MUSIC TELLS OF THE FREEDOM OF MAN, SAYS WOOLSTON'S CONDUCTOR

Wanganui Chronicle, 25 February 1947, Page 4

MUSIC TELLS OF THE FREEDOM OF MAN, SAYS WOOLSTON'S CONDUCTOR

In an interview with the “Chronicle” yesterday, Mr. R. J. Estall, conductor of the Woolston Brass Band, and the oldest conductor to take part in the present contest, said that the standard of musical appreciation was much higher to-day than it had ever been in the past, that the bands competing to-day were of very fine stock and pulled together as bands.

“This is due, no doubt," Mr. Estal) said, “to the type of selections introduced for bands by such men as Elg/, Bantock, Gheel and Ireland." Eric Ball s “Salute to Freedom” is a worthy example ot modern composition, so full of life, so exhilarating that one can almost see the people dancing tor joy,” he commented. "Quietly, wistfully, even with mis giving, man steps upward to claim his hard-won freedom. Then sudden realisation brings an uprush of joy, exciting and exhilarating. Yet old scores are not forgotten and there is born the stern resolve never again to fall into bondage—whatever that bondage may be. “That,” quoted Mr. Estall, from the music score, “Salute to Freedom," is typical of the themes that are being played, themes expressed in music which cater for a higher intellectual standard.” Mr. Estall lias been conducting since 1914-1915, when he won his first contest at Christchurch in thc year 1915. He has played and conducted the one band since the age of 19 and is conducting it in this, his twentieth contest. He has judged in 20 contests, including the Centenary Contest held in Sydney, N.S.W. As a euphonium player, his record io noteworthy in that he has held the New Zealand championship for five limes, dating back to 1899. "The general trend to-day," continued Mr. Estall, “is for symphonic poems, which calls lor the collective abilities of the band as a whole, There was a time when the humble cornet player was so hushed into the background that he was almost not looked upon as a member of the team.” Mr. Estall recalled the time when he ,vas subordinate to another cornet player who took all the plums. “Trespassing was not allowed,” he said smilingly. “The other chap was the showman and so It went on.” As far as individual players are concerned, Mr. Estall is of the opinion that present-day soloists do not come up to the high stand--ard set by men such as Geo. Buckley. "He was a grout artist, a man of stamina, a marvellous player on the soprano, and a wonderful cornet player,” said Mr Estall. “I had the pleasure of working with him, and competing against him and his contemporaries,” Mr. Estall said, referring to Mr. “Ted” Derry, and Mr. “Jackie" Parker, whose stamina and ability to reproduce were qualities seldom seen to-day. He made reference to Goodall, Stevenson, Sullivan and the Fox Brothers, of Christchurch, who all left theixvmark In the history of band music. 'But I still think the best is to come as far as using colour and tonal effects that can be obtained from brass bands is concerned, Mr. Estall remarked. “Take some of the modern compositions heard from America,” he con tinned, "particularly the choir work. "They use their treble like a mist going over the sea, and I am satisfied that it will be done with brass bands—perhaps using bigger bands. Then will come the creation of better intelligence and an appreciation of artistry.”

Mr. Estall said that the arrarngements ot great masters’ works in the past were mainly written for exceptional soloists.

Mr. Estall said that band playing meant hard work, and the public perhaps did not fully realise the time and patience needed to practice to bring a ■band up to contest pitch. In the other side of the ledger, ot course, there was the comradeship, and here and there touches of humour. He recalld one occasion when Woolston was all tuned up for the quickstep. There was a cornet player who was slightly "fond of the bottle,” and shortly before the contest <iad been taken aside and warned to watch his step. As luck would have it the bottle won, and on contest day t|-«p cornet player fell out in a fit on the march. George Buckley, who saw what had nappened, hurdled a fence and tool: his place. But another side to the story was the fact that when the cornet player went down in a lit the band was counter-marching and it looked to some of the band that he had been hit bj the bass drummer. "Shorten that stick,” yelled the bandmaster to the drummer, and the drummer, obeying, quickened the pace, Woolston hitting the clock at 140 paces to the minute that day instead oi 120. At Timaru, Mr. Estall recalled, on another occasion, before he was conducting, the drum-major turned out 'slightly under the' weather” and Woolston finished up in the centre of the field looking at the drum-major like a ring of Hereford heifers looking at a farmer. The conductor on that occasion could be excused the language he used, .which was neither musical in tone, nor polite in expression.