The Trombonist - Spring 2024

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President’s Welcome

SIMON MINSHALL

I am always delighted to write this short note to all our members, giving a brief summary of the Society’s activities.

Since I last wrote, our Trombone Days have continued to grow in scope and success, providing enriching musical experiences for our members and further cementing our long-term relationships with a number of venues, schools and other charitable organisations.

Wells Cathedral School hosted the BTS in January and featured the RCM Trombone Choir, Byron Fulcher and James Buckle – thank you Tom Lees for organising.

In March, Nathan Moore put together another very successful day in Belfast. Peter Moore was our guest there and I would like to thank all the sponsors who made that event possible. I am pleased to see the Society providing more support to our members in Northern Ireland.

We are deep into planning for the British Trombone Festival 2024. Artist announcements will be coming very soon but read on to learn about the BTS Competitions 2024, including two new and exciting competitions.

Coming up on 19 May is the BTS Northeast Trombone Day, hosted once again by Collingwood College, Durham University. Full details of this and other BTS events can be found on our website. If you wish to organise an event in your area, please get in touch.

For now, enjoy the delights of spring, keep playing and making wonderful sounds!

See you all soon,

Simon Minshall president@britishtrombonesociety.org

Editor’s Welcome

Welcome to the Spring 2024 issue of The Trombonist.

We kick off the year with a series of longer articles. Sue Addison provides an in-depth look at Elgar’s relationship with the trombone, from her unique perspective of having performed and recorded on his very own instrument. Steve Thompson tells us about his opportunity to make history in outer space and we look back on the lives and careers of Bill Geldard BEM and Alan Tomlinson, two giants of the British trombone scene with very different approaches to the instrument.

Elsewhere, we report on a hugely successful BTS event held in conjunction with Wells Cathedral School, an inspirational visit by Peter Moore to the BTS Northen Ireland Trombone Day, and highlight the launch of the BTS Competitions 2024.

Following the launch late last year of Rockschool’s Horn Section exams, Jon Stokes shares his thoughts on the new materials after play testing them with his students. Jonathan Pippen and Beth Calderbank introduce the Tone Halo, the latest instrument accessory created by them for their company CalderPips Music, and Dr Brett Baker’s final large-scale studio recording Light Fantastic is reviewed.

Finally, looking ahead to late spring and summer, From the Stage to the Pit and What’s On highlight some of the best concerts and opera performances the UK has to offer.

Alastair Warren editor@britishtrombonesociety.org

ALASTAIR WARREN

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THE NEWS

JP Musical Instruments acquires Rath Trombones

In January John Packer Musical Instruments announced the acquisition of Michael Rath Trombones, marking a new chapter in the relationship between the two brands, which began in 2009 with the JP Rath project.

Michael Rath will remain with the business, continuing to share his decades of experience at Rath’s facility in Huddersfield. Commenting on the acquisition he said, ‘Dedication, determination to producing the highest quality instruments and providing the best service possible, have been our aims for over 30 years at Michael Rath Trombones and will remain the company’s narrative. John Packer Musical Instruments’ acquisition creates a new, exciting chapter for Rath Trombones, enabling both expansion into new markets, and significant growth in existing marketplaces.’

White on Radio

In February Emily White appeared on BBC Radio 3’s weekly Inside Music programme, sharing an eclectic choice of music featuring the sackbut, choral music with a nod to the past, a song from Anne Boleyn’s songbook, and a violin concerto with a surprising cadenza. Also featured was versatile American singer/trombonist Aubrey Logan.

Trombones at Regent Hall

During February and March Regent Hall, London, hosted four concerts featuring trombone quartets: The Funny Bones from Royal Academy of Music, The Outsliders and Slide-by-Slide from Royal College of Music, and BONE-AFIDE, with the Household Troops of the Salvation Army.

Dr Brett Baker Steps Down …

In January Dr Brett Baker stepped down as Solo Trombone of the Black Dyke Band to take up the role of Musical Director of Elland Brass, alongside his position as Sales Director of Denis Wick & Alliance Products.

Dr Baker commented, ‘I have played with Black Dyke Band for half of the time I have been alive and very much want to thank the band and Nicholas Childs for some amazing performance experiences over two and a half decades. I am really looking forward to the opportunity of conducting Elland and preparing the band for the contests and concerts coming up in 2024.’

Adam Warburton Steps Up

…

Following Dr Baker’s announcement, Black Dyke Band confirmed the appointment of Adam Warburton as their new Solo Trombone, having served for 18 months as the band’s Co-Principal Trombone.

Adam is currently in his second year at the Royal Northern College of Music, studying with Gary MacPhee and is a Rath Trombones and Denis Wick performing artist. Before joining Black Dyke, Adam was Solo Trombone with Hammonds Band, and Principal Trombone of the NYBBGB.

Of his appointment Adam said, ‘It is a massive honour for me to sit in the same seat as so many players I have greatly admired, especially my [former] teacher, Brett. I am looking forward to working with the band and Prof. Nicholas Childs.’

EDITED BY ALASTAIR WARREN

PHOTO: BBC

Sykes signs for Cory

Stephen Sykes has been appointed Solo Trombone of the Cory Band.

A rising star before being diagnosed with Hodgkins Lymphoma in 2016, Stephen underwent a stem-cell transplant and has since made a full recovery, re-joining the banding scene with Ebbw Valley Brass, helping them to become 1st Section National Champions in 2023. Stephen will officially take up his position after the Welsh Regionals in March.

Cirtina Teams up with Shires

S.E. Shires has welcomed Royal Philharmonic Orchestra

Principal Bass Trombone Josh Cirtina as a performing artist.

Josh, who worked with S.E. Shires to develop their soon to be released Vintage Elkhart bass trombone, says, ‘S.E.Shires have created the first bass trombone I've ever played that I believe allows me to create the sound I wish to make, combined with impeccable flexibility and playability. This collaboration has finally bridged the gap between vintage and modern bass trombones. They have created an instrument that I will be proud to perform on for many years to come.’

