BANDS’ SECOND TEST

Greymouth Evening Star, 26 February 1927, Page 7

BANDS’ SECOND TEST

GREYMOUTH PLACED FOURTH COMMENTS ON THE PLAYING (Special to "Star.") WELLINGTON. Feb. 26. Fine weather and a huge attendance greeted the bands of the A grade, for the playing of the second test selection “Gounod.” It is a splendid brass band selection, as good probably as has ever been heard in New Zealand as a test number. Most of the music is fairly well known, especially the excerpts from “Faust,” which include the brilliant “Jewel Song ’ in which all the cornets excelled, several displaying exceeding artistry. A synopsis of the work shows the following: “Gainst the Power of Evil” (Faust) Cornet recit.; “I Wish I Could But Know” (Faust); “The Calf of Gold” (Faust), for euphonium; “Hast Thou Seen” (“Le Reinede Saba”) for Trombone; “The Jewel Song” (Faust) for cornet, trio from finale (Faust), “Holy Angel,” “Death of Valentine” (Faust) for euphonium, “To Part Is Such Sweet Sorrow” (Romeo and Juliet), “The Foundry Scene”, “Now the Billows of Flame” (La Reine de Saba), and finale from “Mirella.” The selection is highly dramatic, and requires a. fine team of both soloists and ensemble players. The rendering by all the bands was really good, the leading performances being especially inspiring. The bands drew to play in the following order: Wanganui Garrison, Queen Alexandra’s Own, St. Kilda Municipal, Woolston, Kaikorai. Port Nicholson, Wellington Tramwiys, Greymouth Municipal and Ist Canterbury Mounteds (Ashburton). HOW THE BANDS PLAYED. Wanganui Garrison. (Conducto” Watson): A great opening, full and depicting the dramatic mood finely. A transition passage for the bass end of band was not quite level in intonation, and there were a few flaws in

this way, and in lip mishits. During the general rendering, all ensemhi - were grand, and operatic treatment nicely in evidence. The cornet work was brilliant in “The Jewel Song,” and the trombone and euphonium good, except that the trombone smudged a passage in his cadenza soprano. The cornet put in telling work. The work in the operatic final, Margerita awaiting her doom in prison, was wonderfully fine. Splendid euphonium playing was forthcoming in the part portraying Valentine’s death and in a

later cadenza, and the solo playing was successful to the end. excellent band work being heard in, the “Mirella” overture finale, a worthy performance of the old time Wanganui champions. Queen Alexandra’s Own, Wanganui,

(Conductor G. Buckley): As on the first evening, this band opened very solidly, and well in tune. Care marked the general performance where more abandon would perhaps have been appropriate. The rendering no doubt was very fine from a band viewpoint, but. it. fell a little short in the operatic sense. Great work was in evidence in all sections, gild the intonation was always commendable. A few little lip flaws were noticeable, not serious however. The performance of “The Jewel Song” was very fine, but again it did not suggest the operatic conception.. It was kept too straight, and again ap absence of the spirit, of abandon, and it might have been more brilliant. The speed was somewhat slow. The basses were splendid and euphonium and trombone good in their work. The performance was musical and' careful with a smart and exhilarating ending. St. Kilda Municipal (Conductor J. Dixon): A splendid band opening of the dashing order. As viewed from the operatic standpoint the tempo was hurried. The effect was very fine, as it was in “The Calf of Gold” (for euphonium), in which also a some what fast tempo was set, but the band never relaxed its grip, and the more brilliant the rendering, the better the bandsmen rose to their task. “The Jewel Song” was splendid technically., and so was all the solo and ensemble work, the latter being always dashing. Viewed from operatic standards, m >re restraint was needed. The superabundance of con. abandon spirit might have gone to the previous band with advantage. The ending was a great piece of band work in rapid aments.

Woolston (Conductor R. Estall): A magnificent opening, well in keeping with the subject. Massive tone of richest quality, and the intonation all that could be desired. The transition bars were excellent, clearing the way for a characteristic rendering of “The Calf of Gold,” by the euphonium. The succeeding trombone solo, from “La Reine de Saba” was expressively sung by the trombonist. Superb playing by cornet and the whole band was forthcoming in “The Jewel Song.” The succeeding movement received highly dramatic treatment. Grand band work all along and operatic to a degree, so far as a brass band can portray opera. The rubato touches throughout the work were in good taste and performance was inspiring. The last movement was of an electrical . character. There were just a few minor lip flaws detectable, the only detractions from a noble rendering of a grand selection. Kaikorai (Conductor Franklin): The opening was of the dashing order, rather too fast considering the subject, but the succeeding movement depict-

