposed United Kingdom

Brass Band Alliance.”

ABBA’s announcement follows hard-on-the-

heels of support for the UKBBA proposals from

the Scottish Brass Band Association, while

BB understands that moves are being made

towards the formation of a Welsh body that

would represent the Principality on any future

UK umbrella group.

Trinity Girls triumph at Kiveton

Most Entertaining Band: Hade Edge Youth

Most Entertaining Item: Trinity Girls

Best unplaced 4th Section band: Oughtibridge

Andy Medhurst, Sherwood and Northants District Forest Management

Director, expressed delight at the continued success of the contest

and the support from the appreciative audience and confirmed that,

dependent on funding becoming available, the Forestry Commission

would be supporting the event again in July 2012.

Open house at NYBBGB

The National Youth Brass Band of

Great Britain (NYBBGB) has opened its

doors to all young brass players with

an invitation to attend its annual Open

Day during its summer course, held at

Repton School, Derby.

Speaking to BB on behalf of the

NYBBGB, Richard Robinson said:

“This is a great opportunity to

experience an insight into the NYBBGB,

where Britain’s finest young brass and

percussion players from across the

UK rehearse and perform. All children

who attend the open day will receive

a complimentary ticket to attend the

concerts at the Albert Hall, Nottingham

on Friday 29 July or the Victoria Hall,

Stoke-on-Trent on Saturday 30 July.

Anyone interested in attending should

contact Martin Armstrong on 07876

741944 or at armstrong_martin007@

hotmail.com, or Philip Biggs on 07710

505689 or at nybbgb@bandstand.

demon.co.uk

BTS launches composers’ competition

The British Trombone Society (BTS) has announced details

of its 2011/12 composers’ competition, which aims to

encourage composers throughout the UK and abroad to

write for the trombone. The competition is open to both

BTS and non-BTS members, and composers are invited

to write music for the trombone in one of six categories:

unaccompanied trombone, trombone and piano, trombone

and brass band, trombone and rhythm section or big band,

trombone quartet for junior players (under 16 years) and

trombone quartet for senior players.

All submissions must be made by 1 December 2011 and they

will be judged by a team of expert trombone players and

composers including Professor Philip Wilby, Dan Jenkins,

Andrea Price and Brett Baker. No submission should be more

than 15 minutes in duration. Entries can be made by email to

[email protected] in the form of PDFs

and an mp3 file, or as a Sibelius file (version 5 or lower).

Further details are available from Brett Baker at British

Trombone Society composers’ competition, 35 Yew Tree

Drive, Barnton, Northwich, Cheshire, CW8 4NH.

The winner of each section will have the opportunity for

the following: the publication of the composer’s score by

a music publisher affiliated with the BTS, performances

of the work at a major BTS event in 2012 and the Black

Dyke Festival on 20 May 2012 and an opportunity for

the piece to be recorded at a BTS event by leading UK

trombone players.

BB 2-3.indd 3 19-07-2011 15:59:34


ACCENT ON YOUTH

To see and hear the youth bands playing

in the brass bands day in Symphony Hall,

Birmingham, as part of the week-long

National Festival of Music for Youth, was

a life-affirming experience. These young

people, together with their teachers and

conductors, are building a future for

banding in a spirit of co-operation and

mutual support. The Music for Youth

organisation has taken banding to its

heart. It has released it from the arid

legalism of the traditional contest and

has resolutely put the music, the players

and the listeners first. It has transformed

a 19th century tradition and made it fit for

purpose for the 21st.

So:

there are no entry fees - they are • unnecessary because the credibility of the

festival makes it attractive to sponsors

there is no artificial limit to the size of • bands - bands have as many players as their

conductors choose

there are no age limits - bands decide their • age range for themselves

there are no set test-pieces - each band • plays its own-choice 20-minute programme

there are no adjudicators - instead there • are two mentors whose job is to identify the

positive aspects of each band’s performance

(they are assumed to be intelligent enough to

know what didn’t work)

the mentors sit in the open - that way • they can also give commendation for aspects

such as presentation and deportment (and the

deportment was unfailingly impeccable)

there are no points and no placings•

there are no monetary prizes - instead • two bands from each section are given special

commendations which put them in line for a

possible invitation to play at one of the Schools

Prom concerts in a ‘packed to capacity’ Royal

Albert Hall in November

bands are invited into the hall free of • charge to listen to each other as well as to

hear the feedback from the mentors. Generous

mutual appreciation replaces any hints of

mutual antagonism.

Everyone arrives knowing that this is not

a competition, it’s a week-long festival in

Symphony Hall and four other Birmingham

venues, with days devoted to all kinds of

ensembles, choirs, youth orchestras, wind

bands, jazz orchestras and groups. During each

day, the National Youth Music organisations

provide parallel workshops - the National

Youth Orchestra, Youth Choir, Youth Music

Theatre, Jazz Collective. Mark Wilkinsion and

Glyn Williams were also there as National

Youth Brass Band of Great Britain (NYBBGB)

tutors to give coaching sessions throughout

the brass band day.

The Festival also spills out into Centenary

Square, with the full variety of ensembles giving

performances of a commissioned piece - Play by

Tim Steiner, designed with an infinitely flexible

range of parts playable by any number and

combination of instruments and voices.

It was commendable to see the number

of bands which were being supported

by leading banding personalities, among

them Lee Rigg (Wardle), Ray Farr and Reg

Vardy Band (Ecclescliffe), Mark Bousie (St.

Helens), Richard Evans (Wigan), Brad Turnbull

(Northamptonshire) and Chris Turner (Greater

Gwent).

Twenty-two bands participated, with an overall

strength of 927 young instrumentalists, divided

into three sections - schools bands, music

centre bands and open (mainly county youth)

bands.

School Bands

Commendations in this section went to Wardle

High School and Smithills.

Wardle’s well-planned programme of

worthwhile music began with a stylish On the

Quarterdeck, with a mature sound and some

really delicate piano playing, followed by Peter

Graham’s Dimensions, which benefitted from

a huge horn sound and two superb cornet

soloists, and concluding with The Lost Chord.

Smithills and Chris Wormald took the risk of

putting all their eggs in one basket by playing

just one piece, a selection by the conductor

from the music of John Williams, played with

great élan and precision.

Music Centre Bands

Commendations in this section went to

Wigan and Youth Brass 2000. Wigan had

taken the risk of playing just one piece, Paul

Lovat-Cooper’s The Dark Side of the Moon.

The mentors, Eric Tebbett (formerly of the ISB

and GUS) and Keith Hewson, were especially

impressed with the way the band conveyed

the sense of mystery in the music. Youth

Brass 2000 has an age range of 8 to 18 and

Inspiring, nurturing and supporting young musicians at every level

the motto of Music for YouthRoy Terry visits Birmingham for one of the most important youth music festivals to take place in the UK

BB 4-5.indd 4 19-07-2011 16:00:07


ACCENT ON YOUTH

a skills range of Grade 2 to 8. They show how

a mixed-ability group can still give a high

quality performance. The all-round security

of technique gives a purity of sound, with

a strong horn section and one of the best

euphoniums and flugels of the day. James

Fountain gave a bravura performance of

Napoli (he had to hot-foot it to Grimethorpe’s

rehearsal as soon as the band came off stage),

and the band’s accompaniment was equally

sure-footed, thanks to the conducting of Adel

Hudson, ably deputising for Chris Jeans. Peter

Graham’s Cossack Wedding Dance showcased

the virtuosity of the euphoniums and the entire

solo cornet bench.

Also standing out in this section was St.

Helens, conducted by Mark Bousie in

vivacious performances of Vitae Aeternam

and Goff Richards’ arrangement of The

Saints. The integrity of the fortissimo playing

was particularly impressive and the flugel

soloist deserves a gold medal! The spirituality

communicated in the first piece came not from

any association of words but from the inherent

quality of the playing and the quality of the

music as music.

Open Brass Bands

In the final section of the day, honours went to

Northamptonshire and Greater Gwent. The

48 players of Northamptonshire (Brad Turnbull)

began with some classic cornet playing in the

fanfares of Ray Farr’s arrangement of Ein Feste

Burg, followed by some highly sophisticated

music-making in Steven Ponsford’s Cristo

Redentor. There wasn’t an ugly sound in sight,

Brad Turnbull’s clear direction producing a

clarity in the playing so that 46 players played

as one. This was a life-enhancing performance

fully worthy of Symphony Hall.

