The Trombonist - Summer 2022 by British Trombone Society

TrombonistThe2022SUMMER

MEMBERSHIP BENEFITS MEMBERSHIPS Gramophone – claim your 10% discount on discountlanguageJazzwise,–InternationalsubscriptionsTromboneAssociationspecialmembershiprateof£21Europe'sleadingEnglishJazzmagazine–10%onsubscriptions INSURERS Allianz Musical Insurance – 15% off a new policy for our members – (that's more discount than with an MU Newmembership!)MoonInsurance – one month discount on specialist Trombone and musical instrument ‘Harmonic’ insurance products JOIN US There is plenty on offer to members of the British Trombone Society. You will gain free or discounted entry to our events and access to bonus online content including recordings and our exclusive music library. We have teamed up with a variety of companies who offer exclusive discounts to our members. This magazine, The Trombonist, is a central part of our membership package and is published three times a year, celebrating the variety of trombone related news and activity across the world. Membership starts at just £22 a year, with a handful of options for you to choose from. Sign up online, HERE. INSTRUMENTS Michael Rath – discount of 15% on all trombone repairs and servicing HEALTH AND WELL-BEING Hearing ReSolutions – 10% discount on RRP's for protection products HMCA – discounted rates for private medical plans available to our members MUSIC AND ACCESSORIES Warwick Music – 10% discount on all Warwick Music publications purchased directly from Warwick ProzoneMusic Music – an automatic 10% discount on accessories online, plus preferential rates on selected instruments in-store Minchin Music – £2 off the list price of ‘Tune In To Tenor’ tutorial book 10% discount at Callum Au Music Access to our Members’ Music Library which includes arrangements and transcriptions by Burt Rhodes and Rob Egerton Jazz Transcriptions, plus our library of trombone choir and ensemble arrangements for use at your event (see conditions of use in the respective libraries). Hercules Stands – 50% discount on the retail price of all Hercules Stands products EVEN MORE Morrison Ward Associates – specialist mortgage advisors Image 1st – a generous discount worth £50 to use with this London based photography company Q-Park – an additional 10% off prebooking discounted rates in car parks across the UK BTS IS NOW REGISTERED FOR Gift Aid Donating through Gift Aid means charities can claim an extra 25p for every £1 you give. It won’t cost you any extra. To make your declaration, log on and amend your profile on our website, download a declaration form and send to the Administrator or simply send an email to the same address requesting the check box(s) to be ticked for you. Rates Regular Concession£28£22 * Institutional £99 Lifetime £250 *Available to students in full-time education, those retired and for seniors aged 65 and over FOR DETAILS OF HOW TO OBTAIN THESE EXCLUSIVE DISCOUNTS, PLEASE VISIT OUR WEBSITE. HTTP://WWW.BRITISHTROMBONESOCIETY.ORG/MEMBERSHIP/

President’s Welcome

Editor’s Welcome

Looking forward to the British Trombone Festival in October we feature several of the artists taking part: Dr Tony Boorer introduces The Augmented Trombone, Slide Action tell us about their ambitions for Rebuilding the Trombone, and Rory Ingham’s Trombone Assembly is reviewed. Also reviewed is Emily White’s new CD A Cry Was Heard, the culmination of a project first reported on in The Trombonist last summer. Elsewhere we welcome the donation of two new instruments to the BTS Instrument Loan Scheme, composer Robin Hague tells us about his quadruple trombone concerto THE DREAMERS, a major addition to the repertoire, and The Listening Lounge focuses on some rare recordings of French repertoire, plus a littleknown British trombone concerto.

In a sign that the world continues on its path to relative normality this edition celebrates the return of regular regional BTS Trombone Days, with reports on the well attended events held in Antrim and Durham. Another is planned for Wessex in the Autumn.

SIMON MINSHALL Dear members, I hope you are all having a lovely summer of playing or resting. Our fantastic team at the BTS have been busy as usual and there are some exciting things lined up. You will have seen from our social media and emails that the British Trombone Festival planning is in full swing. Please take a look at Matthew Gee’s article on page 10 for full information. This promises to be one of the most exciting festivals we have created, and it would be great to see as many of you there as possible. A big ‘Thank you’ goes to all involved in organising the very successful Northern Ireland and North East events and special thanks to Jenny Gartside, who stood down as BTS Midlands Representative in June. To all of you who have applied for our Bursaries and Instrument Loan Scheme, good luck! As ever, please let us know what you are up to. We love to see the variety of our beautiful trombone landscape. Feel free to contact me via the email address below, and don’t be afraid to get in contact with your Regional Representative: you can find their details here. We currently have vacancies for a Midlands and a Brass Band representative: if you are interested in either position, please email Alison secretary@britishtrombonesociety.orgKeep,Alastairhasputtogetheranothergreat magazine and I hope included is something of interest and inspiration to youHoliday,all. rest or playing enjoy. Simon Minshall president@britishtrombonesociety.org

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ALASTAIR WARREN Welcome to the Summer 2022 issue of The Trombonist.

Finally, if like me you have taken some time off this summer, check out the President's Toolkit for some tips on getting back into shape. Echoing Simon’s words, please do get in touch and share your news, stories, and upcoming events with your fellow BTS members. The UK trombone playing community is vibrant and diverse, and I aim to reflect that within the pages of The Trombonist. Alastair Warren editor@britishtrombonesociety.org GET IN TOUCH: British Trombone Society, Registered Charity No: 1158011, Main Telephone: +44 (0)7715 273740 The Crows Nest, Apt. 17, Eastcliff Court, Crescent Road, Shanklin, Isle of Wight, PO37 6EJ

THE TROMBONIST MAGAZINE TEAM EDITOR Alastair editor@britishtrombonesociety.orgWarren SUB-EDITORS Peter Chester and Alison Keep NEWS EDITOR Barney news@britishtrombonesociety.orgMedland EVENTS EDITOR events@britishtrombonesociety.org REVIEWS EDITOR Jane reviews@britishtrombonesociety.orgSalmon ADVERTISING MANAGER Chris advertising@britishtrombonesociety.orgValentine SOCIAL MEDIA MANAGER Martin Lee content@britishtrombonesociety.orgThompson MAGAZINE DESIGN Sára saramikkelsen.comMikkelsen FRONT COVER PHOTO CREDIT Slide Action – Matt Jolly CONTRIBUTORS TO THIS ISSUE Alastair Warren Alison Keep Barney Medland Becky Smith Josh DavidAlanDavidMatthewRobinDrSimonPeterNathanCirtinaMooreChesterMinshallTonyBoorerHaighGeeHordenSwainThornber CONTENTS03 WELCOME 06 THE NEWS 09 PRESIDENT’S TOOLKIT 10 BRITISH TROMBONE FESTIVAL 12 BTS DAYS 19 CONCERT REVIEW: CANDYFOLK SPACE-DRUM 20 SUPPORTING THE NEXT GENERATION 22 THE DREAMERS 24 THE AUGMENTED TROMBONE 28 REBUILDING THE TROMBONE 31 THE LISTENING LOUNGE 32 CONCERT REVIEW: RORY INGHAM’S TROMBONE ASSEMBLY 33 FROM THE STAGE TO THE PIT 36 WHAT’S ON? Opinions expressed in The Trombonist are the authors’ own and do not necessarily reflect the view of the British Trombone Society. BRITISH TROMBONE SOCIETY : Officers & Staff // Honorary Patrons // Committee // Officers

Member Offer New Moon Insurance Services Limited is registered in England No. 6610290 Registered Office: Pantiles Chambers, 85 High Street, Royal Tunbridge Wells, Kent TN1 1XP Newmoon are authorised by the FCA number 706599 BTS members now receive one month discount from our specialist Trombone and musical instrument “Harmonic” insurance product. Simply call us on 01892 506684 or visit www.newmooninsurance.com and use code ‘BTS12411’ to obtain this offer (UK Residents only) Policies tailored to your requirements with premiums starting from £28 Options for:� Single or Multi Instruments Worldwide, UK or Premises cover (per instrument) Instrument excess £0, £100 or £250 Unattended Vehicle Cover Public Liability Call 01892 506884 or visit www.newmooninsurance.com for full details

MEDLANDBARNEYBY NEWSTHE ANGUS BUTT 6

Berlin Staatskapelle Academy Position for Angus Butt Congratulations to bass trombonist Angus Butt who has won a coveted place at the Orchestral Academy of the Berlin Staatskapelle. Angus, the current BTS Student of the Year, has just completed his postgraduate studies at the Royal College of Music and will now be heading to the prestigious orchestral academy, founded in 1997 by Daniel Barenboim.

Trombone Days in Durham and Antrim Sunday 8 May saw the BTS hold a North East trombone day at the Mark Hillery Arts Centre at Collingwood College, Durham. The day was a fabulous gathering of trombone players of all ages, with Christian Jones of Opera North, the trombone section of the WFEL Fairey Band, and a team of players from the Royal Northern College of Music all joining as special guests.

The following week, on 15 May, there was a BTS gathering in Northern Island. Another fantastic day of massed blows, recitals, and workshops at Antrim Board Centre saw BTS members joined by special guests Neil Gallie and Richard Ashmore, respectively Principal Trombone and Principal Bass Trombone with the Ulster Orchestra. Wessex Trombone Day Planned Planning is ongoing for a Wessex Trombone Day to be held in Blandford Forum on Saturday, 15 October.