Slide Action

In February

Slide Action completed recording of their debut album, with support from the BTS. The album is due for release in October. Keep an eye on the BTS website and social media for details of the launch event.

Dani Howard Concerto Released

Dani Howard's debut album was released on 22 March and features her critically acclaimed Trombone Concerto, performed by Peter Moore and the Royal Liverpool Philharmonic Orchestra, who premièred the work in 2021.

Click here to watch a video of Dani Howard introducing the recording of her Trombone Concerto.

Peter will be heading to New York in May to give the US première of the work accompanied by The Orchestra NOW

Warwick Music

Warwick Music Publishing is celebrating its 30th anniversary in 2024.

Started in 1994 with just one piece of music, a previously undiscovered work by Gustav Holst for Trombone and Organ, the Warwick Music library now comprises more than 2,000 publications.

Digital copies of the Warwick Music library are available from the Warwick Music website, BTS members receive a 10% discount!

A BONE-AFIDE Bake Off

BONE-AFIDE appeared on the New Year’s Eve Special of The Great British Bake Off, alongside Jürgen Krauss aka Jürgen the Bread. Click here to watch the episode on demand and here to read a profile of Jürgen from the Spring 2022 edition of The Trombonist.

Prize for Pedwar Bones

Congratulations to Pedwar Bones: Emily Collet, Steven Mai, Thomas Kilby and Gwenllian Howe, who have been named joint winners of the RWCMD Philip Jones Brass Ensemble Prize.

Concerto performance for Nicolas

BTS Student of the Year Emily Nicolas gave a performance of the Gordon Jacob Trombone Concerto in March, accompanied by the Misbourne Symphony Orchestra.

Trombone on the Run

On 21 April, Nathaniel Dye will be running the London Marathon whilst playing the trombone – with stage 4 incurable/terminal bowel cancer and a colostomy bag. Nathaniel is fundraising for Macmillan Cancer Support and Warwick Music have donated a green pBone to go with their colour scheme!

To sponsor him visit Just Giving. Over £14,000 has already been pledged in support and if you donate, you get to choose a song for him to play along the course.

To learn more about Nathaniel's truly inspirational story visit Bowel Cancer Bucket List

International Trombone Week

To celebrate International Trombone Week 2024, the BTS returned to London’s Regent Hall on 9 April for ‘Come and Play Three’.

Conducted by Richard Ward, 40 players of all ages and abilities came together to play a varied selection of music ranging from Henry VII’s Pastime with Good Company, to Callum Au’s Fanfare for the Common Trombonist, commissioned by the BTS for ITW ’23.

BTS President, Simon Minshall, commented, ‘It was fantastic to see so many trombonists playing together and helping one another, regardless of age or experience. What a community.’

Youth Brass Day

Hepworth Band will be hosting their first Youth Brass Day in Holmfirth on Saturday, 4 May.

Katy Jones, Hallé Orchestra Principal Trombone, will be leading an inspiring masterclass before joining the Hepworth Band, Hepworth Youth Band and HD9 Community Brass as guest soloist for a Gala Concert.

The event is free, and open to all young brass and percussion players. Click here for more information.

International Trombone Festival

Professor Simon Wills will be heading to Fort Worth in May to participate in the International Trombone Festival. He will conduct the William Cramer Memorial Trombone Choir, in a programme including his work One is Down, and take part in a ‘Trombone Research Roundtable’ with Benny Sluchin, Doug Yeo and David Yacus. ◆

PHOTO: PEDWAR BONE WITH URSULA JONES OBE.

BTS Wells Trombone Day

BY TOM LEES

Organising a trombone event in January, you are always crossing fingers for the weather to behave itself. This year Storm Isha threatened but didn’t deter nearly 70 trombonists who made their way to the picturesque (and very small) city of Wells, where they were once again hosted by the historic Cathedral School

This year’s guests were Byron Fulcher and an old boy of the school’s renowned music department (an ‘Old Wellie’), James Buckle. Both are members of the Philharmonia Orchestra (Principal Trombone and Bass Trombone respectively) and Professors at the Royal College of Music (RCM). With considerable support from the RCM, they also brought along all 17 students of the trombone department, who offered considerable support throughout the day before giving a full evening recital.

After morning refreshments, much appreciated by those players that had travelled in from London, James led a group warmup for everyone involved. He started with gentle breathing exercises with a metronome (inhale for 4, exhale for 8, and so on), before introducing

a very simple exercise that got everyone really focussed on tuning in and listening to one another: without any direction, nearly 70 trombonists played a slow glissando from F to B – all pretty much in time and in tune!

After the warmups, everybody divided into three groups and spent the morning playing through a variety of material. James’ group worked on Nelhybel’s Tower Music, along with Kevin Morgan’s arrangement of The Teddy Bear’s Picnic. Byron took his group through an arrangement of Henry VIII’s Pastime with Good Company, the Susato Battle Pavane and Verhelst’s A Song for Japan, along with Ray Premru’s beautiful arrangement of Abide with Me. I took a group of younger players and worked on learning Amazing Grace by ear, making an instant arrangement by getting the group to play the rhythm of the melody but picking any notes of the major scale to play with (thanks to Jon Stokes for that trick!). We also played Kevin Morgan’s arrangement of When the Saints Go Marching In Many thanks go to Kev for producing these creative arrangements to be used at BTS events.

JAMES LEADS THE GROUP WARMUP. PHOTO CREDIT: ROSS BROWN.

We started with a massed warmup. One of the things that James taught us was to think about warming up with the same intensity as we would when playing a solo in an orchestra or doing an audition or exam. We then split into our groups and practised the pieces that we were going to play later in the informal concert. We worked on an arrangement of When the Saints Go Marching In and Amazing Grace. It was really cool and great fun as we played with our eyes closed so that we had to listen really carefully to each other. We had RCM trombone students playing with us which was a real treat. I learnt lots from sitting alongside them!

