Myself and some of the other volunteers have been helping to digitise some of the R.N.C.M.’s records, which in part include notebooks and concert posters from the Hallé librarians. We went to the very new and modern Hallé building at The Bridgewater Hall to meet the archivist and to learn more about their history, their archives and how the R.N.C.M. and The Hallé have worked together since The Hallé’s creation. Whilst I know of the Hallé I did not know a lot about how it all started, so I learned a lot from both the R.N.C.M. archivist Heather and The Hallé archivist Eleanor.
I went to visit the Henry Watson Music Library in The Central Library with Heather and the rest of the team from the R.N.C.M. who have been working on the project, ‘Making Music in Manchester During WW1’. When we had all arrived we met Ros, the librarian who is in charge of the Henry Watson Music library, who also has musical training and is a cellist. Ros says that having some musical experience was an advantage when undertaking the music library due to the associated terminology and jargon that comes with a specialist subject area. She does say that even without any prior musical knowledge it is easy to pick up the essentials quickly and easily.
“That Minutes of Last Meeting Pass as Read”: Helmshore Prize Band’s Committee Meeting Minutes, A Case Study of ‘Life as Normal’ and ‘Moral Contracts’ in the First World War
Dr Stephen Etheridge
Helmshore Prize Brass Band were formed in the 1870s and were active in East Lancashire’s Rossendale Valley in the late nineteenth century and throughout the First World War and beyond. They could not be considered a ‘crack’ band, but they were ambitious, entering the majority of local contests and employing trainers and players that would help them win. This was the experience of most bands from the 1860s onwards. Like other bands in the regions surrounding Manchester Helmshore were driven by the need to raise money for the purchase and upkeep of instruments, uniforms and music. In addition, they had to maintain and run a bandroom where they could not only rehearse but also hold social events. 
From 1914-1915 there was a swift and unparalleled expansion of Britain’s land forces. As Peter Simkins has written, this ‘was a gigantic act of national improvisation which helped to create not only Britain’s first-ever mass citizen army but also the biggest single organisation in British history up to that time. These first months of recruitment and mobilisation are the subject of this blog and the ones that follow. They describe how the editors and correspondents of band periodicals reacted to civilian bandsmen becoming soldiers. How did bandsmen react to the ‘rush to the colours’ that gripped the nation? How did the bands and bandsmen in and around Manchester react to a conflict that, due to enlistment, could have destroyed a well-established working-class cultural tradition? Answering these questions not only reflects the national picture of the brass band movement but also embraces older Victorian values that illuminate aspects of tradition, class and gender found in the brass bands of the Manchester region.