Watch out for more information from BTS Wessex Representative Kevin Morgan in due course. BTS Annual Awards By now, all members will have received an email calling for nominations for the Annual Awards. This email contains a link to a Google form onto which you can enter names in any of the categories. This is your opportunity to put forward the name of anyone you feel deserving of an award, so put your thinking caps on! Closing date for nominations is 31 August: categories and previous winners can be viewed on the BTS website

Honour for Bill Geldard Bill Geldard has been awarded a British Empire Medal, in the Queen’s Birthday Honours, for ‘Services to Music’. Bill was born in 1929, becoming a professional trombonist aged 15 and serving as 1st trombone in the RAF Central Band during his National Service. Bill played with many of the leading figures in 20th century British jazz, such as George Evans and Johnny Dankworth. In the 1970s, he formed two of his own ensembles, The Bill Geldard Tentette and The Bill Geldard Big Band and worked as guest conductor with the BBC Radio Orchestra. Bill is one of Britain’s most prolific composers and arrangers of music for TV and film. In 2019 he received the BTS Outstanding Achievement Award. Now in his 90s, Bill is still performing and leading big bands in his local area. Many congratulations, Bill! Brett Baker Première In March Brett Baker premièred a new wind version of Benjamin Ellin’s Trombone Concerto Pandora accompanied by Calum Grey and the Southampton Concert Wind Band, in the presence of the composer. Pandora was originally written for, and premièred by, Joseph Alessi in 2012 in a version accompanied by full orchestra. Crowdfunding Campaign Launched Christian Jones has launched a crowdfunding campaign to support a recording of Benjamin Ellin’s concerti for tenor and bass trombones. The recording, accompanied by the Orchestra of Opera North, will feature Christian performing Gresley and Joseph Alessi performing Pandora. Christian and Joseph will be joined by Opera North Principal Blair Sinclair in a new work for trio and orchestra, especially composed for the disc. Adam Warburton Appointed Co-Principal Trombone at Black Dyke BTS member Adam Warburton has been appointed as the Black Dyke Band’s Co-Principal Trombone alongside his long-time teacher, and BTS Past President, Brett AdamBaker.isthe current Principal Trombone of the Wardle Anderson Band as well as The National Youth Brass Band of Great Britain and the Yorkshire Youth Brass Band. He recently won the ‘Solo Award’ at the European Youth Brass Band Championships in Birmingham with Wardle Academy School. Sarah Curtis wins ‘Best Soloist’ at the Spring Festival Congratulations to Sarah Curtis who was awarded ‘Best Soloist’ in the Senior Trophy at the Spring Festival. PHOTO CREDIT: DAVID WARBURTON

Continues on next page … BILL GELDARD ADAM WARBURTON.

THE NEWS

RIP Frank Berry In May, we heard the sad news that Frank Berry had passed away at the age of 87. Frank was Solo Trombone with the Black Dyke Band from 1964–1983 and is widely acknowledged as one of the great brass band players of his era. You can hear two beautiful performances by Frank here and here, both recorded with the Black Dyke Band.

appreciation of Christian’s playing and enthusiasm was clearly evident in the appreciation they showed. A pleasant way indeed to spend a Sunday Afternoon! And finally A Canadian music teacher has saved the day with help from his trusty trombone. Tristian Clausen of St John’s Academy, Shawnigan Lake, was first alerted to danger when disconcerted students started nervously giggling and exclaiming things like ‘I’ve never seen a bear before’, ‘don’t call it over’, and ‘aww, poor thing’. Clausen first attempted to repel the potentially dangerous animal by banging loudly on the classroom windows, but it rapidly became clear that firmer action needed to be taken. Clausen reached for the largest instrument within reach, a British Columbia state-issue trombone. A few glissandos, redolent of the great tuba solo in Stravinsky’s Petruska, were all it took to send the bear safely on its way. The dramatic incident was caught on ▶camera.◆

Christian Jones Recital at New Venue in Thirsk Reviewed by Peter Chester – BTS North East RepresentativeAverywarm afternoon on 17 July saw BTS Past President Christian Jones, splendidly accompanied by pianist Jenny Hobbins, present an informal but nonetheless skilled and entertaining recital in the Gallery at Thirsk Hall, North Yorkshire. This was one of a series planned for the venue, an appropriately refurbished wing of a Georgian Mansion, which just happens to have an excellent acoustic, certainly for Christian’s trombones. Yes, it was trombones, in the plural, as alongside four pieces on his customary bass trombone, his contrabass was given an outing, with two movements from Vaughan Williams’ Folk Song Suite, along with Cruise Elroy, by Kenyon Wilson. This latter piece had been premièred by Christian at an earlier occasion, as had Benjamin Ellin’s Vantage, which opened the recital. The other pieces in the recital were a recent transcription of a Romance for Viola by Max Bruch, which had some very interesting technical challenges, along with to major pieces from the current repertoire for the bass trombone, Nurya by Ricardo Molla, and Etoiles des Profondeurs by Jerome Naulais. Much of the music was perhaps new to the audience but their SARAH CURTIS

Sarah, who was performing as a guest with Unite the Union brass band, conducted by BTS Yorkshire representative Jonathan Beatty, says her award very much reflected a team effort by the whole section.

8 THE NEWS

SimonAsk

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President’s Toolkit:

BY SIMON MINSHALL

I enjoy writing these articles as it makes me question and analyse what I try to do with my own playing. This time I want to address two related topics: having a break from playing and tips to get back, or simply stay, in shape. Summer is upon us and many of you will be thinking about taking a break from playing. There is always a huge ramp up towards final recitals, school concerts, bandstand concerts and many other events that require us to perhaps have the instrument on the face for more time than the body would like. We must remind ourselves that these muscles need love, care and attention: having time off the face will enable you to come back physically and mentally stronger. The process of going back into the practice room can scare us: it can be tough to not get around things that were achievable before. Stamina will be the main issue. Some of us can take weeks off the instrument and seemingly pick it up and play just as before, whereas others need to dip their toe back in over a period of days. I have often made use of trombone quartets to help gain back what has vanished. If several of you have taken similar time off, why not get together. It's amazing how beneficial that mutual practice can be, not in a situation where you worry about what others think. This follows nicely on to the second question. I’m a scheduler and planner, so my practice takes on a similar structure. I like to have an idea of what time I have available to look after my basics, and this reminds me of Denis Wick’s phrase 'money in the bank'. I love this as a concise reminder of what we need to do. We should do our best not to live in 'playing debt’, as I believe that’s where injury and fatigue for both body and mind can plague our music making. So, you’ve had time off and are now fully rested: it’s time to get stuck in again. With the world opening back up there has been an explosion of playing opportunities so we want to be ready to ‘spend the money’. Everyone has their favourite basics books and routines, if you have something that works, that gets the air moving through the instrument and prepares the flexibility then use that; maybe explore some new patterns and keys in which to do these. Play around with it, wake up the brain, dive into a new study book to work on your sight-reading whilst building stamina back up. When coming back to the trombone, I use short sessions, 10 mins on, 10 mins off or something similar: gradually increase that and before long you will be back in shape. Some days your warmup will take longer, some shorter, due to several factors. How much playing you did the night before, lack of sleep, dehydration and so on. Be aware of your body and how you feel, be prepared to give your warmup longer than you think it needs. Remind yourself that 30 minutes of focussed practice will yield better results than 90, half concentrating, looking at social media every 5 minutes. We know these tips but even writing them down here is prompting me to listen to my own advice (it’s not my advice by the way, I was given it years ago). If I have a free day to give over to practice, I allow 30–40 minutes to warmup (I enjoy using the cello drones) then onto some basics. I will dig out some studies and find melodies to work on, also something with some dexterity in various registers. This can form the bulk of my session, before adding some solo pieces. I also try to allow some time for related instruments (contrabass, tenor and even tuba…). If you would like to know more detail, then drop me a message. You never know when someone will need an extra player, so keep things ticking over: it's all 'money in the bank'... then off you go and get spending! As ever, please do email in anything you would like me to address or babble on about to president@britishtrombonesociety.org or find me on Instagram @th_minsh

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TromboneBritishFestival

A huge thank you must go to our main sponsors Denis Wick and Warwick Music Publishing. ◆

BY MATTHEW GEEE

Throughout both days there will be the opportunity to take a Secret Lesson. These twenty-minute lessons could be with any professional player involved in the day, but you will not find out until the day. You will be able to sign up for these in September: keep your eyes open for more information.

Cory Brass Band principal trombone, Chris Thomas, will be performing a lunchtime recital, Callum Au will be showing us why and how he arranges music for megastars such as Quincy Jones and Jamie Cullum, and Slide Action will be demonstrating their extraordinary talent, sharing their journey from student trombone quartet to internationally renowned chamber ensemble. The RBC trombone choir open the gala concert, followed by the RBC Big Band featuring Mark Nightingale – Mark has inspired many generations of trombone players, is one of the most recorded trombone players on the planet and still at the very top of his game; not to be missed! As if that were not enough, there will also be a Jazz night featuring Rory Ingham’s Trombone Assembly. An illustrious group consisting of Mark Nightingale, Trevor Mires, Dan Higham, Andy Wood and Rory himself. The show – recently seen at Ronnie Scott’s Jazz Club in London and reviewed on page 31 – will take place in the RBC’s very own Jazz Club meaning tickets are limited, so book early to avoid disappointment. This performance has been very kindly sponsored by Michael Rath Trombones. On Sunday we will be joined by Ian Bousfield. He will be taking a class in the morning and performing in the gala concert later that day with the RBC Brass Band. Chris Augustine – former second trombone of WNO, now trombone player in the West End hit musical ‘Frozen’ – shows what is needed to build a successful portfolio career. Dr. Tony Boorer demonstrates some of his work for trombone and electronics; read his article on page 24 for more information. Emily White will be taking you on a journey into early music before sharing a recital with Katy Jones, and finally, Andy Clennell will be on hand to answer all your trombone maintenance questions.

