The Trombonist - Summer 2021 by British Trombone Society

SUMMMER 2021

The Trombonist

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President’s Welcome Editor’s Welcome MATTHEW GEE

AL ASTAIR WARREN

Leaders are often largely remembered by a particular event – Winston Churchill and WW2, David Cameron and Brexit – and whilst a rather grandiose comparison, my tenure as BTS President has almost perfectly aligned with the pandemic. It has influenced every word I write and every thought I wish to share. Today I am working for the first time without social distancing, and whilst I find myself excited, I am slightly more anxious than I thought I would be – I am basically sitting on the contra bassoon player’s lap! The French Open and the Olympics have recently witnessed two superstar sportswomen withdraw to protect their mental health. In the run up to these events the media portrayed Naomi Osaka and Simone Biles as immensely powerful athletes at the very top of their respective games. This made them seem almost superhuman, surely putting even more pressure on their next performances. But they are normal people just like you and me; the strength, however, they have shown in acknowledging the mental challenges of sport surely surpasses any achievement they have made on the court or in the arena. With music being the final piece of the pandemic puzzle, it is fair to assume that musicians at every level could experience similar worries and anxieties. Let us learn from the athletes and support each other, listen and show awareness and consideration to those around us. Each player will have their own unique experience on returning to the stage; it is important for us to consider that what has previously come easily may not be as straight forward post pandemic.

It’s with the greatest of pleasure that I welcome you to the summer edition of The Trombonist, my first as Editor. I look forward to building on the work of those who have gone before, but to begin with I must recognise and thank my immediate predecessor, Barney Medland, for guiding the magazine through the most difficult 18 months any of us have known. I’m very pleased to say Barney’s skills will not be lost to us as he will be continuing as News Editor. A sense of optimism runs through this issue, with reviews of concerts in front of live audiences and a prize-winning article by Thomas Gibbs. From the Stage to the Pit and What’s On? both highlight an autumn packed with exciting LIVE concerts and events, including the BTS Midlands Trombone Day in November. Of course, as we adjust to newfound freedoms, many of us will also be feeling a degree of trepidation returning to rehearsing and performing in public, so Martin Lawrence gives us some tips for embracing our nerves to become better performers. The Front Cover features the legendary Chicago Symphony Orchestra low brass section. I am pleased to introduce two new regular strands to The Trombonist: Profile which explores roles fulfilled by trombone players within the wider music industry, and The Listening Lounge, a space to share favourite recordings, both familiar and less well known. Finally, I must say a huge thank you to the editorial team, particularly my Sub-Editors Peter and Alison, who have supported and guided me through producing this edition of the The Trombonist in record time.

Matthew Gee president@britishtrombonesociety.org

GET IN TOUC H:

Alastair Warren editor@britishtrombonesociety.org

British Trombone Society, Registered Charity No: 1158011, Main Telephone: +44 (0)1924 437359 1 Ullswater Road, Dewsbury, West Yorkshire, WF12 7PH, UNITED KINGDOM T WITTER FACEBOOK WEBSITE

THE TROMBONIST MAGAZINE TEAM EDITOR

Alastair Warren editor@britishtrombonesociety.org SUB-EDITORS

CONTENTS 03

WELCOME

Peter Chester Alison Keep NEWS EDITOR

Barney Medland news@britishtrombonesociety.org EVENTS EDITOR

Vacant events@britishtrombonesociety.org REVIEWS EDITOR

08 11 12

Jane Salmon reviews@britishtrombonesociety.org

ADVERTISING MANAGER

Chris Valentine advertising@britishtrombonesociety.org SOCIAL MEDIA MANAGER

Martin Lee Thompson content@britishtrombonesociety.org MAGAZINE DESIGN

Sára Mikkelsen saramikkelsen.com

CONTRIBUTORS TO THIS ISSUE

Alison Keep Becky Smith Barney Medland Alastair Simpson Tom Berry Thomas Gibbs Martin Lawrence Josh Cirtina Matthew Gee Emily White Peter Chester Dr Sarah Crick Alastair Warren Alan Swain

20 21 22 24 26 28 29 30 32

BRITISH TROMBONE SOCIET Y :

NEWS

PROFILE: AL ASTAIR SIMPSON

PRESIDENT'S TOOLKIT

BTS NEWS

THE FRONT COVER: STANDING ON BIG SHOULDERS

CONCERT REVIEW: PETER MOORE PREMIÈRES DANI HOWARD TROMBONE CONCERTO

REVIEW: HERCULES TROMBONE STAND

SOUNDING TOGETHER

A CRY WAS HEARD

CONCERT REVIEW: A CRY WAS HEARD

MUSICIANS’ HEALTH: NERVES ARE GOOD!

THE LISTENING LOUNGE

CROSSWORD

FROM THE STAGE TO THE PIT

WHAT’S ON

Officers & Staff // Honorary Patrons // Committee // Officers

Opinions expressed in The Trombonist are the authors’ own and do not necessarily reflect the view of the British Trombone Society.

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BY BARNEY MEDL AND

THE NEWS Well-deserved retirement for Frank Mathison After a legendary 74-year career, Frank Mathison has decided, at the age of 93, that it’s time to retire from playing. Frank hails from Hebden Bridge in Yorkshire. At the age of 12, he started out playing cornet in The Lindley Band. At 19, while doing National Service, Frank was offered a choice between a bassoon and an old G Trombone, he opted for the latter and so embarked on a distinguished career. Frank played bass trombone at the City of Birmingham Symphony Orchestra for 13 years, before being recommended to the London Symphony Orchestra by Jascha Horenstein. He spent 30 years at the LSO, a key figure in the great brass section that included the likes of Denis Wick, John Fletcher, Maurice Murphy, Eric Crees, Patrick Harrild, and Ian Bousfield. He left the LSO in 1993, having recorded many of John William’s most famous film scores and having played under many of the 20th century’s greatest conductors. On retirement, George Solti presented Frank with a crystal goblet. After leaving the LSO, Mathison continued to play, including in brass bands in his home county of Yorkshire. Everyone at the BTS would like to wish Frank a happy and well-deserved retirement.

Bona-afide win inaugural RPS Philip Jones Prize The Royal Philharmonic Society has launched the Philip Jones Brass Prize, which awards £2,500 to ‘an outstanding individual brass player or brass ensemble of up to 5 players.’ The award is open to brass players of any nationality between the ages of 18–30, and ‘aims to recognise new talents arising who, in their own way, may proceed to make a positive difference to brass playing in the UK.’

Trombone quartet Bone-afide have won the inaugural prize. The group’s winning programme included Debussy’s Trois Chansons, Strauss’s Three Mӓnnerchӧre and Apon’s First Quartet. The prize, provided by the RPS and Philip Jones’ widow Ursula, will go towards the group’s recording projects and aid the commissioning of new works and arrangements. Bone-afide have said they ‘feel very fortunate to have been offered this opportunity, both to further develop our ideas and also to be associated with the RPS. This prize will bring us one step closer to achieving our long-held goals: to rewrite the trombone quartet genre, showcase it to a wide and diverse audience and defy any stereotypes surrounding the instrument.’ In other news for the up-and-coming quartet, they have successfully auditioned for the Tunnel Trusts Awards Scheme, which supports young artists. The scheme is supporting six concerts in Scotland that the quartet will be doing in November 2022. For more information, visit Bone-afide’s WEBSITE .

RSM Launch The Philip and Ursula Jones Fund The Royal Society of Musicians is launching a new fund to provide ‘vital support to brass musicians across the UK whose lives have been affected by accident, illness, stress or anxiety.’ The Philip and Ursula Jones Fund has launched this year, the 70th Anniversary of the founding of the Philip Jones Brass Ensemble. More information about the fund or the work of The Royal Society of Musicians can be found by emailing enquiries@rsmgb. org or by visiting the RSM’s WEBSITE .

THE NEWS

New concerto première from Peter Moore Peter Moore has premièred the new Trombone Concerto by Dani Howard. The première took place on 17 June with the Royal Liverpool Philharmonic Orchestra. It was the first RLPO concert to take place under the baton of Domingo Hindoyan as their new Chief Conductor Designate. The première was a roaring success with critics and audiences alike, with The Times calling it ‘an instant classic’ and the Liverpool Echo praising Dani Howard’s ‘gloriously filmic’ score and Peter Moore’s ‘incredible agility’ as soloist.

Callum Au scoops Parliamentary Jazz Award Songs and Stories, the new album from Callum Au with vocalist Claire Martin, has won The Parliamentary Jazz Awards Album of the Year. Callum spoke to us in April 2020, shortly before the album was released. You can read the interview HERE.