Every bit as exhilarating, the 70 members of

Greater Gwent played the most substantial

piece of the day, Simon Dobson’s Penlee. The

somewhat hyper compère, who seemed to have

seen his job as winding up the audience (every

teacher’s worst nightmare!), had been kept in

check by being given a script so that the scene

was appropriately set for this very serious piece

of music. The dramatic aspects of this score

were communicated without any loss of control

because there was a symphonic quality to the

interpretation which made the sometimes

disparate parts gell into a meaningful whole.

The expressive purpose of every aspect of

the score was clearly portrayed so that the

concluding Resurgam quote produced a

tangibly held silence.

It would be unfair to omit from special mention

Hampshire, which gave a good account of

Frode Rydland’s arrangement of Alfred Reed’s El

Camino Real, and Pembrokeshire, which played

a good light music programme which found

well-deserved favour with the audience.

All of the bands showed evidence of excellent

teaching. The first thing to strike the listener

was the essential tunefulness of virtually all

of the playing, the consistency in production

and the unanimity of style within sections.

Somewhat against expectation, the tightest

playing of the day came from the biggest

bands. The bands receiving commendations

were in the range of 40 to 70 players. In fact a

general rule emerged that the smaller the band,

the greater the problems of achieving good

ensemble and tuning. The level of consistency

found here is in contrast to the variability

evident in the National Final at the Royal Albert

Hall. Part of the challenge for senior bands

hoping to attract and retain young players is

to ensure that the direction they provide is

of good quality, and that the level of playing

is at least equal to that of these youth bands.

From my days working in summer music

schools, I know that one of the unintended

consequences of the music school experience

was that young players and singers returning to

their community bands and choirs can quickly

became disillusioned if there wasn’t the same

level of aspiration and achievement.

The quality of the music centre bands and

the county youth bands show why local

authorities are so important - this is authentic

localism which current policies seem set to

undermine. To their credit, the councils of

Northamptonshire and Greater Gwent have

maintained a rich programme of ensemble

work, with orchestras, wind bands, jazz

formations and youth choirs also performing

during the Festival.

If Michael Gove is looking for examples

of world-class educational practice and

achievement, he should have been in

Symphony Hall for this event. It was there that

the true strength and hope of the British brass

band movement was to be found.

BB 4-5.indd 5 19-07-2011 16:00:11


ACCENT ON YOUTH

Over the coming fortnight, no fewer than 356

young musicians between the ages of 12 and

21 will be developing their skills on brass and

percussion - and having a great time in the

process - at one of four residential courses

taking place between 22 July and 6 August. The

National Youth and Children’s bands of Great

Britain, Scotland and Wales continue to nurture

the future brass band stars of our movement

- and in this context I think that ‘movement’ is

wholly appropriate, since these organisations

are all about development and progression.

While none of the bands has enjoyed the high

profi le of the National Youth Orchestra of Great

Britain, with its annual BBC Prom appearances

and roster of international conductors, the

quality of the teaching and music making

on these courses has never been better and

deserves to be much more widely appreciated

and acknowledged than it is.

The summer course of the National Youth

Brass Band of Wales (NYBBW), which was due

to begin yesterday (22 July) in Malvern was the

fi rst to get underway. There are 55 members on

this course, under the direction of Dr. Nicholas

Childs, who has taken over the reigns from his

brother, Dr. Robert Childs. The continuity of

direction in all the national youth bands has

been one of their strengths, something that

clearly resonates with Nicholas, as he observed

to British Bandsman earlier this week: “I have

been lucky to have been a tutor and guest

soloist with Bramwell Tovey in the past, and last

year I helped to prepare the band for Edward

Gregson. I’m really looking forward to my fi rst

course as Artistic Director. I have a very hard

act to follow as Bob was there for the previous

decade. My ambitions are to develop the young

players who are a little older in age group

compared to the NYBBGB.”

The upper age limit of the youth bands in

Scotland and Wales is 21, allowing those in full-

time university or college education to continue

to participate. The NYBBW is very much a

hand-picked band, since, unlike some other

youth bands, and all players are auditioned by

the Artistic Director each year; so this year’s

repertoire has been carefully chosen to suit the

strengths of the current band. The coaching staff

is both strong and youthful, including principal

players from Black Dyke and Cory - Tom

Hutchinson and Paul Duff y (cornets), Sheona

White (horns), Chris Thomas (trombones), David

Childs (baritones and euphoniums), Matthew

Routley (tubas) and Alun Horgan (percussion).

David Childs is also the soloist, performing the

Karl Jenkins Concerto once again and also the

solo version of Peter Graham’s Brilliante. The

remainder of the programming juxtaposes

sacred and secular, classic and contemporary

in a satisfying balance. Dean Goffi n’s wartime

Rhapsody in Brass and Eric Ball’s tone poem,

Resurgam, are set against James Curnow’s

exuberant Trittico and Philip Wilby’s National

Children’s Band commission from a few years

back, Psalms and Alleluias.

Although the residential course is taking place

in England, the NYBBW will travel back home

for its two end-of-course concerts. The fi rst

takes place as part of the Margam Festival on

Wednesday 27 July in the Margam Orangery,

and the second on Thursday 28 July in the brand

new and much-praised Stoutzker Hall of the

Royal Welsh College of Music and Drama.

The 80-strong National Youth Brass Band

of Great Britain gathers today at Repton

School in Derbyshire for a week of intense

music making under the direction of guest

conductor, Allan Withington, who is making his

conducting debut with the band. With former

principal cornet, James Fountain, on tour with

Grimethorpe Colliery Band, there will be a new

occupant of the end chair, which has provided

such a valuable stepping stone for many a

cornet and trumpet star, from the late Maurice

Murphy to his successor at the LSO, Philip Cobb.

Working with Allan Withington at the NYBBGB

course in the coming week will be Martin

Armstrong (horns and fl ugel), Philip Goodwin

(basses), Mark Landon (percussion), Phillip

McCann and Mark Wilkinson (cornets), John

Maines and Chris Stearn (trombones) and Glyn

Williams (baritones and euphoniums).

Allan Withington is one of the most ‘in-demand’

brass band conductors in Europe at the

moment. Last week (14 and 15 July) he was

in Durham conducting his Norwegian band,

Stavanger, in a creative ‘fusion’ programme,

Bach and Beyond. Over the past few years with

Stavanger, Allan has enjoyed the creativity,

surprise, tension and sometimes revelation

of stylistic opposites. His eclectic approach

will certainly provide a challenge for the 2011

NYBBGB - one that Allan is looking forward to:

“The National Youth Band of Great Britain is

a great institution with some fantastic young

players. It must be our job then to help guide,

nurture and inspire this young talent. I am trying

to include three diff erent and distinct styles

in this year’s repertoire. Movements from Eric

Ball’s arrangement of Elgar’s Enigma Variations,

a new piece by Maurice Hamers and, to end,

a light-hearted reference to the beginning.

When Edward met Edvard at an Exhibition is a

sequence of arrangements and original music

by Norwegian composer, Jostein Stalheim.”

As the notes in the Stavanger Band’s recording,

Jabulani, tantalisingly puts it: ‘As far as we know,

Edvard Grieg never met Edward Elgar. Would

they have become friends? Would Grieg have

had the honour of having his initials written

at the head of one of Elgar’s compositions?

Would they have become more than just friends

or would this relationship have taken a more

sinister turn? What would Queen Victoria have

made of all this?’

While the great Norwegian romantic composer,

Edvard Greig, travelled to this country to receive

a doctorate from Cambridge University (10 May

1894), and went on to conduct a concert of his

music for the Royal Philharmonic Society in

London, he never returned to this country, so

the two great men didn’t meet, but they do here

Paul Hindmarsh previews the summer courses of the National youth and children’s b

BB 6-7.indd 6 19-07-2011 15:58:25


ACCENT ON YOUTH

in music, courtesy of the fertile imagination of

Jostein Stalheim.