After a drought of live events over of the last couple of years, we are returning with a bang: 29 and 30 October, Royal Birmingham Conservatoire (RBC). Remember the date, get it tattooed on your arm, better still, book your place now for what promises to be the biggest trombone festival the UK has seen for 20 years!

On Saturday, alongside many of the traditional activities, such as the massed blow, group warm-ups, and gala concerts, there will be a dedicated Youth Day, giving players under the age of 18 the chance to meet, play together, learn from professional players, get started on the basics of improvisation and chat with an expert panel about careers and pathways in music.

The British Trombone Festival 2022, the first edition of our new biennial event, will showcase some of the UK’s very best trombone players; a stellar cast of performers and educators who are sure to dazzle, inspire and generally whip up trombone fever. The weekend will also host all four of our competitions, the Bob Hughes Bass Trombone Competition, the BTS Trombone Quartet Competition, the brand new BTS Sackbut Competition and the BTS Trombone Choir Competition.

Sunshine – of course – it always shines on our BTS days – plus a new venue (the splendid Mark Hillery Centre in Collingwood College) complete with brand new Steinway grand piano, sufficient music stands and music, our noble BTS administrator ready with cash box and card reader – everything ready for another North East Trombone Day in Durham. All we needed was trombone players, and we are pleased to report that by the time of the final sonorous massed blow, nearly 40 players were making their glorious contribution to what turned out to be a very successful day.

BY PETER CHESTER & DAVID THORNBER – BTS NORTH EAST REPRESENTATIVES

On projection, remembering that we need to attract the attention of the audience or examiner is central and this is often simply a matter of careful adherence to

SUNSHINE, SMILES AND SONORITY IN DURHAM

PHOTO CREDIT: PETER CHESTER.

Alongside welcoming a goodly number of BTS friends, old and new, our guest players included BTS Past President, Christian Jones (Opera North), Becky Lundberg, Toby Marshall and Josh Cargill, (WFEL Fairey Band), and virtually every current trombone student from the Royal Northern College of Music in Manchester, i.e. James Hunt, Rosalind Fearnehough, Jodie Mitson, Barney Shaw, Alex Barron, Oliver Bartlett, Archie Young-Lee, Asa Riley, Buchan Zhao, Rachel Wong, Matthew Lait, Ross McDonnell, Tom Peacock, Freddie Hughes, Oliver Webb, Toby Marshall, and Josh Cargill. It is always a pleasure to welcome players to a BTS event but to have this group of enthusiastic and extremely talented young players with us added something special to the day and we must record our sincere thanks to the RNCM and to the students themselves for helping support their visit. Special mention might also be made of Emma Skedd, a local student who volunteered to participate in a masterclass with Christian. Not an easy thing to do and everyone was full of admiration for her. Preparing for her Grade 7, Emma played Un Bal, in an arrangement of the famous waltz from Berlioz’ Symphony Fantastique. Watching a player interact with a teacher is very informative as no matter what standard the playing, observers can learn. From Emma’s already well-prepared strong foundation, the technical issues addressed were legato playing and projection. For legato, Christian’s suggestion was to play whole phrases without the tongue. It will sound clumsy at first but, with a consideration of alternative positions to further smooth the effect, then progress can be, and was, made.

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RNCM really does have some outstanding students in its ranks and the group produced both a quartet and a full choir. Freddie Hughes, Oliver Webb, Toby Marshall and Josh Cargill comprised the quartet and their programme opened with Jony Bates’ Toccata, a showcase of very tight ensemble playing. In contrast, John van Gulik’s arrangement of Eternal Father Strong to Save allowed them to play with a smooth refinement that was quite simply beautiful. A lively rendition of the tricky Shibuya from Philip Sparke’s Tokyo Triptych completed their programme.

The RNCM choir, conducted by James Hunt, opened their recital with a brilliant arrangement of John WFEL FAIREY BAND TROMBONES. L-R: TOBY MARSHALL, BECKY LUNDBERG, JOSH CARGILL. PHOTO CREDIT: GEOFF WOLMARK.

dynamics and phrasing. As Jay Friedman said, ‘playing is like speaking’ and players must have something to say. In all, a very interesting session and Emma was deservedly applauded for her participation and her playing. As a leading player of his generation, Christian’s recital predictably treated us to some wonderfully polished playing from the contemporary repertoire of the bass trombone. He offered us Meditation by Frigyas Hidas, Nurya by Ricardo Molla, and Etoiles des Profondeurs by Jerome Naulais. Meditation is an unaccompanied piece which proved not to be the quiet contemplative piece suggested by the title, but was a tonal and varied piece showcasing the instrument’s full range of dynamics and moods. For the pieces by Molla and Naulais, Christian was joined by our excellent accompanist, David Murray, very happy to be giving that new Steinway its maiden concert. Originally written for the tenor trombone, Nurya made a beautiful transition to the mellow tones of Christian’s bass. Its lyricism generated some particularly soft and gentle playing. Naulais has written extensively for the trombone and the three movements of Etoiles des Profondeurs amount to a short concerto. Naulais has a gift for quirky tunes and rhythms and the contrasting moods of the three movements gave Christian further opportunity to demonstrate his virtuosity. It was soon clear to the audience why the trombone section of the WFEL Fairey Band, comprising Becky Lundberg, Toby Marshall and Josh Cargill is one of the finest in the country. A more relaxed warm sound, and polished performance, could not have been wished for. This was a well-seasoned team clearly very used to playing together. The first suite Ba-Dee-Doo-Dup by Brian Lynn offered a pastiche of different styles, overall light in mood, with superb playing from all, a solid but sympathetic, even delicate bass, a discreet middle voice and a beautiful singing top line. Ray Premru’s lovely Two Pieces for Three Trombones followed, and there was a very smooth rendition of Mozart’s Ave Verum Corpus, before Becky gave us some insights into what playing in a brass band trombone section can entail. The trio presented a thoughtful analysis of a superficially simple section from a contest piece. It was actually an exercise in listening and tuning, and above all, playing quietly together. Becky recalled a frequent but ill-informed comment that trombones are ‘nothing more than loud and bold’ but, as she also rightly stated, much can be achieved by playing and practicing quietly. Embouchures remain the same and, as ever, effective breath control was central to the sound that could be made.

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RNCM QTET: RNCM QUARTET. L-R: FREDDIE HUGHES, OLIVER WEBB, TOBY MARSHALL AND JOSH CARGILL. PHOTO CREDIT: PETER CHESTER. RNCM CHOIR. PHOTO CREDIT: PETER CHESTER.

14 BTS DAYS

Alongside gratifying, but slightly daunting remarks such as, ‘Well done, great afternoon, see you next year’, it is always good to hear what people think. One mother of a young player, herself a flautist, said she’d ‘never before appreciated what trombones could do’; another observed ‘so many happy trombonists, obviously glad to get together and play again’. It was particularly encouraging to see a number of young players among the old hands and Dan (11) from Durham summed it up: ‘I found the day enjoyable and educational for me. It was great fun to be able to play with the dozens of professionals around me!’ That’s what the BTS is all about.

MASSED BLOW. PHOTO CREDIT: CHRIS SOWERBY. DAN. PHOTO CREDIT: LYNN THORNBER.

Williams’ Superman. Quietly atmospheric chords set a scene of imminent excitement, which soon burst forth, with some crisp and thrilling playing throughout, plus the special treat of an already powerful bass section augmented by a cimbasso. Giovanni Gabrieli’s Sacrae Symphonie, which followed, was an excellent demonstration of what trombones were used for at a very important time in musical history, that is, to provide antiphonal choirs in St. Mark’s, Venice in the 1600s. Thus, we had three groups of five players spread across the hall, sometimes playing together, sometimes independently, sometimes antiphonally, but all very effective. A powerful arrangement of Mussorgsky’s Great Gates of Kiev completed their session, the chords and moods of the music being well-suited to a large trombone ensemble. The climax of the piece perhaps produced the biggest sound of the day, although the final massed blow rendition of Hot Stuff may have just beaten it! Hot Stuff was the funky number prepared by the full massed blow and this was alongside three other contrasting pieces. There was Salve, a four-part chorale by Bernat Vivancos from Spain, excellently suited to the voices of the trombone. This was actually the first piece played on the day and as one member remarked, ‘that’s what we’ve missed, there’s nothing quite like a large trombone choir’. We also performed a lovely arrangement of the Lennon & McCartney tune, Here There and Everywhere, particularly effective for its warm harmonies and for giving all parts a snatch of the melody. We were, however, pleased and honoured to give what was probably a world première performance, in live ensemble form at least, of a piece hitherto only performed by a team of players on Zoom. This was Forward the Best by Norman Bolter, a very distinguished player, composer, and teacher from Boston USA, who wrote the piece in December 2021, to be played by the members of a Zoom masterclass he had led in 2021. We know he was very pleased to hear of our performance and we are very grateful for his permission to use it. We can report it worked very well in a large group. The medieval flavour of its themes and the block chord supporting harmonies were very well suited to the range of players we have in a BTS massed blow, so it was great to include it. Members can see the original Zoom recordingThankshere.toSamuel Kirkman, the Media Co-ordinator of Durham University, but freelancing for us for the day, we were able to record much of what was performed on the day to support Make Music Day held on 21 June. That will already have passed by the time of publication, but the live-recorded extracts will be available on the websites of both Make Music Day and the BTS. Attentive support for our activities throughout the day from Michael Crilly, the manager of the Mark Hillery Centre, was also very much appreciated.