After lunch (a few biscuits and numerous glasses of juice!) we headed to Ceders Hall to watch a masterclass with Wells Cathedral School pupils playing. It was amazing to hear them, everyone was so good! I picked up some really valuable tips for my own playing, and I was able to chat to lots of other trombone players which was really inspiring.

At the end of the afternoon session, we all came together – nearly 70 of us! – to play through a piece called Africa. It sounded wonderful and it was incredible to hear the sound that all the bass trombones were able to make. When it was time for the evening concert, sadly I had to leave because I live in London and there was a mega storm brewing! I can’t wait for the event next year – thank you so much for having me!

– Xy Xy Coleman

This took us up to lunch and a chance to explore the very small city or try the shiny new things that Prozone Music had on their trade stand.

After lunch it was time for a Masterclass that featured current Wells Cathedral School pupils Morgan Bland and George Winter, as well as Thomas Wong who will be joining the school in September.

What an amazing day I had at the BTS Trombone Day at Wells Cathedral School!

JAMES’ GROUP. PHOTO CREDIT: ROSS BROWN. BYRON’S GROUP. PHOTO CREDIT: ROSS BROWN.

TOM WORKS WITH THE YOUNGER TROMBONISTS.

PHOTO CREDIT: ROSS BROWN.

THE MASTERCLASS

The afternoon Masterclass was given in tandem by Byron and James.

George was up first playing Guilmant’s Morceau Symphonique. Byron chose to focus on musicality rather than technique, suggesting George think more about the direction of the opening phrases, shaping to and away from the climax of each, and exploring the use of alternative positions to help create smoother legato. James asked George what he was thinking about while playing and whether his phrasing was telling a story, encouraging him to ‘take his best breath’, echoing an idea from the morning warmup session. James also recommended singing with the piano, ‘Sing like you’re in the shower!’, to explore natural breathing and phrasing.

Making a general point to the audience, Bryon urged us to think as musically as we can as early as we can in the process of learning new repertoire, rather than focusing on purely technical issues.

Following George, BTS Student of the Year Morgan played the final movement of the Grondahl Concerto. Again, Bryon and James focused on developing expression, encouraging Morgan to be more dramatic, exaggerating contrasts of dynamic and articulation. The movement has three distinct sections: a cadenza, a March-like main theme and a freer contrasting passage, and each should have its own character. The final stringendo is another moment not to hold back, as Byron demonstrated to great effect.

Finally, Thomas played Bernstein’s Elegy for Mippy II.

Famously accompanied by a foot tap it was noted that while Thomas was wearing a great pair of trainers, soft shoes really don’t work for this piece. Both Byron and James encouraged Thomas to find the character of the piece by understanding its story; it is not a refined piece of Classical music, so it doesn’t necessarily have to sound beautiful, but it does have to be sold to the audience through the performance. James suggested spending time in the practice room figuring out how the different rhythms in the piece relate to each other and, most importantly count the longer notes and rests accurately; more difficult to do in unaccompanied music but being given permission by the composer to tap your foot helps!

– Alastair Warren

Following the Masterclass there was a chance to hear our guests play. Byron put together a clever arrangement, alternating movements of Kurt Sturzenegger’s unaccompanied B.A.C.H Fantaisie, with movements from J.S. Bach’s Cello Suites.

James played a Richard Strauss song for low bass voice, Das Thal (The Valley), reading us the translation first before demonstrating our instrument’s great capacity for emulating the human voice.

After a break we reset for a massed trombone group rehearsal of Toto’s Africa. Andrew Groom’s arrangement was in 16 parts plus drums, with modified parts for beginner to Grade 5 levels. It gave everyone a chance to shine with this iconic tune, not least those on the

BYRON AND GEORGE. PHOTO CREDIT WELLS CATHEDRAL SCHOOL.

alto and bass/contrabass parts! This piece was to be the opening item in the evening’s concert.

The day ended with an informal concert presentation of the morning groups’ work. People with many miles to travel departed to get a head start on the approaching Storm Isha, while those that remained were entertained in the bar by brass chamber groups from Wells Cathedral School before a memorable evening concert by the RCM Trombone Choir.

RCM TROMBONE CHOIR

After a long day of trombone playing and classes at Wells Cathedral School, a wonderful concert from the Royal College of Music Trombone Choir was an ideal way to top it off. The concert started with a massed group performance by everyone who had taken part in the event earlier in the day; Toto’s Africa, arranged by Andrew Groom, played by nearly seventy trombonists, including British Trombone Society members, Wells Cathedral School students, RCM students and a drummer. A highlight of this arrangement were the multiple contrabass trombones holding down a series of ridiculous pedal notes. What a way to start the concert!

The award-winning RCM Trombone Choir, directed by Byron Fulcher, put on a wonderful programme, including a world première by Ryan Hume, The Whisky Priest Suite. The repertoire showcased particularly virtuosic performances from a number of RCM students, including two Wells Cathedral School ‘Old Wellies’, Jamie Tweed and Meggie Murphy. Peter Smith’s

arrangements from the 1969 Bones Galore album featured several spectacular solos on valve trombone from James Parkinson, and both suites used a rhythm section of RCM students to great effect. They provided a marked contrast to Eric Carlson’s arrangement of Wagner’s Siegfried’s Funeral March which featured some excellent alto trombone solos from Jamie Tweed.

The concert showcased some excellent soloists and outstanding ensemble playing. It was the perfect way to end the day’s event.

