Bandstand_1.pngPeople’s given names saddle them with epithets that tend to remain with them throughout their lives. The name Jack, for example, endows or burdens me with more than my share. A few of the more obvious:  Jack be nimble, Jack Sprat could eat no fat, Jack was every inch a sailor, Jackass, and Jack of all trades, but master of none. The last of these, “Jack of all trades,” particularly rankles when I hear it applied to musicians willing (and able) to switch from their usual instrument to another to fill in for some other missing instrument in a band. (The disdainful critics are, generally, those who would not be able to do so.)

A more complimentary term than “Jack of all trades” might be “A man of many hats.” I can’t think of anyone in the music world more deserving of that title, sometimes quite literally, than Henry Meredith of Western University (Doctor Hank as he is affectionately known) who displays his amazing array of talents with the aid of his Plumbing Factory Brass Band (PFBB). I had the pleasure of attending their most recent concert in London where, demonstrating several of the many period instruments from his vast collection, he donned the style of hats that might have been worn by musicians of the period.

This concert was a perfect example of what I have often described, and encouraged, as “Music Education as Entertainment.” The title of the concert was “Meet the Plumbers,” but would have more accurately described the scope of the concert if the title had been expanded to include “and Meet Their Instruments.” After the opening number, performed by the entire band, the audience was introduced to all of the members of the family of modern brass instruments and many of their predecessors including parforce horns, valveless trumpets, saxhorns, and the ancient cornett. In many of these smaller ensemble numbers all the musicians wore hats of many eras from Doctor Hank’s colourful hat collection.

The concert’s grand finale began with the introduction of the vuvuzela which could be described as a type of primitive klaxon. Its modern offspring, the plastic vuvuzela, came into prominence (notoriety is perhaps a better word) a few years ago when thousands of them were sounded during football matches at the FIFA World Cup in South Africa. In 1930 composer Henry Fillmore wrote The Klaxon March where he introduced the sound of early car horns into the work. At this concert, a few members of the audience were given vuvuzelas to produce the appropriate sound and then cued by Meredith whenever the music called for the klaxon. I can proudly report that this Jack of all trades added to my repertoire by displaying my musical skills on a bright green plastic vuvuzela.

Doctor Hank is truly “a man of many hats,” and he displayed his many talents as conductor, instrumentalist, curator and entertainer, simultaneously educating and entertaining his audience. After enjoying works of four centuries spanning the era from Samuel Scheidt in the early 17th century to Henry Mancini and Paul McCartney, we all had learned as we listened. We went home with memories of a great concert and some newly gained knowledge of some of the many aspects of music.

Bandstand_2.pngWychwood Clarinet Choir: The next major event on our musical calendar was the “Sounds of Spring” concert of the Wychwood Clarinet Choir. This was a very special concert dedicated to the memory of Howard Cable, who had been their composer and conductor laureate in recent years until his passing in March. In addition to the performance of two of Cable’s works from the 1960s there was a special tribute section in the printed program with photographs with choir members in recent years. During the intermission Bobby Herriot, trumpeter, conductor, composer and long-time friend of Cable spoke about their friendship and working relationship over the years. Cable’s two daughters and one son were in attendance and, after the concert, spoke of a few initiatives under discussion to recognize their father in one of Toronto’s parks. (We were also treated to a fine arrangement of Tchaikovsky’s Andante Cantabile from the String Quartet Opus 11 by Cable’s friend, distinguished arranger and musical director Fen Watkin who was also in attendance.)

As for the repertoire, there were two standouts for me. The first of these was a novelty number, with a very catchy melody, named Immer Kleiner by 19th-century composer Adolf Schreiner and transcribed by George S. Howard. For those not proficient in German, the title means “Always Smaller” and that is exactly what happened to Michele Jacot’s clarinet. After a brief interlude, she stopped, removed the bell of her clarinet and then continued playing. After another melodic interlude, she stopped again and removed the lower joint which is the bottom half of the keys of the instrument.Then on with the next section of the music with only the upper joint keys, then without the barrel until she was left with only the mouthpiece. It was all very melodic, well performed and hilarious to witness.

The second standout was a transcription of Gustav Holst’s First Suite in E-Flat for band. Many years ago I read, in a scholarly publication, that this composition and Holst’s Second Suite in F had been written as commissions from the Royal Military School Music, Kneller Hall. It was reported that directors of the school lamented the fact that almost all serious concert works played by British military bands were transcriptions of orchestral music. In a recent check of possible sources, I have not been able to verify that. However, I was able to confirm that this suite was premiered at the Royal Military School Music in 1920. This acceptance that the military band was a serious form of ensemble prompted other composers, including Ralph Vaughan Williams and Gordon Jacob, to write serious band music.

A Special High School: It isn’t often that I report on high school band concerts, but I must make an exception this month. For a number of reasons the music department of Dr. Norman Bethune C. I. deserves special mention. Among many other selections in their “Spring Music Night” were a new composition and a fine transcription. In honour of the school’s founding principal, Robert Thomson, whose school nickname (presumably affectionately) is “Thor,” the school commissioned J. Scott Irvine to write a suitable composition. So it was that the school’s wind ensemble gave the world premiere performance of Irvine’s stirring Mjolnir, The Hammer of Thor. Another outstanding number by the Wind Ensemble was a transcription of Gustav Mahler’s Symphony No. 1 “The Titan.” This arrangement by the school’s director of music, Paul Sylvester, was part of his master’s thesis.

