CHAMPION BAND
WANGANUI WINS AGAIN GREYMOUTH PLACED THIRD (Special to "Star.”) CHRISTCHURCH, February 24. The A grade bands completed their playing for the New Zealand i championship at the King Edward Barracks this evening, before another attendance of well over three thousand. The second test piece’ comprised parts 3 and 4 of the wonderful Rimsky-Korsakoff symphonic suite “Scherazade” Part 3 opens with the love story of the “Prince and Princess,” the lyric being portrayed by the cornet muted and the euphonium. Part 4 depicts revellers .in the “Festivities in Bagdad,” and the sea scene in which the story tells how the vessel is overwhelmed and sinks to the depths with her human freight. The wonders of the music made appeal, and it is generally admitted that fhe work marks a fresh standard and a new era in New Zealand’s band world. Selections bf this type will do much to raise band music to a much higher plane. There was never much doubt as to who would win, the 'success of the Wanganui Band being very popular. The* judgment is practically a repetition of Mr Helliwell’s at Wellington last year, so far as the first four •bands are concerned, the only change being that this year the plucky and improved Greymouth Municipal Band' has displaced Woolston from third position. Kaikorai and Greymouth put up consistent performances this evening.. The prize for the best bass goes to Kaikorai. The following is the order in which the bands appeared, with comments on the playing. 1 GREYMOUTH MUNICIPAL. Greymouth Municipal (A. McMaster, Conductor)The story of the “Prince and Princess,” which opens with a solo for the cornet muted, was nicely described, albeit the tone of the muted cornet was rather strong. This band did not use mutes, on the first night and lost some points in consequence No'doubt, want of rehearsal with the mute was the cause of the strong tone. Once over these, the band soon began to appear in its true colours and beauties came along apace. The movement is of barcarole character, with here and there a touch of the restless element so much in evidence throughout the whole selection. In these parts the band’s sudden tonal development was very fine. The movement went well. It was, however, in the second part, “the festivities in Baghdad, the sea,” that the band really found its feet. The great chordal crashes, and the ensemble , in Napidamen, finding worthy exponents. The lightning tonguing passages were very finely done, and the huge ..Chords and the screaching of the storm elements, portrayed by the cornets, as trills, were massive and inspiring. The tranquil ending, trying and severe, though it is, on the players, was splendidly done WOOLSTON. . Woolston (R. J. Estall):—The “Prince and Princess” romance was opened in. most beautiful manner, the tone of the muted cornets being of charming quality.' The, band was in fine time and the music of the Prince was charmingly portrayed by the euphonium, the barcarole character being always in the prospect. Anon came along the glorious colouring flashes of inspiring order, making the interpretation most enchanting—a real story of a Prince Charming and his lady" love in music. A noticeable feature was the rich colouring provided by the bass trombone. The second part of the selection, the “festivities in Baghdad the sea” gave the band wonderful scope. Here, its splendid technical attainments enabled the band to present the movement full of fire passion and speed, for the fast tempo demanded in the score was faithfully observed. The effect-was electrical. All sections rose to the occasion, the only jar’ being a slight hesitancy by the solo cornet in one bar, of momentary character only, the difficulty ending in pianissimo was as delicately done as by a section of stringed instruments/ * KAIKORAI. Kaikorai (E. Franklin)Another charming story in music, the barcarolle atmosphere being in evidence from the first bar. The muted cornets were delightful, the music of the Princess finding very worthy renters. The euphonium defining the Prince, sang as a lover might be expected to do in an Eastern lyric. The second movement, the festivities and the sea, was just as wonderful a piece of work as brass ’could be expected to do. The detail was brought out finely, the trombones declaiming splendidly, and the building up of all instruments to the great climaxes being of inspiring character. The great tone developed suggested nothing if it was not the ship going to its doom in the depths, while the cornets in theii’ ' trills depicting the screech and triumph of the elements. Tranquility followed, the calm and dying movements being most faithfully portrayed. ST. KILDA. St. Ki Ida. (J. Dixon).