Allan's Interview June 2020

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At a very young age, you used to play as principal cornet with both the Wingates Band and the Fodens’ Band. When exactly was this and what memories have you kept of it ? 

 

I was principal cornet with Wingates in 1972 at the British Nationals with the test piece ‘Kensington Concerto’, the youngest of the day, I had just turned 16. Soon after this, I spent a few years grappling with embouchure problems but was determined to get back to match fitness. I eventually did and ended my brass band playing career as principal cornet with Fodens, performing as the last band, at the last time the British Open Championships was held at Belle Vue, Manchester in 1981. I have fond memories of both tenures and the musical directors I encountered. Both positions gave me a solid base from which I could start to build my conducting career.  

 

You are a prime witness of the amazing progression of brass bands in Great Britain as well as in Europe of these past 50 years. Can you explain the difference between the Wingates or Fodensof the 70-ies and what is being done today ?

 

Certainly, with Wingates, the brass band movement at that time was fairly insular and had little contact with the outside musical world. It was the arrival of Elgar Howarth and later Howard Snell that, in general terms, helped to bridge that gap. At Fodens, we had just started to play and perform many of Howard’s fantastic arrangements which was certainly the start of almost any style of music being made available to the brass band public.

The music written today is much more complex as if a huge curtain has been lifted and someone has said: «You know, these guys can really play, write something interesting. » Percussion has become an integral part of a brass band (thankfully). Contemporary music is treated with more respect. Many players are still in ‘normal’ jobs, but many have also studied at music conservatories giving them regular contact with professional musicians. More importantly, regular contact with other musical genres has aided this gap to be bridged. 

One thing that hasn`t changed is the dedication, the total commitment necessary for performance at this level. I have only admiration for both periods

 

You have spent prosperous times with the Brighouse & Rastrick Band between 1991 and 2000, namely the victories at the Nationals in 1997 and 1998 and the European Championships in 1998. Please, tell us more about this iconic British brass band and about the musicians and soloists of the time.

 

This was my first ‘famous band’. They asked me if would audition for the vacant Professional Conductor position. I conducted two rehearsals and thought, OK, it was a good experience and expected nothing else. A couple of weeks later, they rang and offered me the job. I was surprised and shocked but, of course, I said yes. Brighouse had been fairly dormant in recent years and looking back, this was the start of the band’s resurgence. It took us a few years to get things moving then suddenly it seemed to explode. 

The players were dedicated, full of character and in some instances totally crazy but always used their amazing personalities for the benefit of the music and the performances. We, of course, had to make changes along the way to our playing personnel but we had just started to resurrect this famous name so any replacements in the soloist department seemed to gain their own momentum and we just became stronger and stronger. As we all grew together there seemed to be a terrific amount of support of the players, both soloists and tutti, from the players in the band.

 

In 2002 and 2003, as you were conducting the William Fairey Band of Manchester, you won both years’ National Championships in Great Britain. Your predecessors were no others than Harry Mortimer, Roy Newsome, Howard Snell and even Major Peter Parkes, who were all brass band legends. Were you aware, at the time, of the legacy which you had to carry on and of the honour of succeeding such conductors ?

 

I didn’t really think in those terms and I certainly didn’t have to carry on the legacy but wantedto. I was aware of the fact that things had started to go well, and I could make a mark however small. I certainly had a tremendous amount of respect for my predecessors and a lot to learn but wanted to do things my way. Two of the names, you mentioned, were teachers of mine. I learnt many things from them and did my best to retain their teachings. However, I soon realised I needed to think in other directions than my predecessors and at the same time change the way band members thought about band music, or any music for that matter. It’s a lifelong quest and I am still working on it.

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In 2006 and 2007, while conducting the Grimethorpe Colliery Band, you once again won two victories at the Nationals and were even given the coveted title of “conductor of the year”. You seem to quickly bring to the top every band that you conduct! You appear to enjoy competing and it seems that you know exactly how to motivate your musicians to get the best out of them. How do you do that ?

 

I simply don’t know the answer to that question, though I think part of the answer lies in trying to find the right buttons to press on the individuals you are dealing and working with. Everybody responds differently to different instructions and to a certain extent needs handling differently. As a conductor, we have to blend all these different personalities together. We need to get them on our side, so they want not only to play well for themselves and the band but for us. By treating people with respect and letting our passion be experienced around the band we have made a good start. Good planning and presentation of a rehearsal will leave people feeling rewarded.

Coming well prepared regarding the music to be tackled and building up an arsenal of possible solutions also helps. Again, we are all still learning.

 

You have now been living in Norway for a couple of years, where you conduct, among others, the Stavanger Brass Band. You have then actively participated to the international hatching of Norwegian brass bands. In your opinion, what were the Stavanger and the Manger Musikklag missing, before your conducting, to be among the best European brass bands ?

 

Actually, a little bit more than a couple of years. 38 years and 4 months to be exact. 

To be honest, on my arrival, Stavanger Brass Band was still in the pipeline and Manger Musikklag had a solid base already established. I started with Krohnengen and Tertnes and learnt much of my trade in these early years. It was only after my initial success with Brighouse that I was asked to work with Manger, then later, Stavanger. This collaboration with both bands still continues. The success of both of these bands is a result of many conductors, administrators and players pursuing a dream and a passion whilst at the same time being prepared to put in that extra amount of hard work necessary for success. 

 

In 2009, you created your own summer school of conducting in Holland, which is still successful today. Some of your students are now conducting European-level brass bands. It is the case of Frédéric Théodoloz who conducts the 13 Etoiles Brass Band in Valais. Do you have any other examples ?

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Every student on the course is equally important with the aim of the course being to improve the student from whatever each individual’s starting point is. We try to inspire each student to self-improvement by challenging the way she or he has thought about the job before. If I receive an email a couple of months later from some band manager thanking us for the course and enthusing over the improvement made by a student, then I am satisfied. I think that I have a moral obligation to pass on the knowledge that I have acquired over many years. The school is one way of doing this. Here, I must bring in Anja Abma, the administrative leader for here tireless support.

Frederic is a great musician and we wish him all success as we do each and every one of our students.

 

Here is a question I ask each and every one of my guests, because I am particularly interested in the answer: knowing that you have conducted in Great Britain, in Norway and in Switzerland namely the Bürgermusik Brassband Luzern, along with which you won the Swiss national title in 1995, and the Valaisia Brass Band, of which you have been the advisor-conductor almost since its creation, can you please describe the differences between the British, the Norwegians and the Swiss brass bands ?

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