The guest soloist this year is Katrina Marzella,

who will be performing the Concerto written

for her by Martin Ellerby and the two course

concerts take place in two fi ne 19th century

halls - at 7.30pm on Friday 29 July in the Albert

Hall, Nottingham and at 7.30pm on Saturday 30

July in the Victoria Hall, Stoke-on-Trent.

One of the success stories of young people’s

banding in the ‘noughties’ has been the

National Children’s Brass Band of Great

Britain. I am not usually lost for words, but

to describe a NCBBGB end-of-course concert

as ‘inspirational’, or ‘exceptional’ is rather too

clichéd and inadequate to convey the unique

atmosphere of these occasions. The band

includes many exceptionally gifted young

musicians among its 57 members. Percussionist,

Kieran Johnson, already plays for Black Dyke at

the tender age of 14!

Striking the right balance between education

and enjoyment rests in the expert hands of the

busy coaching staff , which this year comprises

John Doyle and Alexandra Kerwin (cornets),

Andrea Price (percussion), Matthew Routley

(tubas), Christopher Thomas (trombones), David

Thornton (baritones and euphoniums) and

Shoena White (horns).

Setting the tone for the week is the band’s

Artistic Director, Nicholas Childs (hot-foot

from Cardiff and the NYBBW). I asked him

to set the scene for us, beginning with his

aims for the week: “ …Unquestionably, to

create an environment that is enjoyable and

inspirational, allowing young people of a

similar age to celebrate each other’s gifts and

talents. It is a number of years since Peter Moore

was on solo trombone, but I remember his

mother expressing thanks for a great course

and allowing Peter to be ten! We have a new

composition from Paul Lovatt-Cooper with a

salsa inspiration, so during the week there will

also be salsa classes! The guest soloist will be

Sheona White, who will also lead a workshop,

and we have John Doyle’s ‘Sing for Fun’ choir, not

forgetting the fun and specially organised free

time which they share with each other.”

The NCBB’s fi nal concert (this year at 2.30pm on

Saturday 6 August, Repton School) never fails

to inspire with its blend of talent, skill and great

fun. It’s one of my favourite band events of the

summer.

While the youngsters of the NCBB are working

hard and having fun in Derbyshire, no fewer

than 164 talented brass and percussion players

north of the Border, will be benefi tting from

the expertise on off er in St. Andrews at the

annual summer course of the National Youth

Brass Band of Scotland (NYBBS). The youth

brass band ‘explosion’ that has taken place in

Scotland over the past fi ve years - the outcome

of the Scottish Brass Band Association’s

acclaimed youth development programme - is

now revealing itself in the numbers of young

‘banders’ eager to become part of the NYBBS

‘family’, which now boasts three bands, as Neil

Cross, the NYBBS administrator outlined for

British Bandsman: “Our Children’s Band, for

players aged 13 and under, will be about 35

strong this year. The band’ s conductor, Gordon

Evans MBE, will be assisted in particular by

a new member of the coaching staff , Jamie

McVicar. One of his tasks will be to work with

the more able players, stretching them in some

ensemble pieces. The Reserve Band, for those

over 13, but for whom there is simply not

space in the full NYBBS band, will be directed

once again by John Boax. We are expecting

over 60 players, who will receive the best

of encouragement from the coaching team

headed by Michael Robertson, conductor of

Carnoustie and District Youth Band and soon to

receive the Mortimer Medal for his work with

young brass musicians here in Scotland.

“Richard Evans will be at the helm of the

60-strong NYBBS for the 18th year. He has

only missed one summer course since he was

appointed musical director in 1992. He will be

working with a great line-up of tutors - Phillip

McCann and Archie Hutchison (cornets), Lesley

Howie (horns), Lyndon Baglin (baritones and

euphoniums), Mark Boyd (trombones), Les

Neish (tubas) and Mark Landon (percussion).

Paul Lovatt-Cooper is our very welcome guest

conductor. He’s going to work with all three

bands on one of his pieces, including Equilibrium

for the NYBBS.”

Also on the stands will be a classic arrangement,

Wagner’s Rienzi Overture, and a brass band

classic, Pageantry by Herbert Howells. Richard

Evans has also programmed a tribute to the late

Goff Richards - the test-piece, Oceans. NYBBS

includes in its ranks a fi ne young bass trombone

player and budding composer, Joe Walters. His

extrovert composition, Carpe Diem, is on the

concert programme for 6 August.

The special guest is the American trumpeter,

Rex Richardson, who will work with all three

bands and give a couple of masterclasses, as

Neil Cross continued: “Rex doesn’t know it yet,

but he’ll adjudicate our solo contest for the

Richard Evans trophy. At our Saturday evening

concert, he’s going to perform part of the

concerto written for him by jazz composer, Jim

Stephenson, entitled Rextreme. The orchestral

version received its world première last July

in Sydney and we will, I think, be giving the

brass band world première (although not of

the full piece). Richard and I are always keen to

introduce something new to the course and this

year, with Rex Richardson, it’s jazz!.”

All three bands will be performing in St.

Andrews on 6 August. The Children’s Band and

Reserve Band share an afternoon slot with a

3.00pm start. The NYBBS concert begins at 7.30

pm. Whether you are a parent, friend, supporter,

brass band enthusiast or all-round lover of good

music, well played, the summer courses and

concerts of the four National young people’s

brass bands are one of the musical joys of the

summer and open a window on the future of

the brass band movement we all wish to cherish.

n’s bands of Great Britain, Scotland and Wales taking place over the next two weeks

BB 6-7.indd 7 19-07-2011 15:58:32


TALKING POINT

It’s three o’clock on a beautiful afternoon and

I’m sitting at my desk overlooking the Emilia

Romagnian countryside, basically because at

38 degrees it’s too hot to be outside in the

garden any longer. Summer always catches me

unaware in Italy. Accustomed to London’s fairly

warm, fairly wet, fairly dry - sometimes not,

version of summer, the baking heat of northern

Italy half way up a mountain always comes as

something of a shock, as does the garden. Ugo

Vitali, a retired friend from the next village, had

spent a morning with us in late spring planting

onions, shallots, potatoes and garlic - all crops

that theoretically could look after themselves

while we were in London, but I arrived this

time, only a month after our last visit, to find

mayhem. First it had been too cold, then too

wet, too hot and, in the middle of the too hot

bit, there were two massive thunderstorms

that deposited hailstones a foot deep all over

the garden - so deep that all the local roads

were closed and so fierce that all the fruit in the

orchard was either blown off the trees or just

plain ruined.

Despite all the above, the weeds seem to grow

unfettered so most of this morning was spent

with the strimming machine (a Honda that

seems to chop down everything from small

trees to grass, but needs me to go on a fitness

regime just to pick it up) in an attempt to

find what is left to salvage from the problems

caused by the weather. All this keeps me away

from what is really important, like making sure

I get some trumpet practise done, and reading

the pile of novels that we have collected to

while away the warm hours on the balcony...

perhaps tomorrow!

What hours of mindless grass cutting and weed

culling do, is give you lots of time to think,

and with the many letters, articles, statements

and papers being published by this and that

organisation, either in magazines or on the

Internet, then the future of the brass band in

the United Kingdom has to be somewhere at

the forefront of those thoughts. I am told by

various people who believe that they know,

that there are grave problems in store for the

brass band culture in UK and if something isn’t

done about it, and soon, it will all descend into

chaos, or words to that effect. Because of the

nature of my work, I am privileged to see and

work with brass players of every level, from the

young and inexperienced to the not very good

and ancient, as well as the very best in between.

I have just been involved in presenting a

concert celebrating the 50th anniversary

of Alder Valley Brass - what was called the

Aldershot Brass Ensemble when George Prior

first conducted it in 1961. The concert was in

the Princes Hall, Aldershot, on the same sunny

afternoon as the men’s final at Wimbledon, yet

there was a sizeable audience who seemed to

enjoy every minute of it. With great aplomb,

Roger Burke conducted a full band of regulars.

Gordon Campbell, who had served in the Royal

Corps of Transport Band with Roger, was the

guest soloist, and a good time was had by all.

