MILTON BAND CONTEST,

Otago Witness, Issue 2433, 31 October 1900, Page 52

MILTON BAND CONTEST,

THE JUDGE'S CRITICISM. By the courtesy of Mr J. Parlane, secretary of the Country-Bands' Contest Committee, •we are enabled to publish the report of the judge, Mr T. Herd, on the Quickstep Competition and the Test Selection. It is as follows: — TEST SELECTION, " BELISARIO."Arranged by Mr H. .Round. Maximum Points, 80. Band No. 1, Winton, conducted by Mr H. .Coop. — Maestoso: Moderate attack; basses out hi tune at sixth bar. Cres. : At eleventh and bars very poor ; at bar 13 and onwards too heavy. Gres. at bars 19 20 not evenly balanced. Cornets somewhat 'jthick in tone at bars 19 to 22. Cadenza fairly ■vjjell done. Tone of ba-nd, fair. — Larghetto : "Accompaniments too heavy. -Tune not good in jjfchis movement. Soprano and solo cornet out jjof tune at calando. Cornet solo, fairly [{played in spite of a slip noticed in bar 40. Accompaniments from letter " C" not precise ; enough. Pianissimo from bar 27 a little too '•toud. At bar 34 no distinction made between tipiano and previous pianissimo. — Allegro: tSuTohonium solo played fairly well ; not enough '"ieeling shown ; somewhat mechanical. Accompaniments not neat enough and a little }too loud. Trombone cadenza, uncertain at (commencement, moderately rendered. — Larghetto: Trombone 'out of tune on C sharp (tenor ; -oleff, second bar), and at bar 6 made two *' D's " instead of C sharp and D. The triplet accompaniment by ripiano somewhat indistinct. At bar 13. soprano solo, the accompaniments were too heavy, especially the basses. ,"A piacere, bar 19, moderately done by soprano. KBar 24, _accent not made by soprano. Solo and cadenza fairly rendered, though the tone is not first-class. Movement fairly played. — Allegro: Symphony fairly played. Cornet bolo rendered very fairly. Accompaniments 'somewhat hard in tone. Crescendo at letter 'IK not well done. — Allegro Mosso : Tempo 100 quick. Bars 7 and 8, cornets out of tune. Fortissimo very fair indeed. Duo cadenza for "horn and. euphonium, fairly played, though 'somewhat stiff in style. — Vivace: From bar 7 land onwards solo cornet and euphonium not '„-well in tunp. Solo horn part from bar. 3 smd on not well done. Accompaniments fairly good. Trombones too loud in pianissimo sus■tained passages. Eroni bar 38 and onwards jiocent 1 ! iiot lncisivp enough. From let V"' ' ), •fortissimo, articulation by first cornets indisiinct, and accents not sufficiently well marked, iodolto \j.vace: An improvement on "oreviou? movement. However, the cornets are somewhat 1 Of,^y i'qp •■ »"" '!o-< n b'lui. rsTiier coarse. — On the whole a very fair performance ; 66 points.