Death of Curtis Fuller Curtis Fuller, leading trombonist of the be-bop era, has died aged 88. Fuller was a key performer with the superstar names of ‘50s and ‘60s jazz, including Miles Davis, John Coltrane, Dizzy Gillespie, Wayne Shorter, ‘Cannonball’ Adderly, and Count Basie. Born in Detroit in 1932, Fuller was an orphan by the age of 10 and lived at an orphanage throughout his time at high school. While a teenager, a nun at the orphanage took Fuller to a concert by the Illinois Jacquet Jazz Orchestra, which included the great J.J. Johnson. The young Fuller was immediately inspired to become a jazz trombonist. In 2007, he recalled, ‘I saw symphony orchestras, [but] I didn’t see anybody like myself, that’s why when I saw J.J. … I said, I think I can do this’. In the fast paced ’50s and ’60s bop style, Fuller, on his trombone, equalled the most famous saxophonists and trumpet players. He is a core member of the ensemble on one of the great albums of the age, Blue Train, by John Coltrane. On the title track he performs a prominent solo. In 1967, after the deaths of both his sister and John Coltrane, his supreme colleague, Fuller retired early from performing to take up a desk job. He was encouraged to pick up his trombone again by none other than Dizzy Gillespie, and went on to perform with Gillespie, Kai Winding, Woody Shaw, and as a member of Count Basie’s Band in the late ’70s. Curtis DuBois Fuller died on 8 May 2021, he leaves behind a great legacy of recordings and has inspired generations of jazz musicians.

New pastures for orchestral and opera players There are changes afoot at the London Symphony Orchestra and Welsh National Opera. After more than 20 years with the orchestra James Maynard is leaving the LSO and Chris Augustin is moving on from his post as sub-principal trombone at WNO to take up a position in the band of Wicked in the West End.

PhD success for RNCM student Dr Kerry Baldwin has been awarded a PhD in Performance from the Royal Northern College of Music, investigating the influence of Berio’s Sequenza V on trombone repertoire and technique.

Gary MacPhee joins faculty at RNCM Sub Principal Trombone at the BBC Philharmonic, Gary MacPhee, has joined the teaching faculty at the Royal Northern College of Music. Before taking up his seat in the BBC Phil. Gary freelanced with many top orchestras in the UK and internationally, and was one of the UK’s most prominent brass band trombone players, holding seats in the likes of the Black Dyke Band and the Grimethorpe Colliery Band. Gary’s solo work has seen him commission new works in the UK and Scandinavia, with solo performances broadcast on channels including BBC Radio 3.

New Appointments at RBC The Royal Birmingham Conservatoire has made two new appointments to its trombone faculty. Helen Vollam will be joining the department as the new visiting artist in trombone and Daniel West will be joining as the new tutor of bass trombone. Commenting on the appointments, Amos Miller, head of brass at RBC, said ‘I am absolutely delighted to welcome these two wonderful musicians to our faculty. They are stellar musicians and exceptional teachers, and will be a great inspiration to our students.’ The brass department at the Royal Birmingham Conservatoire have recently been busy producing this recording of a new piece by Ryan Linham: STAYCATION CELEBRATION ! ◆

Profile: Alastair Simpson – LIBRARIAN, BOURNEMOUTH SYMPHONY ORCHESTRA

SERIES EDITOR AL ASTAIR WARREN

Background and career path Born and bred in Dorchester, Dorset, I only took up music because the house my parents bought when I was a child had a piano left by the previous owner. Nearly three decades on I’m now Librarian for the Bournemouth Symphony Orchestra Apart from some choral singing, I played only piano until I attended the Thomas Hardye School, where the Head of Music gave me a bursary to learn an orchestral instrument. I toyed with the idea of the double bass and struggled with French Horn for a couple of weeks before the Brass Master, Kevin Penfold, said ‘Hmm, try the trombone’. It was fascinating to come to a new instrument so different from what I had made music with before, bringing diaphragm, mouth, and movement all together. After Grade 5, Kevin passed me on to Phil Humphries, who I knew a little through folk and early music circles, and he got me to Grade 8 before I left school. I also took up the church organ, being helped by the Salisbury Diocese Pipe-Up scheme, which helps young pianists to learn the organ in order to play for services. I studied Music at Royal Holloway College, University of London and took the trombone as my main instrument through to the end. The new Editor of this august publication licked me into shape for my final recital, pushing me far beyond my boundaries, both in range and extended techniques (this last especially in Rabe’s Basta, a title to which I often appended, in my head, ‘rd’!). By invitation, I joined the trombone section

of the Strodes Big Band, a group grown from an adult education class to become the civic flagship for the town of Egham. I’ve long enjoyed playing jazz, and I can think of little else that brings me more joy than tight playing in a good trombone section in a big band. I always knew I’d return to Dorset after graduating, though I had little idea of what to do when I got back there. A chance meeting with a school friend in a pub tipped me the wink of a couple of internships at Bournemouth Symphony Orchestra. My contact with our ‘local symphony orchestra’ had been mild; I’d been to a few concerts, usually with a party from school, and I spent my 18th birthday listening to them perform Stravinsky’s Rite of Spring, but I had no idea of the large team behind the scenes. I started out as PR and Marketing Intern, mostly writing press releases about upcoming concerts, but I showed an interest in the Library, so when the then-Librarian went freelance, a space was made for me to continue as an intern there. From there to Assistant Librarian for a couple of years, and then, on a retirement, to Librarian proper! I’ve little desire for any more upward progression; the pace of work and freedom to listen to Radio 4 comedy while shuffling papers suits me very well. And I get to work in professional classical music while living in my home county. Couldn’t be better! My working day The job of Librarian involves making sure the music is as prepared to be played as it can be before the first

PROFILE – ALASTAIR SIMPSON

PERFORMING AT KENWORTH HOUSE, SUFFOLK, C HRISTMAS 2020. PHOTO CREDIT: SAS ASTRO

rehearsal, including making sure each player has the right parts in the correct pad for them, that it's the edition the conductor wants, and especially the bowings are marked in. These are the small markings on string parts which ensure the bows all go the same way across the orchestra. I have no idea how they work; I just write them in, guv. The job is very rarely the same day-to-day, and there are many facets to it. For any given concert programme, the work that has to be done goes something like this: (i) order works from the publishers (usually those which are still in copyright), or gather pieces off the shelf if we own them; (ii) check to make sure all the parts are there and in order (sometimes having to make up extra string parts or a bumper part for principal brass); (iii) check the bowings (sometimes the Leader will want to update or make changes to existing bowings, especially if it's a new piece or one which hasn't been off the shelf in a while, in which case I'll run the other string parts past those section leaders in case they want to change their

bowings to match) and copy them into the other parts in each section (this is particularly time-consuming as they must all be written in soft pencil, in case they get changed in rehearsal); (iv) scan and digitally save parts which are likely to be asked for as practice copies; (v) pad up the music (ideally six weeks before the first rehearsal, so the musicians have plenty of time to check over the music); (vi) leave pads out for stage managers to take down to stage; (after the concert) receive pads back and un-pad the music; (vii) check it's all there and either put it back on the shelves or send it back to the publishers. On top of these duties, one might need to repair some old parts which are rather worse for wear; photocopy and stick in an extra page to help an awkward page-turn; pencil in a cut the conductor wants to make; print and bind an extra score for someone to follow; print off a small ensemble arrangement for an outreach project; check the orchestration of an unusual piece … Continues on next page … 9

PROFILE – ALASTAIR SIMPSON

WITH MEMBERS OF TATTERDEMALION; L -R HARRIET STILL, JULIET BRAIDWOOD, AL ASTAIR SIMPSON. CREDIT JANE TEARLE.

The skill, one which I'm not sure I've got the hang of yet, is to juggle all these different aspects smoothly so that nothing is wrong. It is often only when something has been missed or needs doing that the Librarian is sent for. If no-one thinks of us, we've done our job correctly. After hours After a week of shuffling papers and scribbling in them, my evenings and weekends are usually filled with various hobbies including bellringing, amateur dramatics, knitting, Tudor re-enactment, longbow archery, bookbinding, and folk dance, music and song. I run a ceilidh band, TATTERDEMALION (we play for weddings, parties, fundraisers and other events across Dorset), and am Musical Director for THE NEW HARDY PL AYERS , in which I sometimes 'beef up' the sound of the band with a trombone. However, my rather lovely Conn 88H doesn't often get out of the case much these days,

though I've taken the opportunity to lead the music in a community theatre project on Portland this September, and write for the trombone again, including a fanfare which will open the show. I should like to play more often; maybe I'll start by bringing it more regularly to the folk session at The Convivial Rabbit micropub in Dorchester on a Sunday night … ◆

PRESIDENT’S TOOLKIT:

To buzz or not to buzz … BY MATTHEW GEE

I have asked myself this question many times during my career and I will state now that I do not have the answer. Traditionally this is something we do at the very start of our practice in order to get the lips in a ready state and warmed-up for more strenuous playing with instrument in hand. Over the years I have experimented by going six months without any sort of buzzing in my practice and contrasted that with periods of extensive buzzing. And, I learnt a lot during these times, most importantly not to get totally reliant upon having to buzz before you play – some days a warm-up is a luxury. Just recently I had to drive two hours to Malvern for a 9am rehearsal. This left me with a matter of minutes during which to warm-up and make sure I could perform all that was required of me. The psychology of how we approach the instrument is very important. As I student I relied on an hour of flexibilities and exercises before I was happy to play in public. This approach was clearly not possible when I started working in the profession and I had to almost wean myself off it. The answer was to keep it simple: air and vibration. A relaxed air with a strong vibration is all we need to make a great sound on the trombone. But let us get back to the question in hand. Buzzing on the mouthpiece offers a totally different resistance to that we experience when playing the trombone, so its merit is questionable. However, I find buzzing in the following situations very beneficial: 1. If you have had a tough blow the day before, your lips are a little battered and bruised and you need to get some blood flowing to repair them. Try descending, two-octave glisses at the start of the day (see video).