DaysBTSPart2 SINGING AND STRETCHES IN ANTRIM BY NATHAN MOORE IRELAND REPRESENTATIVE

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PHOTO CREDIT:

STRETCHING WITH

– BTS NORTHERN

On Sunday, 15 May the Northern Ireland Trombone Day was held in sunny Antrim with over 25 players in attendance. This was the first event of its kind as a collaboration between the Education Authority Northern Ireland and the British Trombone Society The day started off with our guests from the Ulster Orchestra, Principal Trombone Neil Gallie and Principal Bass Trombone Richard Ashmore, leading us in a group warm-up. Neil focused on the importance of singing in our day-to-day playing; we’re all guilty of getting hung up on technical problems on the instrument or figuring out what mouthpiece works best, but what we were reminded of is that in order to get the results we want, we need to hear it in our heads first and the best way to do that is through singing. Later on in the masterclass this was the number one priority, and it made an incredible difference to everyone’s playing. Richard was able to give us a personal insight into something that we’re all terrified of – an injury that stops us from playing. Having recovered from one such injury a few years ago, Richard showed us all how to look after our posture and in particular, our shoulders. The takeaway from his warm-up was this: prevention is better than a cure. Once those injuries happen, it’s a long and painful process to get back to fitness, whereas avoiding them altogether is simple if we just look after our bodies and do the exercises! We had three fantastic masterclass volunteers, Michael, Holly and Oisin, who brought their exam pieces to perform for us all and our guests gave them valuable advice. Neil worked with Michael through Junk Email Blues and Oisin through Open Plains and showed them how to go beyond just ‘playing the notes’, to find the phrasing and extract the music from the page. Richard worked with Holly, who is currently playing tenor but wants to switch to bass trombone in the next few years. She played Close Every Door to Me for us and was coached through making as big a sound as possible, to try and really fill the instrument. By the end, she was playing Richard’s bass and filling the hall! In the trombone choir, Neil led us in rehearsing Here’s That Rainy Day and Pastime with Good Company in preparation for a performance at the end of the afternoon.During the masterclasses, Will McLean took eight brand new learners off for a pBone taster class in the hope that they’ll join us soon at the next event and take part. RICHARD ASHMORE. NATHAN MOORE.

SUNSHINE,

16 BTS DAYS

To finish the day off, Neil performed the Lars-Erik Larsson Concertino with Marie Bachelor at the piano. Neil played this piece with the Ulster Orchestra last year as part of their digital concert series and felt like it deserved to be played again to a crowd. The variety of styles demanded by the piece, as much as Neil’s magnificent playing, captivated the very appreciative audience. I then joined Richard Ashmore to play some Brian Lynn duets and, once Neil had got his breath back, he came back for the brilliant Lynn trio Ba Dee Doo Dop. The massive sound of the trombone choir then brought the day to a close with everybody getting involved.Itfeltlike the perfect opportunity to thank my predecessor as NI representative, Stephen Cairns, for all his hard work for the British Trombone Society and for the trombonists of Northern Ireland. Stephen took on the role at the Society’s creation back in 1985, fresh out of university and wanting to bring the trombonists of NI together. During his career as a classroom music teacher, Stephen became heavily involved in community music, conducting brass bands such as 55th Old Boys, Agnes Street, Laganvale Metal Technology and currently 1st Old Boys, as well as Ballygowan Concert Flute Band, all with great success. He has also played at the top level of brass banding and currently plays principal trombone with both Festival Brass and the Belfast Pops Orchestra. Northern Ireland may be a ‘wee country’ but has produced some very fine trombone players over the years and Stephen has been there to organise trombone events to encourage and inspire them all with special guests from the society. We would like to thank Stephen

NEIL GALLIE. PHOTO CREDIT: NATHAN MOORE.

HOLLY AND MICHAEL. PHOTO CREDIT: NATHAN MOORE.

17 BTS DAYS

STEPHEN CAIRNS. PHOTO CREDIT: NATHAN MOORE. for everything he has done for music in this country, and we hope he continues to do so for many years to come. Stephen was presented with a lovely bottle of champagne and a framed certificate in recognition for his efforts here. Will McLean and I would like to thank the British Trombone Society and Education Authority Northern Ireland for helping us put on the event, with special thanks to Martin Haggan and Jan Ferguson from EA who worked behind the scenes to make this event happen. After a very successful collaboration plans are already being discussed for a repeat event in 2023. ◆

TROMBONE CHOIR. PHOTO CREDIT: NATHAN MOORE.

REVIEW

19 CONCERT REVIEW

BY ALASTAIR WARREN

◆

REVIEW

In response here is a review I have written. Given as part of a concert entitled ‘Tapestries’, Candyfolk Space-Drum was indeed a tapestry, weaving together blues, soul, a hint of Riverdance, with passages of almost hyper-real video game music complexity, expertly blurring the boundaries between acoustic and electronic instruments.

GILI.ORLANDOCREDIT:PHOTO

Space-DrumCandyfolk

31 March 2022 saw the world premières of two new works by major orchestras: in the morning Love Yous Bus-Eyed by the London Symphony Orchestra at LSO St. Lukes, and in the evening Candyfolk Space-Drum by the London Sinfonietta, at the Queen Elizabeth Hall. I was lucky enough to be invited to the latter as a guest of the London Sinfonietta Candyfolk Space-Drum is scored for a small ensemble of violin, flute, bass clarinet, trumpet and two keyboards, jazz drummer, improvising solo trombonist and children’s choir. In his programme note Paxton says, ‘This is a piece of music I have written so that it can be played to an audience by notation-reader-like-musician-soloists who like it, improvising musicians who like it, a drummer who likes it, electricitysounds and some children who like it also. These are the best sounds I can image these people making, I think it will also be fun to watch’.

The creative outpouring from composer and improvising trombonist Alex Paxton’s fertile mind shows no sign of slowing. Since he was interviewed for The Trombonist in Spring 2021 he has had his music performed by major ensembles around the world: a recording of Ilolli-Pop for solo trombone improviser and ensemble will be released later this year, and Happy Music for Orchestra will be released in 2023. Paxton received three nominations in the 2021 Ivors Composer Awards, winning the Small Chamber Composition category with Sometimes Voices and has been nominated for the Gaudeamus Award 2022. Last year he was chosen to contribute to Arcana X: Musicians on Music, the tenth and final instalment of John Zorn's acclaimed Arcana series of books on new music theory.

Alex Paxton teams up with the London Sinfonietta again on 18 November for the EFG London Jazz Festival.

Although Paxton’s compositional voice is unique, I had fun spotting influences as they flitted past; echoes of Ray Anderson, the anarchic spirit of Django Bates, of Loose Tubes or the George Gruntz Concert Jazz Band, moments of Pat Metheny/Brad Mehldau, the intellectual rigour of George Lewis (with whom Paxton shared the programme), and a Gil Evans-like ear for orchestration.Thatacute ear extended to Paxton’s role as a performer. Standing to one side, both physically and conceptually, his improvisation seemed to act as both commentary and encouragement to the main action. Searching for his best sounds, Paxton employed an extensive range of mutes: pixie, trixie, harmon with clothes pegs attached, practice mute and even a French horn stopping mute. Additionally, he swapped between his regular instrument and a ‘peashooter’ trombone, the maker of which could never have conceived the use to which it is now being put.

However, what impressed me most about Candyfolk Space-Drum was Paxton’s treatment of the children’s choir. Rather like Roald Dahl, Paxton has the knack of being childlike without being childish, of not being condescending, of treating his young performers as equals. The response from them was electric: I can’t think of a better example of the power of music to enthuse, excite and give confidence to young people, if given the chance to experience it in this way. And perhaps that was the fundamental point of the piece, a timely reminder to all of us of the sheer joy music can bring if we let it. Months after spending 30 minutes immersed in Paxton’s mind the memory of his music is still firmly lodged in mine. I like it.

BY ALASTAIR WARREN

Supporting the Next Generation

The BTS is exited to welcome two new additions to our stock of loan instruments: a Conn 88H donated by Halesworth Arts Festival in memory of Tony Parsons, founding editor of The Trombonist, and a Yamaha YSL882GO, donated by Peter Moore.

Matthew Wetmore writes ‘The Halesworth Arts Festival ran from 2002 until the onset of the pandemic in 2020. I became Director from about 2004 and Tony came on board around three years later. Among an eclectic mix of music, theatre, dance, poetry and visual art, we must have put on over 300 concerts of all sorts –classical, folk and jazz. Many musical performers were people known to Tony; his professional connections and knowledge were a brilliant asset to our meagre amateur abilities. Tony became an integral part of the Festival. It’s been over three years since he died, and we miss him like mad. In later years, he made it his business to inspire young aspiring trombonists and we hope the instrument we have donated to the Society will help his enthusiasm live on.’

Jane Parsons commented ‘When the Halesworth Arts Festival was being wound up – Matthew as Director, myself, and the rest of the committee members, which used to include Tony – had a certain amount of money to allocate to worthy causes in the arts world. Matthew readily agreed to the project of giving a trombone to the BTS. I was so thrilled as it was such a fitting memorial to Tony. I am sure he would have agreed gladly as the BTS was very close to his heart and something he was passionate about. Anything to help young people get on when good instruments are very expensive.’

To have an instrument given in memory of Tony Parsons is very special: Tony did so much for the BTS and I hope this will be a fitting tribute to his legacy and something that will benefit many musicians in their development. Thanks go to Jane Parsons for thinking of 20

About the donations, Simon Minshall, BTS President said ‘It means a great deal to all at the BTS that we are able to add two more instruments to our loan scheme.

I would like to say ‘thank you’ to the British Trombone Society for the support which has been given to my son Daniel via the bursary scheme over the last couple of years. Daniel has significant hearing loss, but he has never seen this as a problem for him, and he tries to deliver this message to other people with hearing difficulties. Dan absolutely loves trombone and is doing really well: he has just turned 15 and has already passed grade 8 with distinction. He plays regularly with the Liverpool Philharmonic Youth Brass Band, Kearsley Youth Brass Band, Freckleton Brass Band and Lancashire Youth Symphony Orchestra, and played first trombone with the National Youth Concert Band during the Easter break. He also took part in the 2021–22 NYO inspire programme. He is very proud that the British Trombone Society supported and believed in him and often says ‘I will do as best as I can because the BTS believes in me’.