Band No. 2, Mosgiel. Conductor, Mr C. J. M3avie. — Maestoso: Good attack. From ba^' 7 -trombones out of tune. Bar Vi, cres-cendo not rvell done ; style vers' stiff. Bar 17. slight slit> <7ay soprano. Basses anticipated the beat at J.bar 2'J. Crescendo «l "siincr^pnth bir ->nd oi very fairly done. First baritone from bar 13, in slurred quavers, not so neat as I should like. 'JEuphoniuni and solo cornet played very fairly :.iom bar 1-i ana on. Cornet /cadenza very oiicely rendered. — Larghetto: At bars 9 and 10 •jiccompaninie-its out' or tune. Cornet again \loing geed work, though a shade out of tune ; ■ibs rlpi-s -with nice fephns*- Celsndo tpu-'.v well <Jone by soprano and solo cornet. Just here "the. accompaniments not smooth enough; and in this movement they were too loud. Bar 24, ,a-ipiano out of tune. At bar 30 accent not sufficiently marked- by solo cornet. At '" C," ■eighteenth bar and on, distinction- between forte !fmd piano not well marked. Pianissimo at 'Far 27 too loud. Bar 39 nicely done by solo cornet. Diminuendo at E " fairly well done. — 'Allegro: Euphonium solo very fairly played; at bar 12 well done. Accompaniments a little Oieavy and not crisp enough. Trombone cadenza well played; a little better than No. 1 (player. — Larghetto : Trombone, intonation faulty; style, a little stiff and out oi tune. ••Basses out of tune; but soon recovered thenijselves. Ripiano, faulty intonation; "E's" on j first line generally flat. Bar 18, soprano sharp [ou top G, and split at bar 2S. IN evortheless |'he_ played the solo and cadenza very fairly. by baritone in this movement fairly [j-svell done.— Allegro : Tempo too quick. Cornel fjsolo well played. At bar 33, crescendo only i'fair. At bar 33 cornet did not make enough fof crescendo. Movement fairly played taken \as a whole — AUeero Mosso : Cor acts or of !-:■",? '"at bars 7 and 8. This movement was taken too j quickly. Duo cadenza, very fairly rendered. — (Vivace : Solo horn heard in this. Although his fintonation was at fault, his work was creditably done. Accompaniments fairly neat, though a little too loud. The sustained piaais'simo passages for trombones not auite + o ir>\Qiking. At bar 38 and on accents not well marked, and from letter "O " ditto.— Moltc ;Vivace: On the whole very well clones This 'is a very creditable rendering, and much better than No. 1 ban<3. Band No. 3, Qtjeenstown. Conductor, Mr A. Fraser. — Maestoso : Good attack ; good tone. •Trombones, etc., not in tune on bottom " A " pf sixth bar. Crescendo at bar 11 played in a (jerky manner. "Why make the first quaver in ■the twelfth bar so short? Crescendo from bar 79 well done; ditto fortissimo, bar 22. Cadenza for cornet nicely rendered.— Larghetto : Cornet ■solo very fairly played, although his phrasing was not perfect. Accompaniments out of tune. 'At calando, soprano and solo cornet, best so far. From letter "C " I do not quite like the bolo cornet; his articulation is not altogether 'satisfactory. From "C " euphonium is heai'd -■to advantage. Bar 39, solo cornet split on top '' B." Solo on the whole very fairly played nevertheless.— Allegro : Accompaniments veiy good here. Euphonium is playing his solo well. At bars 9, 10, and II soprano not very neat. At bars 17 and 18, cornets and horns not quite crisp enough; make quavers shorter. Trombone cadenza, intonation faulty. The last four crotchets were just a little too detached 'However, the cadenza was fairly well played on the whole. — Larghetto: Triplets for ripiano cornet too loud, and intonation not quite correct. Nevertheless well done on the whole. Trombone solo was fairly well played. -At bars 9 and 10 the cornet joined "cry nicely with tho trombone. At bar 13 soprano split "his "D" in the eolo, also "C " sharp at bar 19 (a piacere). Accompaniments too loud in this movement. Triplets for baritone fairly done Crescendo at bars 17 and 18 very fair indeed. The soprano split the last "A " but one in the cadenza. Nevertheless the solo and cadenza were fairly well rendered. — Allegro: Fortissimo very fair indeed. Solo cornet's tone somewhat thick and unmusical, perhaps overstrained. At bar 26, very flat on his "' F." At bar 27, a piacere not very well done. Bars 3i and 35, solo corne'fc flat on his top " F." Accompaniments very fair on the whole. Forte passages a little loud. — Allegro Mosso: Tempo too quick. -Duo cadenza, the horn left out two or three aiotes; but on the whole very well played. — .Vfvace : Accompaniments very neat. Solo .work, fairly done, Bars 36 and 37, crescendo, piot too well done. From bars 38 to 44 forte .too loud and accents not incisive enough. From letter " O'" to finish very -well done. On the whole a good performance ; 71 points. Tie for third prize with No. 4, Bluff Navsls Band. Band No. 4, Bluff Navals. Conductor, Mr A. Slater — Maestoso: Opening fairly good. Crescendo at bar 11 not well done. Crescendo at bar 19-22, fairly well done. Cadenza, phrased