3. To work on your sound. I usually work on this well into my practice session when I am nicely warmed-up, not straight out of the case. Buzz some simple, scalic passages as quietly as you can while maintaining an even buzz. This allows you to completely focus on what the lips are doing. The more vibration we can get on the air column the better our sound on the instrument. This has been one of the most beneficial exercises that I use on a daily basis. As we have discussed previously, certain rules apply: hold the mouthpiece between finger and thumb in your weak hand; keep the pressure between the mouthpiece and your face light. It needs only be a seal between the mouthpiece and your lips; try to create good habits in your practice room. This is your journey, what works for me may not work for you, so keep questioning your playing and always strive for the best sound you can. ◆ CLIC K HERE FOR EXAMPLES OF EXERCISES MATTHEW DISCUSSES IN THIS EDITION’S PRESIDENT’S TOOLKIT.

▶

2. When you are learning a piece with some awkward intervals. Buzz the passage a few times on the mouthpiece. This really helps to tune in the ear and ensures the air follows the shape of the phrase.

BTS NEWS Midlands Trombone Day

BRING YOUR TROMBONE AND JOIN THE 'BTS TROMBONE CHOIR'! 9.30am – 5.00pm, Saturday, 27 November Christ Church, 125 St John's Road, Burbage, Buxton SK17 9AA Free to BTS Members, £10.00 Non-Members. A tutor led workshop, featuring Brett Baker, Chris Binns, and the Black Dyke Trombone Quartet, finishing with an informal performance for family and friends from 4.00pm Please let us know if you wish to be considered for an opportunity to perform in the afternoon concert as part of a Solo/Duet/Trio/Quartet, and if you wish to take part in the Solo Masterclasses. 9.30AM WELCOME & REGISTRATION 9.45AM WARM UP AND TROMBONE C HOIR REHEARSAL WITH BRETT BAKER 10.30AM BRETT BAKER DEMO ON NEW SOLO REPERTOIRE 11.00AM BREAK 11.30AM GUEST ARTIST RECITAL: C HRIS BINNS, SOLO TROMBONE, GRIMETHORPE COLLIERY BAND 12.30PM LUNC H 1.30PM TROMBONE C HOIR REHEARSAL WITH BRETT BAKER 2.30PM BL AC K DYKE TROMBONE QUARTET 3.30PM BREAK 4.00PM OPPORTUNIT Y FOR YOUNG SOLOISTS TO PERFORM. 4.30PM FINAL RUN THROUGH OF C HOIR PIECES

Please help the organisers and pre-register your attendance by emailing Jenny Gartside at jennygartsidetrombone@gmail.com

BTS RESOURCES

With society in general reopening, allowing full rehearsals and concerts to return, and events such as the Midlands Trombone Day to take place, here is a reminder of resources available to members, accessible through the Resources page of the BTS website. BTS Video Channel A growing archive of videos, including the BTS Cyber Fest and exclusive interviews. ABRSM Trombone Syllabus This resource contains recordings made by professional trombonists of the current ABRSM Trombone Syllabus (Grades 1–5). The lists provide links to both the audio files 12

and a ‘where to buy’ section for the printed scores, enabling students to audition pieces in preparation for their examinations. BTS Play-Along sessions Play-along versions of pieces from the Sheet Music Library. Sheet Music Library The Society holds a comprehensive selection of music in many genres arranged for various ensembles and trombone choirs, which may be borrowed for use at BTS Regional Events, other member events and teaching opportunities, provided no payment is received for the performance. Contact the Librarian to arrange access to the music.

HE FRONT COVE

The front cover:

Standing on Big Shoulders – THE LOW BRASS OF THE CHICAGO SYMPHONY ORCHESTRA

BY PETER C HESTER

In another of the excellent zoom sessions provided in recent months by the International Trombone Association (ITA), 13 June 2021 presented an interview, led by Kevin McManus and Chris Houlding of the ITA, with one of the world’s greatest low brass sections, that of the Chicago Symphony Orchestra (CSO). Readers will recall the session, reported in the last edition of The Trombonist, on the London Symphony Orchestra (LSO), and the CSO section is of similar repute, with one difference perhaps, that is, that for over more than 30 years, there has been no change of personnel in the section, and of course, that is what has generated and consolidated its character and quality. The LSO low brass achievement was to sustain their brilliance, whilst accommodating a number of different players over 60 or more years. The CSO low brass is notable for the relatively few changes over the same sort of period. For example, Jay Friedman, the Principal Trombone has been with the Orchestra since 1965, for 56 years. Charles Vernon, Bass Trombone has been there 35 years, since 1986. Michael Mulcahy, Second Trombone and Gene Pokorny, Principal Tuba, both joined in 1989, so have notched up 32 years. Behind that achievement, and figuring prominently in the discussion, was the legacy of three other long-serving players of unparalleled distinction: Adolph “Bud” Herseth (1921–2013), Principal Trumpet 1948–2001; Edward Kleinhammer

(1919–2013), Bass Trombone 1940–1985; and Arnold Jacobs (1915–1998), Principal Tuba 1944–1988. Like the current team, these three gentlemen were towering figures in their field, as orchestral players, as role models and as teachers, and their sustained influence on orchestral brass playing in the USA and beyond has been enormous. As Charlie Vernon said, ‘We’re standing on big shoulders’. Discussion sessions like this are inevitably a collection of memoirs, anecdotes and thoughts about music, playing and individuals. Given the credentials of the current team and the weight of their inheritance, this is a very rich seam of material to be mined. The CSO trombone section has to be one of the most distinguished and erudite group of players anywhere in the world. Each has been honoured in their own right with the prestigious ITA Award; each is a soloist and teacher, and an authority on all aspects of the trombone, yet all subdue that individuality to create that formidable trombone section. To add to that, in Gene Pokorny, they have a colleague playing the tuba who is equally famed and distinguished in his own field. The question of the origins of the ‘Chicago sound’ came very early in the conversation. As to what are the exact elements of that sound, words like ‘power’, ‘precision’, ‘brilliance’ come to mind, but behind that are attitudes and structure that produce the sound.

THE FRONT COVER

CURTAIN CALL FOLLOWING WORLD PREMIERE OF JENNIFER HIGDON’S LOW BRASS CONCERTO; L -R JAY FRIEDMAN , MIC HAEL MULCAHY, C HARLES VERNON , GENE POKORNY. PHOTO CREDIT: TODD ROSENBERG.

Gene Pokorny spoke of the two solid ‘bookends’ of Bud Herseth on top with the ‘big bottom’ of Arnold Jacob on a large CC tuba at the other end, in creating the origins of the sound, with everyone fitting into a seamless team. There’s a story about Edward Kleinhammer which encapsulates this. On being praised by a student for his outstanding sound in a concert, he replied, ‘that’s disappointing – I was trying to blend in – that is what we are supposed to do’. In other words, it is the team approach which is the main ingredient. Once in that team then it is a matter of listening and absorbing, playing your part in that pyramid of sound. As Bud Herseth once said, ‘If you have to say something (…about how to play…) to someone in the orchestra, it is already too late’. To achieve such a team requires hard work, and these players have a huge work ethic and enthusiasm for what they do. As one of them said, ‘We give it our best every time we have the chance’. Mick Mulcahy reminded us of the Germanic traditions of the orchestra, that had been founded by German migrants 130 years ago, and whose rehearsal language for many years was German. This is not to suggest other orchestras are less disciplined, but he felt it was the sober-minded and formal approach which was an important characteristic of the CSO – ‘we’re not a party orchestra – we save the fireworks for the stage’. When we think of the great music for which the

Chicago Symphony is famed, it is the major symphonic repertoire of Brahms, Bruckner, Mahler and Wagner, with conductors from Europe such as Fritz Reiner, George Solti and Ricardo Muti. The concept of a singing quality to their playing was clearly very important. It had been an ingredient in both Arnold Jacobs’ and Edward Kleinhammer’s approach, and as every one of the current team at some point had had lessons with these two gentlemen, such an approach was bound to rub off. ‘Sing through the instrument’, said Charlie Vernon, and as Mick Mulcahy jokingly responded, ‘Charlie’s obsessed with singing, but just watch him play. There’s the smoothest of connection between the notes and an unbelievable focus on what he’s doing’. It is no accident that Jay Friedman released a CD in 2001, primarily as a teaching resource, called ‘The Singing Trombone’ which consists purely of orchestral excerpts and a number of the Bordogni ‘Vocalise’ studies, all without accompaniment, so that every subtlety of his sound and style can be heard. He has written extensively on such matters (see his WEBSITE ), but the essence of the approach is to breath in a relaxed manner, aiming for a sustained legato and using air in exactly the same way as does a singer. Each of them had memories of how they came to be with the Orchestra. For Gene Pokorny, already having been Principal Tuba in a number of orchestras in the Continues on next page …

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27 MAY 2021. MIC HAEL MULCAHY CONDUCTS A PROGRAMME OF WORKS FOR BRASS IN CSO’S FIRST CONCERT SINCE MARC H 2020. PHOTO CREDIT: ANNE RYAN.

