The Filling in the Sandwich BY JIM MAYNARD AND ROB BURTENSHAW
In the last few months not only did Rob Burtenshaw retire from the Orchestra of Opera North but Jim Maynard also stepped down from his long-held position playing Second Trombone with the London Symphony Orchestra. With over 65 years of experience between them this seemed like the perfect opportunity to ask them to shine a light on the role of the second trombonist in the orchestra. What do you view as the role of the second trombonist in the orchestral section? What are you trying to achieve in relation to the rest of the section? JM: I see the second trombonist as part diplomat, part ‘sandwich filling’, and should really be the ‘ears’ of the section in musical terms. This is more a ‘craft’ than creative (although both are possible!). As a teamplayer, rather than the leader in the section, you rely heavily on your ears and instincts (what is often referred to as ‘radar’) to copy, imitate and adapt your sound to support the first trombone, along with bridging the sound between first and bass. When the second player is doing the job properly, the first trombone should find their job easier, and in judging the balance correctly, the section sound should ‘ring’ … The diplomatic skills can come into play in many scenarios. For instance, some first trombonists might be very forthcoming regarding musical issues, or some may say very little … the skill is gauging when to facilitate more discussion and when to keep quiet! (not sure how well I did with that!?) RB: I see the role of the second trombone as unifying the section. To link the bass and first trombone obviously, by filling out the section with having the right sound. That is something you have, or you develop – to be the meat in the sandwich (vegan options are available). Being diplomatic does come into it, in fact 38
the section gave me an Olive Tree for my 50th birthday! Sometimes you have to choose when to go with the flow e.g. when there is an unheralded accelerando, or when not to have so much fun. To do this you have to be super reactive, have great listening skills and exemplary tuning. You need to be at one with the first trombone; but don’t come in early! It can help to watch their slide here. Enjoy making a solid foundation with the bass trombone to make the first trombone’s job easier. Tuning and ensemble are easy in a good section, and I have had great times at Opera North, the RPO, and back in the Nineties, sitting between Ian Bousfield and Bob Hughes, it seemed like the easiest job in the world. Can you share some of your highlights sitting in the second chair, favourite second trombone parts or corners to watch out for? JM: My orchestral initiation began ’sandwiched’ between Ian Bousfield and Bob Hughes (not a bad start!) and surrounded by many of the musical heroes I frequently listened to as a student in London (such as Eric Cress, Patrick Harrild, Maurice Murphy …) Ever since those formative orchestral experiences, I have been lucky enough to sit in between so many fantastic players, all of whom bring something different to the musical experience, along with many challenges as a second player; trying to match Dudley Bright’s sound in a Mahler Symphony, adapting to Katy Jones’ ‘chameleonic’ style and sound changes, keeping up with Peter Moore’s facility (and lung capacity!) and trying to create a sound to match the projection of Paul Milner’s low register! Of course, there have also been such a vast number of non-LSO musicians who I have been privileged to work with (too many to mention!) There have been many highlights – here are a few,
