Coffs Instrumental Eisteddfod 2012 Wrap Part 1

It’s been a long time since I last put in a blog entry. A lack of motivation to write, combined with a busy teaching schedule is not the best combination I have found. After the Coffs Harbour Instrumental Eisteddfod I do feel the urge that I should write since this was not only the annual event for student instrumentalists in the region, but it was also a special occasion. The 40^th anniversary of the event was to be made something special, and it ended up being an extraordinary gala of music. Quite easily the best eisteddfod I have ever attended, regardless of whether I was a student, audience member, or teacher.

I have decided to write this up in two parts. The first part in regard to the event, and the second in relation to a discussion I had with the adjudicator afterwards.

The 40^th Coffs Harbour Eisteddfod was as it should truly be, and that is a music festival. For the first time it didn’t feel like there was a strong competitive spirit in the air, but more like an enjoyment of going up to perform and to be inspired by each other. I feel this has been something partly educated to the students, but a strong part of this was encouraged by the adjudicator for the event, Louise King. From the Thursday morning when the secondary schools performed right through to the Saturday evening with the concluding championships, the whole event was a festival of a wide variety of music spanning different eras, genres, and stylistic playing.

Good consistent playing was rewarded in different sections, regardless of ability or favouritism. Over the last few years I have felt adjudicators for this eisteddfod have been pressured into giving away first places to those who attempt a higher standard work but don’t necessarily play well, let alone perform stylistically correct. This year saw a dramatic change to that standard. To think a saxophone would win a baroque section over instruments from (or closer to) that era, or even 3^rd Grade AMEB instrumentalists winning sections due to more consistent playing than 7^th to 8^th Grade AMEB standard performers. Every section felt like anybody could win, with nothing presumed. From an audience perspective it really made you think about each of the performances and what were the highs and lows of each item presented.

After every section, all performers would be brought forward and a small discussion of the section would be conducted. Louise would share some of her thoughts, perhaps pose some questions to the performers, maybe even discuss some aspects of the era or genre of music depending. Not only was this enlightening for students, but also informative for the teachers present. At times, some of the things addressed by the adjudicator would reaffirm what teachers had previously been saying to their students (surprise, surprise… lol). A lot of the students felt encouraged and comfortable with performing as a result of this technique used by Louise, some even taking on board advice from previous sections and putting it to work.

There were very few criticisms I’d have of this eisteddfod since it ran so efficiently. The major disappointment was the lack of audience for the championships. A lot of families and friends were prepared to be present for their children/students and see them perform in the small-medium sized ensemble sections, but not hang around to see high-standard performances in both the Junior and Open championships. These championships certainly could have been done justice by having a larger audience present, especially with the fired-up performances of Ciesla’s klezmer music, a Brahms Hungarian Dance, a Piazzolla tango, and a movement of a Rimsky-Korsakov concerto to name a few.

There are two ideas that come to mind to solve this problem. The first is to lock the doors once everyone has entered, perhaps giving a warning to “enter at their own risk”. While this idea would not be taken too kindly, I would go for option two of holding the championships prior to the ensemble sections of four or more members. The performers have a larger, more responsive audience and they would feel more inspired and encouraged to step up the playing. It’s almost the equivalent of the Melbourne Cup where the grand event is held in the middle of the afternoon, but not at the end of the racing day.

Ten years ago I had wrapped up my second open championship of the Coffs eisteddfod. There was no acknowledgement or celebration of the eisteddfod being held for the 30^th year, and by no means did it feel festive in any way. Not as many people performed that year, and we had quite some talent emerging through the ranks (especially in the junior sections). In ten years, how will we reflect on the 40^th edition of the eisteddfod? And what will the 50^th celebration be like? My hope is that this event may remain and establish a tradition of being festive and enjoyable, and not of the view that eisteddfods are purely “competition” where only the best are acknowledged, but rather music and the diversity of musical ability at different stages can be appreciated.