A New Band: For my third concert in four days I was thrust into a different role. I was not in the audience this time but playing in the first formal concert of the fledgling York Region Brass. Yes, we did have to have a couple of ringers to fill in, but all went well. One of these ringers brought a very special surprise for me. Jonas Feldman reminded me that I had been his teacher many years ago. As is customary, teachers and students usually lose contact after the students move on. However, every once in a while our paths have crossed, and in this instance we were sitting beside each other for the band’s end-of-concert photograph. In the interim since we first met, Jonas just happened to have earned bachelor and master’s degrees in music. Another surprise: although I had been rehearsing with the group for several weeks, I had no idea that there was a composer in our midst. Then we played the new Lavender March by euphonium player Eugene Belianski. If you play a brass instrument and live within driving distance of Newmarket, the York Region Brass would love to hear from you. Their email is pnhussey@rogers.com.

Elsewhere: As mentioned last month, the Uxbridge Community Concert Band has just started another season. They would love to hear from potential members. If you would like to try a new band for the summer months, contact the band at uccb@powergate.ca or visit their website at uccb2016.webs.com.

By the time that this issue is published the Toronto New Horizons Bands will have wound up their sixth season with a concert by 195-plus members in six bands plus a jazz orchestra. Rather than take time off, NHB Director Dan Kapp has announced that he will be offering what he calls “a jump-start camp” for people returning to playing after not having played for a while. There will be experienced staff for daily workshops, band classes, interest sessions and ensembles. This will all take place at the Miles Nadal Jewish Community Centre at Bloor and Spadina from July 18 to 22. Their website is mnjcc.org/camps. And a reminder: as mentioned in last month’s issue the documentary film about these New Horizons Toronto bands will be aired on TVO, June 8 at 9pm. After that it will be streamed on the TVO website.

Coming events

Getting June off to a flying start, on Sunday, June 5 we have no fewer than four concerts by community instrumental groups, two of which will be performing with choral groups:

At 3pm the Newmarket Citizens’ Band will be performing in their “Spring Fling Concert” with the Upper Canada Chordsmen Chorus at Trinity United Church, Newmarket.

At 7pm the Strings Attached Orchestra, with music director Ricardo Giorgi will present their “2016 Friends & Family Year End Concert” at Tribute Communities Recital Hall, York University. This will be another concert with an interesting adaptation. The Vivaldi Concerto for Two Trumpets will be performed but with two violins playing the solo trumpet parts. As mentioned earlier, this seems to be the season for original compositions and this concert will be featuring two. The first, with the whimsical title, Overture for a Puppet Show, is by Ric Giorgi himself. The other, Cassiopeia by 16-year-old Adam Adle, is the winner of the orchestra’s Young Composers Initiative 2016.

Also at 7pm the Northdale Concert Band will be joined by the choirs of Timothy Eaton Memorial Church, Grace Church on-the-Hill and Christ Church Deer Park for “Last Night of the Proms,” an evening full of British pageantry fit for royalty at Timothy Eaton Memorial Church.

At 8pm Resa’s String Ensemble will hold their spring concert at Crescent School.

Finally, on Tuesday June 7 at 8pm, Resa’s Pieces Concert Band will perform their spring concert at the Toronto Centre for the Arts.

Jack (of all trades) MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

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Bandstand_1.jpgAfter a seemingly endless wait, spring has finally arrived, and with it a virtual explosion of band activity. Not only are there more spring concerts than usual to announce, but there are some anniversaries and even one unusual debut. Another most welcome sign is the number of messages from readers telling us about their bands’ activities.

Anniversaries: The first of the anniversaries that came to our attention was that of the Uxbridge Community Concert Band which is celebrating its 25th season. The UCCB is unique in that it is a summertime only band. Originally established to provide a band where students could remain proficient during the summer vacation period, now, 25 years later, band membership encompasses a spectrum from high school students to retirees in their 80s. They have two concerts scheduled for August. New members are always welcome and are urged to contact the band at uccb@powergate.ca or visit their website at uccb2016.webs.com.

At the end of each concert season UCCB band members are asked to vote on a selection from that season which they would like to have included in the repertoire for the following season. The music to Pirates of the Caribbean was the popular choice for this year. With that as a starting point, music director Steffan Brunette has come up with an imaginative theme for the 2016 season. The band will be “Sailing the High C’s.” As of this writing Brunette is still accepting suggestions from band members. Suggestions submitted so far include selections from the Sea and Sinbad’s Ship from Rimsky-Korsakov’s Scheherazade, Handel’s Water Music Suite, Gilbert & Sullivan’s HMS Pinafore and others.

