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President’s Welcome
TOM LEES
I have the pleasure of writing to you as the new President of the British Trombone Society. Following on from Simon Minshall is a formidable task. I really want to thank him and Jon Stokes for their amazing work, but I’m well up for the challenge! With Kevin Morgan as Vice President, and a hard-working Committee team, we hope to build on the work of all the great people who have served our Society in the past.
We’re still buzzing from BTF24, and whilst we will return to Birmingham in 2026, we can’t wait that long to do it all again! Next year is the Society’s 40th Anniversary, and we aim to celebrate with events across the country and a big bash in London towards the end of the year.
The more I have been involved with the BTS, whether witnessing the hours of work that people give for free because they love our instrument, or seeing the impact an instrument loan or bursary award has made to a young player, the more I have been aware of our unique ‘trombone family’ and how we support and look out for each other. We are going to develop our relationship with GALSI and I hope the Society will continue to be as inclusive as possible and do it’s best to embrace ALL slides. As our founding President, the late Peter Gane, said, ‘We are all tube operators’!
I’m very excited about the future of the BTS and I look forward to seeing you at one of our events over the next year. Please do come and say hello or feel free to drop me a line at any time.
With very best wishes for a peaceful Christmas and a happy and healthy New Year.
Editor’s Welcome
Season’s greetings and welcome to the Winter 2024 issue of The Trombonist.
As the year ends, we look back at what was a phenomenal British Trombone Festival, which drew trombonists from around the country, and beyond, to the Royal Birmingham Conservatoire for an event filled with extraordinary performances and unforgettable experiences. We celebrate those who competed in the BTS Competitions held over the Festival weekend, and recognise the deserved winners of the BTS Annual Awards.
Elsewhere, Adrian France reflects on the Concert Trombone Quartett’s project celebrating Bruckner’s 200th anniversary, Simon Wills tells us about the inspiration behind his recently premièred work Nora Barnacle Assumes Command, and in Jazz by Jeremy, celebrating its 10th anniversary, Jeremy Price takes a look at a ‘sweet’ trombone feature.
Reviews include Slide Action’s stunning debut album, a glorious concert hosted by BONE-AFIDE, featuring the world première of a major new work by Gavin Higgins, and an inspirational visit to Wells Cathedral School by Ian Bousfield. The BTS returns to Wells on Sunday, 2 February 2025, for a Trombone Day led by Matthew Lewis and Richard Watkins. Booking will open soon via this link.
Finally, as the old year turns to new, From the Stage to the Pit and What’s On look forward to some of the best concerts scheduled for early 2025.
As Tom has mentioned, planning is well under way for the Society’s anniversary celebrations next year. If you have any memories, stories or images you would like to share from the Society’s first 40 years, please drop me a line at the email address below.
Merry Christmas and a Happy New Year from all at The Trombonist!
Tom Lees president@britishtrombonesociety.org
Alastair Warren editor@britishtrombonesociety.org
ALASTAIR WARREN
THE TROMBONIST MAGAZINE TEAM
EDITOR
Alastair Warren editor@britishtrombonesociety.org
SUB-EDITORS
Peter Chester and Alison Keep
NEWS EDITOR news@britishtrombonesociety.org
EVENTS EDITOR events@britishtrombonesociety.org
REVIEWS EDITOR
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
FRONT COVER
RE:BUILD album cover Artwork credit Jack Whitehead
CONTRIBUTORS TO THIS ISSUE
Alastair Warren
Becky Smith
Peter Chester
Simon Wills
Sebastian Vera
David Thornber
Simon Minshall
Josh Cirtina
Adrian France
Michael Pilley
Rupert Whitehead
Ed Jones
Emily White
Richard Watkin
Bob Hughes
Kevin Morgan
Helen Vollam
Tom Lees
THE NEWS
Peter Gane Memorial Concert
A concert in memory of Peter Gane is to be held at 7.00pm on Saturday, 11 January 2025 at Tonbridge Parish Church. Curated by Chris Brewster of Connaught Brass it will feature musicians from the brass world whose lives and careers were enriched by Peter’s influence over half a century. Admission is free (donations appreciated), but tickets are required. Click here to reserve yours.
Robyn Anderson
Congratulations to Robyn Anderson who recently won the audition to join the Karajan Academy of the Berlin Philharmonic Orchestra, starting next January. A graduate of the Royal Conservatoire of Scotland, Robyn is currently a post-graduate student at the Royal College of Music and was a member of the RCM Trombone Choir which recently triumphed in the BTS Inter-Collegiate Trombone Choir Competition. She also won the BTS Trombone Quartet Competition with The Outsliders.
Symposium Success for Morgan
At the beginning of October Morgan Bland, BTS Student of the Year 2023, headed to Germany for the 9th annual Positively Brass and Percussion Symposium held at the Hochschule Für Musik, Trossingen. Morgan performed in masterclasses with Kris Garfitt (Professor of Trombone at the Hochschule and ex-Principal of the WDR Symphony Orchestra) and Louise Pollack (Professor of Trombone at the Hochschule Für Musik Hanns Eisler Berlin.)
On the last day of the Symposium, Morgan advanced through three rounds to the final of the Positively Brass Competition and was awarded both the PBP Institute Award and the Special Prize for Trombone.
Daws Down Under
During October Isobel Daws completed a concert tour of Australia, performing as soloist at the invitation of the Melbourne Staff Band of the Salvation Army, who accompanied her in concerts in Melbourne, Sydney and Brisbane.
Ever in demand as a soloist, Isobel features on Brighouse and Rastrick Brass Band’s new album Another World – The Music of Dorothy Gates, performing the trombone concerto Servant of Peace. Also joining Brighouse on the album are Onyx Brass, performing the title track Another World, a concerto grosso for brass quintet and brass band. This fascinating album can be purchased here.
Dye Heads South for the Summer
Not content with his incredible achievement running the 2024 London marathon whilst playing the trombone, and with stage 4 bowel cancer, (The Trombonist Summer ’24), Nathaniel Dye has now walked the length
of Great Britain, completing the iconic John O’Groats to Land’s End route between 13 July and 10 September. Read more about Nathaniel’s achievements and his future plans on his website
Brass Band Achievements
In October, Callum Parks of Tylorstown Band was named best Championship/First Section instrumentalist at the West Wales Brass Band Association Festival Contest, and Strata Brass were awarded Best Trombone Section at the Stanley Brass Band Entertainment Contest. At the 2024 National Brass Band Championships the trombone section of the Flowers Band, Chris Thomas, Dominic Gardner and Peter Richards, made history as part of the first band from the West of England to claim the title of Champion Band of Great Britain in the history of the competition.
During November Andrew Yorkstone of Hammond’s Band was named best trombone at the Brass in Concert contest, Symone Kelly Hutchinson, Solo Trombone of Clackmannan & District Band was awarded best soloist at the Scottish Challenge Shield, and the Medway Brass trombone section, Richard Parsons, Graham Boyd and Andy McKay, won Best Trombone Section at the Wessex Brass Band Association Contest.
New BTS Committee
Following the Society’s AGM, held on 24 November, we are pleased to welcome the newly elected Officers and Members of the BTS Management Committee.
President: Tom Lees, Vice-President: Kevin Morgan, Chair: David Horden, Vice-Chair: Adam Crighton, Secretary: Kasia Glancey. Committee: Becky Pepper, Jonty Hill, Adrian Taylor, Rupert Whitehead, Jane Salmon, Emily White and Tom Pilsbury.
Visit the BTS website to learn more about your new Committee.
Come and Play 4
Following hot on the heels of the British Trombone Festival, Come and Play 4 took place on 29 October, hosted once again at Regent Hall, London. A mixture of familiar faces from the Festival and several first time attendees gathered to play a variety of repertoire under the expert direction of Jon Stokes. Special mention to BTS North East representative Peter Chester who achieved a life-long goal of playing the bass trombone solo in The Pink Panther, an ambition held since he first heard the Tutti’s Trombones album in 1967!
We hope to return to Regent Hall for Come and Play 5 during International Trombone Week 2025.
Rockschool
Looking to explore the exciting Rockschool Horn Section trombone syllabus? If so, books purchased via the QR code or through the BTS Shop attract a contribution to BTS funds.
And finally…
Carol Jarvis proved there is always an opportunity to get in a little more practice, even at 35,000 feet. Carol said ‘My schedule this year has been absolutely nuts, so I really welcomed a 13-hour flight to learn the music for the week ahead’s recording sessions and another pop tour. And, with a Sshhmute, no-one heard a thing! The person in front of me was in fact asleep the entire flight! ◆
ROCKSCHOOL
CAROL JARVIS
British Trombone Festival 2024
EDITED BY ALASTAIR WARREN
The second edition of the British Trombone Festival took place over the weekend of 26 and 27 October, once again hosted by the Royal Birmingham Conservatoire (RBC).
Building on the success of the first Festival, held in 2022, we welcomed over 250 trombonists across a weekend jam-packed with inspiring events and performances. Having taken on board feedback, the number of interactive sessions were increased to give attendees more opportunities to play together, providing an even greater connection between trombonists of all ages and ability, be they professional, non-professional, or student.
Each morning started with a warm-up session lead by Festival artists: on Saturday, Josh Cirtina and Kevin Morgan, and Sunday, Peter Moore and Bones Apart.
After Saturday’s warm-up came the traditional Massed Blow, preparing three pieces to be performed in
the Showcase Concert later in the day: John Williams’s Superman Theme arranged by John Hankin, Helen Vollam’s arrangement of Parry’s hymn tune Repton and Callum Au’s Fanfare for the Common Trombonist, all conducted by Ed Jones, Head of Brass at RBC, who obviously revelled in the glorious sound of so many trombones in the generous acoustic of the Bradshaw Hall.
Youth Day
AUTHOR: BECKY PEPPER
Bright and early on Saturday morning, we launched our programme of events for trombonists under the age of 18. It was heartening to see familiar faces from the 2022 youth event signing up for the general event and conservatoire competition categories – a sign, I hope, that we’ve been doing something right.
The day began with a dynamic warm-up led by Chris Augustine, which focused on listening and flow and ended with a quick interactive game of Zip-Zap, with trombones! This fun and energetic start got everyone in high spirits as we moved straight into the massed blow repertoire. Simplified parts were available for novice players, but many chose to challenge themselves with more advanced parts. They proved themselves more than capable, keeping up with the adults, showcasing remarkable skill and confidence.
It was then on to our demonstration and talk from Rockschool (RSL Awards) from their CEO Norton York. We saw how the trombone had been incorporated into popular repertoire, with pieces made accessible to
MASSED BLOW. PHOTO CREDIT: DERRICK PARKER.
players at all levels. The extra features of being able to play with the trumpet and alto sax, either virtually or in real life, and a dynamic score that could loop or adjust tempo, were especially exciting. The youth delegates split into three groups to try out different pieces: Tom Lees led the Grade 1-2 group through Pharrell’s Happy and Taylor Swift’s Shake It Off; I guided the Grade 3–5 group through Havana by Camila Cabello and Mark Ronson’s Uptown Funk; while the advanced students, under Norton and supported by Nathan Moore, tackled September by Earth, Wind & Fire and Stevie Wonder’s Sir Duke. A standout moment was a boy in my group who delivered a fantastic solo break in Uptown Funk – a true display of talent and courage to join in.
A personal highlight was the lunchtime performance. Conducting the massed youth ensemble as they played my arrangement of Lin Manuel-Miranda’s My Shot was a powerful experience. This was followed by a stellar performance of Andrea Gabrieli’s Kyrie, expertly led by Tom Lees. Hearing all those trombones resonate throughout the foyer was a special moment.
After lunch, Simon Minshall captivated the youth group with an introduction to the bass trombone. He played selections from Bach’s Cello Suites and then answered questions before letting the young players try out bass trombones generously provided by John Packer Ltd. The group hung on Simon’s every word and note as he explored the subtle differences between the bass and tenor trombones, offering insights into how your life and a career can be shaped as a bass trombonist.
We finished with a session by Chris Houlding, introducing Peter Gane’s Circuit Training 2 This interactive and comprehensive follow-up to Gane’s legendary tutor book offered a glimpse into his teaching philosophy, inspiring the next generation and honouring his legacy.
The day wrapped up listening to Josh Cirtina’s phenomenal recital, followed by a return to Workshop Room 1 to collect participant goody bags, a souvenir of the day, stuffed with goodies from the trombone world.
A huge thank you to Tom Lees for his outstanding co-leadership in organizing and running the event. Special thanks to our guest artists, particularly Simon Minshall, who took time out of running the whole festival to talk and play for us. Also huge thanks to Helen Minshall, Adrian Taylor and Nathan Moore for their invaluable support.