– Jonathan Stevens

As always with these events, it was lovely to see trombonists bumping into old friends, as well as making new ones. Many thanks to Byron and James for their tireless enthusiasm on the day, to Conn-Selmer and Prozone Music for supporting the event, and to Amos Miller, Head of Brass at RCM for making it possible for the RCM Trombone Choir to join us. It was fantastic having their students helping out throughout the day, and seeing how generously they supported the younger and amateur players. It was particularly nice to welcome back Jamie Tweed and Meggie Murphy who are currently master's degree students at RCM. And finally, huge thanks to Ross Brown, Head of Brass at Wells Cathedral School and his team, who organised the event and made us feel so welcome. We are already planning next year’s event, so fingers crossed for the weather, and watch this space …! ◆

RCM TROMBONE CHOIR. PHOTO CREDIT: ROSS BROWN.

Elgar’s Trombone

BY SUE ADDISON

During summer 2023 the Gabrieli Consort & Players, Gabrieli Roar and the Polish National Youth Choir undertook a project to perform and record Elgar’s The Dream of Gerontius on period instruments. Gabrieli Consort Principal Trombone, Sue Addison, tells us about the early history of Elgar’s masterpiece, his relationship with the trombone and the opportunity to record with his very own instrument for a second time.

FIRST PERFORMANCE

The rehearsals and first performance of Gerontius are detailed by Elgar’s biographer, W H Reed; violinist, teacher, composer and conductor, and Leader of the London Symphony Orchestra from 1912–1935.

‘An unforeseen disaster marked the festival rehearsal period. Dr Swinnerton Heap who was training the choir, fell ill with pneumonia and died suddenly during the month of May. A new chorus master had to be found immediately and someone was appointed to carry on the work of Dr Heap. It is not to be wondered at the chorus who found the task of learning the vocal parts in Gerontius quite difficult enough in any case, were not helped in any way by this change of conductor at their rehearsals.

At the first Orchestral rehearsal in the week preceding the festival they showed a very slight knowledge or understanding of the work. It went so badly that Elgar, who was sitting in the hall listening to his work being rehearsed in its entirety with Chorus and Orchestra for the first time, became so upset by it he went forward to address the choir. He told them, very plainly what he thought of their treatment of his work and then hurriedly left the hall.’

The performance on 3 October 1900 as part of the Birmingham Triennial Festival fared little better.

‘According to accounts the choir lost their pitch continually and a feeling of uncertainty was evident from the very beginning. Even the soloists, Edward Lloyd as Gerontius and Plunket Greene as the P[riest], were apparently ill at ease. And it was not until Part II that Marie Brema, who sang her part of the Angel with complete mastery and understanding, did something to save the situation.’

In Memories of a Variation, Mrs Richard Powell née Dora Penny (Dorabella of the Enigma Variations) writes:

‘My diary says, “Too wonderful & clever to describe here but the performance not good.” I remember well, wondering what to put. They lacked so much of what one knew was there. The chorus had not had enough time to learn their music: the Elgar idiom was like a foreign tongue that cannot be mastered in a few weeks. To crown all: a soloist began one of his “pieces” a semitone flat — Or was it sharp? — and stuck to it (Bless his heart).

He was so upset about it afterwards. It was all rather dreadful, and I felt afterwards that I wanted to get home quickly and meet nobody. The poor Elgars had escaped back to their Hotel and saw no one — how my heart ached for him and what he must have felt that day.’

PERFORMERS FOR THE PREMIÈRE OF GERONTIUS

From this inauspicious first performance, Gerontius has become one of Elgar’s most popular and oft-performed works.

INSTRUMENTS USED FOR THE GABRIELI CONSORT RECORDIN G

Elgar’s trombone, kindly loaned to me by the Royal College of Music (RCM) Museum Collection, was originally built in high pitch B flat, A452Hz, and later converted to A440hz. It is made of brass with rather thick silver plating. There are ornamented garnishes on the middle stays, mouthpiece socket and slide bow. The bell is marked Class A Boosey & Co. Makers 195 Regents Street London 43019, with an added inscription ‘This instrument on which Sir Edward Elgar played as a boy has been kindly presented by him to the Y.M.C.A music section.’

Dated in RCM documents to c.1875, I was able to do some further research using the instrument’s unique identification number. The Boosey & Co. (later Boosey & Hawkes) factory is long closed, but surviving company documents are housed at the Horniman Museum, where the following information was found:

Date received: 21st Oct 1892 (the date the Marble Arch Factory received the order from Regent Street office). Description: B Flat Trombone small model: A55 Workman’s name; Bloomfield. Given to polish 22nd Oct 1892. Charge to Regent Street 31st Oct 1892.

I also used an original 19th century mouthpiece for this project.

Tom Lees played a matching B Flat Tenor Boosey & Co silver plated instrument c1920. This instrument too would have been built in high pitch but like many of the trombones of that period now has additional tubes to bring the pitch down to the modern standard.

Adrian France played a G bass trombone made by Besson & Co London, also silver plated, dated c1904.

This instrument has a handle like the F trombone due to the longer length of the slide.

Andrew Kershaw played a Besson Barlow model F Tuba in unlacquered brass, made for Harry Barlow during 1904–5, just after his appointment as the first tuba player in the newly formed LSO in 1904. This five valved, non-compensating instrument was Barlow’s preferred system. We know that Barlow played for Elgar on many occasions and that he was part of the third performance of Gerontius and other performances. Therefore, Harry would have sat in the same section as Elgar’s trombone teacher, Arthur Lettington.

The remainder of the brass section included three F trumpets which are much longer than the modern B Flat and four piston horns. Like the trombones these instruments are of a smaller bore size than their modern equivalents.

I find when playing on smaller bored instruments, including the sackbut and classical instruments, that the bore size helps in the playing of the lower dynamics and in my opinion, gives a quality of sound that has more clarity. In the loud dynamics I find it easier to achieve the brightness and crispness of articulation required in a movement such as the Chorus of the Demons.