wrong by solo 'cornet. Accompaniments very fair. On the who s le fairly well played. — Larghetto : Accompaniments too heavy, paiticulariy the basses. At bar 11 solo cornet not playing semiquavers distinctly. Bars 15, 16, and 17, moderately well done; but not so good as last band just here. At bar 24 ripiano cornet and euphonium not together, and not in tune. Horns out of tune from bars 28 to 31. Cornet playing nervously from bar 34, but with nice tone. Bar 39 very fairly rendered by cornet. On the whole the movement fairly played. — Allegro: Accompaniments very neat here— just a little too loud nevertheless; the whole movement very fairly rendered. Trombone cadenza best yet, though I would have liked the last four crotchets played closer. Piu lento nicely done. — Larghetto : Trombone solo very fairly played; just a little too loud, and phrasing not quite correct. From bar 3 soprano played solo very well, and his cadenza is the best so far. At bar 26 the accent for ripiano cornet and soprano just a little overdone. Accompaniments just a little too heavy. — Allegro: Double forte very -fairly played. Taking it is a whole, this allegro has been very fairly rendered. — Allegro Mosso : At bars 7 and 8 cornets out of tune. Accompaniments for inner instruments very fair. Tempo correct, however just a little too loud for forte. Duo cadenza, for horn and euphonium, in spite of a slight slip by horn, the best yet. — Vivace: Accompaniments very neat. Work for solo cornet and euphonium very well done. Solo horn, the weak place in this movement. At bar 21, solo cornets slightly exaggerated the crescendo and diminuendo. From bar 38 the forte passage, a little too heavy. From here to the end everything very well done. A good performance; 71 points. Tie for third place with No. 3, Queenstown Band. Band No. 5, Pout Ohalmebs. Conductor, Mr T. B. M'Connell. — Maestoso: Attack very fair. Out of tune at bar 6. Cornet out of tune at bar 10. Euphonium uncertain at bar 13. Crescendo: From bar 19 not well done. Cadenza very well played; best yet. Tone of band only fair. Larghetto: Just a trifle too quick. Cornet played solo very nicely. Calando commencing at bar 15 not well done by cornet and soprano; bars 24 and 26 very well played. At bar 27 one of the players anticipated the beat. Forte at bar 38 was a little too loud. Accompaniments very fair. On the whole well played. — Allegro : At bar 11 soprano not heard to advantage; evidently frightened of his top G's. " Semeinbei ffint heart never won a fair lody." Trombone shook on his top "E " natural (tenor cleff) ; otherwise 'very fairly plaj^ed. On the whole the movement fairly rendered. — Larghetto: Triplets for ripiano too liea^y. Trombone solo played in a jerky manner ; not free enough. At bars 13 and i 4 soprano out of tune. Bar 19 soprano shook on " D " following the pause. Soprano solo and cadenza very fairly gendered. Accompaniments a little coarse in tone. — Allegro : Taken as a whole very fairly played. Allegro Mosso : Bars 7 and 8 very fairly done. This movement up to the cadenza, •on the whole, very fair, though not startling. Duo cudensa for horn and euphonium best so (far. Vivace: Kuphonitim solo played in good style; tone good; best so far. Accompaniments a little too heavy. At bar 21 solo cornet might have made more of crescendo and diminuendo. Solo horn in this movement very weak and uncertain. At bar 31 triplets for ripiano solo cornet, soprano, and horn not well done. Bar 36 and onwards crescendo not fiist class. Bars 38 and 42. Forte rather heavy. At letter "O " and on to - f orty-e.ight bar, cornets not clean enough in. their work. The same remark applies to the molto vivace. Nevertheless a very fair rendering of the selection. Seventy points. Band No. 6, Rivertojt. Conductor, Mr J. Moore. — Maestoso : Attack fair ; tone fairly good. Crescendo at bar 11 fairly well done. First quaver at bar 12 made too short. Soprano uncertain at bar 17. Accompaniments too heavy from bar 13. Horns out of tune at bar 21. Crescendo preceding that not well done. In the cadenza the cornet uncertain in bottom "D." On the whole the movement fairly rendered. — Larghetto: Accompaniments too heavy. At bars 12 and 13 cornets evidently doubling here, which is not to be commended. At calando, soprano and cornet not in tune. From letter