The day went by so fast for me after months and months of planning, but it was a delight to see it all come together and watch everyone joining in. The enthusiasm and talent on display were a credit to the trombone ‘family’ and a sure sign our future is in safe hands.
Josh
Cirtina Recital
AUTHOR: PETER CHESTER
Josh Cirtina opened his recital, marking the official launch of the S.E. Shires Vintage Elkhart bass trombone, with Telemann’s Bassoon Sonata, a four-movement piece which gave him ample opportunity to show off the lovely voice of his instrument as well as the requisite techniques for this sort of music. An expressive, singing style with an appropriately gentle tone was given in the first movement, in contrast to the crisp articulation required in much of the livelier second. The third movement, a very expressive lament, was a perfect demonstration of sustained playing, with a lovely tone to match. A neatly executed Vivace completed the Sonata, and particularly impressive was that despite the tricky
PHOTO CREDIT: DERRICK PARKER.
double-tonguing required in this movement, there was never any edge to Josh’s sound. The tone was warm, smooth and secure throughout.
That singing style continue in the second item on Josh’s programme, four songs by the American composer Amy Beach, dating from 1894 These had been arranged by Josh and again illustrated the wonderful singing qualities of the bass trombone, really enveloping the listener, especially when in the hands of a player like Josh. The gently played tender love song, Within this Heart, was contrasted with the bigger sound of The Wandering Knight. The wonderful pianissimo Josh achieved in Sleep Little Darling made us all hold our breath, whilst the final Haste, O Beloved provided a perfect vehicle for showing off the ‘golden register’ of the bass trombone, something Josh did admirably.
And then for something rather different Daniel Schnyder’s Concerto for Bass Trombone.
This is not a piece for the faint-hearted, be they players or audience, and there would be many in the audience dazzled by what the music required of the soloist and by the sheer brilliance of Josh’s playing. Written in 1999, very much for the modern bass trombone, this is by any standards a very demanding piece, requiring a huge range of techniques. The first movement, for example, explores the depths of the instrument, which Josh did with great skill, always flexible, and with a full sound, but never overbearing. The steadier second movement took us into the world of mutes, with the bucket mute passage being particularly warm. Once more the pedal register was prominent in the music and Josh’s playing was seamless right across the instrument. In introducing the music, Josh had noted the influence of jazz and Arabic music in the score, and this was very evident in the final rhythmic Presto, as ever brilliantly executed, leaving us in sheer wonder at the skills and beautiful sounds we had heard. As one young lady from London, Xy Xy, remarked,
marvelling at the playing, ‘I felt relaxed, I closed my eyes, and I thought it was wonderful’.
Off the charts
…
Trombone section writing with Callum Au
AUTHOR: DAVID THORNBER
I was really excited to see Callum Au’s workshop ‘Trombone Section Writing’ on the Festival programme and made sure I added it to my list of ‘must see’ sessions.
Callum has worked with many of the world’s finest orchestras, big bands, and chamber ensembles as both trombonist and composer/arranger. His practical experience as a performing musician has given him a first-hand insight into writing original music for these ensembles.
Callum’s original compositions and arrangements demonstrate a refreshingly natural feel for arresting melodies and lush harmonies and mastery of writing beautifully crafted and interesting instrumental parts. He truly is a musician’s musician.
Not only was the session full of golden nuggets about writing for a trombone section, it was also a masterclass on stylistic performance as a section. And what a section too. Callum was supported by three fabulous trombonists, Jon Stokes, Tom Dunnett and Simon Minshall.
The ensemble performed a short, but fabulous programme of Callum’s charts, which allowed him to talk through and demonstrate how he writes for trombones within a variety of musical settings. The result was electric, made extra special, given that it was a first read through for some of the players.
My key takeaways from the workshop were:
• Scoring has to be enjoyable for your musicians.
• Make your scoring as easy as you can in order to achieve an end result sounding as easy as you can –but bear point one, about enjoyability, in mind.
L-R SIMON MINSHALL, CALLUM AU, TOM DUNNETT, JON STOKES. PHOTO CREDIT: DAVID THORNBER.
JOSH CIRTINA. PHOTO CREDIT: DERRICK PARKER.
• Instrumental parts need to be clear with articulations and dynamics clearly marked. If possible, limit the number of bars to each stave, so as to make life easier for the players. Callum added that, when recording, studio time is expensive. Creating easy to read parts helps musicians to do their job efficiently. This point was endorsed by the members of the group, who all agreed that Callum’s charts were easy to read.
• In a big band setting, the 1st trombone mainly acts as a 5th trumpet.
• In general, Callum doesn’t write bass trombone parts too low. He tends to write parts in the middle register, which makes sectional voicing tighter and closer.
• Slide vibrato is only applicable for big band music up to the 1960s.
• When scoring for trombones, bear in mind that mutes not only make their sound quieter they also act as a filter. Depending on the mute, they can take high or low frequencies out of the overall sound.
For those of you unfamiliar with Callum’s work, I would urge you to check out his website. You can purchase a range of Callum’s compositions and arrangements from his online shop
A Taste of the West End
Chris Augustine’s fantastic interactive session invited participants into the pit of Frozen. Chris was the tenor/ bass trombone chair holder and cover conductor during the show’s West End run and his insight into what it
takes to play in the band of a modern musical, especially when invited to dep, was enlightening.
With the lights turned down low in the Eastside Jazz Club, and using materials provided to musicians preparing to dep on the show, a heavily annotated copy of the trombone part, a video of the MD conducting in real time, click and backing tracks, and spoken cues from stage management, Chris put a series of willing participants into the hot seat to play a number from the show. Immediately apparent was the challenge of assimilating so many layers of information at the same time. Chris repeatedly emphasised the need to play exactly what was on the page, a task easier said than done when almost every note has some kind of annotation, with the aim being to reproduce a perfect copy of the performance given by the show’s regular seat holder.
To end Chris, in his element, led a mass rendition of Let it go, with all present singing and playing, a truly memorable finale.
Richard Watkin
In another participatory session, City of Birmingham Symphony Orchestra Principal Trombone and RBC professor Richard Watkin led a class addressing developing basic trombone techniques and looking at how best to organise practise to maximise effectiveness.
The Trombone Retreat Podcast
Joining us all the way from the USA for the weekend were hosts of The Trombone Retreat podcast Sebastian Vera, Principal Trombone of Pittsburgh Opera and Nick
IN THE PIT WITH CHRIS AUGUSTINE.
PHOTO CREDIT: ALASTAIR WARREN.
L-R SIMON MINSHALL, JON STOKES, PAT GANE, CHRIS HOULDING.
PHOTO CREDIT: ALASTAIR WARREN.
Schwartz, Principal Bass Trombone of the New York City Ballet. In addition to recording a live podcast with Peter Moore, available to listen to here, Sebastian and Nick also brought their expertise to the judging panels of several of the BTS competitions and gave lessons as part of Lesson Lotto. Turn to page 18 to read Sebastian’s account of their trip to the UK.
Showcase Concert
Saturday’s early evening Showcase Concert started in the Bradshaw Hall and opened with two of the massed pieces rehearsed at the start of the day, Fanfare for the Common Trombonist and Repton. The massed choir then remained on the stage while competition results were announced, prizes awarded and the BTS Annual Awards presented in front of them, again highlighting the community feeling that permeated the weekend.
Particularly poignant was the presentation of the 2024 Outstanding Achievement award, given posthumously to Peter Gane, to his widow Pat. BTS Past President Chris Houlding, a long-time friend and colleague of Peter’s, made a short address honouring Peter’s memory before making the presentation. In turn Pat expressed how proud Peter would have been to see so many trombone players, of all ages and abilities, coming together to enjoy the instrument he so loved.
Following the awards ceremony the massed choir played Superman before the first half was rounded off by the RBC Trombone Choir performing the winning entry of the 2024 BTS Composers’ Competition, Through the Concrete Jungle by Ian Schwalbe.
Part two of the concert moved to the Eastside Jazz Club for a set by superstar German jazz trombonist Wils Wogram, accompanied by the RBC Big Band, featuring charts from his Work Smoothly suite, as recorded with NDR Big Band. The six numbers Soil, None of Your Business, Brew Your Own, One Phone Call, Mistake of the Year, and Work Smoothly showcased Nils’ prowess as both composer and soloist, whilst giving plenty of opportunity to members of the band to show off their skills. To bookend the set, the band played two Stan Sulzmann charts, Just the One and an arrangement of Bacharach’s You’ll Never Get to Heaven.
Jazz Evening
AUTHOR: MICHAEL PILLEY
A great lineup with a full house of expectant trombonists for a jazz gig full of surprises, the evening featured the best sliders Birmingham has to offer, a brilliant quintet set and the simply beautiful playing of Nils Wogram.
Up first, the Dave Sear Quintet: Dave Sear, trombone, Percy Pursglove, trumpet, John Turville, piano, James
Owston, bass, and Jim Bashford, drums, provided slick arrangements, tight ensemble playing and explosive improvising with the combined unison sound of Dave and Percy.
The use of flugel along with the trombone sound blends beautifully, and the arranging skills of the quintet really maximised this combination. Of course, the set featured tunes from their album, a smattering of angular harmony from title track I Always Thought My Thoughts Were Me, the swinging Reservoir Retreat, a clever 7/8 groove for In Your Own Sweet Way and they finished with a brilliant arrangement of Inner Urge with an outstanding stop time drum solo.
Next up, the Brum Bones: RBC Head of Jazz, Jeremy Price, joined by Tom Dunnett, Dave Sear, Richard Foote and Lyndon Meredith, all illustrious graduates of the RBC, presented a boisterous set of standards, surprises and scintillating solos.
Led by Tom Dunnett, with unique voices across the ensemble, they started with a bluesy Lover Man featuring Tom on full ‘stank’ mode. Janine followed up with a brisk swing and plenty of punch. Dunnet’s Big Tomato Soup, inspired by the BTS, opened with copious glisses resembling musical soup, and finished with a surprise chorale. The next number was an ambitious arrangement of Let Me Ask You Something by the enigmatic Elliot Mason, highlighted by the playing of Elliot’s solo by every trombone in unison – a challenging idea, but executed with some success!
Overall, the Brum Bones played with a vigour that increased the energy in the room to maximum and had the audience eager to hear what Nils Wogram had to offer.
Performing with the very impressive Dave Sear Quintet rhythm section, Nils presented an amazing set of technical brilliance and musical sensitivity. Easing into it with a soft and swinging version of It’s Alright with Me, Nils demonstrated his way with
NILS WOGRAM WITH THE RBC BIG BAND.
PHOTO CREDIT: DERRICK PARKER.
time, never sounding rushed on even the trickiest tempos. You Stepped Out of a Dream continued the fast pace, with a brilliant solo section trading four bar solos with the drums. But for sure the highlight of the night was the Billy Strayhorn tune Isfahan, with Nils using a plunger throughout, emulating the breathy sax sounds and utilising multiphonics in such a brilliant way it left the audience stunned at his expertise. Nils finished up the night on Coltrane’s Lazy Bird, a rapid bebop number with absolutely ridiculous improvisations.
An amazing night full of surprises and characters. We can only hope that at the next Festival the BTS can find a similar collection of star performers for this jazz showcase night again. Bravo!
Trade Stands
We were delighted to welcome a large number of trade stands to the Festival, many of whom sponsored artists, events or competitions. Without their support it would be impossible for the BTS to create a Festival of such size and scope.
John Packer Ltd, Michael Rath, Conn-Selmer Europe, Gender and the Large and Shiny Instruments, Brass Bands England, RockSchool (RSL Awards), Voigt Brass, Prozone Music, Phil Parker Ltd, Trombone Retreat Podcast, JVS Mouthpieces, Royal Air Force Music Services, and Hawkins Mutes spilled across two levels of the Conservatoire. There was a constant buzz around the stands all weekend as delegates enjoyed the opportunity to try out the very latest equipment and accessories.
Also on site was Andrew Clennel, of Clennel Custom Brass, providing advice and TLC to a seemingly neverending supply of instruments.
Peter Moore Masterclass
AUTHOR: RUPERT WHITEHEAD
On the second day of the Festival, we were treated to a masterclass with the wonderful Peter Moore with Joanne Sealey on piano. Peter was on excellent form, and each of the three trombonists who played will have taken a lot away from this class.
First up was Rachel Cocks who played the first movement of the Jacques Castérède Sonatina
After complimenting Rachel on her excellent sound and projection, Peter focused in on rhythm and pulse. He gave Rachel some ideas for working on these important aspects of our playing.
These included listening to recordings and singing the part, conducting and singing along, and working with a metronome. Peter himself said that he practises with a metronome every day.
