The onset and duration of the Great War had created a hiatus in contesting so it is unsurprising that in the immediate aftermath of the war, the activity of the Silver Prize Band was largely confined to attendance at local events.

Towards the conclusion of hostilities the inhabitants of Knottingley mirroring the national trend, had turned their attention to the erection of a fitting memorial to commemorate the men of the town who had died as a result of the conflict, and to the organisation of fund raising events in order to finance the proposed memorial. (1) In keeping with its time honoured tradition of service to the local community, the Band was involved on various occasions when money raising events took place, particularly the Orchestral Band which frequently provided music for dances and the more elaborate masked balls. (2)

The parade which preceded the ceremony of unveiling and dedication of the memorial on the 21st September 1921, was led by the Band which also provided the music for the hymns sung in the ensuing service. Similarly, when the memorial at Ferrybridge was unveiled on the 9th October 1921, the Band undertook the same service. (3) Nor is it surprising that as the Armistace Day observance of the immediate post war years became stylised, eventually adopting the formalised structure of Remembrance Day, the Band became involved on an annual basis, thus inaugurating a voluntary service to the local community which continues to the present time and echoes the attendance at the town’s Infirmary Sunday demonstrations for more than half a century. (4) Thus, a resolution by the Band Committee dated June 1905, that “the Band parade and play for Dispensary Sunday, free gratis”, (5) typifies the attitude of the bandsmen towards an event which was already well established in the Band’s social calendar by that date.

A glimpse of the transitional nature of Remembrance Day is afforded by reports of the participation of the Band in such ceremonies. By the mid ‘twenties the format had developed by which the Band, together with that of the Salvation Army, assembled on the Flatts and marched to the Town Hall where the parade was joined by civic dignitaries before proceeding to nearby St. Botolph’s Church, or other centrally situated place of worship, where both bands accompanied the hymns featured in the remembrance service. (6) Within a few years the war memorial had replaced the church as the venue for the civic and interdenominational service but always with the Band in attendance. (7)

An almost parallel development with the desire to honour the fallen was the desire to provide a recreational area and playing field for the aged citizens and the children of Knottingley. Following a protracted communal effort in which the Band again played a part, the Greenhouse fields were obtained and laid out for public use. (8)

In July 1933, after an unsuccessful application of earlier date (9) the Band was allowed to hold the first of a series of Sunday concerts in the newly laid out park. The concerts, which were divided into afternoon and evening sessions, drew large attendances and as the price of admission was by silver collection at the park entrances, the proceeds for the Band funds, the events proved satisfactory to all concerned. (10) The popularity of the concerts not only prompted a regular series during subsequent summer seasons but gave rise to consideration regarding the provision of seating for the audience and by mid 1936, an abortive proposal to erect a commemorative bandstand. (11)

When, in 1927, the reconstituted Knottingley Infirmary Sunday Committee in a bid to widen the scope of fundraising, inaugurated the Gala Day & Sports which marked the beginning of the town Carnival, the Band lent its active support, leading the procession and playing during the event, marking the start of its attendance at every Carnival for more than sixty years. (12)

Throughout the six years of conflict which marked the Second World War the Band was active on the ‘home front’. The annual War Savings Week held each year to boost loans to the government to supplement the cost of the war always featured a civic church parade led by the Band. (13) In 1944, the local council, under the aegis of the Government’s ‘Holiday’s at Home’ propaganda, promoted a gala week involving a wide range of entertainments for the benefit of the local community in which the Band played a prominent part. (14)

Writing in 1977 of the participation of the Band in such events, the late John Hargrave, Deputy Editor of the Pontefract & Castleford Express, asked:

“Why did we all brace up, step a little sharper, hold our heads a little higher, when we heard the swing of ‘King Cotton’, ‘The Stars & Stripes’, ‘Under the Double Eagle’, ‘Colonel Bogey’ and all the rest, as the musical host advanced with measured trend? Even us bairns on the fringes of the crowds felt as if the whole concourse of the town was going in glory up dem golden stairs.”