1980s, it was meeting Arnold Jacobs and having lessons with him. After a week he was faced with violinist colleagues commenting ‘What’s happened? You sound so different’. It was Jacob’s enthusiasm as much as his playing that was so memorable, a sentiment echoed by Mick Mulcahy: ‘I had never heard anyone talk like he did about music’. At the time when Mick Mulcahy met Arnold Jacobs, he was having some issues with his playing, and was getting very self-conscious about them. Jacobs helped him realise that the physical side of playing can be put aside so that he could concentrate on the music. ‘The player needs to impose him or herself on the instrument, not the reverse’. Clearly technical skills are important, but it is the stepping back and considering the wider picture that is essential. Enthusiasm and hard work were something Mick Mulcahy recalled about Edward Kleinhammer: ‘He was a boxing coach (!) three hours of intense work, on and on about details of the music and my playing, very intense but always caring about me. He gave me a sense of optimism and confidence.’ Similarly, Charlie Vernon had worked with Jacobs and Kleinhammer since the late 1960s and totally absorbed their philosophy and style, so when the Kleinhammer retired in 1986, Charlie was an obvious successor. Jay Friedman’s introduction to the orchestra was something of a baptism of fire. Jay started his musical career playing the euphonium in a high school band in Chicago, eventually taking lessons from a distinguished trumpeter called Vincent Chicowitz. In 1957, Jay was

looking for a change and Chicowitz ‘pointed me in the direction of the trombone, gave me an old instrument, a copy of the Arban Method book, told me to go and learn the positions’. Five years later Jay was playing in the Chicago Symphony! In fact, in those five years Jay had had lessons with the then trombone players of the CSO, Robert Lambert, Principal Trombone 1953–1963 and Frank Crisafulli, CSO trombone 1938–1989, and it was through them that Jay got his first playing job with the Orchestra. That was as an auxiliary player in an all-Wagner concert, playing the bass trumpet. The conductor, Fritz Reiner, noted for his icy manner alongside his impeccable standards – ‘nobody moved when Reiner was conducting’ – and noticing someone new in the brass section at the first rehearsal, required Jay to play every bass trumpet entry alone, in front of the full orchestra. Needless to say, Jay survived and by 1965 had been appointed assistant Principal. Mick Mulcahy raised an interesting question for players, even at their standard, which is basically ‘how to avoid falling into a rut’. Given the repetition of programme and activity that can occur in an orchestra or a band, this can be a risk. For the CSO players it has been primarily their enthusiasm for music that keeps them going. As he said, ‘We’re always talking and thinking about music’, but beyond that, they are all active in related musical fields. Teaching is of course important to each of them but playing chamber music together is important. They started in the 1990s, initially to strengthen and unify the section, and it ‘allowed us to get

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CSO LOW BRASS SECTION IN PERFORMANCE AT ORC HESTRA HALL, C HICAGO. PHOTO CREDIT: TODD ROSENBERG.

to know each other differently. The increasing co-operation and experiment led to improvement all round’. This led to some recordings and the chance to perform publicly once a year, eventually in Symphony Hall, involving Daniel Barenboim, choirs and soloists. The initial project also expanded to produce a full CSO Brass Ensemble and recordings of some great music, ‘a touch formal and sober perhaps, but challenging and we like to play it’, as Jay said. The other thing they have each done is appeared before the Orchestra as soloists, often with works specially commissioned for them and supported by generous endowments from the Schmidt family. Just to give a flavour of their activity, in 2006, Charlie Vernon premiered Chick’a’Bone Checkout, a concerto in which the soloist is required to play alto, tenor and bass trombones, written by Christian Lindberg. Most recently in June 2019, he performed Chapters, an Incredible Bass Trombone Concerto by Jim Stephenson, with Riccardo Muti conducting. Mick Mulcahy has had works written for him by fellow Australian Carl Vine, for example Five Hallucinations (2016) and Jay Friedman has had several composers write for him, including contemporary American composers Ellen Zwilich and Jennifer Higdon. In 2018 Higdon wrote a concerto for the full section, of which they are very proud, and pleased that Ricardo Muti took it with the Orchestra on tour. Rounding up with a question as to their favourite recordings, Interestingly, there was some criticism of the famous Decca and DG recordings of the 1970s with

Solti, with the comment that the recording techniques of the time, requiring the brass to be widely distributed around the hall, did not produce the sound as it was live, and was too often too top-heavy. That said, favourites from the Orchestra’s vast output did emerge. For Jay Friedman it was Nielsen’s Second Symphony with Morton Gould; for Gene Pokorny it was the Cesar Franck Symphony in D Minor with Pierre Monteux, and Reiner’s recording of Richard Strauss’ SYMPHONIA DOMESTICA ; for Mick Mulcahy it was the recording of Smetana’s Ma Vlast with Raphael Kubelik. The interview session was brought to close with an excerpt from Bernstein’s recording of Shostakovich’s SEVENTH SYMPHONY , a splendid example of exactly what the Chicago sound is. The conversation was joined by people from across the world, which is part of the joy of Zoom, and an edited version of the conversation will be placed on the ITA website, as have all these talks – they are well worth a listen. ◆ Follow the links below to learn more about the Chicago Symphony Orchestra and hear its renowned low brass in action.

Chicago Symphony Orchestra website CSO Brass on Jennifer Higdon’s Low Brass Concerto CSO low brass play chamber music CSO low brass play orchestral excerpts Dance of the Knights from Prokofiev’s Suite from Romeo & Juliet Mussorgsky arr. Ravel Pictures at an Exhibition

CON CERT REVIEW Dani Howard Trombone Concerto – Peter Moore/RLPO BY TOM BERRY

On 17 June I was lucky enough to be one of the few to attend the premiere of Dani Howard's new Trombone Concerto, commissioned by the Royal Liverpool Philharmonic Orchestra (RLPO) for Peter Moore. Alongside this wonderful new commission, the RLPO, with new Chief Conductor Domingo Hindoyan, also played Stravinsky’s Octet, Ravel's Le Tombeau de Couperin and Prokoviev's Symphony No. 1, the ‘Classical’. Dani Howard’s Concerto for Trombone is in three movements, Realisation, Rumination, and Illumination. Throughout the Concerto the orchestra plays a huge role, most definitely as a partner to the soloist rather than as an accompanist. In Realisation we hear the solo trombone playing almost sporadically throughout the movement to suggest they are completely unaware of their surroundings, as if it was the start to the day. The second movement, Rumination, starts with a long trombone cadenza, another fine example of the orchestra partnering with the soloist. Towards the end of the cadenza the soloist is joined by Principal Trombone, Sub Principal Trombone, then Tuba, Horns and Trumpets; this creates a marvellous soundscape in which you feel immersed. The third movement is a complete tour de force. Titled Illumination, we hear this in abundance, pure light, joy and excitement. It was great to hear the expansive range of the trombone featured alongside the technical capabilities. From start to finish, Peter's energy, musicianship and virtuosity shone through.

18 CREDIT: PRS FOR MUSIC.

CONCERT REVIEW

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CREDIT KAUPO KIKKAS.