Lots of people who had been involved with

the band over the years were there, as were all

George Prior’s children who had played with

the original band and had travelled from all

over the world to celebrate and remember. So,

there didn’t seem to be a lot wrong there. The

reason they asked me to be involved is that, in

the 1960s, I conducted Guildford Silver Band,

which was Aldershot’s local rival, but because of

our proximity, great friends too, and when that

band fell on bad times in the 1970s and 80s lots

of players changed allegiance. Now Guildford

has a band again in the shape of Friary, and

with a gifted and able young conductor is a

settled and committed group that has just

made it back into the Championship Section.

Not a lot wrong there either!

When I started playing again (chronicled in my

last article for BB), I went along to a local band

to see where I was at, and sat on 2nd cornet. All

around me were people in their middle years

enjoying playing for a good conductor who

treated them with respect while getting more

out of them than they thought possible. It was

a tremendous evening, made better by being

among like-minded adults who were all giving

of their best in a quite unstinting manner. What

was really impressive was that, despite my

complete inability to offer anything worthwhile

to the proceedings, they treated me with

respect, offered friendly advice and generally

made me feel better about the whole business

of playing again. Not a lot wrong there either

then!

Michael Robertson, who conducts and teaches

in Carnoustie, has just been awarded the Harry

Mortimer Medal by the Worshipful Company of

Musicians in recognition of his work with young

people, and that’s wonderful. However, there

are people doing the same up and down the

country, not all with the success of Michael, but

all introducing thousands of young people to

the fun of banding. The National Youth Brass

Bands of Scotland, Wales, and Great Britain are

all over subscribed, so there can’t be much of a

problem there either!

In May, I was one of the adjudicating panel at

the Spring Festival in Blackpool - three sections,

each with 20 bands and all oversubscribed by

groups that all have the ambition to work their

way up through the sections until they are in

the British Open in September. Bands from all

over the country are clamouring to be involved,

so there’s no problem there either!

In June, I was in a packed Royal Albert Hall

to celebrate the 120th anniversary of the

International Staff Band of the Salvation Army.

From two o’clock in the afternoon, the eight

staff bands from round the world paraded their

It’s that time of yeby Frank Renton

BB 8-9.indd 8 19-07-2011 16:00:34


TALKING POINT

talents then all came together for a massed

concert in the evening that was, at times, quite

stunning. There didn’t appear to be much

wrong there either!

So, where, and what, is the problem, how can it

be indentified and who can put it right?

Tradition is a wonderful thing. It binds us

all together by shared experience, and by

providing a view of the past it allows us

to shape the future. When the best of the

experiences are used as the template for the

future it can lead to exciting things happening.

When tradition is used as a blanket to smother

new development, and to stifle innovation, then

a less successful outcome is inevitable.

I can remember as though it was yesterday

going to London with Black Dyke to play in my

first National Championship Final. Eric Ball’s

Festival Music was the test-piece and what an

occasion it was for a teenager. A year later, we

won the British Open, playing for the first time

under Major George Willcocks. Ten years later,

I conducted Guildford Silver Band and won

the 4th Section at Hammersmith Town Hall,

and ten years after that I conducted at both

my first ‘Open’ and National Championship

Section Final with Wingates. It was all part of a

shared experience with so many people and all

within the developing tradition of the banding

culture in the UK. The memory of those events

is so intense that they could all have happened

yesterday, but in fact they started in 1956 - 55

years ago! Perhaps we have to find what made

those experiences so intense and use it as a

template for the future. Unfortunately, however,

that was all destroyed.

I can remember playing in the great massed

band concerts in the Royal Albert Hall - an

entertainment for 10,000 happy souls (the

RAH filled twice in one evening, as well as for

the contest during the day!) who were thrilled

by the sheer sound of it all. Then it seemed as

though suddenly they became educational

events, with the programme reflecting modern

brass band culture rather than ‘entertainment’...

that word again! Guest conductors from the

orchestral world became a thing of the past and

good people from the band world took charge.

Great PR I’m sure, but not nearly so much fun,

and the audience figures reflected it. Then some

bright spark decided that it was too difficult

to organise all the sections in London on the

same day and devolved the Lower Sections

from the Championships. In one fell swoop, the

whole concept of a wonderful festival of brass

that took place in London on a given day in the

autumn was ended, and the world outside our

closed community lost interest.

Perhaps we have arrived at the central problem

facing the brass band, that nobody except

those involved, or who were in the past, is

actually interested anymore, and that sounds

too glib to be true. The audience figures speak

for themselves, though. Fifty years ago, the

audiences were not interested bystanders, but

people involved in banding, so there is one

area where a great tradition has been lost,

perhaps through carelessness, perhaps through

someone not having the will to tackle a difficult

situation and make it work. If the awareness of

the general public is the problem, perhaps the

powers that be have to work harder to create

a truly National festival of brass that will prove

interesting and attractive to those not directly

involved with the culture.

I seem to remember that there were few

guidelines when I started out. The band decided

who was going to be in it, which competitions

we were going to attend and which

commitments were too much to take on. The

contest organisers picked the music and the

judges and we abided by their decisions. There

was a registry of players and bands were not

supposed to play anyone who was registered

for another band or, more importantly, wasn’t

registered to them. I don’t remember it being

a problem. Now we have a major competition

to select the band that will represent England

in the European Championships, and bands

playing in it can borrow principal players from

other bands! How can that be right? Perhaps

the traditional way was better after all.

None of this matters to the vast majority of

bands. The players are there for personal

enjoyment - the sheer fun of making music with

other like-minded people. They quite enjoy

going to a contest a couple of times a year, but

it’s no big deal and they do get a bit bored with

having to rehearse one piece of music a lot,

at the expense of being able to play through

lots of more interesting music. They want to

be part of a better band; there is no point in

practising otherwise, but it’s a gradual process

and enjoying it is more important. They would

just like to be left alone to get on with it in their

own way.

Then there is the small minority of bands that

need the oxygen of publicity to keep their

empires going.

Maintaining the tradition of invincibility has

become more important than making music.

The kudos and financial gain from competition

success has become essential to keeping

these semi-professional bands on the road,

so competition success has become more

important than audience approval in the

concert hall. Perhaps all that is wrong with the

brass band is that at the highest level it has

become distant from the reality of popular

culture, and giving pleasure has become

secondary to the need to be winners!

Perhaps the band culture has become too

insular. Perhaps there are too many composers,

conductors and adjudicators who have never

gone outside the brass band culture and played

in orchestras that have had to wrestle with

Wagner, Puccini, Bruckner and Mahler, not to

mention the staple diet like Mozart, Beethoven

and Brahms. Those who have never had to

interpret anything bigger than a 15-minute

test-piece are less likely to have the awareness

to build an intellectual arc that can captivate

the listener and enliven the players. Neither are

they likely to be aware of the kind of musical

perfection sought by the best professional

ensembles of all genres, from Jools Holland

(what an eye opener that was) to the London

Symphony Orchestra, from Mnozil Brass to the

Vienna Philharmonic.

Perhaps the brass band needs to begin looking

outwards again, to find what people enjoy and

then find a way of delivering it. Maybe it’s time

for some of the top brass bands to come down

from the pedestal that they have created for

themselves and join the common herd again.

Now that would be a good starting point for a

progressive banding movement!

year again!

BB 8-9.indd 9 19-07-2011 16:00:39


BRASS ROOTS

A dream will come true today (23rd) for Tony

Blain, Co-ordinator of the City of Chester

Training Band, when the band performs in

Hyde Park, one of London’s prestigious Royal

Parks. In 2010, Tony contacted the organiser of

events in the Royal Parks and asked whether

the Training Band could perform in London to

mark the tenth anniversary of its formation. It

proved impossible to get the band to London

in 2010, but the organiser scheduled it into the

2011 concert programme and this afternoon

it will play on the bandstand in Hyde Park,

under the baton of Steve Cutler, whose musical

background is in The Salvation Army and the

Royal Green Jackets. Birkenhead-based Steve

will have the support of his wife and two sons,

who all play in the Training Band.

Formed in 2000 to encourage young people

aged from seven to 70 to learn to play a brass

instrument, it is the training arm of the City of

Chester Band and undertakes engagements in

its own right. Since formation, a good number

of Training Band members have graduated into

the main band. Áine Jackson has gone even

further and has progressed to the Cheshire

County Youth Band/Orchestra and the National

Youth Brass Band of Great Britain (NYBBGB).

