NEW PLYMOUTH BAND CONTEST.

Rangitikei Advocate and Manawatu Argus, Volume XXXIII, Issue 9142, 11 May 1908, Page 2

NEW PLYMOUTH BAND CONTEST.

MARTON BAND. The following are the judge's remarks iu oouuectiou with fcno performances’ of Martou ' B«au at we above-contest, held recently : QUICKSTEP N.L8.8.A. First time. Not together at the opening. Tone thin. Too much bass drum for the weight of tone of the r remaining portion of the Band. Much out of tune. Very much out Of tune, especially from 28 and on. Soprano from 28 and on, doing good work. Soprano very pretty from 49 to 52. The Baud is very weak in inner instruments. Melody Cornets out of tune at 57, 58 and 59. Basses and Trombones not strictly in tune from G2 and on Trio. Still out of tune a little. Not quite together _ at 5 and 6. From 9 and on, playing very prettily. Euphonium playing very well here. I do not hear much of Trombones in cho sustained harmony. (Repeat) Hepiano and Second Cornet should stand out a little more from 9 and on. Horns out of tune. Second, time. Crotchets made too short at 16 and 18. Pretty Soprano from 28 and on. Not closely iu tune at this strain. Euphonium playing a rather coarse tone, and splitting several notes. Melody Cornets not together at 40 and 41. Melody Cornets much out of tune at 45. Melody Cornets very much out of tune from 03 and on. Basses and Trombones not neatly in tune. Trio. Lacking in volume of tone. From 9 and on, “piano” very creditably rendered. Now that the Band has come to the halt, I can hear the Repiano and Second Cornet at 18 and 14 in thirds with First ‘ Cornet. Third time. Melody Cornets ranch out of tune at 3 and 4.* Euphonium a little out of tune on top A flat. Soprano from 28 and on, doing good work; a good Soprano this Melodv Cornets not quite in tune at 45 and 47. Melody Cornets much out of tune from 62—evidently lip-tired. X could not hear sufficient of Repiauo and Second Cornet in 66 and on. On the whole a very creditable performance. —81 points. FIRST TEST GEMS OF SCHUMANN. Moderate. Not quite iu tune at 6. Horn playing very fairly in solo from 6. .Ores, very fairly done from 11 and'on' Also ores, and dim. at 17, though Band slightly out of tune here. Euphonium very effective at 21 and 22. Cornets likewise, and very fairly in tune. Not sufficient weight at climax of cres. Balance very fair. Movement on the whole very fairly played. Non Troppo Vivace. Not sufficient stress on sforzando notes. A little heavy for piano. Very fairly in tune in this movement. Precision fairly good from 27 and on. Euphonium doing good work here. Arpeggio very fairly managed from 57 and on. Cornet should stand out a little more in 50 and similar bars. Rail, very fairly done. Movement on the whole very fairly played. Con Espressione E Vivace. —Solo Cornets doing good work. Accompaniments too heavy. Baud out of tune here. I cannot hear much of Baritone. Solo Horn at times faulty in his intonation. Rit. fairly well managed. (Change of key). Solo Cornet play ing very fairly indeed. Soprano at 22 very nice, excepting just a shade out of tune on his A flats. Ores, fairly managed at 25. (Change of key.) Playing much better here, though I canuot hear much of Baritone. From figure 15 and on, Band playing a little too heavy for Solo Horn, though I am aware it is marked f here. Not strictly in tune. Ores, and dim. at 17 moderately well done. Cornet Cadenza splendidly played. Movement on the whole moderately well played. Moderate. —This movement very nicely played. Moderate (Non Troppo Lento).— Just a little heavy for f here. Covers up Euphonium too much. Euphonium good here; Bass likewise. (Change of key). Horns, Baritones and Euphonium not quite in tune ’ from 21 and on. I could not hear enough of Trombone at 27. By-play for Cornet very fairly played at 25. 26, 35 and 36. Euphonium phrasing Cadenza wrongly. Movement on the whole moderately well played. Allegro Molto.—Not strictly In tune here. Balance very fair. Tone a little coarse. Andante Grazioso.— Solo Cornet not a success at 13. Euphonium doing good work in this movement. Cres. not a success at 19. Solo Cornet and Horn not neatly in tune, still not much amiss at 24, 25 27, and 28. On the whole, movement fairly played. Allegro Vivace —Tempo correct here. From 24 and on, this is not read to my liking, and not strictly together. Not together at figure 80. Solo Horn not in tune at 35 and on. Movement on • the whole moderately well played. Moderate.—Accompaniments just a little heavy here, and not strictly in tune. Basses not closely iu tune. Trombone playing solo very fairly indeed. Out of tune from 21 and on. Ores, at 27 not a success. Movement on the whole moderately well played. Allegro.—Crescendos not a success. Horns a little out of tune here. Movement fairly played. Allegro.—Melody Cornets not in tune at, 3 and 4 in triplets,—Tone of Band better here. Movement very fairly played. On the whole a very fair performance. —129 points. FINAL TEST:—WILLIAM TELL. Maestoso.—Not quite together at opening. Fair tune and fair tone. Allegro Brillante.—Soprano out of tune at 32 and 24 Very much out of tune. I cannot hear sufficient of Horns from 21 and on. Horns better from 29 and on. Euphonium very much out of tune at 60. Movement on the whole moderately well played. Andante.—Euphonium very faulty in intonation at 1 ; missed top B flat in 2. Horns out of tune at 3 and 4. Euphonium faulty intonation at 6, and split on top A in 7. Horns out of tune at 8 and 9; also at 11 and 13. Dim. very fairly managed at 14. From letter C Corner playing his solo with nice tone and nice style. Basses out of tuna in r-v.eral bars. Horns very pretty from 24 and in sustained harmony. Well done, Horns! Ores, and dim. at 32 and 33 very nicely managed. Euphonium and Solo Horn not strictly in tune at 36; very fairly played nevertheless. Trill by Solo Cornet from 37 and on, very good. Soprano very good in morendo. Movement on the whole very fairly played. Allegro.—Cornets not together in descending quavers. Bottom end of Band—Basses, etc.—doing very well. Dim. from 37 and on, very fairly done. Ores overdone at 50; too loud at ( climax of the cres. Cornet Cadenza very fairly played, though tone just a little hard. Movement on the whole very fairly played indeed. Andantino."—Euphonium just a little heavy in this opening. Solo Cornet

