BANDS CONTEST

Evening Star, Issue 22274, 27 February 1936, Page 16

BANDS CONTEST

HARD WINS FIRST TEST ST. HILDA FOURTH [Per United Press Association.] NEW PLYMOUTH, February 26. High praise for the leading bands in the first A grade selection in the New Zealand band contest to-night was given by the adjudicator, Mr A. Baile, of Sydney. Tiinaru Municipal was placed first, Cairns Citizens second, and Woolston third. Though the night was fine, a high wind decided the officials to hear the test in the Opera House, which would not hold those seeking admittance, Mr Baite said the playing of the leading bands was equal, if not superior, to that he had heard in the same test piece, ‘ Oliver Cromwell ’ (Geehl) at the Crystal Palace contest in 1924. Seven A grade bands competed, and the judge placed them for the first selection as follows : Tiinaru Municipal 1. Cairns Citizens 2Woolston 3. St. Kilda (the holder) 4, Wanganui Garrison 5. Port Nicholson Silver 0. Nelson Garrison 7. EUPHONIUM SOLO. 1 Capuletti ’ (Barlow). 0. Williams (Wanganui Garrison), 92 points 1 A. Smith (Port Nicholson;, 91 ... 2 H. Cotton (Nelson Garrison), 88 ... 3 Twenty competed. TENOR TROMBONE SOLO. ‘ Brilliant ’ (Ord Hume). L. M. Camithcrs (Greymouth Municipal), 95 points 1 R. Hall (Kaikorai), 93 ... 2 J. R. Marshall (Dunedin Artillery), 92 ... ... 2 The judge commented that he had heard excellent playing by artists of skillHOW THE BANOS PLAYED (From our Special Commissioner) NEW PLYMOUTH, February 26. . Wanganui Garrison Band (Conductor, It. Francis). —The opening bar was nicely in tune. There was a tendency to play the movement a shade too fast at the beginning. A more dramatic tempo was taken after the first 16 bars. The flutter tongueiug chords before No. 3 were not too well balanced. The allegro was taken at a good tempo, and the nuances were nicely treated. The movement between Nos.. 8 and 9 was a shade too quick; otherwise it was quite an effective section of the test. The approach to the andante was nicely played. The coi'net .opened nicely here. There was a tendency to exaggerated expression marks. The held notes at the maestoso were not observed. The remainder of the movement was played with taste. The muted effect leading to the fugue was '■•nicely played. The fugue itself opened well at a brisk pace, and the imitation points were brought out quite well. The bassrs could have been a bit cleaner in tnis movement. The approach to the allegro (No. 23) was a little ponderous, but the attack of this movement was good. At the poco tranquilio the band made a ritenuto, but one is not marked in the score. The comet at the andante con espressiono played beautifully, and the soprano also stood out nicely. The subito crescendo at 30 was not observed. However, the following crescendo was good. The nobilmente and part was richly played. There was a tendency to overblow at, times towards the close of the selection. A good solid performance, something like the Wangauui Garrison of old. Nelson Garrison (Conductor, T. H. Hughes).—A dramatic opening, the so--prano nicely in tune and the nuances well treated. The trombones were a shade too heavy at times. The flutter tongueing was not accurately played before No. 3; otherwise the movemeut was fairly well played. The allegro appassioiuita was taken at a nice stately tempo. This movement swings along nicely. At the allargando and maestoso the cornets were blatant at times. The forte and piano chords before the andante (at 11) were excellently portrayed; and again the band made a feature of the conclusion of the movement. The allegro (12-8) was quite a good movement, with the trombones nicclv balanced. Towards the approach of the andante (molto espressione) the horns lapsed slightly in the bar before the cornet melody. The band appeared to be tiring a little hero. The final was a feature of the selection so far. iho cornet at the andante played well, but was inclined to overdo the crescendo marks; otherwise well played. The tonuto notes at the maestoso before 13 were not observed. Quite an effective movement, the muted close good. The fugue was musiciauly treated, and a fine body of tone was noticeable in the coda. One section of the test sounded better, the grandioso being particularly good. The basses could have been richer throughout the heavier passages; still it was a very good effort, and in the last few bars' a rich tonal quality was produced. A surprisingly good performance. Port Nicholson (J. Drew, Conductor). —The opening, lento c dramatico, was delightfully expressed. The band was nicely in tune, and all the nuances were beautifully treated. The contrast between the triplets and quavers was well portrayed, and the horns were rich—a fine beginning. In the allegro the rhythm swung along nicely, the cornets playing tastefully throughout, and the accented notes being treated with care. The soprano missed occasionally. The ftugel horn produced a nice tone when playing with the tenor horn after No. B—a rich maestoso. Tho basses were good towards the close of this movement. The cornet effort at the following andante was tasteful. The band gave an excellent stringendo loading up to maestoso in this movement. Here the muted effect was very good. The fugue was very finely played each voice being pronounced distinctly—a tip-top movement with a delightful lento at the conclusion. The horns were fine here. The following allegro was well played, with a most peaceful lead into the andante (next movement). Tho horns were good here, also the euphonium solo. The cornet played tastefully in the lead up to the nobilemeut and grandioso. Tho hand retained a full, riel) Lone lo the cud. 'fhe final bar ; were good an inspiring por-