This concert had a fantastic atmosphere from start to finish with an engaging and well thought out programme. Dani Howard's Concerto not only fitted this programme amazingly well but was a highlight, especially when listening to the charismatic, beautiful, and electrifying playing from Peter Moore. The Concerto itself was so refreshing to hear after over a year of silence in concert halls. The sound world created from start to finish was something we rarely hear within a trombone concerto. The piece encapsulates exactly what we want to hear from brass playing and Peter in particular. We were lucky enough to hear seemingly effortless yet incredibly intricate and demanding playing in both the outer movements and beautiful melodic playing in the inner movement, here demonstrating one of Peter's most outstanding attributes, the ability to make us listen to everything he plays without demanding it. Dani managed to create a sense of ‘one’ between soloist and orchestra, using both perfectly to create a sense of dialogue between the two. Beautiful colours were passed from soloist to orchestra throughout and made it a wonderful piece to listen to. This piece I feel is a fantastic new addition to the trombone’s (somewhat lacking) repertoire list.

In Peter Moore’s own words: ‘I’m still in disbelief that this project went ahead; the logistics were so challenging. Dani and I managed a few Zoom sessions but were unable to meet up in person until a few weeks before the performance. The première was postponed not once, but twice, and due to restrictions, orchestration size was fluctuating by the day. I also had to combat a severe case of lockdown chops! Despite everything, we are delighted with how everything turned out. Dani has written a wonderful concerto I already can’t wait to play again. Her sound world is completely captivating and her understanding of texture and orchestration, exceptional. It was a joy to collaborate with Domingo Hindoyan and the RLPO, who were on fine form throughout. Above all else, I’m so grateful to the Orchestra for commissioning a new trombone concerto’. Although this performance is no longer available on demand a taster can be found on the RLPO’s YOUTUBE channel. ◆

REVIEW Hercules Trombone Stand DS520B BY AL ASTAIR WARREN

I admit it, I own many trombones. Consequently, I also own many trombone stands of various shapes and sizes from several manufacturers, often bought with supporting a specific instrument in mind. Unique among these is the Hercules DS520B, being the only stand on the market which doesn’t support the instrument via the bell. Rather, the trombone is held securely by the braces of the hand slide using the adjustable EZ Top Bracket, which ratchets in and out to provide a tailored fit. This method of support has some benefits, not least avoiding the possibility of damage to the bell inherent with a more conventional stand, and as the trombone is held at a slight angle it does ‘display’ the instrument well. Most importantly the arrangement is great for supporting an instrument which uses a friction fit between slide and bell section, such as a sackbut, with no chance of the two parting company. The Hercules stand is not adjustable for height, though I have never found this to be an issue with my instruments always seeming to be readily at hand whether performing seated or standing, and while not quite as compact as other stands when collapsed, it is light enough to carry, whilst still feeling reassuringly stable when in use. The footprint of the stand is comparable with the more usual type, despite the instrument being held at an angle. The Hercules stand does have some drawbacks. It is not a universal trombone stand; the mechanism is not suitable for a double valve bass trombone with a finger paddle nor, rather surprisingly, can it accommodate a pBone, and the bright yellow fittings may appear out of place in certain performing environments. My Hercules stand has held up well over more than a decade of use and is certainly one to seriously consider if you have a particular need, or just appreciate the unique style. ◆

20 CREDIT: KHS MUSICAL INSTRUMENTS.

Sounding Together Ernest Bloch’s Symphony for Trombone and Orchestra

BY THOMAS GIBBS

In May 2021, regular contributor to The Trombonist Thomas Gibbs won Joint Third Prize in the inaugural Royal Philharmonic Society (RPS) Young Classical Writers Prize with his article Sounding Together – Ernest Bloch’s Symphony for Trombone and Orchestra, reproduced here with kind permission of the RPS. More information about the work of the RPS can be found at www.royalphilharmonicsociety.org.uk. Entry for the next edition of the RPS Young Classical Writers Prize opens in Autumn 2021. Trombonists know all about transcription. You’d be hard-pushed to find a full-length recital programme not seasoned with music ‘stolen’ from the library of another instrument, but for the compliment to be returned is rare – this would have to be special music. Ernest Bloch’s Symphony for Trombone and Orchestra is special music, and cellist Raphael Wallfisch’s recent premiere recording is testament to this. The published piano reduction of the work jointly designates it for ‘trombone or violoncello’ (perhaps because the trombone writing is no walk in the park), but when you’ve got Haydn, Dvořák, and Lutosławski, why would your cap need this feather? Firstly, the notes are good. Richly angular, it’s music of striking clarity and boldness. Direct, perhaps even severe, though always with a warm honesty. There’s real drama around every scrupulously chiselled corner. We sense that stories are being told: old stories, stories carried in the echoes of a ram’s horn. It’s not a concerto like the Dvořák is a concerto. Yes, there are three movements, but here the soloist shows us ways through landscapes while attempting neither to obscure nor become the view. It’s inviting, and we’re allowed to see as much or as little as we choose. For me, it’s always had something of a low-tide sun about it. The Symphony’s instigator was the great trombone soloist Davis Shuman (1912–1966). An oft-forgotten hero of the instrument, Shuman was responsible for commissioning a number of significant works from some of the most distinguished composers of his day, from Darius Milhaud to Tibor Serly. The sweeping pogroms of the early twentieth century had prompted

his family to relocate to the United States from their home in Ukraine, and to appreciate this casts fresh light on the composers he approached: fellow European Jews resettled in America. This is solidarity. I don’t much care for any assertion of what music should be for, but I am always interested in ideas of what music can be for, and here Shuman has used the mission to promote his instrument as a platform for supporting his colleagues. In his excitement about the symphony – which he hoped would be ‘the most beautiful work for the trombone’ – Bloch refused to charge a fee for his work. Whilst we should be critical of not providing a bill, it did result in the Blochs receiving annual instalments of ‘the most marvellous’ fruitcake from Mrs. Shuman. Since its première in 1954, the piece has been a cornerstone of the trombone’s repertoire. It’s a work of great substance, completely free of the kinds of tawdry flavours a listener might expect from the trombone. The music and the instrument share a sort of mutual understanding, each respecting the integrity of the other. Indeed, the notes sound infused with the understated social responsibility at the heart of Shuman’s commission. So, this is special music, and music to learn from. The lessons? We can use music as a means of supporting each other, working together sensitively to build and cultivate new and exciting landscapes. And we should bake each other cakes. Follow this LINK to hear a performance of Bloch’s Symphony for Trombone and Orchestra. ◆

A Cry was Heard BY EMILY WHITE

Across the week that everything stopped in March 2020, I was meant to be performing in three countries; I was heading for my busiest year yet. Like everyone I have had a lot of time since then to reflect and think about the life of a musician during the pandemic. As well as concern for everyone at risk from the illness, as a musician two things about the situation struck me; firstly, that all that travel was inconsistent with my environmental concerns, and secondly that playing Somewhere Over the Rainbow on my doorstep was the first time my neighbours had ever heard me play. I have lived in Dursley near North Nibley since 2004 and yet fly to other countries to share my music instead of doing so in my own community. This is partly because it feels like a compliment to be invited to perform far away and hard to resist the temptation, despite the exhaustion. But I would like to re-think that idea, and maybe it is possible to value local music-making and local musicians in the same way that we now value locallysourced food and crafts. (The prospective difficulties looming with Brexit red tape are of course making it harder to travel anyway.)

Facing the prospect of a very empty diary I thought to make a start by putting on a concert in my own area. It was also a chance to offer work to my colleagues who I have missed playing with so acutely during these many months. At the time of writing, the concert will be called A Cry was Heard, to be performed on 1 August 2021 at St. Martin’s Church, North Nibley, Gloucestershire. It will feature Auf dem Gebirge (From the Mountains a cry was heard) by Schutz, with the countertenor Guy James who grew up in my hometown of Dursley coming home to sing for us. Martyn Sanderson and Dave Todd will join me on sackbuts in that piece and Martyn will also fly around on the sackbut in a Castello Sonata for trombone and violin. I choose to perform improvised divisions and Bassano-composed ornamentation on Palestrina’s Io son Ferito, continuing the exploration of improvised ornamentation that I had begun during lockdown, examples of which can be found on my YOUTUBE channel. Once we have paid the musicians all profits will go to the HELP MUSICIANS fund, which offers support to us all when we need it.

REVIEW

IN REHEARSAL, L -R GUY JAMES, EMILY WHITE, ROBIN BIGWOOD, MART YN SANDERSON. PHOTO CREDIT: TORBJORN HULTMARK.