I have played Gerontius on numerous occasions on the modern trombone (Conn 88H), and all these colours are very much achievable but I have to work much harder and there is often a real danger that the brass can be too loud for the string and wind sections.

I started my career in the Birmingham Symphony Orchestra where Gerontius was the standard repertoire in many of the Three Choir Festival programmes. I now look at the piece in a different light having spent many years playing music from the preceding 400 years on period instruments. Elgar was a genius in his orchestral writing, using the attributes of the instruments available

19TH CENTURY AND MODERN MOUTHPIECES.

L–R SUE ADDISON, TOM LEES, ADRIAN FRANCE, ANDREW KERSHAW.

to him to produced unique colours required for this great story. Even the great Richard Strauss praised his scoring in this piece.

During the recording there was one moment that really convinced me that this piece really benefits from being played on period instruments. When I heard the four piston horns playing pianissimo, for me it had the ‘wow factor’. The sound was beautiful, and it was so soft with such clarity.

Yes, sometimes playing a period instrument is very challenging: a 150-year-old slide might not flow as easily as the modern equivalent, the lower register is much more difficult to produce a dark warm sound in the louder dynamics, and sometimes bits ‘drop off’. Thank God for the invention of blue tack when my water key fell off just before I was about to play a Prom! Worth it? Yes. Orchestral colours are far greater on period instruments, especially in the wind and brass.

ELGAR’S SCORIN G FOR TROMBONES

‘It looks strange to see the first & second trombone parts in Alto Clef, although he says tenor on the first page of the score. In the Enigma Variations & The Dream of Gerontius he was still writing the first & second trombone parts in alto clef, though he omits the word tenor, well aware at that time the players will perform these two parts on the tenor trombones, whatever [sic] clef he uses.’

‘Later he discovered that the players never used the alto trombone…so to save himself trouble he wrote for all of them in bass clef & left them to decide to play on the tenor trombone if they desired.’ W.H Reed.

For these reasons, I chose the tenor rather than the alto for the first trombone part. It is very playable on the alto, but I also prefer the sonority and blend of colour provided by the tenor.

ELGAR THE TROMBONIST

While it is well documented that as a boy Elgar played violin, piano, organ and bassoon there is no evidence that he played the trombone in early life. The first record of Elgar playing the trombone can be found in a letter to his publisher, Jaeger, dated 7 December 1900, where he writes, ‘P.s. I’m learning the trombone.’

This suggests that Elgar probably didn’t take up the instrument until the age of 43 and means there is an eight-year period between when Elgar’s particular instrument was polished and completed and it coming into his possession. Who knows if it had been collecting dust on a shop shelf or whether it had a loving owner before it came into the ownership of Sir Edward? It is very unlikely that the sales receipt will ever turn up.

Here is another clue that he did have a go at the trombone!

‘It was about the time he was writing Falstaff, just after the second symphony & the Violin Concerto that Elgar took trombone lessons with Mr Lettington, Bass trombone with the London Symphony Orchestra at that time, and it maybe that Mr Lettington introduced him to the use of the tenor clef for the first time.’ W.H Reed.

Given that Falstaff was composed in 1912, Elgar would have been 55 while receiving his lessons, perhaps testament to an enduring fascination with the trombone on his part.

This quote also confirms that the inscription on the bell of his trombone ‘played as a boy’ is incorrect. Someone obviously made an assumption.

There is a recording demonstrating Elgar’s talent for keyboard playing but sadly no such recording exists of him playing the trombone. There is however a wonderfully humorous description of his playing written by one of his closest friends, Dorabella.

‘On one occasion he got up and fetched a trombone that was standing in a corner and began trying to play

ELGAR TO JAEGER, 7 DECEMBER 1900

ELGAR PLAYING THE TROMBONE. SKETCH MAGAZINE, 1903.

passages in the score. He didn’t do it very well and often played a note higher or lower than the one he wanted, in fact anywhere but in the “middle of the note” and he swore every time that happened. I got into such a state of hysterics that I didn’t know what to do, then he turned to me: how can you expect me to play this dodgasted thing if you laugh?’

I went out of the room quickly as I could and sat on the stairs, clinging to the banisters till the pain eased, but it was no good. I couldn’t stop there as he went on making comic noises, so I went downstairs out of ear shot for a bit.’

To be fair to Elgar and his efforts on his instrument I found that it isn’t one of the best examples of the Boosey models. The harmonic series is a little erratic compared to many of the instruments I own. This may be down to the instrument being altered at a later stage to bring it down to modern pitch. My examples of instruments that are still in high pitch blow and sing much better.

This was not the first time I have used Elgar’s instrument. In 2010 I decided to explore and research its history and with the support of the RCM and Royal Birmingham Conservatoire I was able to make a CD. The recording is a programme of English Miniatures by Elgar, Vaughan Williams, Bridge, Gurney and Sullivan arranged for trombone, piano and other instruments by myself. The other players involved were Sally Goodworth (piano), Frances Kelly (harp), Chi-chi Nwanoku (double bass), Crispian Steele Perkins (F trumpet), Judith Trigger (piccolo) and Emily White (trombone).

Sadly, Elgar did not write any solo pieces for the trombone: a real shame! He did write a duet for trombone and double bass which is featured on the recording and there is a letter from Lady Elgar to Jaeger dated 8 February 1901 which provided justification for adapting the near-sacred Nimrod. In it she writes ‘Der Tondichter & I have just been playing Nimrod as a

duet Trombone & piano! ’ If it was good enough for the Elgars

The CD is still available to order via my email: sueaddisontrombone@gmail.com, priced at £10.00 including UK postage. All proceeds go to Jessie’s Fund, a charity that provides Music therapy for ill or disabled children, and those with special educational needs.

ENDNOTE

Having read Dorabella’s beautiful account of the special time she spent with the Elgar family; I thought it was worth quoting part of the conclusion to her book.