Seeking to explain the singular popularity of the Band, Hargrave concluded that it;

“…was an age when people took what came as it came…that I am sure is one of the secrets of the affection shown for Knottingley’s Band…They were identified with the few pleasures people had, the fete days, the processions, the sports, the home-made, community brand entertainment in the days before our food, our music, our culture, our very heritage, came in cans.” (15)

During the first half of the twentieth century, dancing became an increasingly popular pastime. The Prize Band regarded the activity as a useful resource of income, particularly in the period between the two great wars. By the mid 1920s the participation of the Band reached its apogee, characterised by a whirl of activity in 1926 when a series of concerts and dances took place in the Town Hall throughout the winter season. Described as “a great success” the dances drew large attendance’s (16) and by the late summer, the series had been resumed. The dances had “lovely music, including all the latest songs” and refreshments at modest prices, provided and served by the wives of the bandsmen. (17) The dances usually commenced at 7.45pm and lasted until midnight with the Orchestral Band producing “delightful music, including all the latest dance music [for the] large and appreciative audience.” (18)

The inter-war period, however, brought a degree of hardship for the brass band movement in general as the depression and high unemployment of the twenties and thirties affected spending capacity and reduced audiences for concerts and musical entertainments, reducing band income and adding to the burden of administrative costs. For the Prize band the popularity and success of the seasonal dances ensured their reprise during the bulk of the inter-war period and provided a modicum of income on a fairly frequent basis. Something of the financial benefit obtained via dances in the early post war period is shown by a report of an event held on the evening of Friday 24th September 1923, when more than 150 people attended to dance to music provided by “Mr S. Marshall’s efficient orchestra.”

Admission was by ticket, each costing 1s 3d. The sale of refreshments provided by friends and relations of the bandsmen supplemented the admission price and produced a profit of £10, a not insubstantial amount at a time when the average labouring wage was less than a fifth of the sum. (19)

Adding to the growing financial adversity from the 1920s, however, was a developing cultural shift as technological progress spawned the gramophone, radio and cinema and adversely affected attendances at concerts and dances. Broadcasting in particular, reinforced American-inspired cultural influences, resulting in the introduction of specialist dance bands which produced a smoother, more sophisticated sound which was beyond the capabilities of the Orchestral Band. Consequently, by the mid 1930s the dance appearances of the Orchestral Band were passé. (20)

The need to combat the adverse socio-economic trends had one positive effect on banding by widening the band repertoire so that traditional marches, hymns and operatic overtures were supplemented by tunes from musical comedies and light popular music, lending a liberalising element to the genre. The developing trend is clearly evident in the items quoted above concerning the up to date dance programme of the Orchestral Band.

Regardless of changing style the bandsmen could rely on a large degree of support within the local community for as, “members of Knottingley Silver Prize Band, ever willing to assist a good cause”, they drew a generous response to their own appeals for funds. (21) For it was reported “Knottingley folk are still proud of their Prize Band” thus ensuring “a crowded attendance” for a dance in aid of Band funds, the financial outcome being “eminently satisfactory.” (22)

Similarly, dances in aid of Band funds were quite well patronised well into the thirties at a time when dances given by other organisations drew only moderate attendances, even when on occasion the Orchestral Band was engaged for the event. (23)

Yet notwithstanding the ‘loyalty’ audience, by the mid thirties reports of Band dances no longer feature in the local press, suggesting that the Orchestral Band had been superseded by a number of local ensembles inspired by the ‘big band’ culture.

If the financial lifeblood of the Band was the support obtained from concerts, dances and social engagements, artistic merit and status was gained through the medium of the band contest.

