HOW THE BANDS PLAYED SENSATION WAS DISQUALIFICATION OF FOUR BANDS

Wanganui Chronicle, 24 February 1947, Page 6

HOW THE BANDS PLAYED SENSATION WAS DISQUALIFICATION OF FOUR BANDS

(By “Listener”)

A sensation to the Hymn Test yesterday afternoon was the disqualification of four bands for not complying with the regulations concerning the hymn contest. Since the annual conference of the New Zealand Brass Bands' Association last year regulations were drawn up regarding the choice of hymns permitted to be played at future contests. It was decided that bands must furnish words and a copy of the full score for the judge, on which score is to be marked the hymnal from which the hymn is taken and all bands were notified accordingly. The bands disqualified yesterday did not comply with these conditions. It is pleasing to note that the New Zealand Bands’ Executive is fuliy alive to its responsibilities in the matter of contest management and the committee is to be commended for its firm stand. Indicative of the standard of playing yesterday, is the fact that eleven points only out of a possible fifty separated the lowest band from the winner.

OPPORTUNITIES MISSED. The playing in most cases lacked inspiration and many golden opportunitoes to introduce artistic treatment were lost. There was too much of the hymn “playing" instead of the“hymn’’ playing its part. Bandsmen should listen attentively to recordings of hymn tunes played by such bands as the famous Black Dyke Band in England to notice first now much can be made out of this branch of band music. There are recent recordings of this combination to hand, and it is an education to hear the band play simple well-known hymns in such an interesting manner. In many cases, too, the rhythmical context of the hymns was lacking. Rhythm is the very soul of music, and dragged tempos always mar interesting playing.

Palmerston North Garrison (Conductor, Captain C. Pike), “New Rochdale". —Soprano missed an opening chord. First verse quite well playco, but the phrasing could nave been closer. Second verse much better. The Bass “hold over" quite effective. Once again soprano misses opening chord. Third verse unsteady. Good body of tone forthcoming in final phrase.

Oamaru Garrison < Conductor, Thomas F. Ovens) “New Rochdale.”— Good attack. Band could be a little heavier in this verse. Very well balanced. In verse two bana not quite together. In some chords soprano “misses.' ’ In the final verse there was some raggedness noticeable at the opening phrase. A good body.of tone forthcoming here, but do not like the phrasing break before the last four chords. A satisfying performance.

C tighten Cobbers (Tech H, Conductor, F. J. Turner), “Rock of Ages.”— Opening chord could have been better. Band producing a nice legato. Soprano misses in second verse. The gaps in the phrasing could have been reduced considerably. In the third verse some exaggerated expression marks are introduced with no little effect. A light-toned combination, but quite tuneful.

Auckland City Boys (Conductor, J. C. Williams), “Euphony.”—First verse sounds very tuneful. Band not heavy in tone production, but some nice legato effects. First trombone a shade too heavy at times. Second verse nicely played, but a shade lifeless. This verse drags, but a better tempo is taken from the final verse. The fina chord was ever accented. Basses effective throughout.

Wellington Tramways (Conductor, B. Zinsli), "Silver Hill.’’—Opening chord unsteady. Quite an expressive verse. Soprano plays delightfully in the second verse and general en--emble improving, though a little better legato play by the “inside" of the band would have improved this verse. A good body of tone forthcoming in the final verse. The first chord of the . nal phrase was not together. Generilly a pleasing performance.

Auckland Watersiders’ Silver (Conuctor. W. H. Craven), “Involatlon.” A nicely-toned band. Basses and

horns very effective. Some nice harhonies in this verse and balance very good. Second verse, band plays much better. An expressive verse. Third verse inclined to be hurried a shade. Still a good body of tone forthcoming, particularly in the forte passages. Final chord well played. An expressive rendition throughout.

Queen Alexandra (Conductor, E. D. Schnack), “St. Agnes.”—First and second serves delightfully played. oGod choral phrasing and a fine body of tone produced. The third verse very well played, indeed, nicely observed and a splendid close. A most impressive rendition.

Westport Municipal (Conductor, Kenneth G. L. Smith), “New Rochdale.” —A good attack. Band nicely balanced. A well played verse and a very peaceful close. Soprano stands out well in second verse. Ensemble not quite so good here, , but improves toward the end. Third verse opens well. A little over-blowing by the cornets in the first phrase, but balance recovers in the piano bass. A good body of tone forthcoming in the fortissimo passages and final chord nicely balanced. A meritorious performance.

Ashburton Silver (Conductor, R. Milligan), “Ewing”—Band opens well. Soprano produces a nice tone throughout. There appears to be a tendency for some of the chords to be accented, which destroys the smoothness of this movement. Second verse is an improvement. A fine body of tone is noticeable in the final verse. Release good and some nicely-toned chords.

Christchurch Municipal (Conductor, Ralps Simpson), “Fierce Raged the Tempest.”—Quite a good opening. First verse quite well played. Band appears to be phrasing according to the words. This does not tend toward smooth playing which is so effective in hymn work. Releases good. Splendid work by the bass section throughout. A good toned band. A little more legato playing would have been effective.

Nelson Garrison (Conductor, Lieutenant R. C. Trownson), “Rimmington.”—First verse taken a shade on the fast side. Some chords slightly accented, but a fine body of tone forthcoming. Second verse very expressive with a much better tempo. A big-toned band. Hymn treated well, but just a tendancy to hurry a shade at times. Attack and release splendid.