C " not enough distinction made between forte and piano in accompaniments. The pianissimo from bar 27 too loud. Bar 31 not enough distinction made between piano and previous pianissimo. Bar 37 plaj-ed in a very mechanical style by solo cornet. At' bar 40 he slipped a note. — Allegro : Ternpc much too quick. Euphonium solo fairly rendered though phrasing somewhat faulty. The accompaniments too loud. Trombone shook on several notes on his cadensa; tone very coarse. Phi lento well done, though the solo cornet was somewhat uncertain in the last bar. — Larghetto : Basses much too heavy. Eipiano, intonation faulty in. triplets, and too loud. At bar 16 soprano made minim instead of crotchet. Accompaniments much too loud. Soprano played the solo very fairly. Cadenza also, though I noticed one split note (quaver E) before last, pause. — Allegro. Forte work too loud. On the whole the movement was fairly rendered. — Allegro mosso- A little too quick. .Crescendo 'for cornets at bars 7 and 8 very nicely done indaed. Cadenza for ho.m and euphonium very nicely played. — Vivace : Accompaniments too heavy ; art.culation not clear. , Bar 16, solo comet fiat on his B natural. Solo horn not in evidence iic-i-e. Euphonium very fair in his work. Sustaiaed pianissimo passages for trombones 'in-effect-ve. Bars 21 — 25, crescendo and diminuendo for cornet not well done. Crescendo 'from bars 36 to 38 scarcely attempted. At letter '" O " articulation by cornets not firstclass ; and from bar d 6 basses much too ragged in tone, and somewhat brassy. Molto Vivace : Very fair indeed. On the whole a very fair performance. Sixty-eight points.

Band No. 7, Milton. Conductor, Mr C. Knig. — Maestoso: Good attack; good tone; balance very good also. From bar 13 everything going nicely. Crescendo at bar 19 well done. At bar 21 horn and ripiano in unison ; not in tune. Cornet cadenza fairly well done. I s>m ! ft *not quite in love with his tone— Larghetto : At br.r 7 a-ccompamrr.--nts a little ouii of tune ; but pianissimo observed by this band. Calando not well done by soprano and cornet. Bar 23, solo co.net flat on his " E's," and at bar 31 he split his B. At bar 39 he was unt_:rtain about getting hold of top A and B. This bar not wel^done. — Allegro : Euphonium plays polo well. Accompaniments very nice. Fairly played on the whole except b?r3 13 and 14, whole accompaniments were slightly out of tune. Trombones cadenza very nicely played, except a little stiff in style on last four crotchets. — Larghetto. The trombone iook breath ofter C sharp in the second bar instead of aftor the D minim. However, he played the solo very fairly. From bar 13 soprarfo played the solo and cadenza very well, except that his top G at bar 18 was too sharp. — Allegro : Double F passagc*veiy good, excepting soprano a little uncertain at seventh bar. In this movement the fortes are just pbonfc right. The comet is better here On the whole very well played. — Allegro mosso • Attack very good. Tempo all right at bars 7anJ 8. The crescendo fairly wall done, except comets a little out of tune. Duo cadenza very fairly plsyed indeed — Vivace : Accompaniments very nest. Solo horn somewhat weak and uncertain. Euphonium solo played fairly well. At bars 21 to 25 crescendo and dimimmedo not done to my lilting. At bar 30 correct volume of tone for F. Tbis band has paid special attention to the accents in the syncopated bars, a noticeable weakness in thp preceding performances. Crescendo at bars 36 and 38 very fairly done. From here to the end

the selection was well played. Best band so far. This band has brought out several points which were more or loss overlooked by t) c others which have played. A very good performance on the whole. Seventy-two points; second prize. Band No. 8, Gore. Conductor, Mr H. Mayo. — Maestoso : Good attack, good tone ; a little out of tune at sixth bar. Crescendo at bar 11 fairly well done. At bar 12 quaver cut too short. At bar 17 soprano a' little uncertain. -Crescendo from bar 19 well done. Cornet cadenza very well played. Accompaniments right. On the whole, very well rendered. — Larghetto: Accompaniments a little too heavy. Calando, cornet and soprano not quite in time. Accompaniments a shade out of tune also. Solo cornet, although he slipped in bars 23 and 32 very slightly, has done good work. Basses very good in this band so far ; well kept under. At bars 9-11 soprano a little uncertain; some notes not heard. Trombone caaenza very well played. Piu lento the best yet. On the whole, the movement was well played. — Allegro: The solo for etiphonium was very well rendered, and nicely accompanied. The middle instruments showed up to advantage. — Larghetto: Accompaniments very nice. Trombone solo very fairly rendered." Soprano a shade sharp on his G at bar 18; otherwise the solo was very well given. I noticed one split note in his cadenza, which, nevertheless, was well played. Triplets by baritone very fairly done. Allegro opening very good, indeed. Also from letter G, cornet solo, everything going smoothly. Soprano very good in bars 26 and 27. Movement well played. — Allegro mosso well played by all. Duo cadenza for horn and euphonium very well played ; best so far. — Vivace: Solo horn a shade sharp on the upper " A's" and " G's." Accompaniments very neat. From here to the finish very well rendered. This band has shown greater elasticity in its performance than any of the others. No. 7 band, however, has run it very cloae in this respect. Briefly put, it was the all-round work which placed it ahead of the others. Seventy-three points; first prize.