21 BRASS BAND NEWS

The BTS Instrument Loan and Bursary schemes make a real difference to a number of young trombonists every year and are fundamental to the Society’s work as a registered Charity.

DANIEL REGAN. the BTS and Michael Rath who did an incredible job of engraving Tony’s signature ‘signature’ on the trombone, which looks stunning! We are also incredibly grateful for the donation of a Yamaha tenor trombone from the London Symphony Orchestra’s Peter Moore. As an ambassador for our instrument across the world it is wonderful that a young player will benefit from Peter’s donation.’

Elliot Hampton I received a generous bursary from the BTS last year, which has been very helpful in supporting me to further my trombone studies. I put the money towards paying for transport to the Guildhall School of Music and Drama, where I am on the Junior Jazz Course. Coming from East Kent every Saturday, the journey back and forth is quite expensive. The experience at Guildhall has been instrumental in my education so far, with plenty of workshops and concerts. I have also had the wonderful opportunity of studying under two fantastic trombone teachers there, namely Trevor Mires and Susan White. None of this would have been possible without the support of the BTS. Sam Phillips I am writing to extend my thanks for the loan of the trombone (Rath R400). It has come at a time that has made it invaluable as I have used it to prepare for and gain a distinction in my grade 8 exam. In addition, I have appreciated its capabilities in my county youth orchestra and wind ensemble, taking it on tour to Jersey last summer. I will be starting to study music at Oxford university this year and have been very grateful for how much the trombone has encouraged me to improve my playing and fuelled my passion for music. It has been very useful in my school and local orchestras/bands also, and it has been very helpful whilst preparing my diploma. Aileen Orr As a member of the Society for several years, I was delighted to receive a bursary towards the cost of attending the English Symphony Orchestra youth residential course last year. It made all the difference to me being able to attend and gain invaluable orchestral experience and form new friendships with likeminded musicians. This, along with attending Royal Conservatoire of Scotland Juniors, and my brass band experience with a number of bands, latterly Coalburn Silver Band and the National Youth Brass Bands of Scotland all puts me in good stead to start my BMus on bass trombone in September studying at the Royal Welsh College of Music and Drama. ◆

The Trombonist caught up with several recent recipients to find out what their awards had meant to them.

Inna Regan

DREAMERSTHE

THE DREAMERS is a piece in five movements of around four minutes each, all in very distinctive moods. To demonstrate some of the thinking that went into the piece, I will go into some detail about the music. The first melodic material we hear in the piece is this simple four note phrase doubled in the piccolo and celesta – a very innocent melody, almost ironic or comical in the context of a piece of contemporary classical music.

BY ROBIN HAIGH In June of this year, my Quadruple Concerto for four trombone soloists and 16 players, THE DREAMERS, received its première at the Aldeburgh Festival. It was performed by Slide Action Trombone Quartet, the Britten Pears Contemporary Ensemble, and conductor Jonathan Berman. How does a piece like this come about? A concerto for four trombones is clearly very unusual, a far cry from the dozens of concerti for piano, violin or cello being written every year. Even concerti for a single trombone are uncommon, though this is something that seems to be changing: notable recent works for trombone and orchestra by Gavin Higgins, Dani Howard, Alex Paxton and James MacMillan have, in my opinion, opened many composers’ eyes to the virtuosic possibilities of the instrument. I like to consider my own piece as part of a recent “trombonnaisance” – a renaissance for the trombone in British contemporary classical music. As part of my role as a 2021/22 Britten Pears Young Artist, I was given the flexibility to develop any kind of commission I wanted for the Aldeburgh Festival, an extremely luxurious situation. My greatest interests as a composer have always been in large ensembles and orchestras, and a big priority for me right now is to be writing more substantial pieces, so a work of twenty minutes seemed appropriate for the time I would need to complete it. I was already enamoured with the sound of multiple trombones, from pieces like Georg-Friedrich Haas’ highly microtonal Octet. Meeting Slide Action at Snape Maltings in summer 2021 sealed the deal – their enthusiasm for new repertoire, for doing new things and pushing at musical boundaries brought everything together for me, and the idea for a Quadruple Concerto quickly crystallised. The trombone is a particularly special instrument for me, as it was the first instrument I learned as a child. I was taught by former Royal Philharmonic Orchestra trombonist John Sibley through my local music service in Newham, East London, though I was far from a perfect student; while I appreciated playing in ensembles, I found that practising really wasn’t for me. I remember I never really learned the names of the notes aside from B flat and F, just what they looked like on the staff and where that meant I should put the slide. And I would play half by ear, sliding up or down a semitone when I started a note in the wrong position. I remember in the youth orchestra, I would play notes in the wrong octave just to make it easier or more fun to play; perhaps an early sign of my future as a composer, given the way I saw the music as something inherently malleable and changeable, rather than set in stone. I managed to get to Grade 6 before accepting that being a trombonist wasn’t what fate had in store for me, but the trombone remained somehow a part of my musical identity, which is one of the things that made the idea of a concerto so appealing.

This moment of relief is interrupted by a violent outburst from the ensemble, signaling the beginning of the final movement. This type of sound, marked “FFF foghorn” for the players, was directly inspired by modern approaches to music in blockbuster films and their trailers.

The piece ends with the soloists playing a final, decisive iteration of the melody that began the piece, ending with an enormous tutti.

Following a third movement that builds on the ideas of the first and second, the fourth provides a considerable contrast, as a chorale for just the four soloists. This includes my own approach to a technique called Just Intonation, whereby the pitches of chords are adjusted to adhere to the harmonic series rather than the 12 equal pitches found on a piano. I wanted a brief moment of purity and simplicity to stand out against the bombast and rhythmic urgency of the other movements.

To learn more about Robin Haigh visit his website, where sheet music for THE DREAMERS is available for purchase. The fourth movement CHORALE is also available as a standalone work. ◆

THE DREAMERS

Very much of the music in the piece derives from this simple phrase – the idea of four ascending pitches is integral to the rest of the work. For example, when the trombones enter shortly afterward, they are playing a fast-ascending arpeggio figure, intended to show their virtuosity right off the bat.

The second movement is much more subdued, instead focusing on the sound of a slowed down vibrato, though still with a heavy emphasis on ascending four note melodies. I thought the trombone would be the perfect instrument to perform this type of technique given the control of the slide, and this type of playing was layered up across all of the trombones as well as the rest of the ensemble to create a kind of warped, hazy, woozy sound.

This piece represented an enormous step for my own work as a composer, and it was an honour to be able to work alongside Slide Action, who contributed a lot of their expertise to the piece, helping me to fine-tune several passages in the final stages of the composition. I look forward to writing even more music for trombones and other brass instruments, and very much hope for further performances of THE DREAMERS, both in its original incarnation, and in its recently completed version for soloists and full orchestra.

Denis Smalley, one of the pioneers of acousmatic

Young and not so young, 'they', 'them', 'he', 'him', 'she', 'her', 'ze', 'hir'; every conceivable pronoun, all here to experience an in-depth encounter with the mimetic and the acousmatic. The event I had come to see was BEAST FEaST 2014, Birmingham University’s Electroacoustic Music Festival. A festival I would perform in as a guest six years later and my first excursion into the experimental world of electroacoustic sound diffusion. However, this was not BEAST FEaSt 2014 this was the queue for Simon Cowell and Britain's Got Talent 2014. I had wandered into the wrong venue! Dhomont's concert was at the Birmingham Electroacoustic Sound Theatre, known by the acronym BEAST and part of Birmingham University. When I eventually turned up at the correct venue, I found a murder of Trekkies sitting around the centre of a small, dark ambisonic theatre surrounded by a planetarium of speaker LEDs. Francis Dhomont was seated at the centre helm, his instrument a row of mixer channel faders. I was home, and the universe made sense again. I sat motionless behind the great Dhomont, my mind and senses stretched to capacity by a continuum of recorded and processed sound. An ever-evolving, electroacoustic tapestry drifted out of one hundred speakers in a three-dimensional matrix of glittering acousmatic shapes. You might have heard of 'spatial audio', especially in gaming, and the new commercial push by Dolby Atmos, but technologically speaking, it is not new. Apple and Dolby recently coined the term ‘spatial audio’, but it has existed since the 1970s under various descriptions and names, ambisonic and binaural being the most common. Small cults huddled in a central space with sound diffused around them using elevation rather than the more common flat linear front, back and sides have met in dark theatres for over 40 years. It occurred to me; wouldn't it be interesting if an acoustic instrument such as the trombone entered that space. One of the core ideas behind 'acousmatic sound' is its elevation and diffusion. As an experiential art form, it also uses acoustic prestidigitation and the obfuscation of any identifiable audio source. The performer would enter the space, their sound defused in an ambisonic arena, creating an audio experience that is both raw and processed. Psychoacoustics meets three-dimensional audio as the listener enters an environment of acousmatic discombobulation, unaware of the roaming threshold between natural and imitative sound. The experience can be disconcerting for the novice listener compared to a traditional concert setup. It often feels like a closely guarded secret confined to conferences and specialised festivals, rarely entering the domain of contemporary music conservatoires.

As I stood in a crowded Birmingham Symphony Hall, overwhelmed by the bustle of excited punters and eager children, my expression was perplexed amazement.