Messages: The first of our messages was from Brenda Leuschen Farkas. When she lived in Toronto, she played in the New Horizons (Intermediate) Band, Toronto, under the direction of Rob Mee. When she and her husband moved to their new home on a lake near Port Loring, Ontario, the hunt for a place to play was a priority. Soon she found the No Strings Attached Community Band in Sudbury. While it’s an hour’s drive to get to the rehearsals, she says that it’s worth it. Recently, the band was awarded a high silver at the Northern Ontario Music Festival and received an invitation to compete at the Nationals in Ottawa. Directed by its founder, Sandra McMillan, the band will celebrate its 15th anniversary with a concert titled “15 Years of Music.” The concert will be held on Sunday, May 29 at 2pm at Cambrian College Auditorium, Sudbury. For more information see
nostringsattachedband.org

Another welcome letter recently received was from Theresa MacDonald, manager of the Weston Silver Band. As a member of Weston Silver Band, and frequent assistant with Hannaford Youth, she is a fountain of knowledge on the Brass Band movement in North America. In her message she pointed out “a bit of an oversight” in last month’s column regarding participation in NABBA competitions over the years.

Here is what she had to say: “Canadian bands have not [recently]participated in NABBA until we [Weston Silver Band] returned to the Championships in 2014 after an 18-year hiatus. We have just returned from the North American Brass Band Championships (April 2, 2016) with a second place finish in First Section (1.5 points off the winning band). We are and remain the only Canadian Brass Band at the Championships…We are currently ranked as one of the top ten brass bands in North America.”

New Horizons on Film: A few days ago we had the pleasure of attending a “pre-screening” of a new documentary film about the Toronto New Horizons Band. Directed by Sarah Keenlyside with executive producer Howard Fraiberg of Proximity Films, The Beat Goes On portrays the establishment and development of the Toronto New Horizons Band. The premiere on TVO is scheduled for June 8 at 9pm. After that date it will be possible to stream it from the TVO website.

While on the subject of Toronto New Horizons, their end-of-season concert is scheduled for May 27 at 7:30. As in past years this will be at St. Michael’s College Arts Centre, 1515 Bathurst Street, north of St. Clair Ave. It seems like only yesterday when I first heard of the prospect for such a group. Now it’s the end of their sixth year.

Dan Kapp: Last month I mentioned that Dan Kapp had resigned from his position in the Long and McQuade band department to devote more time to New Horizons activities. They have started to increase already. He will be running a beginner adult full-day band camp this summer from July 18 to 22, at the Miles Nadal Jewish Community Centre as part of their Summer Institute for Creative Adults (SICA) program. It will be for adults who want to start playing again. In other words, participants will have to have some background in reading music. The New Horizons Band of Toronto Summer Band (Dan’s regular guys and gals) will be featured guests in an evening concert on July 21 at the Al Green Theatre (within the MNjcc) as part of the camp.

If all of that wasn’t enough to keep a retiree busy, Dan was recently invited to conduct at a two-day international music festival in Panama City. He was selected to conduct a 78-member Honour Band of students from grades 7 to 9 as one part of the festival. It’s an annual event sponsored by the International School of Panama. There will be international schools from five other Central American countries as well as schools from Panama represented at the festival. This festival is the only time many of the students get to perform in a large ensemble.

Silverthorn: Back to those messages about upcoming events. Word from Heather Engli is that the Silverthorn Symphonic Winds will be ending their season with a concert, May 28, appropriately titled “Sounds of Spring.” To whet the appetite of potential attendees they have scheduled a combination of some outstanding wind band repertoire along with some easy listening, fun stuff: Ralph Vaughan Williams’ English Folk Song Suite, Percy Grainger’s Lincolnshire Posy and Leonard Bernstein’s Overture to Candide along with such lighter fare as selections from Ain’t Misbehavin’, Big Band Salute and A Leroy Anderson Portrait. It is a program with wide appeal. It all takes place at the Wilmar Heights Event Centre.

And a deep debut: June 5, Flute Street will present their spring concert featuring the Bach Toccata and Fugue in D and a Sinfonia for Nine Piccolos. The highlight for me will be the debut that I alluded to earlier. A few months ago we had introduced to a Toronto audience for the first time a sub contrabass flute belonging to a guest performer from Australia. That instrument so fascinated Flute Street member Jeff Densham that he was determined to have one for himself. Yes, he purchased such an instrument, and it will have its Canadian debut at this concert in a duet for contrabass and sub contrabass flutes.

More Events by date

May 7 the York University Community Band Festival returns with a variety of attractions for band members. It all starts at 12:45 with registration in York U’s Accolade East Building. There is a massed band session in the early afternoon followed by workshops on Brazilian drumming, brass performance, woodwind tips and a jazz ensemble. This is followed by a reception with keynote speaker, Canadian composer Donald Coakley. The evening features a massed band concert where Coakley will conduct a number of his compositions.

May 8 at 2pm, the Markham Concert Band will present “Sneak Peek: Murder at the Markham Theatre,” a fun-filled afternoon, as band member Heather Wardell spins a tale of dastardly deeds unfolding before your eyes at the Markham Theatre. Great music melds with intrigue in the search for the Markham Theatre murderer. Between each piece of music more information will be provided about motive and opportunity for the suspects and at the end of the show the murderer will be revealed.

May 15 at 2pm, the Caledon Concert Band will present “Heroes from Fantasy and History,” including Guardians of the Galaxy, Star Trek Into Darkness and Pirates of the Caribbean.