Peter also gave some thoughts on breathing, encouraging natural, relaxed breaths where we focus away from the instrument and more on the body, and some sage advice about optimising our practice time. He suggested being pragmatic about what we practice, isolating difficult sections, playing things slowly (painfully slowly!), and using a timer. Some good news – Peter said that we only really need to do around 2 hours of practice a day, the catch being that it has to be focused, quality practice.
Next to play was Maxine Chu, who played Sång till Lotta by Jan Sandström. Maxine demonstrated some lovely quiet and delicate playing of this beautiful melody. Given that the masterclass was taking place in the 500 seat Bradshaw Hall, Peter made the point that dynamics are relative, and in a bigger space like this a piano dynamic can become stronger and warmer.
PETER MOORE WORKS WITH RACHEL COCKS. PHOTO CREDIT: DERRICK PARKER.
Peter also focused on the need to project more in the middle and lower registers. Maxine was then challenged to play some of the piece without the music, Peter encouraging her to connect with the audience even more: ‘remember that the audience is here to experience something.’ Maxine was up to this challenge and did an excellent job.
Sam Franks was the final trombonist to perform, giving a fine rendition of Choral, Cadence et Fugato by Henri Dutilleux. Peter gave some great pointers for working on articulation and clarity in sections such as the Fugato of this piece. He recommended starting off with breath attacks, reminding us that it is the air that makes the lips vibrate which makes the sound, and only after this do we add the tongue back in, always remembering that the tongue just adds clarity to the start of the note and that the sound comes from the air. Sam then played some of the Choral section again. Peter mentioned that we shouldn’t sacrifice the quality of the sound to play quietly. He also had some brilliant ideas about approaching some of the higher notes in this section, saying that as brass players, we are often too focused on the lips when we play high, and that we should focus more on the rest of the body and staying relaxed. Peter then demonstrated some of this passage, and you could almost hear a collective jaw drop in the room as he did so. Peter’s final gem of advice was about practice, saying that we should tilt our practice in favour of the things that we find difficult, and that we should face our weaknesses, but face them with kindness to ourselves at the same time.
Nils Wogram
Nils Wogram’s jazz class covered everything from the basics of improvising and building a solo to how he uses extended techniques, such as multiphonics, to express himself with complete freedom. A real ‘you had to be there session’, full of incredible moments but perhaps best summed up by Nils’ simple philosophy, ‘Be happy, enjoy your playing’.
Lunchtime with Kevin Morgan
Over lunch Kevin Morgan, Principal Trombone of the Bournemouth Symphony Orchestra, regaled us with stories from his 40-year career with the orchestra. Gently egged on by Dan Jenkins, SubPrincipal Trombone of the BBC Symphony Orchestra, memorable, and not so memorable, concerts and conductors were discussed, along with Kevin’s formative years playing in brass bands and his journey into the music profession.
RAF Trombones
The trombones of the Band of the RAF Regiment, Flight Sergeant Andrew Taylor, Sergeant Jonty Hill, Sergeant Matthew Edwardson and Sergeant Josh Hayward, invited participants to join them to work on section playing skills, using repertoire drawn from the wide variety of genres enjoyed by contemporary military musicians. Symphonic Brass was represented by Lotti’s Crucifixus and the Overture to Walton’s Henry V Suite, arr. Pilsbury, Concert Band by the Imperial March from Star Wars, Williams arr. Hunsberger, and Peter Graham’s epic Shoulders of Giants, and Big Band by Ted Heath’s Where or When and the Sy Zentner Band’s Lonesome Road. The latter generating some wonderful ‘wobblies’ as they focused on developing vibrato within the section.
Emily White Recital
Emily White’s recital of new music for sackbut was one of the most eagerly anticipated events of the weekend, and those fortunate enough to squeeze into Workshop 3 were not disappointed.
Raph Clarkson’s Three Miniatures proved to be intimate, jewel like compositions for the relatively rare pairing of sackbut and piano. Journey fully exploited the vocal qualities of the sackbut, but in the unusual setting of a contemporary jazz ballad, Colour had an improvised
RAF TROMBONES AND GUESTS. PHOTO CREDIT: DERRICK PARKER.
NILS WOGRAM. PHOTO CREDIT: DERRICK PARKER.
Bones Apart Recital
AUTHOR: PETER CHESTER
To be in the company of Bones Apart is always a pleasure and their presence at the Festival in this, their 25th Anniversary year, was bound to be a special occasion. They opted for an informal atmosphere in their recital and along with the wonderful music they provided, there was a good deal of pleasant interaction between the audience and the players, Helen Vollum, Jayne Murrill, Becky Smith and Sarah Williams. It is clear that the friendship they enjoy is very much at the heart of their musical success.
Their programme opened with a lively dance from the S’ant Alessio Suite by Camilla de Rossi which, like other pieces to follow, was drawn from their Wonder Women programme. This features the music of female composers or music with a woman at the heart of its conception. For example, a piece called Boudicca by Helen Vollum was not only inspired by Queen Boudicca, but the music itself was partly derived from the letters of her name. A very atmospheric piece, it gave the group the chance to utilise different sounds from their trombones, such as playing the mouthpiece into the tuning slide, playing with the F-valve tubing taken out, or producing a very ethereal sound by playing with only one part of the slide in place.
quality, the sackbut playing with great freedom around an ostinato figure in the piano, and Noir provided a meditation on a fragment of theme taken from Elgar’s Enigma Variations.
In contrast Alex Paxton’s Apocalypse Flower for unaccompanied sackbut took the vocal quality intrinsic to the instrument and amplified it to the maximum. Before playing, Emily took a few minutes to highlight some of the motifs in the piece and explain some of the techniques used, noting how the sackbut reacts differently to multiphonics and how a particular technique favoured by Alex, singing and playing the notes of a melody at the same time, produces a unique tone quality. I was particularly impressed with the way Alex used Emily’s voice to extend the range of the instrument upward, starting a phrase played on the instrument and ending it sung. The genius of the performer was making that transition seamless.
Apocalypse Flower is a substantial piece, which on the surface seems freely improvised, but which is actually highly organised, based around a set of ideas which are continually developed and returned to, then developed again. The performance itself was spellbinding, a display of absolute virtuosity and musical commitment which left the audience mesmerised before breaking into rapturous applause. I hope many more people can share the experience of Apocalypse Flower before too long.
Helen’s hand was also behind the next piece, a transcription of Cleopatra’s very moving aria from Handel’s Julius Caesar. The smooth and lyrical playing was sublime. An interesting discussion on preparation of repertoire took place and by way of illustration, the group offered a performance of Flipside by Ryan Hume, which they had only had for five days and, as Sarah noted, ‘had already messed our sense of rhythm’.
Taking the proverbial, and literal, deep breath, they dived in and survived, much to their own obvious satisfaction, as well as giving the audience a wonderful first performance of a piece that will certainly join their repertoire. Nina Simone’s Sinner Man then took us in a very different direction, with its organ-like chorales and walking bass line, very much a reference to the music of J.S Bach, of which Nina Simone was so fond. Two songs followed, the first being a Cleo Lane song from Shakespeare’s The Tempest, via a Mark Nightingale arrangement, which gave Sarah a funky feature on the bass trombone. Secondly, a beautiful rendition of Secret Love from Jayne, who made the simple but obvious observation that ‘you play it like you sing it’.
Another Jane, this time the film Calamity Jane, produced a jaunty finale with Windy City, the warmth of the applause that followed underlined what a lovely recital this had been.
EMILY WHITE PERFORMS APOCALYPSE FLOWER.
PHOTO CREDIT: DERRICK PARKER.
Gala Concert
The Festival was brought to a close with a Gala Concert featuring Peter Moore, Josh Cirtina and Bones Apart, accompanied by the RBC Brass Band conducted by Ian Porthouse.
The RBC Brass Band opened with a sparkling performance of Jacob Vilhelm Larsen’s Phenomena Fanfare before being joined on stage by Peter. Both Peter and the band clearly enjoyed themselves in the evergreen Langford Rhapsody, but it was Simon Woods’ arrangement of Blessed Assurance that stole the show; a simple melody, played with conviction and that sound, perfection.
Changing gear, Josh followed with a hugely entertaining arrangement of Charlie Mingus’ Moanin’. Fat sound, stonking pedals and great agility, everything we love about the bass trombone!
For their solo spot, Bones Apart chose John Iveson’s lush arrangement of Jealousy. The communication between the players as they shared the interweaving lines with such fluidity and apparent ease highlighted just one of the many reasons why they have remained at the forefront of brass chamber music for 25 years.
What followed was, for many, the highlight of the concert. Bones Apart were joined by Peter and Josh to perform a medley of music from Star Wars in tribute to Peter Gane, referencing his performance on the original film soundtracks. A grouping likely never to be repeated, this was a truly special moment for all concerned.
To round off the concert Josh and Peter joined the RBC Brass Band trombone section to play Roger Harvey’s Temptresses for Trombone, a long-time favourite section feature of the Black Dyke Band. Also sneaking onto the stage to join in was BTS President, Simon Minshall, a fitting way to end a Festival which he had so wonderfully conceived and brought to life.
From Our Hosts
AUTHOR: ED JONES, RBC HEAD OF BRASS
The RBC was absolutely delighted to host the British Trombone Festival once again this Autumn, and what a weekend it proved to be! It was thrilling to see such an incredible number of trombonists in the building, and simply wonderful to hear the sound of trombone ensembles filling our many performance spaces.
L-R PETER MOORE, HELEN VOLLAM, JAYNE MURRILL, BECKY SMITH, SARAH WILLIAMS, JOSH CIRTINA. PHOTO CREDIT: DERRICK PARKER.
What a treat it was for our students to hear so many world-class brass players in one weekend! Our RBC Brass Band and Jazz Orchestra were delighted to be given the opportunity to accompany trombone superstars Peter Moore, Josh Cirtina and Nils Wogram. Thanks very much to Simon Minshall and his team at the BTS for organising such a fantastic event. It really was a pleasure to collaborate with you, and I hope that RBC have the opportunity to host the Festival once again in the future.
The Last Word...
AUTHOR: SIMON MINSHALL
As I step back from an active role in the British Trombone Society, it has been nice to reflect on what has been a truly rewarding part of my musical life.
I was first introduced to the Society when attending a trombone day age 13 and was instantly amazed by all these trombone players in one place playing together. Age 15, I was invited by Brett Baker to perform a young artist’s recital at an Oundle Day, run by Ben Bouzan. After being picked up from Peterborough station, trombone and some rather enthusiastic repertoire in hand, I was taken to a meal. Among many (BTS royalty) I had not met before, I was introduced to a certain gentleman sitting next to me – Bob Hughes. I was completely awestruck and blissfully unaware that three years later I would spend my conservatoire time, and many more years, under Bob’s guidance. I still remember us playing everything and anything in the back room of the pub after dinner.
Being involved with the Committee since the age of 18, I have been able to watch and learn from so many – I think I have held nearly every position on the Committee, in addition to some social media duties and editing The Trombonist. I would never have thought
about these roles had it not been for the encouragement and guidance of numerous people involved – thank you!
There are many highlights and things I am immensely proud of from my 15 years of BTS service, from organising my first trombone day at Chetham’s in Manchester (10 years ago), to establishing the regular timetable of competitions, developing the Instrument Loan and Bursary schemes, getting the library moved online and putting good processes in place for members having a voice and for the Society to improve.
The Society is run by incredible people doing incredible things all out of their love for the trombone and a desire to continue the Society’s values for generations to come. I am aware (after being told!) that I don’t hang about when things need doing – a huge thank you to Chris Sowerby and most recently Alison Keep for keeping me right throughout!
The British Trombone Festival 2024 – what can I say! The best attendance we have had at a weekend and a truly unforgettable array of talent and inspiration on show. Learning so much from Matt Gee’s planning for the previous Festival and with the constant support of my dear friend Jon Stokes, it was a joy to connect with so many of you and see you enjoying what represented over a year of planning by the whole committee. I can honestly say it was so worth it!
I am immensely proud of where I leave the Society and the team that has been built over several years, who will continue the work Peter Gane started nearly 40 years ago – I feel we got Pat Gane’s seal of approval in her speech in Birmingham.
Thank you to all the Committee!
I know I will be back to the Society down the road (if you’ll have me) but for now I have a young family who I need to give time to and also some playing projects to explore. I’ll see you at an event soon where I can just turn up and play at the back!!! ◆
You OK?
BY SEBASTIAN VERA
When I tell my non-musician friends I’m going to a ‘trombone conference’ they usually can’t imagine anything more niche. This past month, when I told them I’m going to another one and this time it’s in another country, they really started to worry about me.
On a cold day last February my colleague Nick Schwartz and I received a thoughtful email inviting us to record a podcast at this year’s British Trombone Festival at the Royal Birmingham Conservatoire. We were flattered and honoured but also surprised because we had no idea the people asking even knew who we were!