Feilding Municipal Boys (Conductor, J. Fleetwood;, “Ashton.”—This band consisted of very young boys, indeed. The performance should be of great help to them in future contests. The soprano player produced a very sweet tone, but there was some untunefulness throughout in the rest of the band. The boys were warmly applauded at the conclusion of their effort. but it was unfortunate that they had to play in between a good A grade and a good B grade band.

Si. Kilda Municipal (Conductor, W. L. Francis), “Maidstone.”—A , beauti-fully-toned band, nicely in tune. First verse very expressive,, indeed. Soprano a shade uncertain on one or two notes, but produces a sweet tone. Second verse, band “holds over” effectively. An expressive verse. Final verse splendidly played. A very large body of tone forthcoming here, perhaps too much at times, but general effect splendid.

Palmerston North City Silver (Conductor, W. R. Francis), “Stella.”—

First verse very nicely played. A lilt of the rhythm retained throughout second verse, some very nice legato playing her?. A colourful verse. Final verse taken a shade quicker, but the atmosphere of this delightful tune well portrayed. The final chord was just a shade unsteady, but the band recovered quickly. A peaceful amen.

Wellington Boys* Institute (Conduc" tor, J. C. King), “Nearer My God to Thee.” —First chord a shade unsteady, but band quickly settles down and produces, a sweet tone throughout. Basses, horns and euphoniums delightfully in tune and a good quantity of tone coming from this section of the

band, particularly. Second verse well iplayed, though one or two players anticipate slightly the third and fourth chords before the end of this verse. Third verse delightful. A lovely change of harmony toward the close. Most effective. Reverently played. Hawera Municipal (Conductor, H. C. A. Fcx), “Hulmbridge.”— First verse, band beautifully balanced and delightfully phrased. Attack and release splendidly portrayed. Second verse, another good verse. Third verse, very delightful legato effect and expressive playing. First trombone a slight vibrato on heavier bars, but otherwise balance splendid throughout. A sweet-toned band and very pleasant performance. Wanganui Garrison (Conductor, L. R. Francis), “Maryton,”—First verse, good opening, fine toned band. Basses nice and rich. A well played verse. Second verse, still a good quality of tone. The bass section inclined to be a little too heavy in support of the melodic line. Final verse, tonal quality rich throughout, final chord being particularly well balanced. Blenheim Regimental (Conductor W. C. G. Horrocks), “Abide With Me.”— A good opening chord, band producing a very sweet tone and nicely balanced, but first verse taken a shade on the slow side. Second verse, attack af.d release very good indeed, but not quite together in the final phrases of this verse. The last chord not given full value. Final verse, band produces a rich crescendo, and is well balanced here. The phrasing of the final words in this hymn effective, but band not quite together at times in this section of the hymn. A good general performance, taken a shade on the slow side throughout. Some delightful legato playing. Wellington Waterside Silver (Conductor, R. H. Fenton), “Nearer My God to Thee.”—First verse delightfully played. Band nicely in tune and good balance. The solo in secqnd verse nicely played. Another good verse. The bass “hold over,” leading into the third verse, was splendidly portrayed, and the general effect of this verse was organ like. There was a tendency at times to hurry one or two of the chords and the soprano was a shade uncertain in the final phrase. The performance was most expressive. Invercargill Civic (Conductor, Mr. Wills), “Nearer My God to Thee.’’—-A sweet-toned band with a nice quality coming from the basses. A tendency to make too long a pause between phrases in this verse. In the second verse two of the top-end players miss. The “hold over” effect was quite well done. In the final verse there was a tendency to accent chords, thereby losing the smoothness of the legato effect. Stratford Citizens (Conductor, C. Thomqs), “Abide V/itn Me.” —Quite * good start. Hymn taken at a good tempo. Some notes at the end of phrases are not given full value. Quite a nice tone, particularly in the quieter passages. Second and third cornets a shade too heavy at times for the melody instruments. A suggestion of untunefulness on final chords, but attention paid to the phrases and expression marks. Patea Municipal (Conductor, V. K. Christiansen), “Nearer My God to Thee” —A light, but sweet-toned band. Some of the cornets are anticipating the beat at times. In hymn playing there must be perfect unanimity. Second verse taken a shade on the slow side, but very nice piano treatment here. One of the basses anticipated at the final phrase. Third verse opened with a good body of tone, but one of the two cornets are “hard” tonguing notes. This does not lend itself toward smooth piny, which is so essential in hymn work. The horn section of the band produced nicely-balanced tone throughout. Rang io ra Brass (Conductor, R. G. Simpson), “Lead Kindly Light.”— Opening bars appeared to be slightly untuneful, but a nice smooth, effect was produced in this verse. Verse two, some of the chords not quite together. Softer tonguing would have produced a better effect here. This verse taken at a good tempo. Final verse quite well played, but the tonal production could have been a shade richer at times.

Feilding Municipal (Conductor, J. Fleetwood), “Rochdale”—Opening unsteady, but band recovers quickly. Soprano inclined to be a little too heavy at times. The effect of the basses takin a breath on the run down to the final phrase and breaking the continuity of this passage does not impress. In the second and third verses there is a tendency to overblow in the fortissimo bars, and there appears to be some slight untunefulness creeping in here. Hymn taken at a good tempo. Auckland Watersiders’ Junior (Con ductor, R. Farringtoi), “Leominster.” —Opening chord not together, but quite a sweet tone forthcoming. First taken very much tempo rubato. Second verse played pianissimo. Basses inclined to be a little too heavy here at times, otherwise a very good verse. A lovely final chord. Third verse, band very well balanced here. The rubato is more effective this time