‘Many people seem to think a great creative artist must be more or less eccentric and a law unto himself. To them probably the most remarkable thing about Elgar, apart from his musical ability, is that he was sane and normal. He liked and enjoyed ordinary things — fun and nonsense, games and sports, birds and beasts — and was temperate and controlled. He loved his wife and he loved his home. I have always thought that his sanity is reflected in his music which, however original, is never freakish and never morbid.’

Elgar described his inspiration in these terms.

‘My idea is that there is music in the air, music all around us, the world is full of it and you simply take as much as you require.’

The Gabrieli Consort’s recording of The Dream of Gerontius is available to pre-order here. ◆

SUE ADDISON PLAYS ELGAR’S TROMBONE.

LADY ELGAR’S LETTER TO JAEGAR. REPRODUCED BY KIND PERMISSION OF THE ELGAR FAMILY ESTATE.

ANOTHER TESTAMENT TO THE QUALITY OF ELGAR’S TROMBONE

BY ALASTAIR WARREN

On 23 February the Guildhall School of Music Symphonic Brass Ensemble gave a performance of four of Eric Crees’s masterful arrangements of ballet scores for large brass ensemble, conducted by the arranger.

Nielsen is perhaps best known amongst trombonists for his Flute Concerto, with its unique use of the bass trombone as a duet voice to the solo instrument, but his music is well worth exploring further; Aladdin is typically tuneful, playful and full of colour.

Bliss’s Checkmate dates from 1937. Premièred just a year after he composed Kenilworth as the test piece for the National Brass Band Championships, this is music perfectly suited to brass and for me was the highlight of the programme.

Copland Billy the Kid received its première just one year after Checkmate but is stylistically its opposite in many ways, full of the folk-like melodies and distinctive

REVIEWGSMD Symphonic Brass Ensemble

harmony that for many defines 20th century ‘American’ classical music.

Bernstein’s Fancy Free depicts the exploits of three sailors on leave in New York during World War II. Infused throughout with jazz and blues, the ensemble obviously enjoyed this finale to the concert. Special mention must go to Ben Pritchard on trombone for his stylish rendition of the opening blues number, Big Stuff.

Across a very demanding programme the standard of playing from the GSMD students was incredibly high, with standout moments from Florence Wilson-Toy (flugel), Luke Lane (piccolo trumpet), Sam Balchin (Eb trumpet) and Jamie Reid (euphonium). As a unit, the low brass were impressively well balanced. With students of this calibre coming through the UK’s conservatoires, the future of brass playing is in excellent hands.

Click here to read detailed programme notes of the concert. ◆

Alan Tomlinson In His Own Words

EDITED BY ALASTAIR WARREN

I must have always had a feeling or stirrings of a passion for music. At dinner time, I’d rush home from Domett Street Junior School in Blackley, Manchester to wind up my record player and listen to my pop records.

After being kicked out of The High School of Art, Strangeways in Manchester, the Headmaster said ‘Mr Tomlinson, your son will never make anything of himself.’ He was right, at fifteen and a half I’d become a Manchester United football hooligan.

I entered the printing trade at the Dickensian and only non-union printworks in Manchester. Getting fed up with my lifestyle, to my eternal gratitude, my oldest friend and fellow apprentice, Mike Newell introduced me to the jazz, folk and blues clubs of Manchester where we’d spend many hilarious weekends with our fellow apprentice, John Cooper Clarke … We said he’d go far!

My first gig was with John Cooper Clarke, also his first gig,

at a “happening” in Bolton in 1966.

Alan Tomlinson, acclaimed trombonist and improviser, died on 13 February 2024, aged 76. Shortly before his passing Alan wrote a brief reflection on his life and career.

IMPROVISED DUET FOR TROMBONE AND RIVER – ALAN TOMLINSON AND THE RIVER SEVEN. 21 MARCH 2010, DALE HEAD FARM, ROSEDALE, NORTH YORKSHIRE. CONCEIVED AND PRODUCED BY SIMON THACKRAY/ THE SHED . PHOTO CREDIT © TONY BARTHOLOMEW

I heard Leonard Bernstein on TV using Mozart’s 40th or 41st Symphony to explain sonata form but it was the beauty of the symphony which really moved me. At this time, I was taking trombone lessons with the eventual aim of getting into college, and in 1968 I finally got to study trombone at the City of Leeds College of Music. My parents were always very supportive and relieved at my personal change during this time. My mother was an ex-mill girl and my father was an ex-professional boxer, Arthur “Boy” Tomlinson – a very popular boxer in 1930s Manchester. After serving in the Royal Engineers during WW2, he became a fireman.

I returned to Manchester in 1972 and performed theatre, dance hall and free jazz gigs with local players, including saxophonist Mike Farmer. I moved to London in 1973, but was not yet improvising, as I did not like the noisy saxophone-dominated free jazz scene prevalent in London in the early 1970s. I concentrated on professional orchestral, opera and dance hall work. During the mid-1970s I began to work with Ballet Rambert and the Cockpit Theatre music ensemble and in 1979 I began to perform occasional solo gigs at the London Musicians Collective.

In 1980 I was invited to perform solo at a prestigious Institute of Contemporary Arts event, recordings of which ended up on my acclaimed solo LP on Bead Records Still Outside, along with live recordings made under a railway bridge by Regent’s Canal.

In the early 1980s I began touring with Tony Oxley’s Angular Apron and also joined, and became a

long-standing member of, Barry Guy’s London Jazz Composers Orchestra. Tours of Europe and North America followed, as well as many recordings. I performed and recorded on Peter Brötzmann’s Alarm, as well as working with life-long friends, the percussionist Willi Kellers, bassist Cristoph Winkel and trombonist Hannes Bauer.

In the UK, I joined the eclectic band Kahondo Style with tours of England, Russia and the Baltic states, as well as recording the LP Green Tea & Crocodiles. Also, I performed in Holland with Han Bennink, Tony Oxley, Wolter Wierbos, and an English tour with Alex Maguire’s Cat O’Nine Tails.

