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Re: Test pieces

Regarding the topic of  "test pieces":
      I must admit sentiments on both sides of this interesting and relevant
discussion. The first time I heard John Ireland's (it was him, wasn't it?)
Elegy from a Downland Suite was from the Dyke recording of some years back.
I was new to brass band music, and totally enthralled. How could anyone
consider this wonderful piece to be anything other than musical? What
ensemble other than a tuneful, balanced and expressive pianissimo brass band
would present the musical ideas of this movement as well? (I have a tape at
home, Jack - anytime you want to borrow it let me know).  I personally feel
the same way about "In Memoriam" from George Lloyd's Royal Parks. I love
playing the Bb Bass in both pieces.
      On the other hand, some of the "test pieces" we have played have been
pretty boring fare.Challenging for conductor and player, but boring for
listeners (and often Bb Bass players). And they can go overboard with the
weird time signatures. For example (pardon my ignorance), what is the
difference between a crotchet ("whole note" for the USA) in 4/4 time (tempo
crotchet = 60) and a minim in 4/2 time (tempo minum = 60)? If there is no
difference, why use the latter?
   Worse (IMHO) are the "showpiece" solos such as the original "Carnival of
Venice". In the faster variations the soloist always emits a dazzlingly even
flood of semiquavers from the bell of their instrument. You know they are
going to do it because the MD would not allow them to try in public
otherwise! In between variations the band plays an even more boring version
of the main motif. The interesting thing is the player's technical
proficiency, not the music. But then, I suppose there is always a place for
one (only one, please!) of these in a band concert.
  Perhaps the solution is to try to involve some of our younger composers in
composing for the unique colour and dynamics of the brass band. With mutes
and percussion, the spectrum of timbres can be broad and used very
effectively, and the dynamic range of a band is far greater than that of an
orchestra. Perhaps the creativity of some of the more talented of our music
students may escape the tethers of musical convention and show us all the
way here. Anyone interested in sponsoring a scholarship? Unfortunately, in
Australia, both music critics and academics appear ignorant of the
discipline of Brass Band composition and performance.

Philip Anderton, Bb Bass
Warringah Concert Brass
Sydney, Australia.

Philip J. Anderton	 -@^@-
Optometry, UNSW    
Sydney 2052 Australia 
 Ph: +612 385 4375  Email: P.Anderton@xxxxxxxxxxx>
 FAX:  +612 3136243  Web: http://www.unsw.edu.au/


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