We started the Trombone Retreat podcast a couple years ago as a fun side project to our Third Coast Trombone Retreat festival, while balancing active performing and teaching careers of our own. Nick plays Principal Bass Trombone in the New York City Ballet, and I play Principal Trombone in the Pittsburgh Opera, but we make the recordings work mostly online. The podcast’s tagline is ‘universal stories of struggle, inspiration and achievement through the eyes of trombone players. Equal parts thoughtful and hilarious.’
You make this thing in the comfort of your own home in private and rarely think about who or how many people listen and in fact, it’s more comfortable for this introvert not to think about.
What started as a pandemic project now has just under 50 interviews downloaded over 96,000 times and has been heard in 119 countries at the time of writing this article. Now that that humblebrag is out of the way it still doesn’t cease to surprise and move me when a stranger reaches out to say the podcast helped them get through a tough time or is an artistic outlet and connection to musicians that they wouldn’t have had otherwise. It turned into something that yielded rewards far exceeding what we imagined, bringing a worldwide community together. When our new friend, the ever
thoughtful and flawless-haired Rupert Whitehead reached out about giving a live podcast at the BTF, we were determined to make it a reality.
From the outside, the British trombone scene can appear somewhat insular. Besides knowing some big names historically like Denis Wick and Ian Bousfield and of course our eventual podcast guest, Peter Moore, I couldn’t say I knew much first-hand about the culture. We arrived in London a couple days before the Festival. I quickly felt underdressed in the posh Paddington neighbourhood, but it had great peoplewatching potential. I found the Tube quite easy to navigate after living in NYC for nine years with the same typical frustrations. Fighting jet lag the first day we managed to see some typical tourist sights, like Buckingham Palace and Tower Bridge, then we had the opportunity to meet someone who felt like a long-lost friend in outgoing BTS President Simon Minshall. The pride and dedication he inhabited for this Festival he had been working so hard on for two years was inspiring. He introduced us to the superb restaurant, Cinnamon Bazaar, where we over-ate, family-style, to our delight. We were then introduced to a West End musician’s staple, the Lemon Tree pub, where symphony and pit musicians mingle before, after (and sometimes during) their shows. You can see ‘tourist destinations’ all day but for me, real travelling is about experiencing the interaction of friends and colleagues that are all unique but share a commonality they can always connect with. The laughter, shared stories, venting about conductors and fighting over buying the next round is an energy that musicians uniquely get to feel. We’re all so lucky to do this thing we love and have somehow tricked people into paying us money for.
Later that night, we got to see our famous friend and one of our favourite podcast guests, Carol Jarvis,
perform live with Ben Howard at the Eventim Apollo, with tickets she so kindly arranged. She had only a few minutes to talk beforehand and was travel-weary from the impressive schedule she takes on, but I was overjoyed to see her perform in her element.
The next day, after sleeping in and exploring old pubs that it’s hard to believe were around before the United States even existed and encountering the feast for the eyes and tastebuds that is the Borough Market (sausage rolls!), we were treated to see Simon perform in the Back to the Future musical. Simon self-admittedly gave us something special in the loud moments. We had a laugh about how there’s always a different energy knowing other trombone players are in the audience. His playing was as impressive as his character and the show was a sensory overload in all the best ways.
We then made the journey to Birmingham. My favourite part of travelling is going to places a typical tourist might not normally go. You hear thicker accents and see how people really live when they aren’t catering for tourists. Birmingham certainly isn’t as polished as London but has a proud character and history all its own. I’ve delighted in hearing so many City of Birmingham Symphony Orchestra recordings and it was a pleasure to meet CBSO Principal Richard Watkin and judge the Alto Trombone Competition with him and Kevin Morgan, thoughtfully organized by Tom Pilsbury. The facilities of the Birmingham Conservatoire were beautiful, impressive and perfect for the event. The Festival was smaller than an International Trombone Festival but the energy was infectious. From the moment we stepped in, the staff was so kind and accommodating to us, almost to the point where we had to push them away! At first, I thought there was something wrong with my appearance or the energy I was giving off based on many interactions, until I realized that ‘You OK?’ is a typical greeting in England. As an American, it’s typically an expression of concern, like ‘is everything ok with you?’ because something seems wrong, haha, I was relieved!
I hung out with the vendors in my free time, sharing Trombone Retreat stickers and introducing my line of JSV custom mouthpieces from Houghton Horns that I’m very proud of (shameless plug). There’s a beautiful comradery between the representatives of these companies that travel from event to event together, who you would imagine would be more in competition, but actually inhabited a supportive micro-community of their own.
The podcast with Peter Moore was lovely, thoughtful and honest. You can hear the entire Trombone Retreat episode wherever you download your podcasts, so I won’t go on about it here, but we loved hearing his unique story.
I heard beautiful performances from Peter, Bones
Apart, Josh Cirtina and the RBC Brass Band. I’ve always been fascinated with brass band culture, myself playing in one of the only professional bands in the United States, the River City Brass Band. You hear such a high technical standard and melodic floor permeating in the playing in England, no doubt from the strength of these ensembles that people play in from a young age.
Nothing moved me more, though, than the feeling of community, pride and love that I felt being around all the trombonists that gathered there. Everyone was kind and quick to laugh and welcomed Nick and me immediately. The typical beer at a pub in England is about half the alcohol content than I find in the States, which I cherished! You could enjoy each other’s company much longer and truly feel the purpose of a ‘public house’. I was fascinated to learn about the strong Early Music scene from the always well-dressed and affable Tom Lees and learning about what being a musician in Northern Ireland is like from the bighearted Nathan Moore.
The day after the Festival I was delighted to give a masterclass to the talented and curious trombone studio of the Conservatoire. Fellow secret Evertonian Edward Jones is doing an exceptional job with his students, and he could not have been kinder and more gracious. It’s interesting to me to hear the subtle differences in playing in different places. Sound, technique and equipment choices are moulded by culture, language and history. I noticed that there was a little less vibrato
L-R: SEBASTIAN VERA, PETER MOORE, NICK SCHWARTZ.
used and there was a premium on clear and precise articulation. Also, a student confidently asserted that ‘every professional trombonist over the age of 40 only looks for a vintage Elkhart Conn.’
I left Birmingham on a high, feeling a warmth that my trombone world had expanded. Before I flew out, I was kindly invited by Josh Cirtina to the Royal Overseas League for the album launch party of RE:BUILD, the Slide Action trombone quartet’s remarkable new album. If you haven’t heard it, you must. I was blown away by their creativity, rhythmical precision and musical cohesion. They have a very bright future.
After the concert was a giant trombone hang with what felt like the entire London trombone community, which was a perfect coda before my early flight the next day. I met the legendary Bob Hughes and got to laugh
with him about the clear amount of fun the trombones were having on those brasstastic Royal Scottish National Orchestra recordings, met your trumpet diamond James Fountain and got to fight with Alastair Warren, The Trombonist editor, over buying next rounds (I always lost).
I can’t wait to come back to see and experience more, like the Whit Friday Marches, and hear and record more stories of your incredible musicians. The world is large, the trombone world is small, but it is mighty. I’m moved to play a small part in it, and I can’t thank everyone I met enough for welcoming me and my good friend Nick. Also, did you know all three trombonists of the Royal Liverpool Philharmonic Orchestra are named Simon? I need to meet you!
Follow Sebastian Vera on Instagram: @js.vera @tromboneretreat @jsvmouthpieces ◆
SLIDE ACTION. L-R: SEBASTIAN VERA, JOSH CIRTINA, HUW EVANS, JAMIE TWEED, BENNY VERNON.
BY ALASTAIR WARREN
TROMBONE BASICS
Trombone Basics is the latest addition to the Faber Music Basics method book series by leading educationalist Paul Harris, this edition written in conjunction with trombonist Jonny Watkins.
Comprising a student’s book with downloadable online audio and teacher’s parts, Trombone Basics aims to progress the student to Grade 2 standard by the end of its 62 pages. Step-by-step technical progression is supported by fun exercises and warm-ups, alongside a wide range of imaginative repertoire, helpful fact files, rhythm boxes and Top Tips from Jonny. Music theory and general musicianship games help students to become well-rounded musicians.
Having spent time trying out the book I have found much to like. I have long preferred D (treble clef E) as the starting note for a new student, the progression from exercise to exercise and stage to stage is logical, with the purpose of each new task very clear, and the pacing is good for most students, with plenty of variety to maintain interest. One could debate the order some concepts or techniques are introduced, for example when to start playing lip slurs, but the same could be said for every other book of this type. With the all-important input of a good teacher to adapt and supplement, Trombone Basics provides a thorough grounding in every aspect of basic technique.
I was particularly impressed with the teacher’s part, which provides an accompaniment for every exercise and piece in the book, via a mixture of duet parts and piano accompaniments. The teacher’s duet parts are much more musically interesting and enjoyable to play than the norm; that they are completely free is a welcome bonus.
The only major criticism I have is the complete lack of student duets. In a book advertised as suitable for group learning, I would suggest including at least some such material is a must. Overall, however, Trombone Basics is an excellent core book for beginners. Trombone Basics is available in treble or bass clef editions from Faber Music.
BY SIMON MINSHALL
HAWKINS BASS TROMBONE STRAIGHT MUTE
Recently, there have been some amazing advances in the production of mutes and an increase in new specialist companies offering something different to us as players. I had seen Hawkins mutes advertised and was very impressed with the aesthetics of the product. It looks cool! When speaking with the creator, Tony Hawkins, he felt that ‘there was an opportunity for a more mellow timbre, one that would be pleasing to listen to, whilst still clearly being a straight mute sound. Something to bridge the gulf between the edgy metallic mute and the softer fibre/wood sounds.’
Sound, intonation and usability are a few factors to take into consideration when selecting mutes, and after some adjustments to the corks to fit my instrument properly, this mute gifted another dimension to my sound, as opposed to the usual metal straight mute we always reach for. Having another option available to you to change your sound is very useful, especially in solo repertoire.
This mute doesn’t replace what we already have available but adds to what we can do as musicians and how we express ourselves through the instrument. It was great to welcome Tony to the British Trombone Festival and for so many players to have the opportunity to try out his mutes.◆
REVIEW Reviews
What’s in a Name?
BY SIMON WILLS
Wills
I have loved James Joyce’s writing from my teens, and his rootless life has long fascinated me. He must have been an exasperating man to live with: mercurial, selfish, he wasted money and drank too much. His relationship with his wife Nora Barnacle was not easy: she thought his writings made no sense. Even so, she stayed with him and although from this distance it is difficult to form a picture of her character, she seems to have been a calm centre of his life. Nora wished her Jim had been a musician: I think he was one. There is a recording of him reading part of Finnegan’s Wake:
Well, you know or don’t you kennet or haven’t I told you every telling has a taling and that’s the he and the she of it. Look, look, the dusk is growing! My branches lofty are taking root. And my cold cher’s gone ashley. Fieluhr? Filou! What age is at? It saon is late. ‘Tis endless now senne eye or erewone last saw Waterhouse’s clogh. They took it asunder, I hurd thum sigh. When will they reassemble it? O, my back, my back, my bach! I’d want to go to Aches-les-Pain
My love of the man’s work has never extended to a proper understanding of that particular book, but his piping voice and the dance-like half-sung rhythm of his reading convince me that he thought like a composer. When I am in the midst of devising a new piece, the mental processes at work feel remarkably similar to the endless punning and free association of ideas in that passage. Years ago, when I started composing seriously, another small association with Joyce appeared. My first
opera was a nasty little shocker about terrorism that ends with one of the characters suicide-bombing the audience (that may be a record for the largest number of fatalities in an opera but I digress). I wrote it for the Feldkirch Festival in Vorarlburg and was pleased to discover in a guidebook that Joyce conceived the ending of Ulysses while stranded between trains on Feldkirch station. A couple of times during the project I had to take the train to Vienna. Maybe the shade of Jim came with me for the ride, complaining about Aix-les-Pains.
I had no inkling at the time, but all this was leading to a work for orchestra with trombone. I have an uneasy relationship with concertos for my own instrument.