TheTromboneAugmented

BY DR TONY BOORER

All these people had travelled to hear the don of electroacoustic music, Francis Dhomont? To my shame, as a jobbing trombonist, I had only recently discovered the term 'acousmatic sound' and its use in musique concrète, developed by the French composer Pierre Schaeffer in the 1940s. Seeing such a throng of people interested in an otherwise niche genre was like spotting Downton Abbey fans at a Star Trek convention. It was all new to me, but not to them. I was stunned and humbled.

Continues on next page … 25

The investigation of current technology is an everchanging and contextual pursuit, beginning with integral, often solipsistic questioning; Why use technology when composing for the trombone? What is the purpose of electronic interaction? Is it merely a gimmick? How will using technology as a performer enhance the trombone's sonic palette? When creating music or soundscapes, is the use of technology a quest for technologies sake, a musical endeavour, or both? My interest in technology was to expand the capability and timbre of the trombone. The journey began with acoustic manipulation leading to the design of a bespoke augmentation system – the 'eBone' system. After experimenting with anything from Wii Controllers strapped on the slide to condenser microphones and variations on the performance pieces of Nicolas Collins, I designed a plunger mute with built-in sensors and a condenser microphone, 3D printed and programmed using the low language code employed by the Arduino microcontroller. I investigated the rapidly developing climate of hyper instruments, augmentation, machine learning and hybridised instruments. I analysed projects by Matthew Burtner, Sarah Reid at MIT, Stroppa, and many more as far back as tape music with Fulkerson and Dempster. However, my goal was electroacoustic interaction in a live performance environment without altering the traditional playing style of the trombonist. As in the fundamental ethos of acousmatic music, I wanted the performer to blur the line between acoustic sound and live processed sound without compromising their natural performance technique, in other words, an intuitive system with a minimal learning curve. Many works have been written for trombone and tape/CD/electronics using fixed media as the accompaniment. In my opinion, for all their musical skill, such pieces suffer without genuine electroacoustic interaction; despite the different interpretive styles of a performer, the accompaniment or backing track will always remain the same. In the fringe world of experimental electroacoustic composition, the holy grail of live performance is intuitive interaction. There must be something to communicate gesture and musical intention from the performer to the electronic processes. ‘… artists must begin to question whether it is within the spirit of the age to hang onto, and vigorously defend, their own art genre boundaries, or whether it would be more fruitful to relax their grip and allow them to hybridise and perhaps give rise to the other creative disciplines and forms …’ (Mark Bokowiec, 2011) As a classically trained trombonist, I wanted to push the boundaries of my art genre. I needed tools to enable the gestural interaction of raw sound and electronic processing. Research led to a series of compositions for the trombone and interactive electronics. An augmentation system grew organically out of experimentation, composition, and research, not as a contrivance but as a necessary element when bringing the trombone into an electroacoustic space. In the spirit of Bokowiec's prescient observation, the development of such an augmentation system began – combined with a fascination for modern technological advances and their unique potential for performance, sound transformation and the creation of new timbres. I wanted a transferable and portable system when conceptualising a bespoke augmentation design for the trombone. A reverse engineering concept known as hardware hacking became essential in facilitating technical skills while serving as a framework for software strategies in the visual programming language Max/MSP. I stripped back various hardware items and entered the geeky world of GitHub to peel back the bonnet of software packages and transfer them to my growing knowledge of visual programming. It is impossible to know everything, but hacking enables us to go from B and find A in a dark room. Eventually, after a series of failures, a bespoke eBone system was designed and 3D printed (Figure 1). 1. THE BESPOKE EBONE SYSTEM.

THE AUGMENTED TROMBONE soundscapes, was cynical about the idea of traditional acoustic instruments performing in an acousmatic space. Smalley believed new instruments were the only method accessible for pure electroacoustic integration. I felt otherwise. The augmentation of a traditional trombone, using sensors and 3d printing design, could create an intuitive conduit for raw electroacoustic interaction without compromising technique or tone.

FIGURE

FIGURE 3. THE ESLIDE. The eBone System EPLUNGER MUTE, FIGURE 2: A 3D printed plunger mute equipped with a built-in contact microphone, six capacitive touch buttons (mappable using MIDI), a force-sensitive resistor (FSR), accelerometer, LED feedback system and a programmable MIDI sequencer. EMCONTROLLER: A MIDI controller with six capacitive touch buttons mounted on a 3D printed mouthpiece shield, used to negate the need for a foot pedal.

DISCOURSE II #MaysDream is an electroacoustic soundscape blending falsetto, full voice multiphonics with interactive processing.

26 THE AUGMENTED TROMBONE

DISCOURSE I #TheQueen uses the voice sample of Her Majesty Queen Elizabeth II from her State Opening of Parliament in May 2016 to start the suite.

ESLIDE, FIGURE 3: Two infrared sensors are mounted on the top outer slide, near the mouthpiece receiver, the first slide brace, with a reflector mounted onto the second slide brace. These are connected to an x-OSC wireless I/O microcontroller and mapped to various electronic parameters, such as granular synthesis, delay, and SV-filter scrolling in the main eBone Max patcher.

FIGURE 2. THE EPLUNGER MUTE.

An EHUB box housed an x-OSC microcontroller, enabling wireless capability and utilising open sound control (OSC). The ePlunger acts independently from other devices. It serves as the main microcontroller for the eSlide and eMController. The eBone devices essentially informed composition, design and performance by implementing a principle of bottom-up experimentation, otherwise known as trial and error. The advantage of this approach leads to evolution rather than revolution. A gradual development grew alongside composition until the complete system integrated with the electroacoustic work, Discourses of Brexit, for augmented trombone and interactive electronics. Discourses of Brexit is an electroacoustic suite in five movements performed with the stage setup illustrated in Figure 4.

FIGURE 6. EXTRACT FROM #TUSKSLAMENT.

FIGURE 5. EXTRACT FROM #MRSPEAKER.

THE AUGMENTED TROMBONE

FIGURE 4. STAGE SET-UP FOR THE EBONE AUGMENTATION SYSTEM.

DISCOURSE III #MrSpeaker (Figure 5) uses the infamous cry of John Bercow's ‘Order!’ and processes the voice sample via live pitchshifting and dynamic expression from the ePlunger mute.

DISCOURSE V #ThePeople uses voice samples collated before the EU referendum in 2016. A sequencer built into the ePlunger mute controls the rate of voice samples as triggered by the performer. The full complement of the eBone system mixes with a twelve-tone structure and continues the ambiguity between tonality and post-tonality. In October, I will focus on #MrSpeaker and #Tuskslament from 'Discourses of Brexit' and other electroacoustic experiments at the British Trombone Festival 2022. Although I will not have access to complete ambisonic sound diffusion, the work demonstrates the blending of live electronic processes with the acoustic sound of the trombone. At the festival, I will perform two movements, #MrSpeaker and #TusksLament, alongside a presentation of other examples showing how, as a nonexpert, I made the augmentation system. I hope the presentation/performance will encourage others to experiment. I will certainly point you in the direction I found, although I am sure many more avenues await exploration. ◆

DISCOURSE IV #TusksLament (Figure 6) depicts a plaintive cry based on Donald Tusk's controversial and infamous speech, ‘I've been wondering what special place in hell looks like for those who promoted Brexit without even a sketch of a plan how to carry it out …’. As with previous movements, the interaction of live processing, speech and the expressivity of the performer are paramount to the fourth movement's texture.

‘… a brilliantly conceived show from start to finish – such a strong brand and identity rarely seen in contemporary classical music.’ Harriet Wybor, General Manager – Royal Philharmonic Society.

Britten Studio – Snape Maltings Saturday, 11 June, 2022 SWAMPEDMARCHFUNERAL 1NO.INTERLUDEEXIGUAC. 28

RebuildingTrombonethe

Over the last couple of years Slide Action has come to dedicate its existence to pursuing new sounds and sights for the world of trombone quartet. ‘Rebuilding the Trombone’ is Slide Action’s brand new ‘genre-bending’ show that takes the audience on an hour-long journey, trying to find a new voice for the trombone quartet (with the assistance of live electronics and sensory over-loading lighting design). We begin by paying homage to the works of great composers before us whom have contributed to the trombone and its repertoire with Purcell’s Music for the Funeral of Queen Mary. The audience are soothed into something of a false sense of security with a traditional arrangement, before electronic mischief begins to add some complications. We are then transported fully into the present with four brand new works specially commissioned by Slide Action from world-renowned British composers Ryan Latimer, Laura Jurd, Emily Hall and Alex Paxton. Rather than simply presenting a selection of new music from a variety of composers, ‘Rebuilding the Trombone’ ties together its new works with a series of 3 Interludes composed or arranged by Slide Action’s own members which unify the programme, taking inspiration from the preceding and following works in-between which the interlude itself nestles.

Upcoming repeat performances to be announced!

BY SLIDE ACTION

BUILDING THE TROMBONE CLOSE PALMS INTERLUDE NO. 3 ESTAMPIE ALL PHOTO CREDITS © PATRICK YOUNG 2022, EXCEPT ESTAMPIE © MATT JOLLY 2022. ◆ 29

REVIEWHORDEN

The first number, Urban Shout, started with a call and response between Mark Nightingale and the band before launching into a fast-paced tune. The band was swinging hard, the engine room of Ian Thomas on drums and Sam Quintana on bass leading the drive, and Mark's feel and swing is always incredible.

There was a buzz of excitement during the warmup at the Dog & Duck, with so many trombone players in one place there will always be a great atmosphere!