May 15 at 3:30pm, the Wychwood Clarinet Choir (led by artistic director and clarinet soloist Michele Jacot) offers “Sounds of Spring” at the Church of St. Michael and All Angels. This concert will feature McIntyre Ranch and other works by composer and conductor laureate Howard Cable and Immer Kleiner by Adolf Schreiner. The one work that I am looking forward to is Gustav Holst’s First Suite in E Flat as arranged by Matt Johnston. In the past I have been amazed at how well this group interprets such large works for full concert band with only the resources of the family of clarinets.

Also in the Listings

May 27: Etobicoke Community Concert Band. “Summer Prelude: Memories of the ‘Summer of Love’ at Woodstock,” featuring big band and Latin music. Works by Glenn Miller, Duke Ellington and others.

May 28:The North York Concert Band presents “Dancing and Romancing,” a composite of swing tunes, Latin music, show tunes and other music at the Al Green Theatre.

May 29: Mississauga Pops Concert Band presents “First in Films” with selections from The Lion King, Robin Hood Prince of Thieves, The Phantom of the Opera and other works; Joseph Resendes, conductor.

May 29: North Toronto Community Band presents “Spring Rhythms,” with Keli Schmidt, mallets percussion, Cindy Sloane, vocals, Danny Wilks, conductor.

Sunday June 5 at 3pm, the Newmarket Citizens’ Band will present their “Spring Fling Concert” with special guests the Upper Canada Chordsmen Chorus, at Trinity United Church, 461 Park Ave, Newmarket.

June 7: Resa’s Pieces Concert Band’s “17th Gala Concert,” will range from Gustav Holst’s Jupiter from The Planets to Leonard Bernstein’s West Side Story. Local trumpeter and composer Vern Kennedy’s Chandler Point Suite will add a local flavour. The band will be joined for part of the program by Resa’s Pieces Singers and Resa’s Pieces String Ensemble; Resa Kochberg, conductor.

Howard Cable

Word is spreading through the music world of the passing of Howard Cable. Canadian music has lost a great composer and conductor. Much has been written in the media already, and next month The WholeNote will include a feature story about him.

For myself, in addition to playing much of his music over the years, more recently, I had begun talking with him about a special project. For some time I have wanted to write something about the process of music composition by looking into a specific work, following the processes and persons involved from the original concept to first performance of the piece. A couple of years ago I broached the idea to Howard after a concert of the Wychwood Clarinet Choir (with whom he had also developed a special relationship in recent years).

In my mind I envisioned some town band commissioning him to compose a concert overture to commemorate an anniversary of the band. We would then discuss the many steps involved as the ideas went from the composer’s brain to printed page and on to a public performance. We had agreed on a tentative format and, always ready to look ahead, Howard suggested that we get down to it this spring. Alas, it will not happen in quite that way now.

Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

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Last month, you may recall, the Canadian Band Association, Ontario had just held its first "Community Brass Band" weekend, which got me going in this space, on the subject of the characteristics of the brass band, the British Brass Band Style, Company Bands and Brass Band Contests.

There’s a whole other story to tell about how brass bands in the British tradition, sometimes sponsored by employers, began to be established on this side of the Atlantic in the late 19th and early 20th centuries. But first let’s look at an upcoming event which encapsulates not only what the brass band community is all about but also how far the brass band genre has come.

BBB-Bandstand.jpgHannaford Street Silver Band’s Festival of Brass: Just as there are few, if any, professional concert bands in Canada there are few professional brass bands. The notable exception is the Hannaford Street Silver Band, established some 30 years ago by a group of Toronto professional musicians who wanted to give the full virtuosic range of brass band idiom a voice and showcase in Toronto. Their concerts have consequently explored a much wider range of music than would usually have been considered part of the brass band repertoire. A recent example: with guest artist Fergus McWilliam, they presented the Strauss Horn Concerto No.1 this past February 21. Here was a top musician from the Berlin Philharmonic performing with a brass band on the only major brass instrument that is not part of the usual brass band instrumentation. Also note, the HSSB commitment to broadening the repertoire has gone beyond  rearranging standard repertoire into a vigorous commitment to commissioning new Canadian works.

Another important outgrowth of the HSSB’s activities has been their youth program. In 1999 they launched the Hannaford Street Youth Band under the direction of Anita McAlister. In 2005, another youth band was created for beginning brass players known as the Hannaford Junior Band. Soon a third, intermediate, band known as the Hannaford Community Youth Band was also formed. All three bands, under the same director, provide musical growth opportunities for young musicians ranging in age from 11 to the early 20s.

So, for devotees of the Hannafords and brass band fans in general, the HSSB’s annual Festival of Brass (this year on the weekend of April 15 to 17) is a must. This festival will be packed with almost every form of brass music. Friday evening will feature “Rising Stars” where the finalists of the Hannaford Youth Solo Competition will be judged on their performances by Alain Trudel and Stéphane Beaulac. The winner will perform with the Hannaford Band in the Sunday afternoon concert. Saturday will be devoted to a master class in the morning followed by a series of performances by “Festival of Brass” participating bands. On Sunday there will be an open dress rehearsal in the morning and the “Entre Amis” concert in the afternoon. This year, Stéphane Beaulac, formerly principal trumpet with Orchestre Métropolitain in Montreal, now with the Los Angeles Philharmonic, will be the featured soloist. He will perform Canadian composer Johnny Cowell’s Concerto in E Minor with the band, under the direction of another Hannaford distinguished visitor, Alain Trudel.