I wrote an over-virtuosic one for Christian Lindberg about thirty years ago; he premiered it and Graham Lee did a stunning recording, but it’s not my best piece and I’m not too bothered that it has disappeared from view. I’m not alone; an awful lot of composers, charged with writing for the trombone, don’t meet their usual standard. It’s less apparent in eighteenth century works, where the boundaries between trombone and strings are less sharply defined, but the modern instrument has fared less well. The wonderful concerto by Nino Rota is idiomatic (no surprise since it was written in collaboration with Bruno Ferrari), and despite a slightly wayward third movement it is beautifully constructed –but it really doesn’t sound like his natural voice. He was a sublime miniaturist, as most film composers are, and that way of thinking can sit uncomfortably with conventional forms. Most of Serocki’s output was
Simon
muses on Nora Barnacle Assumes Command, his new ballet concertante for orchestra with solo trombone.
in quite an extreme modernist idiom which he used brilliantly, but when writing for trombone he usually adopted a clunky, conventional style (a shame when you consider the trombone part in his gloriously bonkers Swinging Music). Peter Maxwell Davies’s Judas Mercator manages to avoid his trademark demonism – and Ferdinand David’s Concertino isn’t a patch on any of his other compositions.
My best work is theatrical; my operas and ballets are better than my symphonies and when Donal Bannister suggested that I might write a piece for him I was certain that a standard concerto form would not be the way to do it. I made my first sketch in Gera, about an hour south of Leipzig, during rehearsals for a ballet that I’d written for the Thüringer Staatsballet. I was there for a month but I didn’t have much to do. A composer’s job when a ballet is being rehearsed is very different from his duties in opera. In opera, the score is paramount and he must be constantly on guard to repel land grabs from ancillary workers like stage directors, who mistakenly believe that they should be in charge. In ballet the choreographer is king and unless the composer happens to be a dancer, he must be content to watch what develops, occasionally tweaking a number, composing something quickly to bridge a gap in the narrative or entertaining himself by reproving the conductor for confusing the musicians or – worse – the dancers. In Gera I sat in the stalls drawing pictures of what I thought a trombone piece might look like (which is how I usually start a new work). Nothing I did was any good. At the time I blamed exhaustion; I’d gone straight to Gera after spending weeks on a fraught, complex project in Düsseldorf and my brains were a bit mashed. Actually, I was being obtuse: the ballet Anita Berber, Göttin der Nacht was presenting me with a solution to the trombone problem.
It’s a cruel story about a dancer and movie actress of the Weimar period, dead at twenty-nine from TB, heroin, alcohol and abuse; I doubt if I will compose another piece with a number called Third Heroin Overdose! I like the discipline of writing for dance: making sure the score is clear enough for feet to place accurately, practical considerations such as the limited time a couple can sustain a slow pas de deux. The main character’s mind in our show was disordered, so I wrote a score in which overtly danceable music was frequently encroached upon by a sort of orchestral mist as poor Anita descended into insanity and death. At moments of crisis on stage I let the miasma overwhelm the melodies. In a much gentler fashion, a similar technique is present in Nora Barnacle, which can be interpreted as a tussle between two opposite but complementary characters: the ever-changing mercurial Jim and the more serene
Nora washing over or interrupting him. In the end Nora assumes command because quiet is generally stronger than noise. The title simply describes a compositional process, like prelude and fugue
Anastasia Kuzina, who danced the role of Anita, was seldom off the stage, whether she was the centre of the action or not, and this set me thinking about the soloist as a presence, whether playing or not, or as an observer of action. In Nora, the trombone is primus inter pares rather than dominant. It only plays for about three fifths of the time, and there are scenes in which it is silent – a little like the solo viola in Harold in Italy I called the piece a ballet concertante because as I wrote, I thought of it as a sequence of tableaux, played without a break. I’ve used literary or theatrical ideas in concert works before; my symphonic poem The Island borrows an emotional shape from a book by Jose Saramago and Malebolge, my go at a Dante Symphony, was constructed in a circle, like the concentric rings of the poet’s Inferno In Nora the origin is not so much literary as historical. There are no references to specific scenes or characters in the works of James Joyce, neither is there any attempt to portray him or Nora. Occasionally a phrase – ‘the everflying moths’ from Ulysses is one – stuck in my mind and prompted a scene but this was rare.
The kaleidoscopic nature of Joyce’s writing and the tumbling music of his prose mattered more. There is one important exception to this: my choice of the song Oft in the Stilly Night as the thematic source of the piece. I chose it because of an episode in A Portrait of the Artist as a Young Man, when Stephen Dedalus visits his poverty-stricken family at the end of a meal:
The voice of his youngest brother from the farther side of the fireplace began to sing the air “Oft in the Stilly Night.” One by one the others took up the air until a full choir of voices was singing. They would sing so for hours, melody after melody, glee after glee, till the last pale light died down on the horizon, till the first dark nightclouds came forth and night fell.
Nora is not a set of variations. Ted Hughes spoke about poetic ideas being like pieces of wood from which you might fashion a toy, a table or a doorstop depending on the quality of the material. I used Oft in the Stilly Night as a sort of woodpile from which I would extract planks as I needed them. Most of the time these were short fragments used intact, sometimes the planks sprouted and developed into something very distant from the original – but the connection with the melody is always there, and acts as a sort of DNA binding things together. I have a habit of quoting from myself, usually inconspicuously, whenever I make a new piece. It’s just a
game I like to play. Since Anita Berber provided me with the structure and texture of Nora, I made the quotation more obvious than usual. A Charleston rhythm that ran through the ballet pops up from time to time in the trombone piece. It has the rhythm of Anita’s name and became a sort of battle cry for the ballet production. During rehearsals the corps de ballet even had sweatshirts made with Aneeeeta! printed on the front.
Nora will never get many performances because it cannot be arranged for piano and the solo part only makes sense as a facet of a complex score. I’m not going to worry about that; I wrote down what was in my head and if it only gets the one outing, well, one is better than none. It is a rather tender, melancholy work but there will always be somebody who thinks the word ‘Barnacle’ is funny. It isn’t, Barnacle is a common English form of the Irish surname Ó Cadhain. In the Irish language cadhan means ‘wild goose’ and some families adopted ‘Barnacle’ after the barnacle goose.
If I ever suffered playing anxiety that approached the nerves I get just before a new piece, I’d retrain as a bus driver. It doesn’t matter where you are, walking into a rehearsal of your own music is uncomfortable.
I can recognise the phrase ‘there’s the guilty man’ in quite a few languages! I’ve had a longer continuous playing relationship with BBC National Orchestra of Wales than with any other UK orchestra. I’ve been going in there for nearly forty years, sometimes a lot; I still do. I know many of the players, some of them well, and there is an element in Nora of ‘dedicated to my friends pictured within’. BBCNOW are a very nice bunch, but I still have a slight sense of preparing to undress in front of people I know. In the end, however careful the composer may be, the outcome of a new piece is unpredictable. I am never surprised by the way my music sounds but the impact it makes in a hall is something that much better composers than me have miscalculated. We shall just have to see.
Nora Barnacle Assumes Command received its first performance at Hoddinott Hall, Cardiff on the evening of 5 December, conducted by the composer, with BBCNOW Principal Trombone Donal Bannister as soloist. The concert was broadcast live on BBC Radio 3 and will be available for a limited period on BBC Sounds.◆
JAMES JOYCE AND NORA BARNACLE.
A Look Back to Bruckner
BY ADRIAN FRANCE
This Autumn saw two years of planning bring the Concert Trombone Quartett’s (CTQ) Bruckner 200th Anniversary concerts to fruition. These unique performances (see The Trombonist Summer ’24) covered differing examples of Bruckner’s musical output, interspersed with some modern day premières from Bruckner’s contemporary, and lodger, Wenzel Gottlieb Lambel. Our remit was to perform on original mid-19th century Romantic trombones from the time of Bruckner, built by some of the leading makers of the day including Messes, Robert Piering, Friedrich Alwin Heckel (Dresden), Karl Ernest Mönnich (Erlsbach), and Eduard Kruspe (Erfurt). We also used original valve trombones, offering an opportunity to hear the different timbre of these instruments, which was commonplace for Bruckner until his latter Vienna days. Collectively, these covered a multitude of shapes, sizes and keys, including Eb, F, Bb, and Bb and F trombones.
As an historically informed ensemble, we’re driven not only by original repertoire and historical performance practice, but also by the historical context of a work, demonstrating how the music might have been performed. As such, we featured rare works, not in modern day circulation, of music for trombones and voices by Linz composer, Lambel. Discovering historical works, written for trombones and with such links to Bruckner, was eye-opening and one of those rare moments to savour!
In Leicester Cathedral we performed Bruckner’s E minor Mass in a liturgical Eucharist service with the Cathedral choir, especially arranged for the event for choir, four trombones and organ, as well as performing Aequale by both Bruckner and Lambel at the tomb of
King Richard III. We also created a workshop for local Leicestershire trombonists. As an old Leicester boy, this was of huge importance to me, to offer something back to the town that gave me so many musical opportunities as a young player. It took the form of a group warm-up, instrumental demonstrations of slide-trumpets, sackbuts, Classical and Romantic trombones and an interactive Power-Point display on the history of the trombone, including many historical recordings and videos. This culminated in the students taking part in our evening concert alongside Leicestershire Chorale, in a side-by-side format in the programme’s only arranged work, by Johann Doms, of Bruckner’s Ave Maria à7 It was a joy to see the collective enjoyment and energy in their playing, and a true highlight of our project!
It’s important to acknowledge that the CTQ performances simply could not have taken place without the enormous support, belief and shared vision by the musical directors: John Keys, Tom Williams and Dr Chris Ouvery-Johns. Their collective work in offering platforms for these programmes was truly epic and it was our immense pleasure to work alongside them on these projects. CTQ is also indebted to receive support from the Continuo Foundation for these performances.
On a related note, this Autumn, as a member of L’Orfeo Barockorchester, I was privileged to take part in two performances in the Alt Dom, Linz, of Bruckner’s Mass in D moll including his famed motet, Ecce Sacerdos Magnus, standing next to the organ he played as cathedral organist. To complete the anniversary year, we were also given the honour of performing Bruckner’s Aequale I in the crypt of St Florian Monastery, next to Bruckner’s tomb, a most poignant experience!◆
LEICESTER WORKSHOP. L-R SUE ADDISON, EMILY WHITE, PHIL DALE. PHOTO CREDIT: ADRIAN FRANCE.
PERFORMING AT BRUCKNER’S TOMB. PHOTO CREDIT: ADRIAN FRANCE.
BTS Competitions 2024
BTS Alto Trombone Competition
REPORT BY RICHARD WATKIN
One of the most exciting events on the first day of the British Trombone Festival was undoubtedly the inaugural Alto Trombone competition, generously sponsored by Jürgen Voigt. The alto is an instrument that can sometimes be slightly overlooked, as it’s quite often not introduced to students until their latter years at music college, but to be able to play it well opens up many new opportunities with both ensembles and solo repertoire.
The format of the competition was more akin to an orchestral audition than a recital, the finalists having been asked to prepare a set piece and a selection of orchestral excerpts that the panel, Sebastian Vera, Kevin Morgan and myself, would be able to choose from, on the day. The three finalists, James Druce, Millie Deering and Jamie Reid, were all asked to perform the following: the first movement of the Wagesnseil Concerto, excerpts from Brahms 2nd Symphony and Schumann 3rd Symphony and the Kyrie from Mozart’s Requiem
There were some fantastic moments on offer from all three players, but in the end, the first prize went to Jamie Reid, who really communicated his sense of musicianship and played with a beautifully focussed alto sound throughout the performance. While the list of repertoire was fairly small, the stamina issues they posed were evident at times in all three performances. This is hardly surprising, as the Kyrie is a challenging blow just by itself, but it’s times like these that really emphasise the need for both a fastidious preparation process, and an understanding of how to pace yourself through some of the more difficult sections, to ensure there’s enough in the tank to make it to the end!
Well done to all the three players, and in particular, congratulations to Jamie. I really hope that, with perhaps a few tweaks to the format, this competition can become a regular event at future Festivals.
JAMIE REID WITH MARTIN VOIGT, OF VOIGT BRASS.
PHOTO CREDIT: DERRICK PARKER.
BTS Bob Hughes Bass Trombone Competition
REPORT BY BOB HUGHES
It was a pleasure for the panel, Dan West, Nick Schwartz and myself to listen to three bass trombonists of such a high standard. The performances of the set piece, Pierre Lantier’s Introduction, Romance et Allegro, were technically impressive and musically engaging.
The result was very close, but the panel felt Joseph Smales was the clear winner. For his own choice piece, he performed Schumann’s Adagio and Allegro which was beautifully phrased and with fluent technical delivery. Jose Teixeira’s choice of piece, Telemann’s Sonata in F minor featured high levels of facility and musical awareness. Paul Rocamora chose Naulais’ Monologue and Nuit D’Etoiles by Debussy. These pieces demonstrated a wide range of musical styles and were confidently delivered.
Overall, the panel felt that all players could have brought out more character from the pieces.
The Bradshaw Hall is a large space with a fine grand piano so dynamics could have been wider especially in louder passages to emphasise more contrast and drama in the performances.