— This hand did not open the love story with cornet muted, and there was a. certain loss of effect as ooippared with the previous banfl, but the playing was nevertheless refined and of true Barcarolle character. The euphonium was a worthy prince and the tenor played the appeggio flashes of the harp in a mannei beyond reproach. A great piece, clevex technique. The band was well in tune throughout except that the final notes, in sotto voce, were not quite satisfying. In the festivities movement all went well until the solo cornet nearly crashed in endeavouring to take a high note in a cadenza passage, the fast tonguing was ably done and a grand volume of tone was built up in the choral masses the trombone call and reply by muted cornets being very fine. The sea scene was also great and the imagination could visualise the ocean engulfing its prey while the screeching trills were heard tellingly above the fury of the elements. The ending was calm but not quite in time. CHRISTCHURCH MUNICIPAL. Christchurch Municipal (A. Schnack) i This band also opened without
mutes,- playing .the Princess’s love song as a cornet solo. The support by the band was very good, and the horn appeggio sweep in imitation of the harp, and the B flat and soprano comets were excellent, though there were flaws, the movement went quite interestingly. In the “Festivities in Bagdad the Sea,” the wild revels of the dancers were sparkling. A fine big tone was forthcoming in the sea scene, the bandsmen, making a feature of this wonderful ’ music. The ending was tranquil and quite satisfying. WELLINGTON TRAMWAYS. Wellington Municipal Tramways (T. Goodall).—The love lyric was very extraordinarily pourtrayed by a chaste toned muted cornet, followed by an expressive euphonium depicting the prince. In the romance the appeggio for.'horn B flat cornet., and soprano separately were very prettily done anti the character of the performance was always of true Barcarolle type. A,well played and entertaining movement, with here and there a flash of the more fitful mood. In grand bursts of the bands best tonal volume all sections supported well. The intricacies of the second movement, the festivities and the sea, were played with confidence, the result being a revel of great musical sound, in which the riot of the dancers and merry makers in Bagdad were easily visualised in the imagination. Tone was built up bigger- as the sea picture came into view, and down went the ship to her doom in the overwhelming power of the old ocean, and the screeching elements. The calm that followed the storm was restful, and a fine picture in reposeful placing. QUEEN ALEXANDRA’S OWN. Queen Alexandra’s Own (Captain G. Buckley).—A delightful opening, expressive and suggestive of Eastern night’s monlit water and romance. The muted cornet effects were captivating and the horn, cornet and soprano in the imitation of harp appeggios were an example of neatness. The prince as represented by the euphonium was a warm-hearted lover and the band depicted a charming lyric of romance land. Of course, this splendid band simply revelled in the complexities of the festivities movement, describing the revels of- the dancers in a riot of wild revels, but finely controlled tone. ’lt remained for the sea scene and the raging .of the elements to bring out the greatose effort and the overwhelming of the little ship and her descent to the depths to the wild, laughing screeches of the elements, described by the shrill cries of the cornets in trill form, was almost astounding in its magnificnt pourtrayal. A tranquil end ing concluded a wonderful performance. ■ DETAILED RESULTS ' (Per Press Association.) t CHRISTCHURCH, Feb. 24. At the Band Contest, the A Grade final was decided to-night. In announcing the results, the judge Mr. E. Jackson, commented on the very difficult nature of the test selection, which was, in his opinion, unfair to brass band players. The results of the two tests and final placings were: — Queen Alexandra’s Own (Wanganui), First Test 143, Second Test 148, aggregate 291; Kaikorai (Dunedin), First Test 141, Second Test 144, aggregate 285; Greymouth, First Test 140, Second Test 141, aggregate 281; .Woolston, First Test 142, Second Test 138, aggregate 280; St. Kilda (Dunedin), First Test 134, Second Test 135, aggregate 269; Wellington Tramways*, First Test 239, Second Test 125, aggregate 264; Christchurch Municipal, First Test 135, Second Test 118, aggregate 253. B Flat Bass. C. S. Hansen (Woolston) 96, 1; P. Tretaway (Wellington Tramways) 95, 2; T. Rogers (St. Kilda) 93, 3; E. Henwood (4th Cadet Battalion) 92, 4. Cornet —Boys under 17: R. Cimpson (Christchurch Municipal) 96, 1; V. Aldridge (Ist Battalion, Southland) 92, 2; L. Moody (Woolston) 91, 3.
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Greymouth Evening Star, 25 February 1928, Page 7
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1,563CHAMPION BAND Greymouth Evening Star, 25 February 1928, Page 7
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