Áine is attending the summer course of the

NYBBGB at Repton School, Derbyshire and

will be unable to be with the Training Band in

London.

The visit to London will also see Training Band

members visiting Wellington Barracks as guests

of the Band of the Scots Guards and later

visiting Buckingham Palace to watch the Scots

Guards perform the ceremony of Changing of

the Guard, as well as taking in a West End show.

Quite a month then for Tony Blain and his wife,

Paula, for their eldest daughter, Kirsty, and

son, Nick, have just obtained LL.B and B.Sc

degrees respectively. On coming down from

Aberystwyth University, Kirsty has returned to

play with the bands and she will be playing in

Hyde Park along with her younger sister, Jessica.

Tony and Paula will also be celebrating their

silver wedding anniversary!

Anyone interested in playing in the Training

Band should contact Tony Blain on 01244

398468.

PolySteel Youth Band (PYB) has launched its

new website at polysteel-youth-band.webs.com.

PYB is a community youth brass band based in

Cheltenham, which offers young aspiring brass

instrumentalists access to high quality tutors

and conductors, together with opportunities

to perform with the band at prestigious and

unique concerts, all in a friendly and enjoyable

atmosphere. Under the helm of composer

and conductor, Tom Davoren, the band is

looking to increase its ranks and provide this

opportunity to as many players in the area as

possible. He commented: “If you are aged

up to 19 years, have your own instrument

and play to Grade 2-3 standard or above in

brass and/or percussion, then PYB is the band

for you to extend your playing experience,

technique and social network of brass-playing

friends in your age group. We have no limit

on the number of players in any section,

as long as we can all fit in the hall!” PYB is

looking to create strong partnerships with

Gloucestershire Music, GBBA and schools in

the Gloucestershire area and can be contacted

at [email protected]

Willson UK Euphonium Artist, Charley

Brighton, will be soloing through Europe in the

next three months.

From today (23rd), he will be soloist with the

BBC Elstree Winds in Ostend and Bredene

music festivals, then to Royan in France in

August with the Brass Reflections Ensemble.

September takes him to Turin, Italy with the

Staines Salvation Army Brass. Whilst there, he

will donate four instruments from his collection,

to a young brass beginners group.

In addition, his 43rd recital at St. Mary’s Slough

takes place in August for which he has lined up

no less than three recently acquired vintage

euphoniums on which to perform.

Plans are also underway for Charley to return

to Virginia, USA next spring, when he will be

guest soloist with the Henrico Concert Band. He

previously toured and presented masterclasses

there in 2008.

Cranbrook Town Band is today (23rd) holding

a ‘Sponsored Blow’ in Cranbrook. As a part

of the local community, the band provides

free brass tuition for pupils in three local

primary schools as well as giving a number of

free concerts for local and national charities

during the year. The aim of the event is to

raise enough money for the band to be able to

continue to offer both of these activities.

The band aims to play outside the Hospice

in the Weald (next to the George Hotel) in

the centre of the town and will perform

continuously from 9.00am until 7.00pm.

However the members are allowing themselves

a ten-minute break every hour. Should it

be raining, the event will take place in St.

Dunstan’s Church during the morning and then

move to the Vestry Hall and take over from the

Farmer’s Market in there for the afternoon and

early evening.

The BB Issue No. 5669 11 June included a report

on how Wilton Royal British Legion Band

paid tribute to its oldest member, Jack Dwan,

by staging a concert in his honour. Jack, an

ex-Royal Marine bandsman and now 94 years

old, has played cornet in the band for over 65

years. The article was read by Mike Priscott,

aged 72, who realised that Jack was his teacher

60 years ago, and had introduced him to the

world of brass bands, with the then Salisbury

City Silver Band. After all this time it was a real

privilege for Mike to travel from Bath to meet

his tutor again, and attend a band practise at

Wilton, playing alongside Jack. Not many have

the opportunity to express their thanks for their

early training after such a time gap.

Jack was amazed to be shown an album,

Famous Cornet Solos, from Chappell (three

shillings and sixpence!), on which 60 years

before he had written comments and advice.

His tuition had included stressing the

importance of the need to play with feeling,

not obvious at the age of 12.

Wilton Royal British Legion Band’s practise

evening with Jack was most enjoyable, and

Mike was assured of another warm welcome at

any time. To view the concert, visit

www.wiltonband.co.uk

Friday 8 July saw the launch of a series of

workshops at Sellers International Youth

Band. Designed to give the youngsters a broad

yet intensive approach to music, the first one

was a huge success.

Chris Bradley, principal percussionist of Opera

North, led Sellers players through a rhythm

workshop. Chris’s warm nature ensured that

the players responded and grew in confidence

and skill throughout the evening. Starting off

with basic clapping, the class progressed to

more complicated rhythms and eventually to

BRASS ROOTS

BB 10-11-12-13.indd 10 19-07-2011 16:04:22


BRASS ROOTSimprovisation using their instruments.

Sellers MD, Alexandra Kerwin, said: “It is both

my, and our co-conductor, Simon Kerwin’s

aim to give the band as many diverse music

experiences as possible. It benefits the band of

course but it also is of huge importance to the

players in their music education. Many thanks

to Chris; he was a delight to work with.”

Plans are in progress for the next workshops

including, jazz, singing and classes led by

leading players beginning in the Autumn.

President of the British Trombone Society (BTS),

Brett Baker, is inviting all trombone players

to attend a recording of trombone ensemble

music on Wednesday 27 July at the Adrian

Boult Hall at Birmingham Conservatoire, where

the first ever BTS trombone choir recordings

will take place. This is to introduce the BTS

Membership to a variety of ensemble music

and encourage groups to come together and

play. The membership is invited to join in on

the activities from 6.00pm onwards.

Brett would also like to highlight four further

BTS days taking place in the Autumn after a

busy start to the year, they are:

Sunday 11 September 2011: Northwest /

Midlands / North Wales BTS Day

featuring Davur Juul Magnussen, principal

trombone of the Royal Scottish National

Orchestra, Brett Baker and the Black Dyke Band

Quartet, Stephen Lomas (bass trombone) and

Porthywaen Silver Band - Porthywaen Silver

Band Hall, Oswestry.

Sunday 18 September 2011: Wessex Trombone

Day featuring Stephen Sykes, John Pritchard

and Brett Baker - Pimperne Village hall,Near

Blandford Forum.

Saturday 1 October 2011: East Riding

Trombone Day featuring Brett Baker, James

Stretton, Richard Walker, and Stephen Lomas -

The Hexagon Music Centre, Beverley.

Sunday 2 October 2011: East Anglia Trombone

Day and Annual General Meeting - Oundle

School, Peterborough.

It has been quite a year for the members of

Test Valley Brass. The band has performed

at Royal Wedding celebrations, St. George’s

Day Parade, travelled around and presented

taster sessions to local Cub and Beaver packs,

taken part in a tug of war competition at the

Houghton Poppy Party, been ten-pin bowling

and also to Laser Quest, held duck races to

raise funds, contested in the 3rd Section of

the Regional Championships at Torquay along

with performing with Steven Mead. On 22 July,

the band was due to set off to perform in York

Minster and at Alton Towers.

However, this dynamic group just doesn’t stop

pushing the boundaries. Last weekend, Test

Valley Brass Youth Band had no less than five

young musicians conducting and leading the

band at the concert, totally without assistance.

A fantastic first for Test Valley Brass!

During the past few months, as part of its

education scheme, the band has introduced

conductor training. The Test Valley Brass

Education Scheme has been designed to

compliment and link with that of Hampshire

Music Service, along with examining bodies

ABRSM and Trinity Guildhall. The conductor

training helps the young musicians understand

the importance of the whole band working

together and performing as a team, along with

helping them have an understanding of some

of the techniques used prior to moving on to

further studies if they so wish.

Alec Grimsey of Test Valley Brass said: “This

is a first for us and, I believe, for many brass

bands, to introduce conductor training to our

education system. The young people have

really enjoyed it and risen to the challenge.”

He added: “I don’t believe other bands offer

this and it allows those learning conducting to

have a greater understanding of a brass band

and how all the instruments work together.