It was also felt that focus and clarity of tone was something to consider. If the tone gets too wide and diffuse, clarity of pitch and articulation is much more difficult to achieve, and the true character of the bass trombone sound can get lost.
Bravo to Joseph, Jose and Paul, and thanks to S. E. Shires, Hawkins Mutes and Denis Wick for their generous support of this competition.
BTS Trombone Choir Competitions
REPORT BY KEVIN MORGAN
The panel for the Inter-Collegiate and Community Trombone Choir Competitions was Ed Jones, Head of Brass at the RBC, Chris Augustine, formerly of Welsh National Opera and now back in London’s West End, and myself, Kevin Morgan, Principal Trombone of the Bournemouth Symphony Orchestra.
I have to say that this was a really pleasurable experience – a great diversity of music and impressive performances. It was often difficult to tear myself away from listening to write down any notes.
The Community Choir competition is something that had been requested by members. On this occasion we only had one entrant but hopefully this will develop over time.
The South Coast Trombone Choir gave a really enjoyable recital performance. The programme was varied and entertaining and showed off the strengths of the ensemble well.
I Can See Clearly Now, Nash arranged by Michael Pilley, worked well with a nice balance and a great rhythmic feel from the lower end. Derrick Parker’s arrangement of Fantasia on the Dargason by Holst maintained the lively dance feel throughout with some nice tight ensemble playing. The lovely O Magnum Mysterium by Jacobus Handl-Gallus, arranged by Jürgen Krauß, was enhanced by the roomy acoustic of the Bradshaw Hall with the antiphonal dialogue creating a truly captivating atmosphere. The final work, Ian Lawrence’s arrangement of Hug Pine by Dudu Pakwana was an opportunity to show off the improvisational skills
JOESPH SMALES AND BOB HUGHES. PHOTO CREDIT: DERRICK PARKER.
L-R JON STOKES PRESENTS THE COMMUNITY TROMBONE CHOIR AWARD TO MICHAEL PILLEY. PHOTO CREDIT: DERRICK PARKER.
of the group with great solos and a great groove. A fine end to the performance.
The group played to an exceptionally high standard and has clearly put a lot of work in to achieve this. Worthy recipients of the first ever trophy!
The Inter-Collegiate Competition, sponsored by Warwick Music Publishing, is an established part of the Festival and is hotly contested. This year we had three stunning displays of technical and musical mastery.
Trinity Laban College, directed by Matt Lewis, began with a Royce Lumpkin arrangement of Biebl’s Ave Maria. It had a lovely, blended sound with well balanced, clear lines, growing out of the opening solo. Hiros, by Steven Verhelst, was notable for some great bass trombone playing. A greater technical challenge than the Biebl, it had clarity and precision and some virtuosic passagework.
The recital was completed with Matt Lewis’s arrangement of Sammy Fain’s Alice in Wonderland. Again, this started with an opening solo, beautifully played and then sensitively accompanied. This had a great groove and stylistic use of vibrato – a brilliant finish.
The Royal Northern College of Music provided an engaging and virtuosic programme.
Lotti’s Crucifixus arranged by Philip Brink showed some quality bass trombone playing, beautiful sound, delicate alto playing, all producing sinuous lines and a well-shaped performance. Alan Gout’s arrangement of Saint-Saens’ Dance Macabre is a challenge for any ensemble and this characterful rendition was notable for great dynamics, well-controlled changes of timbre and great alto playing. To conclude, the ensemble chose Randall Malmstrom’s arrangement of Holst’s Jupiter from the Plants Suite. A dextrous opening led to a beautifully delivered central hymn. Some wonderfully fruity sounds and impressive depth from the bass trombones – a warm and yet brilliant sound from the whole group. An inspiring performance.
Finally, the winning performance: The Royal College of Music choir was impressive even before the start of their recital, numbering 22 players. Having said that, an ensemble is only as good as the weakest player and, as the rugby fraternity love to say, there was strength and depth to this group. Beginning with Jay Friedman’s arrangement of Dance of the Spirits of the Earth from Holst’s The Perfect Fool it was clear that they were enjoying making music together. The playing in the higher register was truly exquisite and the driving rhythm, especially from the bass and contrabass trombones, gave the piece an energetic backbone that was both powerful and engaging. Eclipse by Joe Buono was an extraordinary performance, marked by fantastic unison notes and immaculate tuning throughout. The rich, sonorous sound had a majestic grandeur, perfectly capturing the lunar and solar character of the piece. The grand finale was Mark Nightingale’s adaptation of Tutti Camerata’s 12th Street Rag
A virtuosic performance with a huge amount of drama and musical impetus. The theatricality added a charming layer, making it feel like stepping straight into a lively New Orleans jazz club. Altogether, it was a wonderfully spirited and memorable rendition. Overall, this was a technically accomplished and musically sophisticated performance that was hugely enjoyable to listen to – and all without a conductor! Bravo.
It was a real treat to experience these performances and congratulations to all the participants. Although this is structured as a competition, it is an amazing opportunity to both take part and listen to a showcase of trombone playing of great music at the highest level. It would be great to see more participants at the next Festival, particularly in the Community Choir section.
Many thanks to Tom Pilsbury for his work in organising the competitions.
BTS Trombone Quartet Competition
Bones Apart Award
REPORT BY HELEN VOLLAM
I joined Simon Minshall and Becky Smith on the panel to judge the final of the Trombone Quartet Competition.
The set work for the competition was Low Down from Callum Au’s Dance Suite, commissioned and recorded by stellar quartet BONE-AFIDE.
The first group to perform were Royal College of Music quartet Slide by Slide, Adam Thomas, Rhodri Thomas, James Parkinson and Joe Smales, who started their set with an enthusiastic performance of Low Down, during which we were treated to some excellent bass trombone playing from Joe on this notoriously tricky part. Next up was Tokyo Triptych by Philip Sparke. This was well-prepared and energetically played, with some enjoyable solo lines.
Funny Bones were next to perform. The group’s members, Amelia Lewis, Jack Myles, Miguel Zoco Sesma and Cameron Bahmaie, are all students at the Royal Academy of Music.
PAU HERNÁNDEZ SANTAMARIA RECEIVES THE WARWICK MUSIC PUBLISHING TROPHY FROM SIMON MINSHALL. PHOTO CREDIT: DERRICK PARKER.
They started their set with the well-known brass classic, the Fanfare from La Peri by Paul Dukas. This was a good opening piece and was well played.
Next, they gave Callum Au’s Low Down a stylish performance. Then in Tchaikovsky’s Andante cantabile we heard some elegant playing, good to see the use of the alto trombone in this. Their final piece was the third movement from Simon Wills’ fiendish Sonata. This was fast! They really kept up the energy and finished well.
A second quartet of students from the Royal College of Music, the Outsliders, Robyn Anderson, Pau Hernández Santamaria, Meggie Murphy and José Teixeira, were the final quartet to perform.
They began with Low Down, to which they gave plenty of character, with a very fine group blend and style. They finished their set of three pieces with a selection from Bernstein’s West Side Story, again stylishly performed. We were impressed with good presentation and spoken introductions throughout their programme.
But the second piece in their programme Andante con moto by Schubert was just beautiful. This was really lovely playing, both as an ensemble and in the solo lines. Lots of listening and care being taken over the sound, intonation, and ends of phrases. This is what trombone quartet playing is all about and this performance won it for them! A unanimous decision from the judges. Congratulations!
BTS Sackbut Competition REPORT BY TOM LEES
Following on from the success of the last competition, BTF24 again offered a platform to young players interested in studying historical performance, as we held the final of the Sackbut Competition in the beautifully appointed Organ Room at the Royal Birmingham Conservatoire.
The competition continues to be supported by the English Cornett and Sackbut Ensemble (ECSE) who offer mentorship and ‘side by side’ opportunities for the finalists, as well as offering all those who entered the
competition access to open rehearsals and the chance to meet each other and play together.
The competition was also once again generously sponsored by Egger Instruments from Basel, Switzerland. They not only provided the magnificent trophy, but just days before the competition decided to significantly increase the prizes on offer to all of the finalists!
The first round saw recorded entries submitted from students across Europe, and from those, Claire-Ombeline Muhlmeyer, Jamie Reid and Pau Hernández Santamaria were chosen to play in the final. All three competitors combined a very high standard of musicianship and technique, with a studious and considered approach.
Highlights of the competition were the performances of vocal music, authentically appropriated for the sackbut. Pau’s performance of Monteverdi’s Exulta, filia Sion, was full of exuberance, with his personality really shining through in his playing, and Jamie impressed everyone with his flawless technique and virtuosity in the Canzon Terza by Frescobaldi. In the end, it was Claire-Ombeline who took first prize. Her stylish and expressive vocal phrasing in Bovicelli’s diminutions on Palestrina’s Io son ferito (writing diminutions was the Renaissance art of taking a popular song and embellishing it by ‘diminishing’ the longer notes of the melody with lots of shorter notes) created a wonderful, intimate atmosphere that really drew the audience in, and impressed the judging panel.
My huge thanks go Martin Perkins, Head of Historical Performance at RBC for preparing the historical keyboard instruments for us to use, and to Peter Boekels, Managing Director of Egger Instruments for his continued generous support. My thanks also go to my colleagues at ECSE, Adrian France and Silas Wollaston for giving their time to join me in the adjudication, with Silas Wollaston also accompanying two of the finalists and tuning the harpsichord!
It was an entertaining and informative competition, and these young sackbut players beautifully demonstrated where it all began for our instrument …◆
L-R JOSÉ TEIXEIRA, HELEN VOLLAM, ROBYN ANDERSON, MEGGIE MURPHY, PAU HERNÁNDEZ SANTAMARIA.
PHOTO CREDIT: DERRICK PARKER.
CLAIRE-OMBELINE MUHLMEYER AND TOM LEES.
BTS ANNUAL AWARDS 2024
BY ALASTAIR WARREN
The winners of the BTS Annual Awards 2024 were announced on 26 October. Presentations were made to recipients during the evening concert at the British Trombone Festival on the same day and saw the first award of the newly renamed Peter Gane Teacher of the Year Award, honouring the legacy of the BTS’s founding President.
The awards were once again well supported, with over 40 nominations received from the membership across the five categories.
Outstanding Contribution – Peter Gane
Peter Gane (1948–2024) was a distinguished trombonist, educator, and conductor, renowned for his contributions to brass music and education. Born in Poole, Dorset, he began his musical journey at the Royal Manchester College of Music, where he won an open scholarship at the age of 16. By 19, he had joined the London Symphony Orchestra, a position he held from 1968 to 1972.
Peter’s passion for teaching and youth music was evident throughout his career. He was a founding member and first President of the British Trombone Society and had a long-standing association with the National Youth Orchestra of Great Britain and the European Union Youth Orchestra. His dedication to education was further recognized when he received the Neill Humfeld Award for Excellence in Trombone Teaching from the International Trombone Association in 1996.
In 1971, Peter became a professor at the Guildhall School of Music and Drama, where he was later elected a Fellow in 1981. He served as Head of Wind, Brass, and Percussion from 1988 to 2008. His influence extended beyond the UK, as he conducted masterclasses and workshops across Europe and the United States.
Peter’s legacy includes numerous publications and educational resources for brass musicians. His works, such as The Good Brass Guide and Circuit Training for Trombone, are widely used. He was also an Artistic Adviser to the Combret Music Festival in Aveyron, France.
Peter Gane’s impact on the world of brass music and education is profound, and his contributions will continue to inspire future generations of musicians. He is remembered not only for his musical excellence but also for his generosity, warmth, and dedication to his students and colleagues.
Click here to read in full our tribute to Peter in the Summer 2024 edition of The Trombonist.
PETER GANE
Player of the Year and Peter Gane Teacher of the Year – James Buckle
One of the UK’s most exciting and gifted young musicians, the thirty-one-year-old bass trombonist James Buckle, at the age of twenty-three, became the first brass player in history to win the Royal Over-Seas League Gold Medal, going on to win praise from international soloists such as the baritone Jonathan Lemalu, oboist Nicholas Daniel, and pianist Piers Lane. A year later he was appointed Principal Bass Trombone of the Philharmonia Orchestra. In the same year John Wilson and Sir John Eliot Gardiner invited him to join the Sinfonia of London and the Orchestre Révolutionnaire et Romantique and English Baroque Soloists respectively.
James recently recorded the Kenneth Fuchs Bass Trombone Concerto with the Sinfonia of London and John Wilson, receiving 5* critical reviews in major international publications. He has commissioned solo and chamber pieces for the bass trombone and has performed four contemporary concertos with orchestra, including a world première.
