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2016 European Brass Band Championships
Five souvenirs from Lille

Amid the triumphs and disappointments there were a few other things that made you stop and think in Lille...

Sparke and Harper
Awards all round for Philip Sparke and Philip Harper

A victory for bravery

It may seem curious to call the world’s number 1 ranked band ‘brave’ when it comes to a major contest appearance, but Cory’s victory in Lille was surely that and more.
 
In the past two years Philip Harper’s usual laser guided own-choice musical radar had been off beam: His own composition ‘The Divine Right’ and Wilfred Heaton’s ‘Partita’ seemed curious picks given the growing trend towards the epic blockbusters that were being performed with almost freakish virtuosity by their main rivals.

And more than a few eyebrows were raised when it was announced that he was returning to the pen of Philip Sparke for his 2016 assault. Hadn’t he become passé - a composer of yesteryear at an event that was embracing the musical exotica of the future?

Where others would surely mine the William Blake inspired dark recesses of the subconscious mind, sci-fi stories and re-workings of medieval chants, Philip Harper opted for a waltz.  

It was a remarkably brave decision to return to a compositional genre (organic rather than episodic) that seemed to be from a bygone era, when refined style mattered more than leviathan substance.

However, ‘Raveling, Unraveling - The Search for La Valse’ was an inspired piece of composition and an equally inspired choice. It deserved a contesting George Cross. 

Now everyone else is wondering what Cory and their MD will come up with next...


Spot the Welshman
We are all Europeans now...

All together now...

English players performing for a German band, Norwegians for Belgians, Welsh for Austrians, Swiss for English...even New Zealanders and Aussies thrown into the mix for good measure.

We are all Europeans now.

Amid the usual opinions and viewpoints about the lack of a coherent registration process that can underpin the whole of European contesting, we shouldn’t forget that unless EBBA decides to become a true governing body the European Championships will remain a contest that sees bands represent nations and not themselves.

And if we really want it to be a European-wide level playing field of ‘one player, one band, one contest’, it is EBBA that will have to take the lead and formulate a registration system that is both transparent and equitable.

Until then the brass band version of the Schengen Agreement will continue to hold sway.


Tertnes
All inclusive please...

Kids go free

If the European Youth Championships are to become an integral part of the annual EuroFestival, then EBBA must surely ensure that the participants are not treated with a disdain that bordered on being cynically exploitative.

Adult players may well want to spend their Euros in the nearest bar rather than dig deep into their pockets to pay to listen to rivals perform, but it was a woeful decision to charge 20 Euro each for young players to be able to sit in the hall and listen to rival bands on the Sunday in Lille.

Not only did it rob the contest of a vibrant atmosphere (which contrasted so starkly when everyone was let in for free for a truly wonderful results ceremony with the European Youth Band at its core), but it sent out a terrible message of inequality and exclusion to those taking part.

EBBA will need to ensure it is not something that is repeated in future.


Italian
Prizes, banners and vouchers...

Prizes 

It’s a bit of an old chestnut when it comes to this event, but EBBA can surely look at a more equitable way of dishing out its prize money.

Jeremy Coquoz won the European Solo Competition title and walked away with 3,000 Euros in cash (out of a cash prize fund of 7,500 Euros). 

Cory on the other hand was crowned Champion Band of Europe and ended up with 1,000 Euros and an instrument voucher worth 7,455 Euros (the cost of Besson Prestige euphonium). They also got a plate.

Meanwhile, the Challenge Section champion got 1,000 Euro (plus a voucher worth 6,200 Euros) whilst the winners of both the European Youth contests received a few souvenirs and absolutely nothing to cash in at the airport Bureau de Change on the way home.

Elite bands need a new euphonium or flugel as much as Real Madrid players need new football boots for winning the Champions League. They invariably get sold as soon as possible anyway to help pay the hotel costs of competing at the event.

Whilst sponsorship support is essential, surely the instrument vouchers could be used in the Youth Sections (and what a neat marketing ploy that would be), whilst the cash (and each band does get 1,000 Euros for taking part) could be more inventively proportioned to the main prize winners in the Championship and Challenge events.

It could also leave more than enough to make sure the solo/composer/conductors have something to compete for as well.



Interactive
Making the right connections...

Making things interactive

The French contest organisers, the Nouveau Siecle Concert Hall, and EBBA did many things so well in Lille - although the one thing they failed to ensure was that the event fully embraced the interactive technology of the 21st century.

Wi-fi internet connections in and around the auditorium were terrible (despite assurances that things would be OK), whilst the live broadcast streaming suffered for a second successive year through technical mishaps. Meanwhile, the EBBA Brass Forum was a great idea crippled by lack of time, focus and essential equipment.

In an age when we are all dependent on interactive social media technology (4BR especially) the event seems to be missing the opportunity to get things right in different, but interlinked, spheres.

Hopefully in Ostend in 2017 we won’t have anything to worry about; the wi-fi will be as quick as the Eurostar train, the live broadcast as robust as anything the BBC could manage, and EBBA will utilise the skills of Ian Anderson Gray, who gave a tantalising glimpse into future possibilities at the Brass Forum before having his interactive portal cut off in its prime...



Contest: Swiss National Championships

Saturday 26 November • Stravinski Hall, Montreaux. Claude-Nobs 5, 1820 Montreaux, Switzerland 1820


Boarshurst Silver Band - Diggle Community Brass

Sunday 27 November • Boarshurst Band Club. Greenbridge Lane. Greenfield. Saddleworth OL3 7EW


Mereside Brass - Tatton Park Farm when Father Christmas is visiting

Sunday 27 November • Tatton Park Farm. Knutsford. Cheshire. WA16 6QN (Sat Nav WA16 6SG) WA16 6SG


Dobcross Silver Band - The Hammonds Band

Sunday 27 November • Dobcross Band Club. Platt Lane. Dobcross. Saddleworth OL3 5AD OL3 5AD


Regent Hall Concerts - Band of the RAF Regiment Symphonic Brass Ensemble

Friday 2 December • Regent Hall (The Salvation Army). 275 Oxford Street. London W1C2DJ


Greenfield Brass Band

November 24 • We are a friendly, progressive 3rd Section Band based in Saddleworth and are looking to fill the following positions prior to the North West Area.. Bass Trombone,. Solo Baritone,. Percussion (Tuned or Kit) . . Rehearsals Mon & Thurs at Friezland Bowling Club


Mereside Brass

November 23 • Mereside Brass (Rudheath, Northwich) are looking for a front row CORNET, possibly PRINCIPAL for the right player. We are a friendly 4th Section band, currently not contesting but with a sensible calendar of jobs and band social events


Easingwold Town Band

November 22 • . We are a 4th Section band with vacancies for soprano cornet, front-row cornet and Eb bass. We offer a friendly welcome at our bandroom in Easingwold, 12 miles north of York (postcode YO61 3DB). Rehearsals Monday 7.30 to 9.15 p.m. Come for a blow!


Howard J Evans

MA (Dist), Mus.B (hons), ARCM (hons), LRAM, LTCL, PGCE
Conductor, composer, arranger, tutor and pianist


               

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