Crossing the Atlantic: Now back to our previous topic. Certainly the geography of Canada, with large distances between communities, made some aspects of the British Brass Band tradition, such as regular contests, impractical. On the other hand, relative isolation and lack of other recreational opportunity may have assisted with other aspects, such as the company band. Certainly, into the 20th century there were still a few distinguished company bands around, including the Taylor Safe Works Band, the Heintzman Piano Company Band, where the famous Herbert L. Clarke was featured, and the Anglo-Canadian Leather Company Band in Huntsville, Ontario where Clarke was the conductor from 1918 to 1923. Originally trained on the viola, Clarke was smitten by the cornet and began practising on his brother’s instrument. He then joined the band of the Queen’s Own Rifles in 1882 at age 14, in order to obtain his own government-issue cornet on which to practise.

Few, if any, company bands are still operating in Canada. There are still a number of Salvation Army bands, but the total number of British-style brass bands probably does not exceed 30. Most of these are in Ontario, operate as recreational or “community” bands and have long histories going back over a century in some cases. The most well-known include the Oshawa Civic Band, the Whitby Brass Band, the Weston Silver Band and the Metropolitan Silver Band of Toronto. Professor Henry Meredith’s Plumbing Factory Brass Band in London is one which has risen in stature in recent years.

South of the border: About the same time brass bands were springing up in Canada similar bands were forming in the US, principally in the New England States. It wasn’t long, though, before brass bands caught the attention of one John Sullivan Dwight in Boston. Ordained as a minister in 1840, Dwight had abandoned the ministry and developed a deep interest in music, in particular that of Beethoven. By the 1850s music was becoming a big business in America and Dwight was soon to become the country’s first music critic, launching frequent tirades against the popular music of the day, particularly the brass band. In one memorable instance he wrote: “All at once the idea of a Brass Band shot forth: and from this prolific germ sprang up a multitude of its kind in every part of the land, like the crop of iron men from the infernal seed of the dragon’s teeth.”

NABBA: Dwight notwithstanding, by 1983 the desire for some form of umbrella organization to coordinate the activities of bands and to further the brass band movement had resulted in the establishment of the North American Brass Band Association (NABBA) with stated aims to “Foster, promote and otherwise encourage the establishment, growth and development of amateur and professional British-type brass bands throughout the United States and Canada.”

Cautionary note: if you decide to ask Mr. Google for information on this organization, type in the full name, not NABBA, or you will learn more than you ever wanted to know about the National Amateur Body-Builders’ Association. (Unless of course you are a tuba player and need some muscle toning.)

While some Canadian bands have participated in NABBA competitions over the years, the most recent highlight was in the summer of 2014 when the North American Brass Band Summer School (NABBSS) was first held in Halifax as an integral component of the Royal Nova Scotia International Tattoo. We were participants in that first school and in the tattoo. We would not have missed it for the world. The 2015 event was equally successful and enrollments are well on the way for this coming summer.

Other Brass Band news from the GTA: I was very surprised and pleased recently to receive a copy of a new history of the Metropolitan Silver Band. As the title says, it covers “80 Years of Music-Making at Metropolitan United Church.” This history was written by the band’s longest-serving member, Ken Allen, who has been in the band for 71 of those 80 years, 43 of them as its manager. He was fortunate in having access to meticulously maintained records over the years by a fellow band member.

Elsewhere I have mentioned, on various occasions, those revolutionary times when a female musician was “permitted” to join a band. For the MSB, this occurred in January 1981, when Bill Martyn, a member of the cornet section and a high school English teacher, invited one of his students to join the band. Now, 35 years later, Michele McCall is still in the band and has been the band’s manager since 2005, when she took over from Ken Allen. Another milestone was in 2002 when the band appointed its first woman conductor. Fran Harvey is still the conductor after 14 years at the helm. The history includes a good selection of pictures, all with dates and identification of all band members. As I scanned these pictures, lo and behold, there I was during those years when I was a band member in the 1970s and 1980s. Late last year the band released a new CD to celebrate its 80-year association with Metropolitan United Church. Titled Amazing Grace-A Gospel Celebration, it is a compilation of  traditional hymns including one selection, My Lord What a Morning, featuring a solo by none other than 71-year veteran Ken Allen.

Salvation Army bands have long been a mainstay of the brass band movement, so it was good to hear of an SA concert coming up later in the month. Featured will be the Ontario Central East Divisional Singing Company (Junior Choir) conducted by Elizabeth Colley, Divisional Young Peoples’ Band – Blood and Fire Brass under bandleader Bob Gray, and Divisional Reservists’ Band – Heritage Brass also led by bandmaster Gray. The concert will take place Saturday, April 23 at 7pm, in the Agincourt Community Church of The Salvation Army, 3080 Birchmount Rd, Toronto. A freewill offering will be received during the concert.

