Page:A Dictionary of Music and Musicians vol 4.djvu/488

472 Third prize.—The Goldshill Saxhorn band; conductor, Mr. J. Blandford.

Fourth prize.—The Chesterfield band; conductor, Mr. H. Slack.

Fifth prize.—The Meltham Mills band; conductor, Mr. H. Hartley.

The united bands, comprising over 1000 brass instruments, performed the following programme each day:—'Rule Britannia,' chorus—'Hallelujah,' Mendelssohn's 'Wedding March,' chorus—'The Heavens are telling,' and 'God, save the Queen.' The Times report of the proceedings said: 'The effect of the combined legions of "blowers" (upwards of 1200 strong) was tremendous. The organ which accompanied them, and which on less exceptional occasions is apt to drown everything, was scarcely heard.… The whole performance was conducted with wonderful vigour and precision by Mr. Enderby Jackson of Hull, a sort of "Delaporte" in his way'; etc.

Since then the movement has gone on in the Northern Counties and in Scotland, with fluctuations. There are periodical contests at many towns in Lancashire, Yorkshire, and elsewhere, and there is even a monthly organ for the movement, The Brass Band News (Wright & Round, Liverpool). It is, however, extremely difficult to obtain accurate information on so independent and fluctuating a matter. [See, in .]

In America similar circumstances produced similar results to those in England. A small army with a small number of bands leaves the musical field open to private enterprise, and the music-loving masses of large areas have themselves to provide the bands for their open-air recreation. It has been stated that in America there are 200,000 men connected with brass bands. Although we cannot go the whole length of this estimate, yet we may safely assume that the number of private bands is very large.

In all Continental countries the enormous armies absorb most of the average wind instrumentalists for military band purposes. Being permanent establishments, and carefully cultivated by the states as bands, the members of which have the privilege of following their professional pursuits undisturbed when not actually required on duty, it follows that there is no need for a development of private brass or other bands. This fact has to be considered when comparing the number of private bands on the Continent with those of England and America.

Brass-bands are confined by the narrow capacity of brass instruments to a limited range of executive possibility; but good work done, in whatsoever shape, is worthy of praise. Let us point out some mistakes frequently made. Some conductors wish to widen the legitimate range of brass-bands by adding brass clarinets to them. This is a most absurd proceeding, by which the very character of the instrumentation is destroyed. A squealing E♭ clarinet, the notes of which float over the brass tone of the band like a drop of vinegar in a basin of oil, is to a cultivated ear an abomination. So is the vigorous drumming. For marching purposes the addition of percussion instruments for the stronger accentuation of the rhythm is allowable, but out of that limit, if an addition is made, it should consist of kettledrums (timpani), which heighten the effect and are in character with the instruments. Another regrettable point is the absence of trumpets (with shallow mouthpieces) and the gradual conversion of brass-bands into 'horn-bands.' [See, vol. i. p. 748.] By the universal use of the cornet, which absorbs the functions of trumpets and flügelhorns, a variety of tone-colour is lost, namely the contrast between a combination of trumpets and trombones, and one of flügelhorns, althorns, euphoniums, and bombardons, each combination quite distinct in quality. Let us hope that if the monotony of the brass-bands suggests the introduction of some variety, it will be made, not in the addition of reed or such-like instruments, but in the legitimate restoration of those mentioned above.

Finally, we may once more refer to the military bands with reference to an estimate of their strength. On a necessarily incomplete calculation, made from reports of bandmasters of each country, excluding all bands of the Indian and Colonial forces, and not counting the many smaller bands of the German battalions not authorised by the state, we find in Europe 1043 regimental infantry bands (reed-bands) and 352 cavalry brass-bands, containing at the lowest estimation over 51,000 military musicians.

If we examine the musical results achieved by this small army it must be confessed that the rapid strides which have been made in the perfection of all classes of wind-instruments have not been accompanied by a proportionate advance in the artistic capability of these bands. It is outside our present scope here to analyse the causes of this stagnation. The connection of the bands with the military service, by which simple utility is placed in 'the front rank,' whilst that of art is relegated to the 'rear column,' lies at the root of the evil. To the same cause may also be ascribed the state of the literature of wind-instruments, consisting mainly of dance music of the trashiest kind, or operatic arrangements of more or less merit. The few examples we have of pieces for wind-bands by the great masters are not generally of a high order, and lack the necessary characteristic of bold outline. Between the aims and effects of writing for the orchestra and writing for military bands there is the same difference as between a carefully executed painting, where the smallest details are rendered with minute fidelity, and a large fresco, painted with bold strokes and bright colours. We may however indulge the hope that wind-bands (combining all classes of wind- and percussion-instruments) will at no distant period rise outside the military atmosphere. The variety of tone-colour, the broad contrast possible in a really artistic instrumentation, and the brilliant effects obtainable by a full-sized band of artist-performers, are too palpable to remain neglected for ever. When this great material is placed on a