So what happened? They Loved it! They came, they oversubscribed, we had to turn some away. The concert was in memory of a local person, Audrey Sewell, who had supported local live music for decades. As live music has been under such threat in these last 18 months this gave an extra charge to the atmosphere. To my surprise and delight this concert of 17th century and contemporary music on historical instruments in an off-grid village church was in such demand we were turning people away. It was so moving to see these 100 faces braving the covid surge to hear our music. The chamber playing was a superb, three sackbuts gave a glimmering shine to the Schutz. For me one sackbut/trombone question was advanced by this concert. I have long wanted the chance to try performing divisions (fast decorative notes) on the top line of motets. The current convention is usually to give this role to a cornetto, or a violin, and limit the trombone to a plain internal line, or some of the composed bass divisions which are not where I enjoy flying around. (Without a trigger, a tenor

sackbut grovelling around attempting semiquavers in the bass region can sound hilarious!). This being my own concert, I programmed the role for myself in the Palestrina madrigal Io son Ferito. I was so wholeheartedly pleased that it did work taking the top line down an octave, and I based the divisions on Bassano combined with my own improvised ones. I recorded a video of this for my YouTube channel the day before the concert and will use it in evidence if I am turned down again when I suggest this in the future! A special shout out to Dave Todd and Martyn Sanderson on sackbuts and my dad, Andrew White, who I made play viola at the pitch of a=465 for the first time! The crowning glory was Guy James’s singing. It was utterly sublime – an ambassador for the beauty and power of the countertenor voice. I was proud to say that we were all but one local, and three of us had attended the local primary and comprehensive schools. The celebration of the locally produced musician has begun! I am very pleased to report that the amount raised for Help Musicians, though not yet fully counted, is at least £1000. ◆

CON CERT REVIEW

A Cry was Heard BY AL AN SWAIN

1 August 2021 St Martin’s Church, North Nibley, Gloucestershire A concert in memory of Audrey Sewell – a very longstanding member of the church choir and huge supporter of local music-making. It seems fitting that as we come out of the enforced cocoon we have all been in for the last 18 months or so, the first live concert I have attended featured music from the Renaissance. And why not? Much of the discussion about the future of music – maybe even the value of live music itself – over the pandemic, has been about how to sustain large-scale professional orchestras and Opera in a world where older audiences might well be uneasy about sitting in close proximity to each other for prolonged periods. Does ‘Classical’ music in the UK have a future? Will audiences stay away? Is there an appetite for ‘art’ music going forward and can our economy sustain the profession? Emily White has begun to provide answers to these questions with her concert tonight called ‘A Cry was Heard’ at St Martin’s Church, North Nibley. The concert was billed as following social distancing guidelines (although for the time being these have been dropped in England) and a quick head count reckoned that you couldn’t possibly have got more people into the medium-sized space. With an average age in the ‘already retired’ bracket it is very clear that the appetite for live music is certainly there and our older patrons are happy to attend concerts! Phew! So to the concert itself. Your correspondent is not an early music specialist, but Emily and her merrie band of musicians are! There is a whole list of superlatives which 24

I could use to express how amazing this music is in the right hands and this group delivered every time! There were three sackbuts played with exquisite dexterity by Emily White, Martyn Sanderson and David Todd, virginals (Italian harpsichord) played by Robin Bigwood, viola played by Andrew White and violone played by Peter McCarthy. Above all of this, was a sublime countertenor, Guy James. In the right hands the sackbut is such a lyrical instrument with the tenor being very close to the human voice range. Through the concert the peerless Emily played tenor and alto sackbuts as well as violin. Such incredible talent. Before the concert, as people found their socially distanced seats, there was an excited buzz. No doubt this was the first concert many had attended since the lockdown ended. Emily began by thanking the audience for their trust and support in actually attending the concert. As musicians we all fell silent in March 2020, which was incredibly painful. When combined with the uncertainty of what the pandemic would bring in terms of the public health emergency, there was the added fear that our industry was going to be decimated. At the time of writing, although there are hopeful signs, we are not out of the woods yet! The concert began with Kyrie Eleison a 5 by Andrea Gabrieli 1533–1585. This featured David on bass sackbut, Emily and Martyn on tenor sackbuts. The fantastic sound immediately demonstrated the lyrical qualities of the sackbuts. Next came Ah, Robin by William Cornysh 1465–1523, a piece in Canon form performed with such

REVIEW

PHOTO CREDIT: TORBJORN HULTMARK.

incredible elegance and control. Hearing the various intertwined lines from live instruments in the beautiful surroundings of the church, again performed sensitively and expertly, was a real delight for the ears. Robin, on the virginals, then gave us a demonstration of the way that these early instruments are tuned. Some scales and chords work in a similar way to how our modern ears will be familiar, other chords and scales are a bit ‘funky' – what we might say sounds out of tune. Robin explained that the early composers knew this and avoided these ‘funky’ sound worlds. Se l'aura Spira by Girolamo Frescobaldi 1583–1643, came next. First Emily, then together with Martyn, transported us to 17th century Venice. Here, the sound of two sackbuts, with accompaniment, sounded on the one hand melancholic but on the other with a sense of understated celebration – perhaps a little like the times we are in right now? Next came a complete change in both sound and music period. Emily mentioned the musical heritage of the local area and how proud Audrey would have been in that Guy, the counter tenor, was an ex-pupil of the local secondary school, Rednock. He excelled in Es Sang vor Langen Jahren by Arvo Pärt, born 1935, accompanied by Emily, this time on violin, and Andrew. This was genius programming and drew similarities in sound between the pieces from the Renaissance and the fairly modern. Sonata Sesta (libro Primo) by Dario Castello 1602–1631, came next and featured Martyn on tenor sackbut and Emily on violin. This music was played with fantastic dexterity and, as Emily mentioned, showed that the players of the period must have had great technique to be able to play this music. The purity of the sound washed over the audience and the excitement grew. We, the audience, by now, were transfixed by the incredible playing, the pace of the whole concert, the setting, the quality of sound and the occasion. We were then hit with something incredibly moving. The best art doesn’t need to explain itself and often it is something

unexpected that really hits you. Meditation by Ercole Nisini, text Brian Nisbet is a very personal piece because it is about Emily herself. How brave and life affirming of Emily to include the première of this piece in this concert and for us all to share in it. Emily told us that the composer had set some of her late husband’s words to music in 2019, Brian, a poet, having left us a few years earlier, but it was only on the day of the concert itself that Emily had heard how it sounded when the ensemble rehearsed it for the first time. It truly was a happy moment to hear Brian’s words spoken by Guy and then hear the very warm and evocative music played. A very intense moment. Io son Ferito by Giovanni Pierluigi da Palestrina (divisions by Giovanni Bassano) c.1525–1594, came next and amusingly gave us an insight into a hyperbolic Italian lover’s thoughts. A very interesting juxtaposition from the previous piece. The penultimate piece, Auf dem Gebirge by Heinrich Schütz 1585–1672, featured the whole ensemble again and was a favourite of both Emily and Audrey; a rousing way to bring the music almost to a close. The whole ensemble sang the final piece – Thou knows Lord by Henry Purcell c. 1659–1695 – in honour of Audrey. A beautiful way to finish the concert. This whole evening was a dazzling performance of expert musicians performing wonderful music. It was delivered with elegant grace and I’m sure the whole audience can’t wait for the next instalment of sackbut frenzy or whatever comes out of the genius that is Emily White’s imagination. We are really lucky to have such musicians creating these wonderful concerts for us. A cry was sent out from Gloucestershire tonight that live music is returning with passion, quality and love. Let’s hope it will be heard far and wide. Bravo Emily and all musicians. ◆ Alan Swain is Principal Bass Trombone with Welsh National Opera.

BY DR SARAH CRIC K

MUSICIANS' HEALTH

Nerves are good! Touched on by Matthew in his president’s welcome, returning to work will ask a lot of performers and some of those questions will undoubtedly concern the dreaded performance anxiety. We have managed to talk to Martin Lawrence, second horn in the Orchestra of the Age of Enlightenment, who has shared his experience, research and advice.

AUTHOR: MARTIN L AWRENCE

Normally, nerves are seen as something that stop you performing as you want. But listen to these people: ‘I wouldn’t give a nickel for an actor who isn’t nervous’ – David Belasco ‘I need nerves to get me going’ – Adam Peaty ‘If you’re not nervous, you’re not paying attention’ – Miles Davis So, nerves are good! What are you complaining about? But, I hear you say, these are people at the top of their game, the best at what they do. What about me? Well, nerves can help you too. They can do things like give you an edge, or spur you to practise. They show that you care about a performance. But they can also do more. My research and private coaching practice show time and again that nerves can be seen as a new musician, a new you, trying to get out, right there on stage. Nerves seem to stop you performing as you want. Let’s look at this ‘performing as you want’ thing a bit closer. Is it really ‘performing as you want’? Check with yourself. How much is it ‘performing as a teacher/parent/examiner/audition panel/musical 26

culture/colleagues/music critic … wants’? The pressures from these are probably what make you nervous in the first place. But, delightfully, your nerves can help you overcome these pressures and show you the way you, deep down, really want to play. Try this (in the safety of your own home, at least at first): •

Remember a time you were nervous.

•

Write down exactly what happened to you. Was it shaking, sleepiness, raised heartbeat, voices in your head, or any of the other hundreds of symptoms people get?