Startups are always a good sign of the resurgence of interest in  brass band music, and here’s another one. They are inviting other brass players to join them. They rehearse Wednesday evenings in Newmarket and would particularly welcome cornet and tuba players. If you play a brass instrument, and are interested in exploring that genre, contact Peter Hussey by email at pnhussey@rogers.com.

New Horizons: From time to time I have reported on the activities of the many New Horizons groups since their introduction into Canada about six years ago. The number of groups in Toronto alone has grown to the extent that the original conductor, Dan Kapp, has relinquished his duties at the Long & McQuade main store to channel all of his energies into the many New Horizons groups. With the title of creative director, Dan will oversee the operations of all Toronto bands, as well as conduct two or more. While on the subject of New Horizons, a few days ago I learned of a New Horizons group now thriving in Sudbury. Where will the next NH group spring up?

Obituary: Unfortunately I must report on the passing of Alex MacDonald a long-serving member of the Metropolitan Silver Band. I first met Alex when he and I were living in the same residence at university many years ago. We played together in the U of T Varsity band. On one occasion Alex startled us all. We were rehearsing Sousa’s Stars and Stripes Forever, but we didn’t have anyone to play the piccolo part. Alex tucked his euphonium under his arm and pulled a slide whistle from his inner pocket. Suddenly we had a piccolo.

Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

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In last month’s issue I mentioned that, for the first time, Canadian Band Association, Ontario would be holding a Community Brass Band Weekend, February 19 to 21. Unlike previous Community Band Weekends this one was devoted to the music of the British brass band movement. For those not familiar with these weekends, this is not a gathering of bands. Rather it is a weekend of music-making by individuals who enjoy playing music of the type featured, in this case, the British Brass Band style. The host band for this weekend was the Oshawa Civic Band with conductor Rita Arendz.

Most participants were members of such CBA-member bands as the Weston Silver Band, the Metropolitan Silver Band, the Whitby Brass Band, the Oshawa Civic Band and others. There were also some participants without any particular brass band affiliation. As in other such weekends, participation was open to any brass and percussion players. The rehearsal and public concert provided an opportunity for brass musicians not familiar with the genre to experience the unique sound and some of the repertoire of the brass band movement. Since there appears to be a resurgence of interest in brass bands and their music, this might be a suitable time to probe into the world of the brass band music, its performers and its devotees.


The Characteristics
: For starters, let’s look at the differences between the brass band and what is generally referred to as the modern day concert band. The principal difference is that a brass band has no woodwind instruments, i.e. no flutes, clarinets, saxophones, oboes or bassoons. As well, the brass band has no French horns. The early brass bands generally had only a single drummer. Nowadays, many have a larger percussion section including timpani and, in some cases, melodic percussion.

As for instrumentation, cornets are used rather than trumpets. Of those, the soprano cornet plays the sort of high register part which would be played by a flute in a concert band. The E-flat horns (sometimes called alto and sometimes called tenor) fill in between the cornets and the baritone horns and trombones. The bass section has both E-flat and B-flat instruments. Since all of these instruments except the trombones have a conical bore rather than cylindrical, the tone has a more mellow quality. The tone is even more mellow for the flugelhorn which has a much more conical bore.

So what is the difference between a brass band and a silver band? Silver instruments are brass instruments which have been silver plated. In the early days, silver instruments were considerably more expensive than the brass ones, and thus had some snob value for those bands which could afford them. Today the price difference is not significant.

Another major difference between brass bands and concert bands is the musical notation. With the exception of percussion, bass trombone and some tenor trombone music, all parts are transposed and written in the treble clef. This means that for every instrument, from the basses right up to the soprano cornet, the fingering is the same. So, for beginner classes, group instruction on all of the instruments is possible. My introduction to band music was in a boys’ brass band, and our instructional classes always had the range of instruments from cornets to basses in one class. With this system, if necessary, players are able to switch more easily between instruments. Thus it is easier to cover parts when a particular instrument is missing.

As I mentioned, my first band was a boys’ band. That was the norm then. Girls were usually not permitted in bands. In our band there was an exception. We actually had two girls. (Since their father happened to be the bandmaster, that might have made a difference.) It was as late as 1947 that the student council of the University of Toronto called a special debate to finally permit a girl to play in the university band. Fast forward to 2016 and this band weekend. Two of the most prominent brass bands in Southern Ontario have women as conductors. Rita Arendz leads the host Oshawa Civic Band and Fran Harvey has been leading the Metropolitan Silver Band since 2002.

Brass bands first appeared in Britain in the early part of the 19th century. With the Industrial Revolution and urbanization, employers were happy to finance ways to decrease political activity and minimize the amount of time the workers spent in the pubs. Along with that Industrial Revolution came a vast improvement in technology and mechanical skills. Fortuitously these factors coincided with the invention of valves for brass instruments. Now brass instruments, other than the trombone, could play chromatically.

It was now possible to produce, in quantity, brass instruments with good musical quality. There were some other reasons for the rapid growth in the popularity of brass instruments. Not only was it possible to mass produce these much more inexpensively than the woodwinds, but a three-valved, easy-to-hold instrument is much more user-friendly than a keyed instrument or a stringed instrument.

