Putting Together a Successful Concert

Putting Together a Successful Concert

I am a believer in some simple objectives when programming a concert. They have served me well and they are principles I pass on to newer conductors.

They are (in no particular order):

Know the strengths and weaknesses of the band;

Understand the audience and their expectations (for example a audience of children would need to be entertained and enthused differently, since they are the players of tomorrow);

Understand the acoustics;

Use music that will continually push and improve the standard of the band;

Knowledge of current and well-proven repertoires for brass bands;

Is there a theme required for the concert (e.g. Christmas, Remembrance Day)?

Identify the soloists in the band;

Unless specifically requested avoid re-using material at a venue;

Include innovative items, for example guest soloists;

The need to please the regular audience to keep them loyal and interested;

The repertoire should be in keeping with the long term aims and objectives of the band.

If we take as an example a typical two-hour concert with a 20-minute break, I start my programming task at the outside, and work in, starting with the first three items of the concert – often a march, a serious number, and a cornet solo. Then I programme the last two items – usually a comic item then a big number to show off the band's strengths, often finishing loud and fast. The first half finishes with a well-known but full-strength piece.

I often begin second half with a march, chosen to contrast with the opening march. For example, should the concert open with a march in the British style (often in a minor key), the second half could open with a contrasting Sousa march.

The next items to fill in are the other soloists, usually 3 or 4 others, one of which should be each of cornet and euphonium; and one of which is often a feature of a section, perhaps trombones or percussion.

Then the other items will be of a contrasting nature to ensure a breadth as well as depth to the concert.

Finally I stand back to ensure that the concert works in its entirety and that it meets the objectives laid out above.

I have been fortunate to be a guest conductor of a number of bands in North America, especially in Maryland, U.S. When planning a concert in over there I am particularly conscious that I and the band that I am conducting are ambassadors for the movement, which is why it's important to show that the strength of the modern brass band lies in its wide variety of genre and timbres. I found the experience I have covering the differences between the U.S. and U.K. banding scene most useful (see page 7 of the August 2007 NABBA Bridge).