In 2019, he was appointed Professor at the Royal College of Music, London, having previously been assistant professor to Ian Bousfield at the Hochschule der Künste Bern. He has since built a formidable class of bass trombonists with students working in orchestras both in the UK and abroad. In wide demand as a teacher, he is a visiting professor at the Royal Academy of Music and has given masterclasses at the Guildhall School of Music and Drama, RCM, Royal Northern College of Music, Trinity Laban Conservatoire of Music and Dance, Universidade de São Paulo, and Wells Cathedral School.
James has played internationally as guest principal with the National Symphony Orchestra, Ireland, Orchestre de la Suisse Romande, European Philharmonic of Switzerland, Orchestra of Europe, and San Francisco Symphony, as well as with orchestras throughout the UK. He has performed extensively in the West End and has appeared in several film, TV, game, pop, and classical recordings.
James studied at the Royal Academy of Music, obtaining a First Class (honours) degree and is a former member of both the Gustav Mahler Jugendorchester and European Union Youth Orchestra. In 2018 he was made an Associate of the Royal Academy of Music.
Sheila Tracey Award – Gemma Riley
Born in the North-West, Gemma started playing the trombone at the age of nine, joining her local brass band in Wigan. She studied at the Junior Royal Northern College of Music before successfully auditioning for Chetham’s School of Music at the age of 12. During her school years, she was a member of the National Youth Brass Band of Great Britain, where she held the Principal Trombone position and reached the Brass Final of BBC Young Musician of the Year.
Gemma went on to study an undergraduate degree at the Royal College of Music, followed by a postgraduate at the Guildhall School of Music and Drama. She was lucky enough to study with many of London’s finest trombone players and professors over these years including Lindsay Shilling, Byron Fulcher, Becky Smith, Matt Knight, Mark Templeton, Peter Moore and Eric Crees. Gemma also gained orchestral experience through schemes such as the RCM Evolve with the
JAMES BUCKLE
GEMMA RILEY
ENO, LSO Orchestral Artistry and was an LPO Foyle Future First in 2022–2023.
Gemma is currently enjoying a varied freelance career, performing with orchestras across the UK and Europe such as the London Symphony Orchestra, London Philharmonic Orchestra, BBC Orchestra’s, English National Opera Orchestra, Orchestra of the Royal Opera House, Hallé Orchestra, Philharmonie Luxembourg and in 2023 - 2024 she held the trombone chair on the UK Tour and West End production of The King & I
Sheila Tracey Award – Bones Apart
Celebrating their 25th anniversary in 2024, Bones Apart first formed as a student ensemble at the Royal Northern College of Music in 1999. Just two years later they won the 2001 Royal Overs-Seas League Ensemble Prize. Since that time, they have performed at the Edinburgh International Festival, Wigmore Hall, St Martin-in-the-Fields, Queen Elizabeth Hall, Symphony Hall Birmingham and Fairfield Halls, in addition to multiple broadcasts on BBC television, BBC Radio 3 and Classic FM. They have given recitals, masterclasses and education workshops worldwide and have appeared at the Juilliard School of Music in New York, Chicago College of Performing Arts, Royal Birmingham Conservatoire, Royal Conservatoire of Scotland, Royal Welsh College of Music and Drama, Wells Cathedral School and the Guildhall School of Music and Drama. They have also toured throughout Europe, the USA, Cayman Islands and Japan.
The current line-up of Becky Smith, Helen Vollam, Jayne Murrill and Sarah Williams are some of the finest and most respected trombonists in the UK, holding principal positions in major orchestras and in the West End, alongside enjoying busy freelance careers performing, conducting and teaching. Former members Camilla Tveit, Becca Pope, Carol Jarvis,
Arlene MacFarlane and Lorna McDonald continue to blaze a trail in the music world.
Learn more about Bones Apart, past and present, by reading their 25th anniversary feature in the Summer 2024 edition of The Trombonist.
Student of the Year – Meggie Murphy
Meggie is in her second year studying for a masters degree in performance at the Royal College of Music in London. Meggie is a Leverhulme Arts Scholarship holder, studying under Lindsay Shilling, Byron Fulcher, Rupert Whitehead, Becky Smith and Amos Miller. Meggie was a former Elton John Scholarship holder at the Royal Academy of Music, where she completed her undergraduate degree and studied under Matthew Gee, Peter Moore, Dudley Bright and Ian Bousfield. During her first year at the Royal Academy of Music, Meggie achieved a place as a finalist in the brass category final of the BBC Young Musician of the Year 2020.
In 2021 Meggie won the Musicians Company Brass Ensemble prize with the Solis Trio, and subsequently became part of the Musician’s Company brass scheme. She went on to win a place as part of the Philharmonia MMSF Fellowship Programme 2022–2023 and subsequently won a place as part of the Royal Liverpool Philharmonic Orchestra Fellowship scheme 2023–2024. Meggie is also a London Symphony Orchestra Conservatoire Scholarship holder 2023–2025. Meggie has worked professionally with the Royal Philharmonic Orchestra, the London Symphony Orchestra, the Philharmonia Orchestra, BBC Symphony Orchestra, BBC Concert Orchestra, BBC Scottish Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Aurora Orchestra and the Orchestra of English National Ballet. She is currently on trial with the BBC Scottish Symphony Orchestra, English National Ballet, Royal Scottish National Orchestra and the Royal Philharmonic Orchestra.◆
BONES APART
MEGGIE MURPHY
CD Review
REVIEWRE:BUILD
BY ALASTAIR WARREN
Witnessing a live performance by Slide Action (Huw Evans, Jamie Tweed, Benny Vernon and Josh Cirtina) is an extraordinary experience and the launch party to celebrate the release of their debut album RE:BUILD, in front of a packed audience at the Royal Overseas League in October, was no exception. I was intrigued, therefore, to discover how their live performance, with its strong visual component, narrated by the witty, sometimes whimsical, disembodied computerised voice which acts as the group’s alter-ego, would translate to an audio recording. The result is truly magnificent.
Slide Action regard new music as the ensemble’s USP but are very aware simply recording a collection of new pieces might not be inviting for some listeners. Their concept instead was for a unified listening experience, a true album as it were, developing an approach used in their show Rebuilding the Trombone, of which you can read more in the Summer ’22 edition of The Trombonist.
In RE:BUILD pieces by contemporary composers Ryan Latimer, Laura Jurd, Emily Hall, Alex Paxton and Joanna Ward, are prefaced by Josh’s arrangement of music by Purcell and linked by Interludes; an arrangement by Josh of music by Matthew Locke and new compositions by Jamie and Benny. The Interludes are inspired by the pieces which come before and after, using certain pitches or thematic links to stitch things together and present a single arc for the listener.
The quartet is passionate about creating a new voice for the trombone, with this album they have created a formidable calling card. From the moment Josh’s arrangement of Purcell’s Funeral Music for Queen Mary quite literally begins to melt and dissolve away it is clear that we are entering new territory.
Emily Hall’s Close Palms treats the quartet rather like
a synthesiser, exploiting the trombone’s ability to bend pitches like a modulation wheel, creating and releasing tension; indeed, on first listen one would be forgiven for thinking this is electronically produced music, so incredibly pure is the tone, intonation and production achieved by the performers.
This video proves otherwise!
For many Alex Paxton’s Hairy Pony Estampie will be the standout piece of the album. In typical Paxton style this music doesn’t push at the boundaries, it simply ignores them, asking the performers to sing, use multiphonics, play kazoo and employ a multitude of mutes to create a joyous, maximalist masterpiece, though as Josh commented ‘[that] piece in particular saw a few hours of us all just sitting on the floor wondering if we’d ever be able to learn it’.
Debuting at No. 5 on the Classical Album Chart and claiming BBC Music Magazine’s Album of the Month for December, amongst many other plaudits, the response to the album has been remarkable. Commenting on the success of RE:BUILD Josh said, ‘We couldn’t be happier that the album has received so much praise and attention from the wider musical world. From the BBC Music Magazine to a radio station in Florida, we’re really humbled that our contemporary-trombone-niche is bringing so much interest to so many around the world! We sold out the initial run of 300 discs in less than two weeks, and online downloads and streams have been even more popular! We’re chuffed.’
In 2025 Slide Action’s performances will focus on collaborations with different composer-performers and with the mezzo-soprano Lotte Betts Dean. Make every effort to attend one. In the meantime stream or purchase a copy RE:BUILD and enjoy a glimpse into the future.◆
SLIDE ACTION RECORDING RE:BUILD. PHOTO CREDIT: OLLIE DENTON.
FIND OUT WHO YOU ARE
IAN BOUSFIELD’S VISIT TO WELLS CATHEDRAL SCHOOL
BY EMILY WHITE
There was so much to think about in the Masterclass and Recital given by Ian Bousfield on 5 November, I know we will still be responding to it all for many months to come. He inspired us to find our voices as musicians and give our attention to the audience, so they give us theirs.
Ian began the day by demonstrating his warm-up, giving pause for thought for any wedded to a lengthy ritual. A relaxed, free breath came first, followed by flexible buzz, a fly around the lip-slurs on the instrument, and this international soloist was ready for the day.
The participants in the masterclass comprised Tom and Morgan from Wells Cathedral School Specialist Music Department, Apollo, winner of the BTS competition for a young trombonist to take part, and students from the Royal Welsh College of Music and Drama (RWCMD), Gwen Howe, Steven Mai and Emily
Collett. They were supported by Dominic Hansom and Simon Carrey, fabulous pianists from Wells Cathedral School accompaniment department. All participants played with gusto and brilliance to a concert hall full of eager trombone fans. They all grew and transformed during the masterclass – a tribute to their courage, and the atmosphere Ian created. They rose to challenges and gave themselves permission to try new ideas. Each walked taller with a spring in their step and renewed self-belief by the end of the day.
My collection of favorite Ian phrases of the day:
‘Put the instrument on your imagination’ was Ian’s poetic description of his four-stage method for practising a phrase: 1 imagine it, 2 ‘air play’ it, 3 sing it, 4 play it: ‘Put the trombone on your imagination’.
PHOTO CREDIT: WELLS CATHEDRAL SCHOOL.
‘The tongue is the friend who says he will always be there for you, then when there’s trouble you turn around and he’s gone. The air never does that.’
We witnessed how transforming a released flow of air can be in so many circumstances, such as bouncing along the staccato notes in Bozza, or in the dramatic long phrases of Grøndahl, and just what making space for ‘the sound-box’ (rib cage) by standing up to full height does for projection.
‘Music is not something we do, it is something we are. Find out who you are. If you practise like that it becomes a habit.’ This seemed to be the strongest message of the entire day, and something that resonated with us all, teachers, students and performers alike. What I found particularly interesting to observe was that Ian refrained from guiding what he thought the musical expression should be. Rather he insisted that they had their own ideas, and that they stepped up and delivered them to the audience. An empowering afternoon of ideas about music, performing and trombone playing.
In the evening Ian and Tim enchanted us with an astounding recital of music commencing with Rachmaninov Four Songs, so elegant, so sincere and moving it had the audience spellbound. We were hearing a voice speak to us even without the words –
the ultimate aim of trombones from their first invention in the 15th century to today. Ian’s chat between pieces was unexpectedly frank about many things, including the fears that beset many a performer – which was a contrast to the assurance and bravura of his playing. Christian Lindberg’s arrangement of Tchaikovsky’s Queen of Spades showed no signs of ‘breaking’ him, as he had said it might. He drew us in to the many colours, the silken sound, the delicacy and power which we know well from Ian’s performances. He credited the shimmering sound to his custom Getzen that he received ten days previously and he finished the evening with his famous rendition of Bluebells of Scotland which dazzled the audience as always.
To be a musician, to be a performer, is to communicate something real that is truly you. Ian illustrated, explained, then demonstrated this for us through the day, and I know the young players will never forget his visit.
Thanks to Wells Cathedral School, RWCMD and the BTS for making this event possible.◆
Trombone Day
Sunday 2nd February 2025
With special guest tutors
Matthew Lewis and Richard Watkin
10.30am - 5.30pm
Cedars Hall, Wells, Somerset
All ages and abilities welcome Find out more
BY JEREMY PRICE
JAZZ BY JEREMY
Holly by Henry Mancini
Follow this YouTube link and you’ll see the most iconic picture of Audrey Hepburn. An incredibly familiar image used in advertising campaigns across the world, but I wonder how many of the younger generation know this is Holly Golightly from Blake Edwards’ Breakfast at Tiffany’s, the original Rom-Com movie, that unwittingly put down all those memes that have been endlessly recycled in Rom-Com movies ever since. I confess too slushy for me, but it’s a much-loved movie in our house and I generally leave the girls to swoon over George Peppard if it’s on, so I missed this very lush trombone solo written by Henri Mancini. It later caught my ear floating out of my daughter’s bedroom, which was a lovely way to discover it.
