Page:A Dictionary of Music and Musicians vol 4.djvu/487

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Having already recorded the reformation of the Prussian cavalry brass-bands by Wieprecht, a reformation which very soon extended into nearly every other European state, and the improvements of Sax, we may now proceed to the brass-bands of the present time.

No statistical record of the number of private brass-bands in Great Britain has yet been compiled, but their number is very large. A considerable number of these bands have reached a high state of excellence. Of course, looked upon from the point of 'high art culture,' brass bands are of no account. But viewed as a popular agent for the improvement of the musical taste of the people, they are of great importance. The comparative ease with which a brass instrument may be learned, the similarity of execution upon all of them, which promotes a feeling of equality, and gives no technical advantage to any player, and the imposing effect which a well-managed brass-band is capable of producing—these circumstances offer attractions to the toiling multitude which no other form of music can equal.

Originally introduced by some of the large employers of labour in Lancashire as an innocent and desirable recreation among their workpeople, brass-bands soon multiplied. As they improved in executive capability, an honourable spirit of emulation arose among the better ones for a public recognition of their respective claims to superiority. This led to the organisation of public contests, coupled with the award of prizes for superior merit. It is really marvellous that these contests have survived the tests of half a century, and flourish now more than ever. The task of employing part of the scanty leisure in the study of an uninteresting 'part,' the severe rehearsals necessary to ensure pre-eminence, and the fine results achieved by many of the existing bands, furnish a sufficient proof of the love of music among those whose life is passed in useful activity. These contests are watched annually by hundreds of thousands of spectators, and the award of prizes is a source of ever-increasing interest to the multitude, while it gives a distinguished position to the winning band. Mr. Enderby Jackson of Hull deserves to be mentioned as having been the active promoter of many of these contests in the midland and northern counties. The highest success which he achieved was the organisation of the 'Grand National Brass-band Contest' at the Crystal Palace, Sydenham, on the 10th and 11th of July, 1860. A hundred and sixty-nine bands were entered as competitors, the actual number appearing at the Palace being about seventy less. On six platforms the competition proceeded from 10 a.m. till late in the afternoon of each day. Three judges officiated at each platform and selected the two best bands of those which had played before them. The twelve bands thus selected had a final struggle for the honour of the first prize before the combined eighteen judges, whose award on the first day gave the following prizes:—

First prize.—The Blackdyke Mills band; conductor, Mr. Longbottom.

Second prize.—The Saltaire band; conductor, Mr. R. Smith.

Third prize.—The Cyfarthfa band; conductor, Mr. R. Livesey.

Fourth prize.—The Darlington Saxhorn band; conductor, Mr. H. Hoggett.

Fifth prize.—The Dewsbury band; conductor, Mr. John Peel.

The bands obtaining the first and second prizes on the first day were not allowed to enter into the competition of the second day, when the following bands respectively succeeded:—

First prize.—The Cyfarthfa band; conductor, Mr. R. Livesey.

Second prize.—The Dewsbury band; conductor, Mr. J. Peel.