It also helps these young people grow as

individuals and help with their self confidence

and leadership qualities as they have total

responsibility for the whole band when

conducting. This can be quite a challenge.”

New roadside signs have

been installed in Queensbury,

near Bradford, celebrating

the village’s most famous

occupant - Black Dyke

Band. One has been put on

each of the four main roads

leading into the village to

put both it and the band

‘on the map’. The signs have

been sponsored by a local

company. Among other

bands celebrated in similar

ways are Black Dyke’s local

rival, Brighouse and Rastrick,

and Wingates. We would

be delighted to hear of any

others.

On Friday 1 July 2011, Solent

Fellowship Band presented a charity

concert at Portsmouth Citadel Salvation

Army Corps. The concert commenced

with the band playing a march,

Wonderful Day (Steven Ponsford). Major

Cedric Hills (Corps Officer, Portsmouth

Citadel) welcomed everyone to the concert,

after which the band played, Trumpet Tune

(Purcell, arr. Ray Steadman-Allen) and Troika

(arr. Alan Fernie).

Also on the programme was God and God Alone

(Phil McHugh), Count your Blessings (Brindley

Boon - trombone soloist: Steve Jones), Deep

Harmony, a horn feature Thine Alone (James

Curnow), Can you Feel the Love Tonight (Elton

John and Tim Rice, arr. Frank Bernaerts) and

Love Changes Everything (Andrew Lloyd-

Webber, arr. Stephen Bulla).

The band concluded the first half of the

programme with The Blessing (William Himes).

The march, To Regions Fair (Norman Bearcroft),

a further congregational song and Light up

the Sunshine (Joy Webb, arr. Maurice Ozanne)

followed the interval.

People need the Lord (Greg Nelson and Phil

McHugh, arr. Tom Fettke, trs. Howard Davies)

and two works by Dean Goffin, The Light of the

World and Anthem of the Free concluded the

programme.

Further information regarding the band can be

found on its website:

www.solentfellowshipband.co.uk

BB 10-11-12-13.indd 11 19-07-2011 16:04:24


BB 10-11-12-13.indd 12 19-07-2011 16:04:26


BRASS ROOTS

Fairlop Brass is pleased to announce that its

first Christmas Concert of 2011 was a great

success!

The concert was held at The Old Parkonians

Sports Club on Friday 1 July, when an excellent

audience enjoyed a traditional festive evening

of carols, Christmas music and tinsel. This event

originated from a flippant remark made by

the band’s Musical Director, Kevin Jordan, last

December. The painful decision to cancel the

Old Parks annual Christmas was made due to

the poor weather. The car park was under a foot

of snow and access was impossible from the

main roads. At this point, Kevin said: “One of

the problems of staging concerts at this time of

year is the weather. The only way round this is

to hold the concert in the summer!” From that

point the whole thing snowballed!

The concert was excellent preparation for the

band, which this summer is recording its third

CD, which will feature Christmas music.

Christmas seems to start earlier and

earlier every year, with some of the major

department stores opening their Christmas

departments in August - Fairlop has started

just one month earlier!

Sunday 26 June was a busy day at the Royal

Northern College of Music (RNCM), with young

brass players arriving from all over the country.

This year, because Black Dyke Band was not

performing, resting after its triumph in Preston,

the event had a different flavour, including a

collaboration with the British Trombone Society,

as well as the usual wide range of events for

young participants.

The day was led by Nicholas Childs and John

Miller, with additional events devised by BTS

president, Brett Baker. Following good brass

practice, the first session was participatory,

with a choice of three warm-up events, full of

wonderful ideas for young players.

A noon concert was a shared event, starting

with a debut appearance of the brass band

of Junior RNCM, conducted by Les Neish and

Maria Molund, a Norwegian Masters conducting

student at the RNCM. This ensemble has grown

to full strength in the last year, and fielded 30

players in a high-impact performance. It was

followed by Chetham’s School Brass Band,

conducted by both David Thornton and David

Chatterton, who showed a polished and highly

musical approach to their performance. It is

wonderful that such institutions take brass band

and ensemble performance so seriously as part

of musical development.

The lunch break was serenaded by the Black

Dyke trombones on top form, with strong chops

after Preston, and this preceded a number of

afternoon masterclasses. Two of these were

generously hosted by Besson Instruments,

which supported Dr. Roger Webster and Les

Neish. I witnessed two spellbound groups

of young players watch and listen to these

exceptional communicators and performers. I

am further pleased that Les will be involved in

an ongoing role as Besson Visiting Tutor of Tuba

at RNCM, with four visits each year, in addition

to his pivotal role in the Junior school with the

brass band.

The day concluded with a Nicholas Childs

vintage special - a varied programme given by

the RNCM Brass Band. Following an opener of

Heaton’s Praise, the concert connected with

the British Trombone Society through Brett

Baker conducting a slick performance of Philip

Sparke’s Concerto Grosso. This was followed by

trombone soloist, Stephen Sykes, playing the

Langford Rhapsody. A radiant reading of Shine

as the Light was followed by a fond farewell to

various students who are leaving RNCM after

their studies, including Austrian Christoph

Blatzer, American Aaron Rivkin, as well as

familiar British banders, Rebekah Caldwell and

Mike Wells, who are moving on from their

outstanding studies in Manchester. Meanwhile,

the day’s participants took their places on stage

for a massed performance of 1812 to bring the

day to a close.

Roll on the RNCM Festival of Brass 2012…

John Miller

Les Neish workshop

Combined Junior RNCM Bands and Chetham’s School Brass Band

BB 10-11-12-13.indd 13 19-07-2011 16:04:36

WIRELESS BRASSWe take every possible precaution to ensure the accuracy of the details

given below. However, we cannot be responsible for changes to stated

times or running order.

Wednesday 27 July, 2130-2200. BBC Radio 2

Listen to the Band. Lucy Pankhurst is a young and innovative composer

who has seen one of her pieces ridiculed by a British audience then

applauded to the roof in America. Playing tenor horn herself, she believes in

giving today’s musicians something interesting and new to play while still

respecting the traditions of brass band writing. She talks to Frank Renton

about her award-winning music, the place banding has in her life and the

music she’d like to write for it in the future.

Listen to the Band is available all week via Radio 2’s website at

www.bbc.co.uk/radio2. Click on the playback section to hear the show, on

demand, for a week following transmission. Also available on the BBC iPlayer

by selecting Radio 2.

World of Brass Radio. John Maines introduces a weekly one-hour

programme of the best of international banding. Commencing on Fridays, the

rolling programme of the most recent two shows can be accessed 24 hours a

day, seven days a week, 52 weeks of the year on www.worldofbrass.com (then

click on the WOB Radio link) or www.worldofbrass.com/wobradio

This week’s programme includes: International Staff Band of The Salvation

Army (Dr. Stephen Cobb): Fanfare and Flourishes (Martin Cordner); Black

Dyke (Dr. Nicholas Childs): Peter Schmoll (Weber arr. Howard Lorriman),

Only For You (Paul Lovatt-Cooper - soprano cornet soloist: Paul Duffy); Cory

(Dr. Robert Childs): Ghosts, Goblins, Witches and Wizards (Darrol Barry);

New Mexico Symphony Orchestra: Bolivar (Eric Cook - trombone soloist:

Joe Alessi); Cory (Robert Childs): The Corsair (Berlioz); Black Dyke (Nicholas

Childs): One Day (Paul Lovatt-Cooper - flugel horn soloist: Zoe Hancock);

Household Troops Band of The Salvation Army (John Mott): True Courage

(Norman Bearcroft); Grimethorpe Colliery (Richard Evans): Little Fugue in

G Minor (J.S. Bach); Black Dyke (Nicholas Childs): Immortal (Paul Lovatt-

Cooper).

Local Radio for next weekSunday 17 July, 1905-2000. Sounds of Brass. FM frequencies: Bristol

94.9, Cornwall 95.2, Devon 103.4, Gloucestershire 104.7, Guernsey 93.2,

Jersey 88.8, Swindon 103.6, Wiltshire 104.3.

