Area "templates"

[Teflon1961]

An interesting, varied and testing time awaits us within the next 4 weeks or so. Crucial decisions will be made following the assessment of our performances at the area.
Seems to me that all sections are in for a treat or a tragedy depending on whether to stick to the score or stick to the CD?
Just dipping my toe in the water and wondering what the thoughts are regarding how we, as players and/or conductors, can be swayed by the pre-contest recordings and interpretations we hear and to go one level further, whether we have expected our judges to be influenced by the majority of performances which adhere to these templates?

Here's to March! best of British!

[Charmed]

CD's can give you the basics, however, the interpretation has to come from the band and then it just depends on whether your interpretation is the one that 'they' like.

It would be so boring if every band played tried to replicate CD recordings.

[flugelman]

I agree that CD's can give a baseline however as musicians surely we have to interpret the score/music and not strictly follow what we have heard on disc. Whether this applies to audicators is another matter.

From a personal point of view I feel that the interpretation of the second section test piece I played at your (and mine now!) band on monday night Teflon seems spot on.

David (Bottom 3'rd cornet extraordinaire!)

[Steve]

I will always argue against copying the styles on the various CD's. The score and parts tell you exctly how to play the piece and any other detail should be from the MD and your soloists and not a CD that someone (no matter how good) has recorded. Of course I listen to the recordings but I listen to them as a guide to layout, not to decide how Im going to play / rehearse a piece.

[WoodenFlugel]

Moved to Area discussion forum...;)

[iancwilx]

David !)

Shouldn't that be :- ( Sub Principal 3'rd cornet extraordinaire !) ?
- Wilky

[Headvib]

What about recordings of a test piece with the composer actually conducting the band? Should this be veiwed as a diffinative interpretation by the ajudicators, or should conductors still be allowed an amount of freedom with interpretation?

[brasscrest]

Unless the composer is one of the adjudicators, then it won't be 'definitive'. You'd also have to be careful that the version on the recording is the same as the version used for the contest, particularly if the piece was not published at the time it was recorded with the composer conducting.

Having played in a band where the MD was a fairly well-known composer, I can attest to the fact that even the composer's own interpretation will change over time, sometimes even only a year or two. In fact, there were often substantive changes in a piece when it was played several years after it was written.

[scotchgirl]

I think that interpretation should ONLY be down to the conductor (with a thought towards the playing ability of the band members)...

I remember when Montage was the Area test piece, we qualified in 2nd place, and played the piece totally differently to the recording, which I seem to remember had missing perc parts etc.

I think some bands rely too much on the recordings for their interpretation of music...some of the recordings are not as good as they could be, and following them could actually hinder a performance rather than guide it.

Go with the conductor!!

[stevecritchlow]

last time I attended an area as a listener I was absolutly dismayed at how many bands had copied the CD recordings identically. We are supposed to be artists not copyists.

At the end of the day, any band competeing will have spent 400 times more rehearsal time on the piece than the band recording it, so why assume the recording is perfect in terms of tempo, dynamic, interpretation etc.

In my opinion the only possible reason for the recording is to demostrate to very inexperienced players how the piece should sound, at an early stage of rehearsal. After that, immerse yourself in the music and play it in a way that stirs your emotions.

[JR]

last time I attended an area as a listener I was absolutly dismayed at how many bands had copied the CD recordings identically. We are supposed to be artists not copyists.



You are quite right - one reason why The Night to Sing and Eden were such great levellers? - no commercial recordings to copy.
I would like the "regionals" cd to be scrapped
I remember conductors mis-reading Gregson's Partita on stage when it first came out in 1975 - some used to conduct the last movt 3/2 bar (towards the end) twice as fast as it should be. This would never happen today - all they have to do is copy the Cd! - where's the challenge in that?
The production of these CDs also makes for a succession of bland performances and stifles risk-taking

john roberts

[Valvecap]

I agree with you John - CDs do stifle risk taking somewhat. I listened to the CD - Course I did, but after a few listen throughs, put it away and began to decide what I wanted to do with the piece - as per the markings... I listen back to the CD recording we had of GUS playing Prometheus before Butlins, and then compare it to the actual performance on the day and the two are very different in stylistic approach. But then again, I am not the same person as the person who wagged for that GUS performance. CDs can be useful teaching aids inside and outside of the bandroom, but cannot replace a conductor and what they bring (or perhaps take away from) to a band. (IMHO).
Besides, having listened to the Regionals Recording for the 2nd Section this year, I would advise against listening to it - there are some 'marked differences' between the score and what is being played (I know i know.... Back on Topic Please....)

Good luck to all at the areas... See you in Sunny Bradford (rehearsal - 7.30am... WOT?!?!)

Ta

[Teflon1961]

I would advise against listening to it - there are some 'marked differences' between the score and what is being played (I know i know.... Back on Topic Please....)

I'm so pleased you posted this Dave as I really think you have returned to the topic.
When I originally heard the CD myself, I was puzzled by some of the interpretation on Images, to that of the actual score markings.
I must admit that when I first posted this thread, I was playing devil's advocat a little to see if I was on my own in the way I was thinking, but it seems by all the above comments that I was on the right track with this, I've never took a deal of notice of these recordings and always tried to include the full list of "instructions" prior to forming an interpretation.
I'm perhaps leaning toward the argument that they can do more harm than good.

Good luck in March :D

[Rapier]

How do you get a copy of these CD's then? I'd like one to play along with at home.

[Thirteen Ball]

How do you get a copy of these CD's then? I'd like one to play along with at home.

My advice to 1st section bands is don't play along with the 'voyage of discovery' recording. It's all WAAAY under tempo!

Not sure where the CD came from, I just borrowed it off one of the band.

[Di]

How do you get a copy of these CD's then? I'd like one to play along with at home.

Try here (http://www.ukcd.net/details.asp?ref=1585). ;)

[Rapier]

Why thank you, Di. You're so much nicer than that nasty Dinie person that used to loiter round these parts! ;)

[Perplexed]

Half the fun used to be watching conductors who couldn't get anywhere near the eventually recognised tempo or style:clap: - or find all the secrets hidden in the music. Plus - there certainly used to be a clause in most commission contracts that the new music couldn't be played publically prior to the event... I liked it that way, there were more thrills and spills - it was more entertaining for players to sit and listen.

[Teflon1961]

...was more entertaining for players to sit and listen.

Yes, to listen to the varying interpretations, not to see if your major rivals sounded like "the CD"! Great point made.

Welcome aboard perplexed!