ing Margerita in her home was in quieter vein, musical and operatic in style. The “Calf of Gold” was also speedy, brilliant band work predominating. The euphonium declaimed the solo well, and the trombone was expressive in Pascal’s number from “La Reine de Saba.” hut the cadenza was not flawless. The beautiful “Jewel Song” wanted a touch of abandon to ensure complete success, otherwise it was finely portrayed. The prison scene and the great ensembles were noble pieces of band interpretation, and the playing tone of the band was lighter than Woolston’s. A few ragged notes were heard through the work. The finale was brilliant, a very fine all round rendering. Port Nicholson Silver (Conductor Johnston): A somewhat hurried opening, but the effects all very fine and the tone big and massive. Margerita’s home music was very sweet and the touch of suppressed excitement at Faust’s attention neatly portrayed. The “Calf of Gold” movement for euohonium and ensemble band went well, a capital piece of brass band work. The trombone produced a full warm singing tone in the “La Reine de Saba.” Except that the cornet solo received traditional treatment with expressive tone vibrating with colour

and life, there was a little unfortunate mixing in the “Faust” finale and a few mishits were heard, just causing slight jarring effects. The euphonium solo work in the death of Valentine was well in keeping with the subject. The tenor horn was pretty in his solo from “Romeo and Juliet,” and the duet and concertal were beautifully portrayed. The finale from “Mirella” was smart and generally the rendering was of brilliant order.

Wellington Tramways (Conductor H. Berry): The opening movement was in fast tempo, considering the subject, 'but the band workmanship was good. The tonal quality and intonation were both very pleasing. The euphonium excelled in the “Calf of Gold” movement, and the trombone and cornet were effective in their solos “The Jewel Song” being portrayed brilliantly. The big chorus movements were dramatic and the whole performance was meritorious.

Greymouth Municipal (Conductor, A. McMasters) : An opening in quieter vein to some of the big toned combinations (that preceded this band. The playing was very precise and the lights and shades all admirably observed. The intonation always commendably level. The solos by the trombone and euphonium were very neat, and the ensembles also received refined treatment. The “jewel song” was played expressively by a chaste toned cornetist, with a neat obligato by the soprano. All went well subsequently, care exercising the general rendering, with a smart finale. This band was well balanced and neat in the accompanying parts ,a good performance..

Ist Canterbury Mounted Rifles, Ashburton (Conductor, Lieut. W. IT. Osborne) : The opening was somewhat fast, blit was fine band work and nice tonal quality. Margerita’s heme scene was prettily depicted, and the suppressed excitement of the heroine effectively suggested. The “calf of gold” was treated in good operatic style and the following heavy ensemble was given with full musical tone. The solo work was good, especially the “jewel song,” which was the best rendering of the evening, probably from an operatic viewpoint. All playing to the end was excellent; an all-round good standard performance. JUDGE’S AWARD. Second Test “Gounod,” first prize £4O, second £2O. third £lO. fourth £5. Queen Alexandra’s Own ... ... 1 Woolston (Christchurch) ... ... 2 S>t. Kilda (Dunedin) ... ... 3 Wanganui Garrison ... ... ... 4 The aggregate first prize is £l4O, second £B5, third £5O, fourth £3O, fifth £l5. The following are the positions so far:—

Best Trombone. —(Woolston Band

OTHER RESULTS

Quartet Competition : Of the forty quartet parties entered, only six played for some reason unexplained. Woolston No. 1 party, which would have proved, hard to beat in any case, won, scoring 80 points. The party compriesd Tregilgas and Barbour (cornets) and Wilson (tenor horn), and Hughes (euphonium). St. Kilda was an honourable second, only one point away, and then followed Woolston No. 2, 88 marks; Dannevirke 84, Petone Citizens 83, and Invercargill Citizens 82. The contest will be brought to a close to-day with the quickstep competition in the afternoon. If the weather is fine it is anticipated that 25,000 people will assemble at the Athletic Park. In the evening, the champion of champion solo will take place and the presentation of prizes.

~t/2 Ch C/2 r CD 65 Queen Alexandra’s Own 90 92 182 Kaikorai, Dunedin Woolston, Christchurch 88 82 170 80 88 168 Greymouth Municipal ... 86 79 165 St. Kilda, Dunedin 78 86 164 Port Nicholson Silver ... 77 84 161 Wanganui Garrison 76 85 161 1st Canterbury, Ashb’rton 76 83 159 Wellington Tramways ... 75 81 155 The following awards were made :— Cornet and Euphonium. Alexandra’s Band. —Queen