•

Now, try playing while deliberately doing the symptom. Go to town, really exaggerate it – no-one’s listening! Enjoy it! You might need some imagination to make some symptoms happen. For instance, to raise your heartbeat, run around the room or jump on the spot. If you get critical or random thoughts, record them and play them back through headphones as you play. Try different symptoms if you get more than one.

•

What happens? Write it down if it helps. Or draw pictures.

CREDIT: ERIC RIC HMOND

•

Now, think. Who plays like that? It might be Tommy Dorsey or Emily White or Mike Hext. It might be how you imagine Rambo would play, or Tinkerbell. Or a giraffe or a blackbird. Or there might be a particular aspect of how you are playing that catches your attention. Whatever comes up for you … be interested. There might be a connection with your past, a way of playing that has been forbidden by your teacher, your performing tradition, or yourself.

•

Whatever it is, go WITH it. It might be small, or quite technical, like something to do with breathing, posture, phrasing, or embouchure, or a bigger thing like musical genre or on-stage attitude. The point is: WHO is emerging from your nerve symptoms? Welcome them, and have fun!

Martin Lawrence is second horn in the Orchestra of the Age of Enlightenment and performs worldwide (or did until recently) with many groups, including the Australian Chamber Orchestra, BBC Symphony Orchestra, and The English Concert. In 2020 he completed a PhD at the Guildhall School of Music and Drama, entitled Music Performance Anxiety as Hidden Desire and Emerging Self: the Development and Exploration of a New Conceptual Lens for Practitioners and Performers. He has a private practice coaching musicians in physical, mental, and creative aspects of playing, and in historically-informed performance, see his WEBSITE for more information. He enjoys cooking, mushroom foraging, performing in the Lawrence family band with his wife and their two super-talented teenagers, and playing with his new toy, the allotment. ◆

I ST EN IN

The listening lounge BY AL ASTAIR WARREN

Something I have always loved as a trombonist is the moment a friend or colleague says, ‘have you heard …’ The idea of The Listening Lounge has been born out of that moment; a space in The Trombonist to feature tracks or albums which may be well known, or more obscure, but which might open up a new or unexpected musical experience for the listener and encourage further exploration. Selecting the contents of The Listening Lounge is up to you, the readers of The Trombonist; to nominate a track or album simply send your suggestion to editor@britishtrombonesociety.org. To get the ball the rolling, and to give you some insight into the musical tastes of your new Editor, I’ve selected the first five tracks for entry into … The Listening Lounge.

NELSON RIDDLE – THE

LOS VAN VAN

RAY ANDERSON – BIG

GIOVANNI PICC HI –

AARON COPL AND –

JOY OF LIVING

Arguably Cuba ’s most popular dance band, the Grammy Award winning Los Van Van may have just celebrated their 50 th birthday but the party is far from over. Ever revolutionary, Los Van Van features a horn section consisting solely of three trombones. Los Van Van have a huge back catalogue but for a taste try VANVANEO from 2017 album Legado.

BAND RECORD

CANZONI DA SONAR

SYMPHONY NO. 3

American jazz trombonist Ray Anderson has been pushing the boundaries since the 1970’s. LIPS APART from his 1994 album Big Band Record, sums up his approach perfectly: virtuosic, inventive, playful yet musically challenging, continuing in the best traditions of the early jazz pioneers.

CON OGNI SORTE

Aaron Copland’s Symphony no. 3 is perhaps the quintessential American symphony. The highlight is his reworking of Fanfare for the Common Man to form the fourth movement, but the whole work is well worth finding the time to listen to. This classic RECORDING features Leonard Bernstein and the New York Philharmonic. Why not follow the score as you listen? Bernstein’s annotated copy, along with the orchestral parts, has been made available to the public by the New York Philharmonic as part of the LEON LEVY DIGITAL ARCHIVE.

Mention Nelson Riddle and most people will immediately think of his iconic orchestrations for the likes of Frank Sinatra; most trombonists will also think of George Roberts aka ‘Mr Bass Trombone’. Af ter playing on numerous of the legendary vocal albums produced by Capitol Records during the 1950s, Riddle made a series of instrumental albums featuring Roberts’ unique ‘voice’. MAKIN’ WHOOPEE is from the 1959 album The Joy of Living, mix yourself a Martini, sit back and enjoy.

D’ISTROMENTI

The Venetian early Baroque composer Giovanni Picchi is not a well-known name, unlike his contemporary Claudio Monteverdi, but much of Picchi’s surviving music calls for the use of one or more trombones and deserves to be better appreciated. Canzon Decima a 4, Doi Tromboni e doi Flauti skilfully combines the highly unusual instrumentation of two trombones and t wo recorders, performed here by CONCERTO SCIROCCO in the first complete recording of Picchi’s Canzoni da sonar con ogni sorte d’istromenti.

Summer 2021 crossword ASK AMOS – YOUR LETTERS

CLICK HERE TO DOWNLOAD YOUR PRINTABLE VERSION OF THIS CROSSWORD 1

ACROSS 1. A SAINT, OUT AND ABOUT LIKE HIS ADVERSARY (7)

5. JEER AT THE L AD IN YORKSHIRE. HE’S THE LOWEST SERVANT (4,3)

9. IT’S NOT SCORED OFF ONE’S OWN BAT (3) 13

10. SNARE PLUS CURE- ALL? (3,3,5) 11. CAUTIOUS ACT PERFORMED WITH RIG THAT’S UNPLUGGED (7,6)

13. TAKE OLD MONEY TO PUB? NOT GUILT Y (8)

15. FOOD SHOP ATTRACTING AMERICAN COMPOSER (6) 19

17. 007 RECEIVES Q’S CUSTOMARY SUCCESSOR WITH A FLOURISH (6)

18. IT’S OVER THE GOALIE’S HEAD (8)

20. IMPOSSIBLE? NO! TOM CRUISE IS (1,3,2,1,7)

23. CRUMBLES AND DISSOLVES, LIKE A BOILED EGG? (11) 23

24. RIC HARD AND HARRY’S PAL (3) 25. MEDICAL TREATMENT HAS ITS POINT (7)

26. LEMON MIXED WITH CASE OF RIOJA FOR OLD HOSPITAL WORKER (7)

Set by Anklepoise

CLUES

CLICK HERE TO DOWNLOAD YOUR PRINTABLE VERSION OF THE SPRING CROSSWORD ANSWERS

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2. US HOST FOUND MICE RUNNING AROUND IN THIS FILM (3,5,2,5) 3. DRINK IN SNUG, BUBBLING WITH ENERGY (5) 4. DISPATC HES A TORY PUTS HIS NAME TO (8) 5. HARMLESS MINING IN EBBW VALE BROUGHT BAC K (6) 6. MOUNTED ESCORTS CREATE DETOUR, SIR (9) 7. COMPOSER TO PL AY JAZZ IN AFRICAN COUNTRY AND UK, WE’VE HEARD (8,7) 8. END OF MY ODDLY UNCL AD CASSAVA (4) 12. SCIENTIST WHOSE RESEARC H NEEDS LOOKING UP (10) 14. FISH BITES SISTER WITH DRINK PROBLEM (9) 16. BOY GOES TO ETERNAL CIT Y WITH LIAR RIGHT AWAY TO FIND PINEAPPLE (8) 19. ENGLISH WORD FOR SOMETHING INITIALLY LIKE PAINT (6)

G E R O N W

1. LEAVE SWEDISH GROUP TO GET IT BAC K IN SOUTHERN CALIFORNIA (10)

M O

21. DOOMS CORRUPT BIBLICAL CIT Y (5) 22. IN A LINE, REPORTEDLY, GIVEN A LINE (4)

W O L F G A N G O

A D D E N D U M Set by Anklepoise

From the Stage to the Pit … At last, some cautious optimism for us all; definite emphasis on the ‘cautious’ though. By the time you’re reading this, concerts in some form of ‘normal’ capacity (full houses and non-socially distanced musicians) should have begun to happen. However, of course it remains to be seen whether they will continue indefinitely. Therefore, the upcoming schedule of performances across the UK is looking pretty fantastic so make the most of it! Orchestras and theatres up and down the isle are all seemingly aiming to come back with a bang, programming some epic music for your delectation. Here are the symphonic picks for the next few months: BY JOSH CIRTINA // PRINCIPAL BASS TROMBONE IN THE ROYAL PHILHARMONIC ORC HESTRA

SYMPHONIC HIGHLIGHTS

BBC PROMS 2021

ORCHESTRA OF OPERA NORTH –

Friday, 30 July – Saturday, 11 September. It’s so great to have the Proms back in near-full form. There’s plenty to see here, though book quickly as tickets are sure to be selling out fast, and it is possible many events will now be sold at full capacity. Concerts to look out for include the Aurora Orchestra & Nicholas Collon performing Stravinsky’s Firebird from memory, the BBC Symphony & Sakari Oramo with Malcolm Arnold’s rarely heard 5th Symphony, and the BBC Concert Orchestra & Bramwell Tovey playing 20th Century British film music! Not to mention a whole host of other great programmes

TRIUMPH OVER TRAGEDY

7.30pm, Thursday, 23 September Town Hall, Huddersfield. On the podium for the first time as Music Director, Garry Walker leads Opera North’s magnificent orchestra through Shostakovich’s rousing 5th Symphony. It’s well worth researching this piece before listening: Shostakovich intertwines tunes from Bizet’s Carmen, the opera hated by Stalin, throughout the symphony to hide them from Stalin’s ear.

