Yes, I've experienced adjudicators saying that they're looking for a performance that's well within the band's capability (either in the registration meeting before the contest or in their summing up). It struck me as fair enough, though telling the contest secretaries this half an hour before the contest is a bit late for anything to be done about it. For own choice contests I think that information about what the adjudicator will be looking for would be useful if it were circulated when the choice of adjudicator is known (maybe this happens in some instances, but I haven't experiened it).
Hang on a minute!! My band did play the piece, our soloists (our principal cornet in particular) was amazing!! I don't in anyway blame any of our players or our MD for our result. We just weren't lucky. The adjudicators didn't find our performance appealing.
I find it quite offensive that you've made these comments. All 17 bands in our section did a sterling job with the piece and I have the upmost respect for them all.
I don't see why you feel the need to beat bands down who are trying their best. Are you the best player that ever lived? I think not!!
IMHO, Contesting needs to be kept in its place. The only purpose of contesting is to improve the standard of your and your band's playing. By the time you actually get on the stage, you already all have the main prize because the extra rehearsals you have attended and the extra work you have put in have all resulted in better performing, improved playing technique and so on. What one or two men in or out of a box have to say about your performance is a purely subjective opinion on your performance. Who cares?
If I come off the stage thinking that I have put in the best performance I can, then I am satisfied. What more is there to playing?
But only when it is actually constructive - merely saying "didn't work" or that no cornet can play in the authentically vibrato-laden style do not qualify as constructive from my perspective.
Are we still discussing the interview? I don't see any reference to "vibrato-laden" there. Vibrato has to be the least well-used device in contemporary band performance - but I'm sure this has been covered elsewhere. Mr B. is talking about musicality, not steam-driven mechanical vibrato.
I was being facetitious about Buckley's undoubted high quality playing abilities, albeit 40 years ago. Nobody would think about inviting Stirling Moss to analyse modern formula one simply because he was good at it himself in the past, with vastly different parameters, but adjudicators can get away with having little or no experience of modern banding - and in no way am I saying this is the case with Brian Buckley. My point is that when he was a player what he liked / likes may have little or no relevance to players, and to say that nobody could play with warmth is patronising at best and deeply insulting at worst. Perhaps we should discard the classic performances and players of yesterday and let new standards be established, as it is apparent that some people, judging modern bands on modern pieces, cannot see past vintage playing styles and methods.
It's clear who's opinions counted in the end. If there is to be more than one adjudicator then there should be three such that there is always a tie breaker.
maybe you could explain what has changed in the last 40 years.