In 1990, I formed my first trio with Dave Tucker on guitar and Roger Turner on percussion, embarking on tours of England, Germany and Scandinavia. Due to personal differences, Phillip Marks replaced Roger Turner in 2000 and this trio made two CDs on FMR records, Out and Out and Inside Out, as well as live at the Klinker. An ongoing duo/trio with Steve Beresford and Roger Turner resulted in the CD Trap Street, all short improvisations of distinctly different pieces.

The mid-1990s saw concerts in Russia and Romania with the poet Virgil Mihaiu and I joined the longstanding contemporary classical ensemble Sounds Positive, under the direction of David & Avril SuttonAnderson, and London New Wind, under the direction of the wonderful Catherine Pluygers, performing five or six concerts of mostly new music compositions every Autumn. There were tours and festivals with the Louis Moholo-Moholo Unit during the 1990s –2000s and performances at Colourscape with flautist Simon Desorgher and Lawrence Casserley, as well as the Electro-Acoustic Cabaret, which drew as many complaints as accolades.

In recent years, I performed in many ad-hoc improvised groups, as well as the Alan Tomlinson Trio. I was as a long-standing member of the London Improvisers Orchestra, the John Bennett Big Band, Willie Garnett’s Big Band, and played with The Lambeth Orchestra.

By my side through all these years has been my dear wife, Elizabeth, a former ballet dancer who brought to me the beauty of classical and romantic ballet, especially in the theatre – the passion and the drama has never failed to move me to tears.

STILL OUTSIDE COVER.

Alan Tomlinson

The Fish and Chip Van Tour was the by-product of needing to attract an audience to an exhibition of photographs of improvising musicians (by Jo Fell, widow of bassist and composer Simon H. Fell). I needed some way of encouraging people to venture out to an exhibition opening in winter, to a small village in North Yorkshire with no pub.

I knew Alan was the subject of one of Jo’s photos and the penny dropped! If I held the opening on a Tuesday it could coincide with the arrival of the fish and chip van. People could buy fish and chips, Alan could perform to the queue, and then people could look at photos whilst eating their chips. All pretty obvious really. We ran a bar.

Things went well – almost too well – as a queue of fifty people (where there were normally only five) stretched away into the darkness waiting for a portion of cod and chips. It was a wonderfully bizarre happening. Alan’s job started in the first village on the chip van run, Slingsby, and ended seven villages later in Amotherby. He also gave a short performance in the venue as people tucked in.

The media got excited by the event and two local TV crews arrived that morning to preview the gig, which led to a request from the Richard and Judy Show for us to do it all over again. They sent a crew from London to film the event the following week. When the story aired, the presenter Richard Madeley exclaimed, ‘I’d rather have my shins kicked!’ – which Alan loved and used the quote in all his future publicity!

Simon Thackray / The Shed

The first time I ever encountered Alan Tomlinson, I had gone to see the John Bennett Band at the Vortex in Stoke Newington. I had heard of him described as the UKs Albert Manglesdorff and was amazed at what I heard that night. A few years later, I started playing with John’s band and had the privilege of standing beside Alan for about 20 years – the best seat at every gig. He was such a quiet, unassuming guy to talk to, but when he soloed, his ideas were like a manic beast raging to break free from the cage of his physical form. Alan’s solos were a high point of every gig, both for the band and the audience.

Alan knew more about the way a trombone works than anyone I’ve ever talked to. On a classical gig, he once forgot his straight mute. ‘Not to worry’, he said – then calmly pulled out his valve slide on one side, tuned it to just the right place, and sounded exactly like he had a straight mute in.

Alan should have been famous, but he wouldn’t have cared.

I miss him deeply.

Jeff Miller

Read more about Improvised duet for trombone and river – Alan Tomlinson and the River Seven here, and an interview with Alan by Mike Barnes for The Wire here

The Trombonist would like to thank Simon Thackray and Liam Stefani for their assistance in producing this article. Liam has been curating a series of digital releases of Alan’s archive recordings, available here. ◆

THE FISH AND CHIP VAN TOUR 11 NOVEMBER 2003.

PHOTO CREDIT © TONY BARTHOLOMEW.

Alan Tomlinson

BY JON STOKES

Rockschool Trombone

New material is essential for both teachers and pupils. Sometimes taking a new or different approach can help a student better engage with a concept that they’ve previously struggled with. Delving into the new Rockschool Trombone syllabus has been a welcome distraction for many of my pupils and lots of fun in the process, for me included.

At each grade the choice of tunes is well thought out and wonderfully varied. I’ve really enjoyed going over classics such as Tequila, Cissy Strut and Sir Duke whilst also getting more up to date with songs from Billie Eilish, BTS, Taylor Swift and Alicia Keys. Alongside these are some absolute gems from Tower of Power, Snarky Puppy and Trombone Shorty, as well as icons like Carol King, Wilson Pickett and Marvin Gaye. Working on these tunes has been a great opportunity for my pupils to explore a different way of approaching the trombone whilst discovering a new world of music. Hopefully some of them may even be encouraged to go and check out more from similar artists. The background information provided is extremely valuable for the more inquisitive pupils, helping them to further explore artists and genres.

Having the challenge of improvisation is also an important addition. These sections start small at the lower grades and are relatively easy to navigate, especially accompanied by the well-produced backing tracks. There are also a few jazz standards thrown in such as Take the ‘A’ Train, Fly Me to The Moon and Sing, Sing, Sing to help get involved in the jazz tradition.