BY DAVID

Another Mark Nightingale arrangement came next with a beautiful slow arrangement of Cherokee. All four tenors were in bucket mutes, giving Andy Wood on bass trombone more prominence over a smooth and silky bed of lush harmonies. Sam Quintana took a fantastic solo letting the music do the talking and totally changing the atmosphere from the full throttle opening number. The precision, sound and musicality of Andy Wood is simply outstanding and the sensitivity he displays across the whole range of the bass trombone is something that should be high on the priority list for every bass trombone player. Following this was another fast swinger, The Eternal Triangle by Sonny Stitt, from one of Rory's favourite albums Sonny Side Up. Daniel Higham took the first solo; I had never heard him play before, the energy and edge to his sound make his lines so exciting. Rory also had a knock and the sound, range and facility he plays with is a pleasure to listen to. I particularly enjoyed the contrast in character between the two solos, and it was fantastic to hear such individual voices from two incredibly talented young players. Later was one of my favourites, Stardust, and for this feature Andy picked up his tenor. From the first note it was absolute magic, with a tone rivalling the great Urbie Green. Andy's interpretation of the melody was everything you could want, augmenting the tune beautifully whilst playing with a relaxed mastery of the instrument. Astounding playing in any situation, let alone when doubling! Next Trevor Mires took to the fore with his own composition The Reason. I am not much of a tech head, but he was using effects and an octave doubling pedal that gave the fusion style tune a total contrast from the previous number. I cannot begin to explain how good Trevor is; his technique, dexterity and harmonic lines are reminiscent of Michael Brecker and this tune brought the house down. T.P. Time by Clark Terry finished the gig, with Ross Stanley on piano stealing the show for me on this tune. The way he extends and inverts a phrase a seemingly endless number of times is mind-boggling. No wonder he is many people's first-call jazz pianist. All of the tenors featured on this tune and the collective improvisation finale, with everyone going full beans had the whole club shouting for an encore.

The encore was an arrangement of Groove from Mark Nightingale's Out of The Box album, with once again the rhythm section, particularly Ian Thomas, driving the groove expertly. The precision and feel Daniel Higham played the head with was a standout for me. It was not an easy task trying to emulate the great Nigel Hitchcock who played alto sax on the record, but the confidence and execution with which Daniel approached this really tricky head was awesome. Rory was an incredible host for the evening. His relaxed chat between tunes engaged the audience brilliantly and it was clear just how much fun he was having on stage. He put together an incredible band and a brilliant gig, I'm already looking forward to the next one!

RoryTromboneIngham'sAssembly

The line-up was filled with world-class players, with a great spread of age, experience and specialisms, and it was a real credit to Rory for putting on a showcase from a wide range of British jazz trombone players.

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REVIEW

WILFRED HEATON – TROMBONE CONCERTO Wilfred Heaton is well known in brass band circles for his masterpiece Contest Music, but performances of his equally ambitious Trombone Concerto remain a rarity. Originally created in 1991 for Nick Hudson and the Britannia Building Society Band (now Foden’s), the Trombone Concerto is a substantial reworking of Heaton’s 1954 Rhapsody for Oboe and Strings. This live performance by Ian Bousfield, accompanied by Foden’s, is from the 2019 RNCM Brass Band Festival and fully captures Heaton’s unique musical voice. ◆

Jean-Michel Defaye’s Deux Danses is a mainstay of the solo repertoire for both tenor and bass trombone. Not only is Gabriel Masson’s prèmiere recording, accompanied by Defaye at the piano, a fine example of the French style of trombone playing, it is also a lesson in the use of historical recordings. Follow along with the solo part, if you can, and note how far Masson diverges from the published edition, giving rise to the question of where the composer’s true intentions lie: with the work he allowed to be published, or with the recording he allowed to be released? Discuss…

CDListening Lounge

This recording, from 1930, conducted by the composer, features the influential André Lafosse performing the famous trombone solo. Lafosse, in his Méthode complète pour le trombone, expresses the opinion that the use of vibrato is vulgar (unusual for a trombonist of the French tradition), and that glissandi are of questionable taste. Accordingly, he employs no vibrato in this performance, but surprisingly adds extra glissandi, presumably with Ravel’s blessing.

JEAN-MICHEL DEFAYE – DEUX DANSES

MAURICE RAVEL – BOLERO

Darius Milhaud’s Concertino d’Hiver (Winter Concerto), Op. 327, completes the composer's series of ‘Seasons’ concertinos. The prèmiere recording, from 1953, is performed by Maurice Suzan and conducted by Milhaud. A contemporary interpretation can be found here, given by BTS Past President Matthew Gee, accompanied by the Royal Philharmonic Orchestra (RPO) as part of the 2021 RPO at Home series.

BY ALASTAIR WARREN 32

This edition of The Listening Lounge has something of a French theme, featuring rare recordings of three major works performed by French trombonists conducted, or accompanied, by the French composer. The fourth recording is an equally rare performance of a concerto composed by a doyen amongst British brass band composers. These, and previous selections, can be found in The Listening Lounge playlist on the BTS YouTube channel. Nominations of tracks or albums to include in The Listening Lounge can be made by emailing editor@ britishtrombonesociety.org.

DARIUS MILHAUD – CONCERTINO D’HIVER, OP. 327

Strozzi’s Che si Puo Fare? and Frescobaldi’s Se L’Aura Spira Tutta Vezzosa both feature Emily and the violin of Bojan Ciçic. By now the ear is appreciating the recording quality which is allowing all this expression.

Emily White responded with a project culminating in this album, which is extremely impressive: breathtaking in scope, class, versatility, and deep musicality. Every trombone player should listen to this album not just for the flawless technique, nor for the beautiful sounds and textures, but because we should all aspire to communicating art as our true end goal. Emily has succeeded in that at the highest level imaginable.

A Cry Was Heard

The acoustics are well chosen.

Sonata Quinta from Sonate concertate libro secondo by Castello ends the album perfectly with its energy and joyful proclamations. The best art effortlessly teaches us something about ourselves and our epoch. There is deep humanity in this album with a mix of mournfulness, worry perhaps, joy and beauty. Don’t listen to this album because you are a trombonist just wanting to learn how to play it better: listen to this because you are a human, and all humans are artists. This is art of an exquisite order.

A Cry Was Heard is available for pre-order from Emily’s website.

The first track — Palestrina’s Io Son Ferito, Ahi Lasso — sets the scene with Guy and Emily duetting. Emily shows her dexterity on the sackbut as she quasi improvises a decorating line. Of course, no actual recordings from the period exist so we are always left with an estimated reproduction of how it may have sounded. After careful research and years of honing her art, Emily gives a benchmark performance of which all future early music specialists will be taking note. The piece is sweet on the ear and sets the scene for the rest of the music to come. Peter McCarthy’s O’r Galons is haunting in its simplicity. Our attention goes way beyond the sparkling technique and sound as we are led on a hypnotic monologue. The ongoing drone deepens the effect as the mournful soliloquy continues. Written in 2018 you could be forgiven for thinking this piece acts, somehow, as a harbinger of the trouble to come just a few years after it was written.

During the pandemic the art world, and the music industry, suffered massive upheaval. With all concerts halted in 2020 we learnt how important live music is because it was taken away from us — performers and audiences both. Through this downtime much argument was angled towards the importance of live performances. There was also a question as to what this global upheaval would inspire in terms of creativity: would artists respond to the disaster and how?

Auf Dem Gebirge hat Man ein Geschrei Gehöret by Schütz is hauntingly beautiful using a full complement of sackbuts and voice. This piece clearly shows how close the sackbut is to the sound of the human voice.

In Haiku, by John Kenny, we again hear voice and sackbut, this time with modern harmonies: it works beautifully. Those 400 years from Palestrina to our period is beginning to sound much closer than it might at firstTheseem.vamp underneath the trombone in Spring in an Unreal World, possibly sounding like raindrops, accompany words by Brian Nisbet. They give a wonderful texture allowing Emily to express herself in what again sounds close to improvisation. The effect is calming, soothing even, with mystery and a hint of melancholy. In contrast Grandi’s O Quam tu Pulchra Es is joyful and reflective.

REVIEWBYALANSWAIN

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Emily White — tenor and alto sackbut; Guy James — countertenor; Robin Bigwood — harpsichord; Kate Bennet Wadsworth — gamba; Bojan Ciçic — violin and viola; Theresa Caudle — viola; Elinor Chambers — spoken voice and sackbut; Peter Thornton — sackbut; Adam Crighton — bass sackbut

7.00pm, Saturday, 24 September Royal Festival Hall, London For repertoire hunters this is a must: Schoenberg’s absolutely gigantic Gurrelieder is a large cantata for five vocal soloists, narrator, chorus and large orchestra. It’s based on poems by Danish writer Jens Peter Jacobsen and tells the tale of a medieval love-tragedy set around Gurre Castle. (Features 7 trombonists…!!)

VAUGHAN WILLIAMS’ 5TH SYMPHONY — ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA 7.30pm, Thursday, 6 October Liverpool Philharmonic Hall, Liverpool Setting the scene before the symphony is Elgar’s Froissart Overture — a mood of 'When Chivalry lifted up her lance on high,’ followed by Symanowski’s rich and sensuous Violin Concerto No. 2 (one of my alltime favourites!). Vaughan Williams’ 5th Symphony is somewhat poignant programming for the times we live in, premiered in 1943 during WWII — its serenity is rather comforting. JOURNEYS OF DISCOVERY: REDEMPTION — ROYAL PHILHARMONIC ORCHESTRA 3.00pm, Sunday, 23 October Royal Albert Hall, London Another of the visual spectacle works in this quarter’s picks — titled ‘Symphony of a thousand’ Mahler’s 8th Symphony brings together in this performance an all-star cast (see website for details!). ‘The first half is a celebration of the divine spirit. The second half, inspired by Goethe’s Faust, starts with “woodlands wavering into view” and ends with dazzling visions of angels and the life eternal.’