Early localised contests allowed comparison of musical ability with neighbouring bands, the competitive element stimulating improvement of performance as a spur to higher attainment. The development of the railway network during the second half of the nineteenth century expanded the contest arena and engendered the establishment of the Manchester based British Open Championships, introduced in 1853 as an event to be held annually each September. (24) By 1860 contests were held at the re-sited Crystal Palace, Sydenham, and it was there in 1900 that Henry Iles prompted the first National Brass Band Championship. The development of these prestigious contests resulted in the introduction of regulations designed to standardise repertory and instrumentation. Thus, own choice selections as contest pieces were replaced by a standardised test piece in 1871 and by the 1920s many eminent classical music composers were writing specialised test pieces. By 1868 the system of registration had commenced with the names of intending participants having to be submitted one month in advance of an imminent contest and this was followed in 1893 by restriction of any player to a single band. Formal registration of membership as a band member three months in advance of a contest was introduced in 1902 and compilation of a national register of bandsmen in 1946. The maximum number of players had doubled from 12 in 1845 to 24 by the end of the nineteenth century and other notable innovations during the twentieth century were the compulsory wearing of uniform (1900) and all bands to play seated (1924). (25)

Perhaps the most important element of contest practice was the introduction of graded seminars to permit like competing with like. A two section contest was first introduced at the Scottish National Championship in 1895 and the 29 entries for the National Championship in 1900 were sub-divided into three sections, and in 1902 five sections were established. The introduction of this format produced a more inclusive system overall than that appertaining at the Belle Vue (Manchester) contests from 1886 in which bands which had won the title during the four previous September contests were excluded from the elimination contest in July, the winners of which gained entry to the finals in September. While some modification of this system was introduced from 1900 to enable the participation of less skilled bands, the overall effect remained the promotion of a ‘super league’ of top bands and the exclusion of smaller. Less accomplished ones. (26)

An outcome of the ‘Holidays At Home’ movement in 1943 was the introduction of the Yorkshire Brass Band Championships. When, in 1945, the Daily Herald sponsored the National Championship, the Yorkshire Championship provided the nucleus of a redrawn system. Under the Herald’s patronage a series of regional heats provided the basis for progression to the final contest. Many ‘traditionalists’ deplored the new system but commercial considerations arising from circulation battles with rival newspapers ensured its retention and the system is by and large, that utilised at the present time. (27)

The well attended Town Hall dance referred to above was held with the purpose of obtaining funds to enable the Band to participate in the National Championship held at Crystal Palace on the 29th September 1923. The venture was the first one by the Band since before the war. (28) Unfortunately, the Band was unable to repeat its earlier success but in June 1926, a first time application was made to take part in the nationally based elimination contest at Belle Vue, Manchester, and the Band was one of the 20 selected to take part. (29) The local paper, noting the honour bestowed on the Band was full of high expectation, reminding readers that it was;

“Now 15 years since the Band made Knottingley history by winning the Challenge Cup at Crystal Palace, London”,

and although recording the fact that the Band had twice competed unsuccessfully since 1911, was clearly hopeful of a triumphant outcome on this first appearance at the Manchester venue. (30)

That year, the Band also competed at the Crystal Palace, being one of 25 contesting for Cassell’s Saturday Journal Shield. Quite apart from the cost of travel in a period of financial constraint, the Band’s attendance at the National Championships reveals the strain imposed by hurried travelling. The Band arrived at London at 5.30am Saturday, having entrained at Knottingley Station at 11.00pm the previous night. After a light breakfast there followed a rehearsal under Bandmaster Marshall, followed by a few hours sight-seeing. The Band arrived at Crystal Palace at 10.00am and performed the test piece in the Australian Pavilion. Despite giving a good performance the bandsmen were disappointed not to be placed in the first three contestants. Leaving London at midnight the Band arrived back at Knottingley at 5.00am Sunday, very fatigued after such a strenuous effort. (31) The effort bespeaks the enthusiasm of the bandsmen as s their endurance which was considered to be well worthwhile for the prestige gained which was reflected in the pride which linked the Band and the local community.