Company Bands: Employers were now willing and able to provide a recreational outlet for their workers. In particular, mining companies and mills fostered company bands. It has been estimated that by 1860 there were over 750 brass bands in England. It would be difficult to determine which bands still performing have been the longest running. However, no one is likely to match the claim that the Black Dyke Mills Band, founded by that name in 1855, has one of the longest traditions. It has been reported that there are now thousands of brass bands in the UK.

Since playing a musical instrument was deemed to be an acceptable social activity, if for no other reason than it kept people from the pubs and other corrupt activities, abstinence groups began forming temperance bands. Then in 1878, albeit only as a quartet, the first Salvation Army band was formed. Since the Salvation Army frequently took their message to the streets, the portability and weather resistance of brass instruments had considerable appeal. If a brass instrument is rained on, simply dry it off. That won’t do for a clarinet or a violin. While some Salvationist bands did manage to keep their activities separate from the general brass band movement, there was some cross-pollination. Long before it became acceptable in the general band movement, the Salvation Army actively recruited women for their bands.

Contests: Over time, local contests involving a few neighbouring bands grew into larger events with more bands. Then, with the backing of Sir Arthur Sullivan, the first National Brass Band Championship took place at the Crystal Palace in 1900 with twenty-nine bands competing. The test piece was an arrangement of Sullivan’s compositions and Sullivan conducted the final massed band concert. Sullivan’s name certainly gave the event an element of respectability; calls for original music were soon answered by such composers as Sir Edward Elgar and Gustav Holst.

The NBBC remains the principal competition in the British brass band world. Generally speaking, the importance of contests has a been a major factor in the development of top-notch players throughout the entire brass band movement. Cornetist Herbert L. Clarke is one shining example of the talent spawned by such groups. Another that I had the pleasure of hearing at Massey Hall some years ago was French virtuoso Maurice André. He started in a company band in a coal mining town in France.

2106-Bandstand.pngA New Award: Every once in a while I stray a bit from the band world to either praise or vilify some event in the musical world which I have either been thrilled or appalled by. This month it’s the latter. In recent years, when major sports events are being televised, it has become the norm to have some musical celebrity sing the national anthem rather than play it so that the audience can sing it in the way that was intended. Some of these soloists have the intelligence to lead the singing in that spirit. Some of them have decided that their personal styling is far more important than authenticity. For me, the anthem sank to the bottom of a new crevasse recently at the beginning of the National Basketball Association’s All-Star Game in Toronto. The “guest artist,” whose facial contortions matched those of her voice, inflicted considerable pain on all of her victims from coast to coast. O Canada will never be the same.

Be it hereby proclaimed that henceforth, every February, this column will award the ABC (the Anthem Butchery Cup) for egotistical desecration of the national anthem. Nelly Furtado wins the inaugural award hands down. Nominations for next year’s award are now being accepted. Send video links to support your case. 

Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

 

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2105-Bandstand.jpgFor most of us the arrival of January heralds the beginning of a new year or the departure from an old year. For some it marks the beginning of a new decade in their lives. A few days ago I had the pleasure of attending the birthday party for one such person. It was trumpeter Johnny Cowell’s 90th birthday party. Johnny and Joan, his wife of 60-plus years, were the very special guests.

Johnny has been a prominent part of the Toronto music scene for 70 years. His trumpet playing in Toronto started at age 15 when he travelled from his home town of Tillsonburg, Ontario, and began playing in the Toronto Symphony Band. However, there was a war on, and as soon as he was old enough, he enlisted in the navy. Within weeks of his enlistment, Johnny was the trumpet soloist in the band of HMCS Naden, the principal Canadian Navy base in Esquimault, B.C.

As we chatted at his birthday party, I started to wonder if our paths might have crossed on more than one occasion over the years. After all, our birthdays are less than a month apart and we both started playing in bands at an early age. Actually Johnny started when, at age five, he was given a used trumpet by his uncle. I didn’t start until I was 13. I lived in a larger community than Tillsonburg and, in addition to adult bands, we had a boys’ band. His first band experience was with the Tillsonburg Citizens’ Band.

A few months ago I mentioned in this column how small-town summer-band tattoos were a significant part of a band member’s life. I had played in many such tattoos in Southwestern Ontario. As we chatted, it turned out Johnny had not only played in many of the same tattoos, he had played trumpet solos in these events. As for music festivals, such as those in Waterloo or the Stratford Music Festival with Professor Thiele, the answer was the same. We had both been at them.

As teenagers playing in community bands at the same tattoos and festivals, we never met. Even though we both joined the navy at the same age and at about the same time, our paths never crossed there. It was only years later that, in a musical situation reminiscent of our teenage years, we met, playing once again in a marching band. It may seem hard to believe today, but in the early 1960s the Toronto Argonauts had their own professional marching band which performed fancy routines on the field at all home games. Some may have thought that this was below one’s dignity or not in keeping with professional musical standards. However, why not get well paid to go to see the hometown team play football? So that is where we met.

While Johnny is best known for his trumpet virtuosity, he has won considerable acclaim as a writer and arranger. In fact, on more than one occasion he turned down attractive offers which might have brought him fame by writing for stage productions or getting involved in the Nashville scene. However, the trumpet, his all-abiding first musical love, second only to that for his wife Joan and their family, always won out. Offers which would inevitably have separated him from his trumpet were declined.