GARDNER CONDUCTS GURRELIEDER — LONDON PHILHARMONIC ORCHESTRA

BY JOSH CIRTINA BASS TROMBONE IN THE ROYAL PHILHARMONIC ORCHESTRA SYMPHONIC HIGHLIGHTS

// PRINCIPAL

From the Stage to the Pit …

AWAKEN THE SLEEPER — AMERICAN MUSIC FOR OUR TIME — LONDON SYMPHONY ORCHESTRA 7.00pm, Sunday, 6 November Barbican, London ‘One woman crosses centuries: a musical story of injustice, courage and enduring strength. A narrator and an orchestra lead a meditation, based on the words of James Baldwin, on the world as it is — and as it could be. And a jazz icon (Wynton Marsalis) takes the lowest instrument in the orchestra — the tuba — and makes it a star. This is music that speaks straight to the heart about the stories that matter right now.’ I’m really looking forward to this one! Well, it’s been a pretty crazy few months of programmes in the orchestral music scene around the country and it’s showing no signs of slowing down. Now we’re at the end of this year’s Proms season the orchestras around the UK are kicking off their 22/23 subscriptions with some really intriguing programmes.

For the symphonic picks I’ve chosen a couple of the ‘must-see’ grand-spectacle pieces that bring together huge orchestral and vocal forces, and then focused on programmes that feature some of the most exciting new music around. Past stereotypes of contemporary music can be forgotten; this is all music that is at the cutting-edge of composition and will make for some inspiring listening!

SCHULDT CONDUCTS SCHUMANN — SCOTTISH CHAMBER ORCHESTRA 7.30pm, Thursday, 10 November

FRANCESCA & DANIELE – ULSTER ORCHESTRA 7.45pm, Thursday, 1 December Ulster Hall, Belfast Francesca Dego joins her husband and the Ulster Orchestra for what will surely be a special performance of the Busoni Violin Concerto. Preceding it is Roxanna & Andrzej Panufnik’s Modlitwa (Prayer), which shares a mood of reverence and meditation with the second half - Bruckner’s 7th Symphony. Modlitwa is a collaborative work, Panufnik senior having written music for the second stanza of a poem by his friend Jerzy Pietrikiewicz but leaving the first bare. Roxanna has added some distinctive and entreating music at the outset. fun, and it is only 90 minutes long! Do go and support the WNO Youth Opera, they are doing two shows on 9 October in Cardiff.

DEATH & TRANSFIGURATION — HALLÉ ORCHESTRA 7.30pm, Thursday, 24 November Bridgewater Hall, Manchester Next in this small focus on new music is an epic programme from the Hallé and Clemens Schuldt (again!), featuring Icelandic composer Anna OPERA PICKS BY BECKY SMITH // PRINCIPAL TROMBONE AT THE ENGLISH NATIONAL OPERA As I write this we are in the middle of summer, with so much going on including the BBC Proms, Glyndebourne, Garsington Opera, Grange Park Opera, Holland Park Opera; I could go on! So, I hope you have managed to get out there to see some live music, with so much to choose from there will be something there for you. Looking ahead to the Autumn, it does calm down a little as we get into the swing of things and if you are undecided about what to go and see, maybe some of these will inspire you. Welsh National Opera (WNO) are putting on a production of the Makropulos Affair. I have to give Janacek a mention whenever I see it is being performed because he wrote such fabulous music. However, it never seems to attract the huge audience it deserves. Please do go and see this if you can, it is on tour as well as in Cardiff (16–28 September) so maybe one of these venues would be closer to you: Llandudno (14 October), Plymouth (28 October), Birmingham (8 November), Southampton (25 November) or Oxford (2 December).

The Royal Opera House never fail to put on at least one masterpiece in a season, and in the Autumn, it looks to be Salome by Richard Strauss. Salome is a tale of ‘lust, power and revenge’. Based on Oscar Wilde’s play of the same title, the writing is intense, huge, unsettling and exciting with a rather gruesome finale. If the thought of sitting through a whole opera fills you with dread, you should sit through this one as it is only 1 hour 50 minutes, with no interval. You will be gripped, I can assure you! Running 9 September to 1 October.

The WNO Youth Opera are performing an opera by Shostakovich of which I have never heard, Cherry Town, Moscow. On reading a bit more about it, this light-hearted musical comedy looks like it will be good Thorvaldsdottir. 'Nature provides me with my greatest inspiration’, she explains, as heard in Aeriality where she imagines ‘the state of gliding through the air with nothing or little to hold on to.’ Also featured is Britten’s Sinfonia da Requiem and Strauss’ timeless masterpiece Death & Transfiguration.

The Queen’s Hall, Edinburgh 7.30pm, Friday, 11 November Glasgow City Halls, Glasgow Clemens Schuldt directs the SCO in what will be an interesting and polarising sandwich of a programme. Bookending the evening is Schumann’s Overture, Scherzo & Finale and the revered 3rd Symphony ‘Rhenish’ with its calming and evocative journey down the river Rhine. Nestled between these two classics is a lyrical and virtuosic cello concerto from Julian Anderson receiving its Scottish première.

Lastly, not an opera, but one of my favourites so I am going to mention it! Glyndebourne Touring Opera are performing Mozart’s Requiem around the country. It is such a wonderful piece of music and has the bonus of a tenor trombone solo in one of the movements. Such a joy to perform, do get to one of the performances if you can. The performances will be in Milton Keynes (3 November), Canterbury (10 November), Norwich (17 November) and Liverpool (25 November), culminating with two performances at Glyndebourne (3 and 9 December).◆

FROM THE STAGE …

Omeara,NovemberLondon

OLD DIRTY BRASSTARDS 8.00pm, Friday, 19 August Brixton Blues Kitchen Friday, 26 to Sunday, 28 August Goatfest Live Music Festival, Hitchin 7.00pm, Friday, 26 August Blues Kitchen, Shoreditch BEYONCE’S GREATEST HITS 7.00pm, Friday, 16 September and Saturday, 19

What’son

RIOT JAZZ BRASS BAND 8.00pm, Friday, 26 August The Blues Kitchen, Manchester DENNIS ROLLINS Dennis Rollins’ FUNKY-FUNK! 5.30 and 8.30, Saturday, 3 September Ronnie Scott’s Jazz Club, London Friday, 23 ScarboroughSeptemberJazzFestival, Scarborough Special Guest w/Wendy Kirkland Trio 8.00pm, Thursday, 15 September Chesterfield Jazz Club, Chesterfield

By Alastair Warren Jean Toussaint’s All Star 6tet 7.45pm, Friday, 14 October Lighthouse, Poole Tbc, Friday, 21 October Royal Northern College of Music, Manchester 7.30pm, Saturday, 19 November Cadogan Hall, London BRITISH OPEN BRASS BAND CHAMPIONSHIP 10.30am, Saturday, 10 September Symphony Hall, Birmingham PETER MOORE Two opportunities to hear Peter Moore perform Toru Takemitsu’s Fantasma/Cantos II with the LSO 6.30pm, Wednesday, 14 September 7.00pm, Thursday, 15 September Barbican, London RORY INGHAM Ingham/Davison Sextet 8.45pm, Sunday, 25 September Scarborough Jazz Festival, Scarborough 8.00pm, Thursday, 1 December, Leeds 8.00pm, Friday, 2 December, Sheffield

SCOTTISH FESTIVAL OF BRASS

Thursday 18, Saturday 27, August Wednesday 7, Friday 9, Sunday 11, Thursday 15, Saturday, 24 September Revolucion De Cuba, Newcastle Funk City Brass Band Saturday, 1 October Revolucion De Cuba, Newcastle Northern Monkey Brass Band 8.00pm, Friday, 19 August Newcastle Jazz Festival BEYOND THE BELL Christmas with Beyond the Bell trombone ensemble 1.00pm, Friday, 16 December The Church of St John the Baptist, London SEPTURA Tchaikovsky: The Nutcracker 11.30am, Sunday, 18 December Wigmore Hall, London 37

Perth Concert Hall, Perth Scottish Challenge 10.00am, Saturday, 12 November Youth Festival 10.00am, Saturday, 26 November Scottish Open 1.30pm, Saturday, 26 November Youth Championships 10.00am, Sunday, 27 November

MARK BASSEY WITH THE NEIL RICHARDSON TRIO 6.15pm, Wednesday, 9 November Seaford Head Golf Club, Seaford ALEX PAXTON WITH THE LONDON SINFONIETTA 7.45pm, Friday, 18 November Purcell Room, London

JASON HOLCOMB Castillo Neuvo Trio

What’s

BONE-AFIDE TROMBONE QUARTET 4.00pm, Tuesday, 8 November Inverurie Music 4.00pm, Wednesday, 9 November Streathern Music Society 4.30pm, Thursday, 10 November Hawick Music Club 4.30pm, Friday, 11 November Moffat Music Society 4.30pm, Saturday, 12 November Ayr Music Club 4.30pm, Sunday, 13 November Dunblane Cathedral Arts Guild

Do you know of an event that should feature in our next publication? LET US KNOW CHRISTIAN LINDBERG 1.00pm, Monday, 24 October Wigmore Hall, London NATIONAL BRASS BAND CHAMPIONSHIPS 10.00am, Saturday, 15 October Royal Albert Hall, London ENGLISH CORNETT AND SACKBUTT ENSEMBLE 7.30pm, Sunday, 23 October Brecon Baroque Festival

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The Trombonist - Summer 2022

Articles inside

CONCERT REVIEW: RORY INGHAM’S TROMBONE ASSEMBLY

FROM THE STAGE TO THE PIT

REBUILDING THE TROMBONE

THE AUGMENTED TROMBONE

THE DREAMERS

CONCERT REVIEW: CANDYFOLK SPACE-DRUM

BTS DAYS

SUPPORTING THE NEXT GENERATION

PRESIDENT’S TOOLKIT

BRITISH TROMBONE FESTIVAL

THE NEWS