The process was repeated in 1932, the Band leaving Knottingley at 1.30am Saturday, competing that afternoon and travelling home the following day. Again, a series of dances held the previous month provided the funds to permit the Band to compete at the Crystal palace in October. The Band and 30 others challenged for the Junior Shield but once again, despite “a creditable and expressive rendering” of the test piece, the Band was unplaced. (32)

Following the destruction of the Crystal Palace by fire in 1936, the National Championships were held at the Alexander Palace before the outbreak of the Second World War led to their suspension for the duration. The Open Contest at Belle Vue continued despite the restraints imposed by wartime conditions. There is, however, no record of the Knottingley Band participating during the period immediately before and during the war.

Under the sponsorship of the Daily Herald in the immediate post war era the country was divided into eight regional qualifying areas, each regional contest having four sections with the first and second placed bands in each section progressing to the National finals. (33) The Silver Prize Band was a regular participant, competing with the North-East area in qualifying contests held at either Huddersfield or Bradford. (34)

Terry Spencer 2006

---

CHAPTER 3 NOTES:
(1) Spencer T. 'Knottingley War Memorial'. (2000).
(2) Pontefract & Castleford Express 28-11-1919 p6, 12-12-1919 p8 & 24-12-1919 p6.
(3) loc cit 30-9-1921 p6. Spencer T. op cit, pp10-13 & pp22-23 for full account of the unveiling and dedication ceremonies.
(4) Spencer T. 'Feasts, Festivals & Frolics': Knottingley circa 1860-2003'. passim.
(5) Minute Book 'A' 18-6-1905.
(6) Pontefract & Castleford Express 18-11-1927 p8.
(7) loc cit 14-11-1930 & 18-11-1932 & passim.
(8) Spencer T. 'Knottingley Playing Fields' passim.
(9) Pontefract Advertiser 8-8-1931 p3.
(10) Knottingley U. D. Council Minute Book, 1933-1936, p203. Also Pontefract & Castleford Express 21-7-1933 pi 2, 28-7-1933 p9, 6-7-1934 pi 5 & passim.
(11) Spencer T. 'Knottingley Playing Fields', p14 & p16.
(12) Spencer T. 'Fairs, Festivals & Frolics', passim.
(13) Pontefract & Castleford Express 14-3-1941 p2, 19-3-1943 p2, 284-1944 p3 & 1210-1945 p4. For an outline history of the events c.f. 'Knottingley War Savings Weeks' in Spencer T. 'Essays In Local History: Knottingley Miscellanea', (forthcoming).
(14) Spencer T. 'Fairs, Festivals & Frolics', p80.
(15) Pontefract & Castleford Express 17-3-1977, Second Section p8.
(16) loc cit. 23-1-1926 p2, 6-2-1926 p2 & 10-4-1926 p4.
(17) loc cit 21-8-1926 p2.
(18) ibid 4-9-1926 p4.
(19) ibid 31-8-1923 p6.
(20) ibid 11-4-1931 p2.
(21) ibid 21-8-1925 p5.
(22) ibid 22-1-1926 p8 & 5-2-1926 p6.
(23) ibid 4-8-1933 p3.
(24) Bevan C. in Herbert T (ed), op cit, p105 for an outline history of the British Open Championships.
(25) op cit, Appendix 2.
(26) op cit p107.
(27) Cooper T.L., op ci t, p34. Also, Russell D. in Herbert T (ed), op cit, p68.
(28) Pontefract & Castleford Express 31-8-1923 p6.
(29) loc cit 11-6-1926 p12.
(30) ibid
(31) ibid 2-10-1926 p2.
(32) ibid 3-9-1932 P2, 1-10-1932 p5 & 8-10-1932 p5,
(33) Bevan C . in Herbert T (ed), pl 10.
(34) Cooper T.L., op cit p33