General Remabks.— The cornet cadenza (dolore, expressing gnof), and which, prepares, so to speak, for the cornet solo (larghetto) which follows, and also tells a tale of grief and suffering, was in most cases quite misunderstood, and played iii a joyous manuer, and accompanied too heavily. The calando ac bar 15 was in some cases not quite understood. The trombone cadenza and solo which follows was, as a rule, played in a disjointed manner — -nothing vocal about the tone and style. Oh, what a lot could be made cf this lovely solo ! The seme remarks apply to the subject which is taken up by the soprano at bar 13. However, the weakest point of all was reached at- the last movement — vivace: Attario's tenor solos, given to the solo horn, and which, as 1 understand it, should have been played by him, accompanied by the euphonium (sotto voco). In no single instance was this done effectively. The latter instrument, which was doubling the melody, and octave lower, played the part as though it was his polo; and the solo horn — poor fellow—had to take a back seat instead of a front one; result, chaos. However, all things considered, the playing was very creditable indeed. My cole object in submitting the above remarits in a kindly spirit is to try and assist my brother bandmasters to attain greater results in the near future. T. Heud, Judge. Test Selection (" Belisabio "). Table of Points Scored.

TEST MARCH. " THE TEMPEST." H. Round. Maximum points, 50.

The following are my notes on. the playing of the various bands in the Marching Competition : —

Eand No. 1, Gone. Mr H. Mayo, bandmaster. — Good attack. Cornets at bar 2-6 9to 12 articulation on, semiquavers veiy indistinct; tone brassy; tune moderate. Cres. at the seventeenth bar and on very uneven. Second strain : Soprano at bar 3 poor ; cres. at 10 and on very poor. Tone just a little better here. The tone of first cornets somewhat coarse and uneven. Second start of march. Cornets still in trouble in playing Femiquavcrs in bars 2 to 12. Cres. at 17 and on still uneven. Poor fcoprano ; first cornets in bass solo very poor. Trio : Triplets for cornets very indistinct.. Repeat of march : Second strain cres. an-d dim. at 3 and 4 and 7 and 8, just a little better this time. General remarks : Precision fair, balance fair, though bass somewhat heavy. Tune not good. Trombone unduly prominent in places. Forty points ; drill, 43|; total, 83i. Band No. 2, Milton. Mr C. King, bandmaster. — Attack good. First cornets in stacc. at bars 9 and 10 better than Band No. 1. At bar 17 solo horn painfully out of tune on E. Tone and style of this band very fair indeed. Second start oi march improving now. Cres. at bar 17 and on better than last band. First crotchet bar 318 and' 2o, euphonium made crotchets too short. Bass Solo : Comets split badly in several places. Trio : Too loud for m.f. ; middle parts of band too ragged in tone and not crisp enough. Second and third cornets not much iv evidence. Basses very fair indeed. Tempo very fair. Last time through. Start very tame. Cres. at bar 17 and on not good. Second strain first cornet split top F in bar 13. General remarks: Euphonium and baritone not prominent enough in this band. Fair performance; 42 points; drill, 43;— total, 85.

Band No 3, Wikton. Mr H. Coop, bandmaster. — Attack fair. Basses out of tune. Cres. at bar 17 and on not well balanced. First comets coarse and split B in oecond strain. Soprano poor. Tone of band fair. Basses are now better in tune ; they have warmed up. Second start Much better. Bass -drum uncertain at bars 9 and 10. First cornrts indistinct at 17 and 18. Cres. not well done. In second strain at bars 3 and 7 soprano jnnibled notes. Bass solo fair. Trio: Euphonium out of tune at ]ast bar but one. Wrong note by B flat cornets; thp whole too heavy in tone for m.f. Very fairly played nevertheless. Last time through: At bais 17 and 19 semiquavers by Lasses, etc., the bsst yet. At bars 3 and 7, second strain, soprano net sure of his work. Bass solo veiy fair. However, the whole performance lacks crispne-ss. A ht+le better than No. 1. Generr.l remaiks- Euphonium and baritone parts heard to advantage in this band. Performance fairly good; 43 points; drill, 44;— total, 87. Band No. 4, Queenstoavn. Mr Fraser, bandmaster. — Attack good (Ah! this is better). Tune, style, and tone better thnn previous bands. Al bar 6 the fiugcl jumbled the semiquavers. E flat tenors an'l flugels somewhat overblown in ft (Don't bs too anxious, you spoil the balance of tone). The cres. at 17 and onwards better than by previous bands. Staccato notes at 3 and 7. etc., no 1 - short enough. At bar 17 and 38 and on fcemicjuavera by basses, etn., much the bs3fc yet. Bravo l Second stait: Tempo correct. At bars 17 and 18 cics. nor, even; three and seven sopranos uncertain. Bass solo fair indeed. The accented oro'.chfts in bars 21-22 and similar passages should be ju&t a little n.ore detached, espe-