St. Kilda Municipal (Conductor, A. W. E. Webb). —Soprano and cornets opened well. The band was lighter in tonal quality than the previous competitors, but played the first movement in a pleasing manner. Perhaps a little more dramatic effort would have been better. Still, the hand interpreted the nuances delightfully, very well in tune. The allegro opened nicely and very sweetly, and continued to be melodious throughout. A tendency was observed to overlook the tonuto notes before the allargando, but it was qujto a tasteful presentation. More contrast might have been made between the quavers and the triplet crochets at tho approach to the andante. Jn this movement the band played artistically, and delightful accompanying work was introduced. The cornet was sweet before the muted section. The fugue was taken very brightly and tho nuances were well treated. A nice, stately maestoso followed, in which tho trombones played with colour, The lento was nicely subdued. The allegro opened smoothly, hut was a shade on the heavy side. Still, the movement was attractively played. In the following andante the horns wore a shade heavy at tho opening, but produced a beautiful quality notwithstanding. This band worked up to a noble grapdioso, tho soprano and euphonium and bases standing out here. A fine finish, and the band should score heavily here. The final chord was very tuneful. A splendid performance. The band played bettor towards the close of the selection. All the. soloists performed well. The opening tone was light but richer in quality as the test progressed. Cairns Citizens, Australia (Conductor, J. Compton).—Good opening chord at Number 1., slightly over-bal-anced, but well in tune. A dramatic presentation of this movement followed. Occasionally the tenuto notes were ignored. The expression marks were well treated. The allegro was played in a delightful manner, tunefully and with taste. The treatment towards the end of this movement was effective. There was a slight tendency to overblow on the top end of the band, particularly in the heavier passages. The basses produced a rich tone before the andante. Here the soloist played well. The fortissimo at the maestoso is marked for two full bars, but tho band dropped to mezzo-forte in the second bar; a nice close, the muted effect cleanly played. The fugue was taken at a brisk tempo, the various voices introduced with decision; a very good movement. In the following allegro (No. 23) a lilting rhythm made the movement most effective. The band got very robust at times. However, the contrast in expression marks was most noticeable. The soprano missed slightly in the third bar after 29. This player produced a lovely tone. The grandioso -was well played. A very full toned hand and a most colourful performance. Woolston (Conductor, R. Estall).—A bold opening, the bass end of the band being exceptionally good. The euphonium was good, and the ensemble work was very fine indeed. The following allegro was played in a smooth, distinctive manner, and the maestoso was well treated. Tho various solo sections of the band played well from 8 to the close of ,the movement. - The trombones played attractively just before the andante, in which movement the solo 1 cornet played delightfully. The maestoso before No. 13 was richly played, and the dolce agitato sections approaching the fugue were musicianly treated, the muted effect being most tuneful. The fugue was excellently portrayed, the ensemble in the coda of "the fugue was nicely compact—a delightful close to this movement. The following allegro was smoothly played, the nuances being nicely treated. The band was a little heavy in the tranquilio section before the andante, at .number 28, This movement was effectively rendered. The allargando nobilmente : and the grandioso were delightfully played. A dramatic performance with plenty of colour, the hand rich in tone throughout. A most distinctive effort. Timaru Municipal (W. H. Osborne, Conductor).—The soprano missed the top G, but made an excellent recovery. The band was surprisingly full in tonal quality. The first movement was played in a dramatic manner. Tho flutter tongueing was not accurately played, and the ropiano three bars before number 4 could have stood out more. The movement, however, was well played. In the allegro, the hand was at times a little ponderous, the trombones overpowering the cornets occasionally. A rich volume of tone was presented in the lead-up to the lento. The trombones were effective in the approach to the andante and the basses were good here. The andante was quite well played, but the poco stringendo was exaggerated. The following maestoso was attractively presented. The soprano was a little too robust in the allargando. The fugue was played with vigour, the- various voices cleanly played; a good coda. The following allegro was sweetly played, the nuances being nicely treated Throughout this movement and. also in the following andante. The sopiaho- was nice here, also the solo cornet, j There was a fine approach to the grandioso. A good finish, and tho performance was most creditable.