Recorded in 1961, not overtly credited to but undoubtedly played by the incredible Dick Nash, this solo is called Holly and is a superb example of what most musicians refer to as ‘sweet’ trombone. It’s a particular mode of playing that’s very commonly called upon in the profession so is well worth getting acquainted with. Characterised by high tenor to altissimo range, fast slide vib, super-legato and fast air well supported through a tiny aperture in the embouchure, it can be great fun to incorporate into the practice regime. You must be very relaxed in upper body and neck, good for making yourself undo any tensions there, and I tend to get a satisfying ‘chops burn’ sensation after a workout on this, so it serves as a kind of musical Caruso session
to boot. I also love that this sound and style is unique to the trombone. A trombone USP! There is no other instrument that can do this, so although a little dated now, let’s celebrate this niche within a niche and keep the tradition going.
Now I have your attention, do check out Dick Nash playing Shadow of Your Smile and an excellent interview with him by Paul the Trombonist
The solo itself, artfully transcribed by Rob Egerton, starts after a four-bar guitar intro. This transcription is ideal for playing along to. At bar 20 you can take a break or see what your solo sound is like over the string section accompaniment. You’re then playing lead trombone on a soli from bar 28 with one of the best session trombone sections ever. There follows a seamless modulation to the subdominant where you barely notice that the alto solo, a little decorated with some delicate improvising, is in a different key. You can then re-join at bar 21 for a slightly modified version of the tune (home key again) and then see if you can hold that middle C for four bars at the end. This is a great work out with wellpaced ‘play-rest’ built in for good chops management.
Can you hear where the breaths are? I can’t hear any sneaky side breaths or any sign of circular breathing, so yes, he’s going right through on all the phrasing. A tiny aperture in the embouchure for this yes, but even so, that’s wonderful breath control. On the reprise from bar 21, it’s great that Dick Nash takes a breath before
beat three of bar 26 then goes right through to the middle of bar 33. That provides contrast with the first version and a captivating way of playing over the big cadence and double bar at bar 29. Tommy Dorsey was the pioneer and master of this trick, also adopted by none other than Frank Sinatra.
Dick Nash has a huge variety of slide vibrato here. There are different speeds and different points of the long note at which it starts. Note also how expressive crescendos and diminuendos maintain interest, all expertly drawing in your attention and keeping the listener beguiled with this tantalising shimmer of a sound.
If you enjoyed this outing into ‘sweet trombone’ then you would do well to check out the most likely solos to come up in this style, those being Tommy Dorsey’s Getting Sentimental Over You and I’ll Never Smile Again.
Thanks to Henry Mancini for choosing his favourite trombonist to star alongside Audrey Hepburn, immortalised in that iconic film.
Henry Mancini
Rob Eger ton Jazz T ranscr iptions ROB EGERTON JAZZ TRANSCRIPTIONS
Henry Mancini
From the Stage to the Pit …
What a season it’s been!
And looking ahead I am very excited about what the UK’s orchestras are bringing us in 2025.
BY JOSH CIRTINA // PRINCIPAL BASS TROMBONE IN THE ROYAL PHILHARMONIC ORCHESTRA SYMPHONIC HIGHLIGHTS
MAHLER SYMPHONY NO. 3
– ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA
7.30pm, Saturday, 3 March
Philharmonic Hall, Liverpool
There’s nothing like thinking big. ‘The symphony should be like the world,’ said Gustav Mahler, ‘it should embrace everything’. But even by his own epic standards, his Third Symphony is extraordinary: encompassing a whole concert, complete with distant trumpets, children’s songs, glittering marches and lofty mountaintop meditations. I know we’ve highlighted Mahler 3 a few times recently, but I needn’t explain why …!
APRIL IN PARIS – ULSTER ORCHESTRA
7.45pm, Friday, 4 April
Ulster Hall, Belfast
It’s Audrey Hepburn and Fred Astaire falling in love in Funny Face. It’s Catherine Deneuve beneath the cheerfully coloured Umbrellas of Cherbourg
It’s Audrey Tautou as a waitress helping others find happiness in Amélie. Fiona Monbet conducts and performs her own work, Faubourg 23, written for jazz ensemble and orchestra; a celebration of both jazz and symphonic music that sits in a lineage that flows from Stephane Grappelli and is effervescent, uplifting and full of the joys of spring in Paris!
BY BECKY SMITH // PRINCIPAL TROMBONE AT THE ENGLISH
OPERA PICKS
The 2024 opera season is done and dusted, so let’s look forward to some cracking shows in 2025. There does seem to be less on offer sadly, due to ongoing funding cuts, but the opera that is taking place is definitely worth seeing and contains two of my favourites!
For starters get along to the ROYAL OPERA HOUSE in London to catch Janacek's Jenůfa. I've said it before, but this is such good music, and a great cast. A heartbreaking story: the Guardian called it a fast-moving, emotionally rich, musically extraordinary opera with a plot straight out of a soap opera! It runs from 15 January to 19 April.
Turandot is perhaps a lesser-known work of Puccini, with the exception of the aria Nessun Dorma of course! It was his last opera written before he died and uses a bigger orchestra and chorus than the more well-known operas La Boheme, Tosca and Madame Butterfly. The music embraces many styles of the 20th century and
MISSA SOLEMNIS
– BBC NATIONAL ORCHESTRA OF WALES
7.30pm, Friday, 11 April
Brangwyn Hall, Swansea
Regarded by Beethoven as his greatest work, his Solemnis is surely a ‘bucket list’ piece to experience and marvel at for all music lovers. On a trombone-note, there’s some fantastic writing for us in this, following the choir in long melismatic lines. Conducted by Andrew Manze. Lots to enjoy!
SYMPHONY OF SHADOWS – ROYAL PHILHARMONIC ORCHESTRA
3.00pm, Sunday, 27 April
Royal Festival Hall, London
As Hitler’s armies surrounded the city of Leningrad, and bombs rained down on a starving population, Dmitri Shostakovich sat down and – somehow – composed his Seventh Symphony. Written for massed battalions of musicians, this is music from the front line: a roar of defiance from an unbreakable city. You can hear it in this afternoon concert conducted by Vasily Petrenko, whose recording of the piece was described by one critic as ‘devastating’. It’s a stupendous climax to a concert that’s all about struggle and resistance: whether it’s Sibelius defying Russian imperialism with a mighty hymn to his native Finland or the poet Walt Whitman’s pleas for tolerance, set to music by the exiled Kurt Weill. Singing them today is the fabulous British baritone Roderick Williams: a born communicator at the heart of a truly epic programme.
has a force unlike any of his other earlier operas. One to watch for sure, even for the sheer spectacle of so many people on stage. On at the ROYAL OPERA HOUSE from 19 March to 19 April.
My other all-time favourite opera is the Magic Flute by Mozart, and not only for the beautiful trombone writing! OPERA NORTH are performing this in Leeds, Newcastle, Salford, Nottingham and Hull between 12 February and 29 March, so be sure to get to it when visits a venue near you.
Also worth noting is SCOTTISH OPERA staging
The Makropulos Affair, another Janacek gem, with performances in Glasgow and Edinburgh during February and March, and one for your diary is Britten's Peter Grimes at WELSH NATIONAL OPERA , with performances in Cardiff, Southampton, Birmingham, Milton Keynes, and Plymouth. Not until April but something to look forward to once spring arrives!◆
NATIONAL OPERA
What’s on
and Steve Clarke
7.30pm, Sunday, January 12 The Brunswick, Hove
MALCOLM EARLE SMITH QUINTET
Mingus and Monk – Words and Music
8.00pm, Monday, 13 January Everyman Theatre, Cheltenham
7.45pm, Friday, 24 January 1000 Trades Club, Birmingham
PETER MOORE
7.30pm, Wednesday, 22 January Stoller Hall, Manchester
RNCM INTERNATIONAL BRASS BAND FESTIVAL
Featuring Ian Bousfield and David Bremner Friday, 24 to Sunday, 26 January RNCM, Manchester
BANDING TOGETHER 2025
Conducted by Brett Baker
10.00am, Sunday, 2 February Itchen College, Southampton
with Hatherleigh Silver Band
7.30pm, Saturday, 15 February Hatherleigh Church, Okehampton
7.00pm, Saturday, 1 March Patterns, Brighton
MARK NIGHTINGALE
7.30pm, Sunday, 2 March Pangbourne WMC, Pangbourne
RBC WIND, BRASS AND PERCUSSION
Featuring Peter Moore
7.00pm, Friday, 7 March Royal Birmingham Conservatoire
DENNIS ROLLINS
7.00pm, Sunday, 9 March No. 28 Market Place, Belper
ONYX BRASS
3.00pm, Sunday, 9 March
Church of St. Andrew, Polegate
7.30pm, Wednesday, 26 March St Bride’s Church, London
KEN STAMP
1.00pm, Friday, 14 March
Methodist Church, Boston Spa
SLIDE BY SLIDE
Featuring Kevin Grenfell & Richard Leach
12.30pm, Sunday, 30 March
The White Eagle Club, Stafford
ENGLISH CORNETT AND SACKBUT ENSEMBLE
7.30pm, Saturday, 5 April
St. George’s Church, Jesmond
GALLUS BRASS QUINTET
7.30pm, Sunday, 6 April Cinema, Newton Stewart
INTERNATIONAL TROMBONE WEEK 6–13 April
ISOBEL DAWS
With the National Youth Brass Band of Great Britain
5.00pm, Saturday, 19 April Garrison Theatre, Tidworth
Concert Review
Black Sun
BY ALASTAIR WARREN
On 16 November, BONE-AFIDE hosted a concert at Regent Hall, London, inviting the Royal College of Music (RCM) trombone department to share the stage with them.
Opening with Bob Burnham’s arrangement of Strauss’ Wiener Philharmoniker Fanfare, the 18-strong RCM Trombone Choir made a glorious sound, rich and full.
BONE-AFIDE followed with the Overture to Rossini’s William Tell and Callum Au’s stylish Four Dances. This concert marked Simon Minshall’s first official engagement as the ensemble’s bass trombonist. It was apparent from the first notes of the Overture, a legato line shared seamlessly with Isobel Daws, that he is a perfect fit for the ensemble.
The Outsliders, Robyn Anderson, Pau Hernández Santamaria, Meggie Murphy and José Teixeira, then gave a beautiful performance of the second movement of Schubert’s String Quartet no. 4 and the RCM choir continued with music from Holst’s The Perfect Fool and the ever-popular 12th Street Rag arranged by Mark Nightingale, after Tutti Camerata.
To close the first half, Isobel Daws gave a stunning performance of Pryor’s Bluebells of Scotland The clarity of production and agility she brought to the performance was breathtaking.
Opening the second half was the world première of Gavin Higgins’s Black Sun. Fresh from winning an Ivors Classical Award for his Horn Concerto, Gavin gave an entertaining pre-concert Q & A, touching on his background growing up playing in brass bands, and the influence both the band sound and community has had on his music.
Speaking about Black Sun, Gavin explained the four movements each explore a particular visual representation of the Sun. Yellow, inspired by Olafur Eliasson’s Weather Project installation in Tate Modern,
opened with a big, expansive blaze of sound typical of Gavin’s work. Orange has two sources of inspiration, Monet’s Impression, Sunrise and a house near Gavin’s home which has a huge orange sun painted on the side. Contrasting a pair of muted instruments against two unmuted created impressions of water dripping and lapping against the boat which is a central feature of Monet’s painting. The music of Red was more diffuse, and reflective, perfectly capturing the ethereal nature of Turner’s Sun Setting over a Lake. Black takes its name from Damian Hirst’s Black Sun, a giant black disc artwork formed from the bodies of thousands of dead flies. A combination of straight and plunger mutes created a waspish, darting texture, with a grotesque feel in keeping with Gavin’s macabre inspiration. Concise, challenging and entertaining for both performers and audience, Black Sun is a major addition to the quartet repertoire.
Following Black Sun with Handel’s Aria de Rinaldo was masterful programming. Used as a warmup exercise, BONE-AFIDE had added the work the programme at the last minute and what a treat it was to share their obvious affection for the piece, the sensitive vocal playing allowing the simple melody to sing. A wonderful contrast to the intensity of Black Sun.
Changing the pace again, The Outsliders returned for a spirited rendition of a suite from Bernstein’s West Side Story, before taking their place with the RCM choir to perform Joe Buono’s Eclipse, a highly cinematic piece describing solar and lunar eclipses.
For the finale, BONE-AFIDE joined the RCM students for Baba Yaga and The Great Gate of Kiev from Mussorgsky’s Pictures at an Exhibition. The combined wall of sound was awesome, a fitting end to a very special evening.◆
