OUR BANDSMEN.

Star (Christchurch), Issue 11762, 28 July 1916, Page 2

OUR BANDSMEN.

LOCAL NEWS AND FOREIGN NOTES

(By TROMBONE.) I The Chnstchurch Tramway Band turned out on Wednesday evening, despite the inclement weather, and played several marches in front of the i healre Royal, under the direct-ion of Bandmaster Munro,' in support of Mr vV. H. George's illustrated lecture on tho work of the Y.M.C.A. on behalf of the Empire's troops, particularly those of New Zealand- _ The band rondered pood service, it is certainly fullilling the mission for which, it was formed.

Mr Barkel, a well-known soprano player, returned to Ashburton on luesday after an absence of about two years, spent in Gisborne. In ri, chat wit-h Mr Barkel on Monday, I learned that he and Mr S. Nur.ns, who went away about the same time, both became members of the Gisborne City Band, then under the conduetqrslnp of Mr A. Lawrence. Besides playing with that band', Mr Barkel found time to act as tutor to two district bands at i'e Karra and Matawai respectively. Mr Barkel enjoyed his stay in the north. Ho says that Mr S. Nunnß may also return to Ashburton before long.

Many bandsmen are under theiinpresison that the soprano cornet is a " man-killer," but I could mention several noted Dominion exponents of that instrument who are enjoying hca.thy and vigorous life. Mr Barkel, referred, to above, provides an admirable instance. He confesses to fottynine years of nge, and' has pi-i.ved the soprano cornet ever since he wa» twelve years of age. H*& had commenced' Ins musical education before that age, but when twelve years old he j-inyed w.tli Old Durham Band at a 80110 V ue contest. Mr Barkel's father is probably the best-known bandmaster m .Aiistralia. For years he conducted the famous Newcastle City Band, aod ho established a record in winning the Ballarat contest in three successive yea^s — 1901, 1902 and 1903—with that band.

Mr Barkel, jun., told! me that his first contest experience in Auijr-nlia was in 1888 at the great Centennial contest, held in Sydney. He was playing soprano with his father's band 3 the Fourth Regiment (better known ns Newcastle City), which won, ana it will be interesting to many to learn that Buleh's Model Band which had a cood reputation, was second, and Lauuyeston City Band was third. The judges were Mm. Zclman and Leon Caron, who are both dead*.

Mr Barkel came to New Zealand some years later and taking up his residence on tho West Coast, joined the Denniston Band, and played witb that band at the Exhibition contest held' in Christchurch during 1907. Later Mr Barkel vent to Ashburton and proved a tower of strength to the old Temperance Band. Mr Barkel is not big m physique, and to hear him play when m good form one would wonaer where* the power conies from. I mentioned this to him, and he replied, " Ah, forty years of, enthusiastic practice has'done that: so long as my teeth hang out I shall be all right." I remarked, "Why not have a change and play the B-flat cornet?" "No," Mr Barkel replied; " I started on the soprano and I shall finish on that' instrument."

Mr Hopkinson, who was in charge ot tho Westport Band in its halcyon days, is now controlling the destinies of the Napier Regimental Band. Mr'Hopkinson is a fine pract : cal bandsman, and, given hearty support, he should make the band much mora efficient than it has been for many years.

Mr J. Cumings. who several years ago was a noted slide trombonist in, the Denniston Band, and who aroused cur'osity and intere-t by reason of his clever exhibitions of slide work while manipulating the instrument left-hand-ed, is now residing in the Huntly district. He has given up band work, in the meantime, and' is not even playing the trombine. This is regrettable. 'lt. is a pity to hear of good going to wn«to. No doubt when environment permits we shall again hear of Mr Cumings in the .contest arena.

TallnV<? about the Fxhibition eqntest of 1907. with Mr Barkel on JVlondnv, reminded both of us of the swift flight of time. Wo were speaking of young Willie Cooper (son nf the conductor of the Dcnniston Band), who played with the Denrr'ston Band at .that contest, and who subsequently won the competitions'at contests held in Greymonth and Westport. Mr Barkel remarked, " Yes. it seems .but yesterday since young W'llie Cooper was playing bv my «ido. To-day he is at the front, fighting for the Empire." Many of our brave lads are in the war zone! Rome have gone. They sleep on far Gallipoli hills and on tho seaswept shores of the classic spot. God bless them all, and may all those in the field to-day return to us to share in Inter struggles of the musical arena on tho contest platform. Contests inspire pluck and develop character.

The Gisborne City Band has been without a permanent conductor Mr Albert Lawrence resigned. Tho band has been under tho charge of both Mr Davics and Mr Crewe (solo fyetists). Recently implications were i ' : ted to fill the position. Three applied, namely, Messrs Savage (who was. T think, in charge of the Whangarei Band ai one time). Mr H. Fox (bandmaster of the Tenth Reg-mental Band. Oamaru), and Mr A. Mullingcr. I understand that Mr Savago is the favoured candidate.