Available on the Internet at 1905 British time or at any time for seven days

after the broadcast. To hear the programme, access www.bbc.co.uk/devon

and click on Listen Live or Listen Again.

Phillip Hunt presents a programme of brass band recordings and news.

This week’s programme includes: Enfield Citadel Band (Jonathan Corry):

Battle Ready (Roger Trigg); Black Dyke (Nicholas Childs): Donna Diana (Emil

Nikolaus von Reznicek arr. Howard Lorriman); Foden’s (James Gourlay):

Amazing Grace (arr. William Himes), Shenandoah Fantasy (Jay Chattaway

arr. Todd Fiegel - trumpet, soprano cornet and flugel horn soloist - Jens

Lindeman); Cornwall Youth Brass Band (Allan Withington): The Rother

(Gareth Churcher), The Last of the Mighty Few (Simon Dobson); Japan

Staff Band of The Salvation Army (Hajime Suzuki): O Happy Day (arr. John

Larsson); Cory (Robert Childs): Ghosts, Goblins, Witches and Wizards (Darrol

Barry).

Requests and comments are welcome at e-mail: [email protected]

Monday 25 July, 2100-2200. Manx Radio

Time for Brass. Frequencies 97.2, 89 and 103.7 FM and 1368 AM and

worldwide on www.manxradio.com

Click on Listen FM or Listen AM for the programme at the time of broadcast

or on Listen Again for a week following transmission.

Ian Cottier presents a programme of brass band music and comment.

Sunday afternoons – weekly. Live show at 1300-1500 BBC Radio Leeds

and 1300-1400 on BBC Radio York.

Yorkshire Brass. David Hoyle presents a programme of brass band

recordings and listeners’ requests.

Listen live online at www.bbc.co.uk/radioleeds or BBC Radio Leeds FM

frequencies 92.4, 95.3, or 103.9. BBC Radio York FM frequencies 95.5, 103.7

or 104.3. Also available on the BBC iPlayer.

PROFESSIONAL NETWORK


RICHARD PHILLIPS. Dip RCM, ARCM. Conductor, Adjudicator,

Composer, Arranger. 161 Butland Road

Oakley Vale, Corby, Northants, NN18 8FN

Tel:Tel: 01536 741447 Mob: (07905) 383645.

Email: [email protected]

STEVE PRITCHARD-JONES. FTCL LTCL DipMusEd G.Mus

LDBBA QTS. Conductor, Adjudicator, Teacher

12 Greenacre Road, Copthorne, Shrewsbury, Shropshire,

SY3 8LR. Tel: 01743 270489 07834 855064


Web: www.stevepritchardjones.com

JOHN ROBERTS. conductor, adjudicator (member of ABBA)

17 Belfry Court, Outwood, Wakefield WF1 3TY

Tel 01924 871413 Mobile 0773 672 1939


MARK SCOTT. Composing and Arranging

Telephone mobile: 07595917466


Website: www.juicybrainsmusic.co.uk

NIGEL G. SEAMAN. ARMCM, ARNCM, Conductor, Teacher and

Adjudicator. 3 Garth View, Bedwas, Caerphilly, CF83 8EW.

Tel. (02920) 851198 or Mobile. (07779) 329446.


ROY SPARKES. MISM, TECH(CEI) MIE, Conductor, Adjudicator,

NABBC and ABBA member.

76 Lear Drive, Wistaston, Crewe, Cheshire, CW28DS.

Tel. 01270-569290. Mobile. 07788 166777.


RAYMOND TENNANT. DRSAM, Dip.NCOS. Conductor and

Ajudicator. 1 Newark Drive, Paisley. PA2 8NU.

Tel. (0141) 589 6466 or 07860 102708 (mobile).

STEPHEN TIGHE. ARCM, MLIA (dip), FPC, LDBBA,

Conductor, Band Trainer, Adjudicator.

11 Linfold Close, Braintree, Essex, CM7 9FB.


07970 458079 (mobile).

BARRY THOMPSON. Conductor, Adjudicator, ABBA member

15 Hall Park Avenue, Crofton, Wakefield,

West Yorks., WF4 1LT. Tel. (01924) 863523 or 07773 950964

ROGER B. WEBSTER. 92 Bence Lane,

Darton, Barnsley, South Yorkshire. S75 5DA.

Tel/Fax 01226 388806. Mobile 07973 157907

Email: [email protected].

MELVIN WHITE. GLCM, LTCL, ARCM, Conductor and

Adjudicator. 25 Sinclair Way, Darenth, Nr Dartford, Kent

DA2 7JS. Tel. (01322) 293230 (home). 07802 796630 (mobile).

DENNIS WILBY. Conductor and Adjudicator.

“Marden” 83 Lion House Park, Mill Road, Hailsham, East

Sussex, BN27 2SE. Tel/Fax. (01323) 449083.

(Mobile) 07762 889520.


DR. KEITH M. WILKINSON. 4120 Meadow Knoll Road,

Delaware, OH 43015, USA.

Tel./Fax. 00 1 740 879 3789.

www.alumcreekmusic.com


JOHN WINTERFLOOD. ARCM, LGSM, Conductor and

Adjudicator. 103 Drove Road, Swindon, Wilts. SN1 3AE

Tel. (01793) 421511.

CHRISTOPHER WORMALD. Conductor, Adjudicator,

Arranger, Horn Soloist, ‘Steinbach’ 42 Sandileigh Drive,

Sandfield Park, Bolton BL1 8UF. Tel/Fax. (01204) 307555.


BRITISH ASSOCIATION OF CHRISTIAN BANDS.

Secretary: Mike Priscott,

370 Bloomfield Rod. Bath BA2 2PD 01225 832041


THE ASSOCIATION OF BRASS BAND ADJUDICATORS.

Secretary: C. Brian Buckley,

81 Galbalfa Road, Sketty, Swansea. SA2 8ND.

Tel: 01792 205896 Website: www.abbadjudicators.org.uk

THE BRITISH FEDERATION OF BRASS BANDS.

National Office, Unit 12, Maple Estate, Stocks Lane, Barnsley,

South Yorkshire. S75 2BL. Tel. (01226) 771015.

Fax: (01226) 771482. Website: www.bfbb.co.uk

EUROPEAN BRASS BAND ASSOCIATION.

Ulf E Rosenberg, President EBBA

Mobile 47/92 86 63 00, Tel. O 47/51 50 18 26

Øvre Strandgate 75 Fax O 47/51 89 30 05

N-4005 Stavanger, Norway


Internet: www.ebba.eu.com

NATIONAL ASSOCIATION OF BRASS BAND CONDUCTORS.

Secretary: David Ruel, 4 Chippendale Close, Blackwater,

Camberley, Surrey, GU17 9DS.

Tel: 01276 31074. Email: [email protected]

NATIONAL YOUTH BRASS BAND of GREAT BRITAIN.

Philip Biggs, Administrator, 2 The Coppice, Impington,

Cambridge, CB4 4PP. Tel/Fax (01223) 234090.


Website: www.bandstand.demon.co.uk

SOUTHERN COUNTIES AMATEUR BANDS ASSOCIATION.

Secretary: Ian Carter, 10 Church Rd., West Drayton, Middx.

UB7 7PT. Tel: (01895) 420007


ORGANISATIONS

P to Z

BB 14-15.indd 24 19-07-2011 15:59:46

The leading international brass band magazine Incorporating Brass

Band News, British Mouthpiece and International Bandsman

Managing Director

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Contributors and consultants

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David Thornton

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Carl Woodman

Malcolm Wood

Editorial

Telephone: 01506 882985

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Telephone: 01933 445474


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Although we welcome unsolicited editorial contributions, photographs and artwork, we

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ISH

the leading international brass magazine

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before the desired publication date.

Make this space work for you by advertising in British Bandsman classified. Telephone: 01933 445474

INSURANCE

MIDLAND CDWe hold one of the world’s largest selections of brass &

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Order on-line at www.ukcd.net

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Tel: 0044 (0) 121 244 4605 or 6

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CDs

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DIARY DATESADVERTS

A list of forthcoming events that have been advertised in British Bandsman.

JULY

31-6 August - Swansea. International Brass Band Summer School.

29 - Nottingham. National Youth Brass Band of Great Britain, 7.30pm, Albert Hall.