BOURNEMOUTH SYMPHONY ORCHESTRA – SYMPHONIC PICTURES ROYAL PHILHARMONIC ORCHESTRA – 75

ANNIVERSARY CONCERT

7.30pm, Tuesday, 21 September Royal Albert Hall, London. The RPO celebrates its 75th anniversary in style with Walton’s epic masterwork: Belshazzar’s Feast, featuring Sir Bryn Terfel, the Philharmonia Chorus and plenty of offstage brass. Sheku Kanneh-Mason also plays Elgar’s wonderful Cello Concerto.

7.30pm, Wednesday, 6 October Lighthouse Centre for the Arts, Poole. Needing no introduction, Mussorgsky’s magnificent Pictures at an Exhibition is the climax of this concert. However, this concert also features Ravel’s fiendish Piano Concert in G and Bizet’s L’Arlesienne Suite, fascinating music originally composed for Daudet’s play, The Girl from the Arles, a tragic story of unrequited love.

FROM THE STAGE …

LONDON PHILHARMONIC ORCHESTRA –

ROYAL SCOTTISH NATIONAL ORCHESTRA –

BARTOK’S BLUEBEARD’S CASTLE

RIMSKY-KORSAKOV’S SCHEHERAZADE

7.30pm, Saturday, 6 November Royal Festival Hall, London. This work is a real psychological thriller. Duke Bluebeard’s Castle has seven doors, and his new wife Judith is determined to open them all. However, some questions are best left unanswered. Not to be missed!

7.30pm Friday 12 November Venue tbc, Edinburgh. 7.30pm Saturday 13 November Venue tbc, Glasgow. The RSNO has multiple highlights coming up in its winter season but here’s a classic. A work that never fails to bring a smile to the audience’s face with so much cheek and character – and not to mention some great writing for all sections of the orchestra, including the brass.

BY BEC KY SMITH // PRINCIPAL TROMBONE AT THE ENGLISH NATIONAL OPERA

OPERA PICKS

I never thought I’d be so excited to be writing about upcoming opera performances! After nearly 18 months of dark nights in theatres and opera houses across the UK we are really going for it. In fact, it is hard for me to choose highlights from all that is being performed, but what a lovely situation to be in.

ROYAL OPERA – JANACEK’S JENUFA

Tuesday, 28 September – Tuesday, 12 October Royal Opera House, London. From the start of the season in September through to December the Royal Opera House are showing an impressive seven operas, and three ballets on the main stage. One of my favourites is Janacek’s Jenufa. It is hauntingly beautiful music, please watch if you can!

OPERA NORTH

Saturday, 2 October – Saturday, 20 November Venues across the North-East. There is nothing not to enjoy from Opera North in their opening season with many people’s favourite, Carmen by Bizet and a double bill of Bernstein with Trouble in Tahiti and West Side Story Symphonic Dances. Opera North will perform these at home in Leeds, and also in Newcastle, Salford Quays and Nottingham.

GRANGE PARK OPERA

Streaming November – December I must mention the interim season at Grange Park Opera, of which there are some fantastic singers performing with piano. Ailish Tynan, Simon Keenlyside and Nicky Spence are all appearing in either November and December and are well worth a listen if you can.

GLYNDEBOURNE

Friday, 8 October – Sunday, 12 December Venues nationwide. Glyndebourne is touring across the UK, visiting Canterbury, Norwich, Milton Keynes and Liverpool. They are showing a great variety of opera to include Fidelio by Beethoven, Don Pasquale by Donizetti, The Rake’s Progress by Stravinsky and the Messiah by Handel.

ENGLISH NATIONAL OPERA – WAGNER’S VALKYRIE

Friday, 19 November – Friday, 10 December London Coliseum, London. On a personal note, I am really looking forward to ENO putting on Valkyrie, which was delayed due to the pandemic. Let’s hope this new season marks the return of opera and live music for good. Please go out there and enjoy it safely! ◆

What’s

By Alastair Warren THE CONCERT TROMBONE QUARTETT AND STUDIO 5 The Evolution of the Trombone WORKSHOP 10.30am, Saturday, 21 August St Mary’s Church, Swanage. CONCERT 6.30pm, Saturday, 21 August St Mary’s Church, Swanage. ROSIE TURTON 7.30pm, Monday, 23 August Ronnie Scott’s Jazz Club, London. OLD DIRTY BRASSTARDS 4.00pm, Sundays, 29 August, 5 and 15 September Various venues across London. 8.00pm, Thursday, 16 December The Picturedrome, Northampton. BONE-AFIDE 12.15pm, Wednesday, 25 August Canary Wharf, London.

DENNIS ROLLINS’ FUNKY-FUNK! Live and live streamed 8.30pm, Saturday, 4 September Lakota Gardens, Bristol. RORY INGHAM Regent’s Park Music Festival 12.30pm, Sunday, 5 September Regent’s Park Bandstand, London. Herts Jazz Festival 12.00pm, Saturday, 16 October 11.30am, Sunday, 17 October South Mill Arts, Bishop’s Stortford THE SYD LAWRENCE ORCHESTRA ‘The Best Band in the Land’ return to touring nationwide starting in Solihull Thursday, 9 September. BRITISH OPEN BRASS BAND CHAMPIONSHIP 10.30am, Saturday, 11 September Symphony Hall, Birmingham.

ENGLISH CORNETT AND SACKBUT ENSEMBLE English Cornett and Sackbut Ensemble & Armonico Consort perform works by Biber, Striggio and Tallis

NATIONAL BRASS BAND CHAMPIONSHIP OF GREAT BRITAIN 10.00am, Saturday, 2 October Royal Albert Hall, London.

7.30pm, Saturday, 25 September Collegiate Church of St Mary, Warwick.

THE TOM GREEN SEPTET Tipping Point – Album Launch 8pm, Monday, 11 October Pizza Express Jazz Club (Soho), London.

7.30pm, Friday, 1 October Malvern Theatres, Great Malvern. 7.00pm, Saturday, 9 October Lighthouse Centre for the Arts, Poole. 7.30pm, Saturday, 16 October Canterbury Cathedral, Canterbury Bizarrium recital – Music@Oxford International Concert Series Times tbc, Saturday, 30 October University Church of St Mary the Virgin, Oxford. SEED First UK tour for the Hyundai Mercury Award 2019 nominated ten-piece jazz ensemble 7.30pm, Tuesday, 28 September The Wardrobe, Leeds. 7.30pm, Wednesday, 29 September The Fleece, Bristol. 7.30pm, Thursday, 30 September Yes, Manchester. 7.30pm, Friday, 1 October Turner Sims, Southampton. 7.30pm, Tuesday, 5 October Hare & Hounds, Birmingham.

NATIONAL YOUTH JAZZ ORCHESTRA NYJO Plays: John Zorn’s Masada 7.30pm, Friday, 19 November 7.30pm, Saturday, 20 November Cafe OTO, London. BRASS IN CONCERT FESTIVAL 2021 3rd Youth Brass in Concert Championship 9.00am, Saturday, 20 November Sage, Gateshead. 44th Brass in Concert Championship 1.00pm Saturday, 20 November Sage, Gateshead. BTS MIDLANDS TROMBONE DAY 9.30am, Saturday, 27 November Christ Church, Burbage, Buxton. CARLTON MAIN FRICKLEY COLLIERY BAND 3.00pm, Sunday, 28th November The Subscription Rooms, Stroud. MUSIC FOR TROMBONES, BASS CLARINETS & HORNS New and contemporary music featuring Alex Paxton, Edward Lucas and Christian Larsen 7.30pm, Saturday, 11 December Café OTO, London.

Do you know of an event that should feature in our next publication? LET US KNOW 33

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The Trombonist - Summer 2021

Articles inside

THE LISTENING LOUNGE

MUSICIANS’ HEALTH: NERVES ARE GOOD

CONCERT REVIEW: A CRY WAS HEARD

FROM THE STAGE TO THE PIT

SOUNDING TOGETHER

PRESIDENT'S TOOLKIT

THE FRONT COVER: STANDING ON BIG SHOULDERS

A CRY WAS HEARD

PROFILE: ALASTAIR SIMPSON

NEWS

CONCERT REVIEW: PETER MOORE PREMIÈRES

BTS NEWS