Kneller Hall, the great English military tra'nine establishment, costs about £7OOO for upkeep. Since it was established in 1857. and officially recognised bv the Government twentv years later, it has cost the British Government. about £250.000

Mr W. Rimmer's Southport Corporation Military Band, which commenced its playing season at Southport on May 15. conta/ns several plavers of note in the brass band world. Thev are:— Mr George Nichols, the well-known cornet virtuoso, band teacher and jndge, as solo cornet; Mr Herbert Scott, solo euphonium (the recognised king of euphonium soloists); Mr Seth Shaw, solo clarinet, of the Grand Theatre. Oldham; and Mr J. Martin Hinoliclifi'e, solo baritone, late euphonium of Black Dike Mills Band and of Stalybridge Old Band.

THE BANDMASTER'S STUDIES. All excellent article on " Tile Bandmaster's btuuies " appeared in the June number *of Messrs \v right and Round's instructive band journal. The aiticlo is lengthy, but so interesting that bandsmen will, I feel sure, bo glad to read it iu full. It is my intention, therefore, to reproduce it in three or tour parts, the first of which, of an introductory character, is appended as follows: —

When we speak of bandmasters wo mean amateur bandmasters, the men who pursue the practice of music as a pastime, a recreation, a hobby; the men who have made bauding what it is, and on whom the movement depends for its. existence.

We are not among thoso who decry the professional conductors, we know them too well not to respect them for tho splendid work they have done in furthering the efforts of the amateur bandmaster. in fact, most of our professional teachers have sprung from the ranks of amateur bandmasters, proof that ranch good talent is found in those ranks. Either through exceptional ability, or exceptional industry, certain amateurs rise above the average level. They come to the notice of bauds which seek their services; these demands multiply, and, tir.ally, the -<nrvt,<nu- decides that it will pay him

to become a professional, nml to devote all his time.to touching. That is the source from which most of our successful professional teachers have sprung. They are not an "incubus" on the movement, on the contrary they have lifted amateur bands to a higher level than tliey could have attained otherwise. The few best talents have been mndo available to many bands instead of being confined to a few. Not all the best talents become professional. There are not a few bandmasters who have proved abilities which would justify them in becoming professionals. But they have remained amateurs by choice, for good reasons, which are their own business only. But, much as the former class have dono to raise the standard of playing, and much as they will do yet, we hope, they come on tho scene generally to supplement tho work of the amateur teachers, and evidently, but for tho work of the latter, there would be no call for a professional. Both are' necessary to each other, and we trust both will continuo to co-operate for the advancement of band playing. Tho amuteur bandmaster in turn rises-from tlio ranks of amateur bandsmen, either because he shows exceptional capacity as a performer, or bec.auso lie is the best man the band can secure for tho position, he becomes appointed bandmaster of the band he played in, or a neighbouring band. Some of theso justify their selection, and 6ome do not. Wc do not mane this as an ill-natured remark, wo only want to get at tho reason w.hy some who showed promise, fail to make good. In some cases owing to lack of aptitude for the work of teaching, but very often because they have not sufficient knowledge on which to base their teaching. They have been successful as players, but the knowledge which may suffice for players working under the direction of a man with wider knowledge is not sufiicient to make them successful as teachers themselves. They would have done well perhaps if they had started to enlarge their own knowledge when they entered on the more onerous work. Tho man who stops learning as soon as he becomes a teacher cannot possibly bo a big success. What should a bandmaster try to learn, the kind of bandmaster who is selcted in the manner mentioned? No band can expect a young amateur to be so fully equipped with knowledge as the professional, for it must be remembered that much of the latter's knowledge has been acquired after he became professional, and had all his time available for study, time which the amateur has to give to his daily work. If the amateur ceased to study, or did not study more assiduously, when he became professional, he would not ber come a successful professional. A band cannot reasonably expect as tnucfi from an amateur as from a professional teacher. To do so is not fair to the amateur. But a band can reasonably expect that the amateur should rise above the rank and file, If he accepts the position of bandmaster, it is reasonable tjbat he should try to qualify for tlie work, so far as his opportunities and talents when he does not, it is often because he does not quite know in what direction to study: or he does not study systematically : or he magnifies the difficulties of tho subjects and fears to tackle them. W hat should an amateur bandmaster know, or learn? He has to handle men, instruments, and music. Here, then, ore the subjects ho should study. One cannot expect him, with limited time and opportunities to becomo a great but if he learns all he oan he is not likely to prove a failure. His study of men will be largely a matter of using eommonsense and tact in his relationship witji them. Lot liirn remember they are learners, that they aro amateurs, that they arc in the band because it is pleasant for them to be in it. Let him remember that they need tuition, othorwiso they would not need him as a tutor; that they love music probably, better than they can play it; and that he must make the baiidroom a pleasant place for them, if he would retain them in the band, the bandroom of an amateur band is not a place to assert authority, but rath 17 a place to exerciso influence. If we tried to put tho secret of success in a few words, we would quote Charles Reade, "Put yourself in his place." The teacher who can and always does do that will not easily go wrong in handling pupils; It is not always easy to do—it sometimes requires a big try to enable us to fancy ourselves sometimes as a young and apparently rather stupid lad, or as the player whose own good opinion of himself is not quite warranted by his playing. But the more difficult the case, tho more care ind thought aro necessary m dealing 'with it. (To be continued.)