30 - Stoke-on-Trent. National Youth Brass Band of Great Britain, 7.30pm, Victoria Hall.

AUGUST

6 - Repton. National Children’s Brass Band of Great Britain, 2.30pm, Repton School.

7-13 - Suffolk. Brass Band Summer School, Framlingham College.

26 - Croydon. Black Dyke Band, 7.30pm, Croydon Citadel Salvation Army.

SEPTEMBER

4 - Birmingham. Brass Band Gala Concert, 2.30pm, Symphony Hall.

10 - Manchester. Leyland Band, 12.00pm, Bridgewater Hall.

10 - Manchester. The National Children’s Brass Band of Great Britain, 2.30pm,

Bridgewater Hall.

10 - Manchester. The Fairey (Geneva) Band, 4.15pm, Bridgewater Hall.

10 - Manchester. The Great Northern Brass Arts Festival – Gala Concert, 7.15pm,

Bridgewater Hall.

10 - Hendon. London Central Fellowship Band, 7.00pm, Hendon Salvation Army.

17 - Cornwall. National Youth Brass Band Auditions, 12.30pm, St. Dennis Bandroom.

17 - Colchester. Stan Ford (piano), Dudley Bright (trombone) and Enfield Citadel Band,

7.30pm, United Reformed Church.

OCTOBER

1 - Dunstable. Brighouse and Rastrick Band, 7.00pm, The Grove Theatre.

16 - London. Music by the British Association of Christian Bands, 10:45am, Westminster

Methodist Central Hall.

23 - Leicestershire. National Youth Brass Band Auditions, 12.30pm, Ratby Bandroom.

NOVEMBER

5 - Manchester. National Youth Brass Band Auditions, 12.30pm, University of Salford.

12 - Sunderland. National Youth Brass Band Auditions, 12.30pm, University of Sunderland.

19-20 - Gateshead. Brass in Concert Festival, The Sage.

APRIL 2012

14-15 - Mechelen. Flemish Open Brass Band Championships, Theatre of Mechelen.

MUSIC FOR BRASS BAND by JOHN LAWES

Please phone 0118 988 2526 or07739 709 413

FOR A CATALOGUE

A selection of good second-hand band and

orchestral brass instruments available.

For details, please telephone 07974 412269

2 x BBb bass Yamaha, 4-valve, £650.00.

1 x BBb bass Sovereign 994, 4-valve,

offers welcomed. Also, several Eb basses,

contact 07974 412269

BandsmanBRIT

ISH

the leading international brass magazine

INSTRUMENTS

YES, GO AHEAD AND GET A SUBSCRIPTION!

BEAMINSTER ROYAL BRITISH LEGION Presents a concert with

Fairey (Geneva) Bandat St. Mary’s Church, Beaminster, Dorset.Sunday 18 September 2011 at 2.30pm.

Tickets £10 from M.Greenham 18 Higher Green, Beaminster, Dorset, DT8 3SE.

Tel. 01308 862493. Please send a S.A.E

SHEET MUSIC

Visit Steven Mead’s

website:

www.euphonium.net

For Sale. Bb Euphonium JP274 mk11. Silver Plate. Mid Range Intermediate.

Only used a dozen times.

As new in lightweight case.

SRP £880. Yours for £575 ono.

Must collect. Newbury. Berks.

Tel. 01635 248987 or 07831 705589.

BB 14-15.indd 25 19-07-2011 15:59:50

Phil Lawrence was born in Liverpool and began study of the trumpet with his father who played in the Salvation Army as a boy. At the age of 16, Phil became Principal Trumpet of the Merseyside Youth Orchestra, staying with the orchestra for 6 years. Phil subsequently attended the Royal Northern College of Music for post-graduate studies in trumpet, conducting and composition. During this time, he joined the famous CWS (Manchester) Band and also played with the Halle and BBC Philharmonic orchestras.

On leaving the professional trumpet scene after 14 years, Phil began a new career as a full-time composer which has led to well over 200 credits for television, radio and fi lm, working with brands such as Nike, Classic FM, The Times, Wrigley’s, Smarties, Ibuleve, National Savings and Royal Bank of Scotland. Phil has also composed music scores for a variety of fi lm genres including sci-fi and martial arts.

For more information visit; www.elmsstudios.com

WORLD OF BRASS - THE HOME OF BRASS SOUND

THE MUSIC OF PHIL LAWRENCE

1. As recorded by Richard Marshall on CD24606 Blaze.2. As recorded by Fairey Band on CD24883 It’s Not Unusual.

3. As recorded by Fairey Band on CD24883 It’s Not Unusual.4. As recorded by Fairey Band on CD24883 It’s Not Unusual.

1. Blaze – Concerto for Cornet and Brass Band 30034 £49.95

Cornet and trumpet sounds have been changing for some years. They have become heavier, more robust and have slower vibrato. The dynamic level now achieved by the average solo cornet player is 30% more than it was 35-40 years ago. This is mainly due to the bore of instruments and mouthpiece sizes (i.e. larger), the demands that modern day works for band place on the player/soloist, the greater variety of styles to be mastered and progressive teaching methods. The technical styles in Blaze are about these changes.Blaze blends symphonic blowing styles of the trumpet wih the virtuosic atrributes of the modern cornet player. Most solo cornet parts in works for brass band (more past than present) are clearly defi ned between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this and it is this range which has been incorporated into this concerto. The low register is much explored and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# (optional!). The ideology of this blend makes sense as the original dedication is to Rod Franks, Principal Trumpet of the London Symphony Orchestra and former member of Black Dyke Mills Band.The concerto exceeds ten minutes in length and is in one continuous movement comprising four sections and a solo cadenza. The style is quintessentially 21st century English with an element of nostalgia (modal/old English) thrown in. There are some hints at jazz and rumba with romantic English at the heart of the slow section.Blaze is very bold, the title itself refl ects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment, just as a matador stands alone in the ring for the fi rst few seconds. He looks as the massed crowd in defi ance thinking, “you are here to see me die”, so the soloist stares back at the audience and opens with the richest, largest sound (not loudest) one can muster, thus throwing down the gauntlet to the ears of all who might disbelieve what they are about to encounter; a gladiatorial cornet, a Blaze from the stage. For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of overall control, a test beyond the reasonable! For the listener? Of course, a Blaze never to be forgotten.

2. A Day in the Life of a Knight 29980 £49.95

The opening scene would depict standing on the battlements of a castle, hearing the thundering hoofs of our brave knight’s horse miles in the distance. His arrival is expected and his reputation is known across many lands. Today, he is to joust amongst mere mortal knights and compete for the hand of the fair (and local) princess. He vanquishes all competitors and wins the day.The scene moves to evening and court where reception and dance is to be held for our winning knight. Both knight and princess become centre of attention during the dance, their eyes only for each other.At last, the knight has a chance to be alone with the princess as they steal away from the celebrations to a starlit rampart above the castle gardens where the knight declares his everlasting love and pledges his life and honour to her. He asks for her hand while monks pray in the chapel below hoping for union. She says ‘yes’! It is announced in court, then trumpeted from the battlements.Day breaks and our knight is brought word of evil doings back in his own land. He leaves word to the princess that he will be back soon to take her hand. The trouble back home was a ruse to get him away from the princess so that one of the vanquished, a dark knight in the previous day’s joust, can summon a dragon to kidnap the princess for his own. As the truth of the deception reaches our knight, he quickly returns to face the varlet that has taken his lady. This time, it’s not a joust but a fi ght to the death with the dark knight and dragon. Our champion proves he’s the best once again and wins the day and the hand of his princess for ever!

3. The Wizard 29981 £34.95

The Wizard is a dignifi ed march with a difference, inspired by the best brass band marches and two of the great English composers of grand orchestral marches, Sir Edward Elgar and Sir William Walton.

4. A Long Ride in a Static Machine 29983 £34.95

Inspired by the composer’s experience of the M25 motorway, this quirky up-beat concert item takes both band and audience on a journey featuring the sound of roadworks, juggernaut multi-horns, fender-benders and Police sirens!

BB 16.indd 16 19-07-2011 16:01:28

issue no. 5675 - 23 july 2011 - the leading international … · written applications detailing...

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