cially in a march. Trio: Euphonium and baritones best so far in triplets. M.f. by this band the^'best "so far. Last time through : Soprano uncertain about his first G and A semiquavers in bar 1, second strain. Cres. and dim. at 7 and 8, same strain, not well done. On the whole, best so far. General remarks : Tone best so far. Flugels much too brassy, which marred the effect as a whole. Apart from the flugels, the balance was very fair indeed. Nevertheless a good performance; 45 points, drill, 43 i; — total, 88J. Third prize. Band No. 5, Mosgiel. Mr C. J. Davie, bandmaster.— Attack very fair, tone good, tune fair only, tempo too quick at bars 21 and 22; soprano out of tune at bars 17 and 19, and similar passages ; basses, euphonium, etc.,very good ; bars 21 and 22, soprano too blatant. At bars 3 and 7 (second strain) soprano best yet, but not first class. In bass solo first cornets out of tune on top notes at bars 19 and 20. Second start: Attack and tone fair; at second strain, bars 3 and 7 the same remarks apply to soprano. Bass solo better this time. Trio: Soprano at 16 and 16 too blatant, evidently stMfggling, particularly at bar 15, with his top P's; mf very good. On the whole, the trio well played. Last time through: First strain very fair indeed. Second strain was commenced with only a few players. This was a pity, as the performance, taken as a whole, was very good. General remarks: Best soprano so far, tempo a little too quick, tone good, style good. A promising band; 43 points; drill, 42; total, 85.

Band No. 6, Bluet Navals. Mr A. Slater, bandmaster. — Attack good. At bar 11 first cornets out of tune on top A, basses overblown ; crescendo at 17 and on not good ; soprano weak at 3 and 7 (second strain), horns out of tune heTe ; staccato not clean enough, tempo a little too quick. Second start : Tempo a. little better, side-drum, poor accented notes at bars 21 and 22; first strain not detached enough. Crescendo at 17 and on not good. Trombones too blatant in the second strain ; in this strain the top B for cornets at bar 20 was out of tune; balance of tone very fair indeed. Trio: A little heavy for in.f . ; triplets and broken triplets for euphonium and baritones ' might be rnoie cleanly played. Last time throiigh : A poor start; at second strain, bars 8 and 7 soprano inaudible. These bars seem to have scared the soprano players. General remarks : Tons of bassos too brassy (overblown), which marred the rendering as a whole. Quavers in bars 12, 15, 17, etc., in bass solo not crisp enough. Very fair performance; 42 points; 47 points for drill; — total, 89. Second prize.

No. 7 Band, Pobt Chalmers. Mr T. M'Connell, bandmaster. — Attack very fair, tone and

tune also; tempo a little quick at the start, better from bar 12; staccato for cornets best yet; at bar 7 (second strain) soprano missed his top A; first cornets and side-drums best yet; balance and style very fair indeed. Crescendo, at bar 17 and on, somewhat uneven. Semiquavers at bars 17, 19, etc., by basses, etc., very; good ; bass solo nicely rendered Second start :' Attack very good, tempo correct. This band' 3 inner instruments show up to advantage. Second strain : Bars 3 and 7, 1 did not hear' muck from the soprano, otherwise this strain was well played. Trio: On the whole, very good, best yet, without a doubt. Last time through :; An improvement on the first, and to the finisK • rendered in a creditable manner. General remarks: A neat and crisp rendering, the inner instruments showing up well. However, the horns were just a shade out of tune in places ; but, taken as a whole, it was a good performance, and pleased me very much; 47 •points; drill, 43;— total, 90. First prize.

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