phrasing In correctly. Horns not strictly in tune. Soprano paying very fairly indeed in his solo from 20. Ores, very fairly worked up indeed, though Basses a little out of tune. Bar 29 wrongly read by Solo Cornet. Dim. at 33 and 37 very fairly managed. Bar 40 wrongly read by Solo Cornet. Cadenza very nicely played by Solo Cornet. Movement on the whole moderately well played. Allegro Vivace. —Tempo correct. Several dotted crotchets made too short. Melody Cornets much out of tune from 16 and on. Prom 28 and on. Soprano and Repiano should sustain these dotted crotchets a little more. Ores, at 34 moderately well done. Basses out of tune in several bars. Euphonium fairly good in this movement. Crotchets too short at 74 and on — much too short. Dim. very fairly managed. Movement on the whole moderately well played. Allegretto, —A sight slip by Solo Cornet at 5; otherwise playing very fairly. Accompaniments very fair indeed. Soprano very pretty from 18 and on. Solo Cornet phrasing wrongly in places. Horns Baritones not quite in tune at dim. from 48 and on. Movement on the - whole very fairly played. Andantino. Not quite together in accompaniment at 1 and 2, Euphonium made crotchet a little too short at 5. Tone of Cornet just a little hard in Matilde’s portion of this beautiful duet. Tone of Euphonium also a little on the hard side. Dim. at 33 moderately well done. Soprano put of tune at 35. Basses out of tune at 37. Cornet shoud use the soft touguing method in playing the mezzo-staccato at 41. Dim. at 43 and 47 not quite a success. Duo Cadenza for Cornet and Euphonium very well played indeed. Movement on the whole moderately well played. Allegro Vivace.— Ores., very fairly worked up from 11 and on, but the tempo is too slow ; playing very neatly nevertheless. Lacking in volume in ff at 58. Stingendo.— Melody Cornets out of tune first time through. In repeat Cornets still out of tune; Soprano likewise. Horns out of tone from 18 and on. Cornets out of tune from 28 to 32. Soprano a little sharp on D’s from 51 to end. Movement on the whole very fairly played. On the whole a creditable performance. —l2l points.