Even though he elected to stay home and play trumpet, Johnny certainly did not turn his back on writing. I couldn’t hope to count how many of his tunes could be heard on the radio in the 60s. His 1956 ballad Walk Hand in Hand could be heard on every radio station in those days. His writing wasn’t limited to that genre. He has been equally at home writing for trumpet and brass ensembles. Playing a few selections from the Johnny Cowell CDs in my collection, I am amazed at the broad gamut of his trumpet works. At one end of the spectrum there is his dazzling Roller Coaster, and on the other end, his Concerto in E Minor for Trumpet and Symphony Orchestra. While he is officially retired, he still practises on his trumpet regularly and is expecting to be a guest soon with the Hannaford Junior Band playing his composition Roller Coaster with members of that group.

As I sat down for a brief chat with Johnny and 94-year-old Eddie Graf, who is still playing and writing arrangements, I was humbled to say the least.

A weekend of special programs: The weekend of February 27 and 28 stands out as a special one for aficionados of the music of wind ensembles. First, on Saturday we have the Silverthorn Symphonic Winds continuing their 2015/2016 season with a program called “Musician’s Choice,” where those planning the program have consulted band members to determine what music they would like to perform. They have chosen a broad spectrum from Howard Cable’s The Banks of Newfoundland to Shostakovich’s Festive Overture. Within that spectrum they take their audience all the way from Percy Grainger’s Irish Tune from County Derry to Norman Dello Joio’s Satiric Dances and Steven Reineke’s The Witch and the Saint. This latter number is a tone poem depicting the lives of twin sisters Helena and Sibylla, born in Germany in 1588 at a time when twin children were considered a very evil omen. As the story unfolds, instruments in the band which seldom get solos have an opportunity to employ their special sounds to tell the story of the twins during their lives. If that isn’t enough, the band might just be able to squeeze in some excerpts from Leonard Bernstein’s Candide. It all takes place Saturday, February 27, at 7:30pm at Wilmar Heights Event Centre.

The following evening the Wychwood Clarinet Choir will present their “Midwinter Sweets.” Exploiting the unique sounds of a clarinet ensemble to the full, they will feature Red Rosey Bush by composer and conductor laureate Howard Cable. The composing and arranging talents of choir member Roy Greaves come to the fore in his composition Trois Chansons Québécoises and his arrangement of Gustav Holst’s St. Paul’s Suite. That’s Sunday, February 28, at the Church of St. Michael and All Angels.

Elsewhere in the band world

 February 4 and March 3. The Encore Symphonic Concert Band presents their monthly noon-hour concert of “Classics and Jazz,” with John Edward Liddle conducting at Wilmar Heights Centre.

February 5 at 7:30, as part of the U of T Faculty of Music New Music Festival, you can hear Rosauro’s Concerto for Marimba performed by Danielle Sum.

February 7 at 3pm at Knox Presbyterian Church in Waterloo (and repeated on February 21 at 3pm at Grandview Baptist Church in Kitchener) the Wellington Wind Symphony offers “Remembering” with works by Brahms, Erwazen, Woolfenden and Alford. Also on the program will be Morawetz’s In Memoriam for Martin Luther King, Jr.

February 21 at 3pm The Hannaford Street Silver Band will present “German Brass” with Fergus McWilliam, French horn, and James Gourlay, conductor.

February 23 at 7:30 The Metropolitan Silver Band will present “Jubilee Order of Good Cheer,” a blend of classics, marches, sacred, popular and contemporary works at Jubilee United Church.

For details on all these consult The WholeNote concert listings.

Calling all brassFor a number of years, the Canadian Band Association, Ontario has held Community Band Weekends sponsored by a number of community bands in various communities across the province. This year there is a new twist. For the first time, CBA-Ontario will host a Community Brass Band Weekend from Friday evening February 19 to Sunday, February 21. Hosted by the Oshawa Civic Band, the event should not only offer a meeting ground for dedicated brass band devotees but introduce brass players from concert bands to the style and repertoire of the All Brass culture. All musical events will take place at Trulls Road Free Methodist Church, 2301 Trulls Road S., Courtice. Details on registration were spotty at time of writing: consult cba-ontario.ca/cbw-registration for updates.

We have another new all-brass band to report on. The York Region Brass began rehearsals in Newmarket a few months ago and are inviting brass players to join them. They rehearse on Wednesday evenings and would particularly welcome cornet, trombone and tuba players. If you play a brass instrument and are interested in exploring that genre contact Peter Hussey by email at pnhussey@rogers.com.

Another special musical event: Although it has nothing whatsoever to do with band music, I can’t end without reporting on a recent outstanding musical event in Toronto. The Amadeus Choir, the Elmer Iseler Singers and the Toronto Symphony Orchestra, under the direction of Bernard Labadie, performed a special “semi-staged” version of Mozart’s Requiem K626. The combined choirs, soloists and conductor, all performing the entire work from memory, gave this monumental work new meaning. Through movements and gestures, conceived by stage director Joel Ivany, choir members and soloists conveyed the concept of loss and redemption that is the heart of the requiem mass. To set the mood for the choral work, as a prelude, the TSO Chamber Soloists performed the Largetto movement from Mozart’s Clarinet Quintet in A Major, K581

Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

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