I’ve not yet entered a pupil for a Rockschool exam, but the concept makes a lot of sense; it’s great to have all the repertoire, technical exercises and supporting tests for each grade in one book. Much like other

exams, the candidate chooses either sight reading or improvisation at Grades 1–5 and for Grades 6–8 the candidate is expected to sight read a piece which contains improvisation. At early grades the tests are played to a click track and at higher grades to a backing track, a feature unique to Rockschool. The scales mirror how I like to teach, with natural minors and pentatonics included right from Grade 1. The ear tests and compulsory general musicianship questions are also a great addition, with no singing required. Instead, candidates complete a melodic recall test on their instrument, building from a rhythm on one note at Grade 1 to two bar melodies at Grade 8.

I shall be continuing to use these books and backing tracks with all my pupils. They are a superb way of expanding musical tastes as well as working on improvising and exploring different styles. ◆

Moonshot

BY STEVE THOMPSON

In the long old musical journey that I have had over the last 40 plus years, the resonant tones of the trombone have been my steadfast companion since the age of 11. It was the first instrument I ever played, and I loved it from the start. I took a familiar route through school band, local brass band, on to youth orchestra and eventually to music college, but I had no idea of what incredible adventures were in store, when I said to my Dad, ‘Yeah, OK, I’ll give it a go’, all those years ago, From playing at the Brit Awards, to the Olympic Opening and Closing ceremonies, working with Nigel Kennedy, Ant & Dec and playing on the last ever Two Ronnies show, I never thought that my journey might take me to the Moon!

Around a decade ago, my musical journey intersected with comedy, in shows curated and hosted by Robin Ince, a lovely man and a great supporter of new and emerging talent. These performances included talks from scientists, comedy, dance and of course,

music, and working in the house band, I got to share the stage with luminaries such as Professor Brian Cox, astronaut Tim Peake, Sophie Ellis-Bextor, Charlottle Church, Robert Smith of The Cure, Phil Jupitus, Eric Idle and so many more. But what fascinated me the most was the green room. The scientists were all such interesting people with incredible stories to tell and a view of the world that I had never really appreciated.

I was already a bit of science nerd, but this just added fuel to those flames and rekindled my love. I was really keen to write music about my passion and was excited to explore the interaction of science and music. With a background in electronic music (being one of Britain’s very few laser harpists) alongside the trombone, I felt well placed to give a reasonably authoritative go at writing something.

The 1201_Alarm project was born. Named after an incident aboard the Apollo 11 spacecraft, my own mission was to write music inspired by the science and

L-R TITCH WALKER, TAMAR OSBORN, STEVE THOMPSON, EMMA BASSET-PEAL, BEN HANDYSIDE.

scientists that I had discovered and put it all together on one album. The project sprawled into interviews with leading scientists and took four years to complete.

Hello_World, the first album, was released in 2019 just before the pandemic hit. It was a multi-genre album, a mixture of acoustic instruments and electronics and included some of London’s finest musicians including Alastair ‘Titch’ Walker on trumpet, Tamar Osborn on sax and flute, Ollie Weston on bass and Ben Handyside on drums with, of course, Emma Basset-Peal on trombone.

After playing our first gig at a science festival in Singapore, the album launch went really well in the space-age venue of the Icetank in London. The album received great reviews and airplay on BBC Radio 2, made the Jazz FM playlist for a month, and got to number five in the iTunes jazz chart.

It was a huge thrill. But there was more to come

The science community had really got on board with the project. On one track, I had guest scientist musicians in the shape of Professor Jim Al-Khalili (guitar), Dr Helen Czerski (Theremin), Libby Jackson – Head of UK space exploration (oboe), Professor Marcus du Sautoy (trumpet) and Dr Anna Ploszajski (also trumpet).

Along the way, someone reached out to me on social media and asked if I would like the album to go into the payload of a new spaceship, destined for the Moon.

Would I ?! Of course I would! I was thrilled and honoured, and the Hello_World album was duly loaded onto a very sturdy SD card that could withstand the extreme conditions of the lunar surface and placed in the cargo hold of the Peregrine Lander.

Then came an agonising wait. Nearly two years passed before the ship was ready to launch. The Guinness World of records were on standby, and had confirmed that if the mission was successful, Hello_World by 1201_Alarm would be a fitting first album on the moon.

Finally launch day came. Early on 8 January 2024, I sat with my phone on my lap and watched the perfect launch, broadcast live from Cape Canaveral. It was majestic, a beautiful sight, and cheers went up from mission control as the Vulcan Centaur rocket smashed its way through the atmosphere to reach space.

For a moment, everything was perfect, but then disaster struck.

About seven hours into the mission, the uncrewed craft developed a fuel leak, and despite the ground crew’s best efforts, the lunar landing had to be aborted.

I was of course, gutted, but my thoughts went to the scientists and engineers that had spent so long designing and building this incredible craft. Travelling in space is tough – I mean really hard! Apollo had cost the US government around 2.5% of their GDP back in the 60s and 70s. Today, it is all about doing things as cheaply as possible. The budget for this mission was just $110 million and mission failures were anticipated as part of this experimentation into a more sustainable space programme of the future.

Now, it was all about collecting data; to learn from this mission, so subsequent ones could become more reliable. The craft travelled out toward the Moon and then returned, back to Earth.

ASTROBOTIC’S PEREGRINE LANDER IS ENCAPSULATED BY ULA’S VULCAN ROCKET. PHOTO COURTESY OF ASTROBOTIC.

Crippled beyond any long-term usefulness, it was decided to destroy the craft to prevent it from becoming hazardous ‘space junk’ and around 10 days after the breathtaking launch, the Peregrine Lander broke up as it re-entered the Earth’s atmosphere somewhere above the Pacific Ocean.

Floods of messages came in to both me and the band, but as our ever-optimistic trumpeter Titch Walker said, ‘we still got a great album out of it and had an absolute blast at the same time.’

I don’t regret a thing, and in fact, we made a second album with 1201_Alarm to celebrate the incredible adventure. Moonshot was released just before the launch and reassembled the original line up – this time with another very special guest. Helen Sharman OBE, Britain’s first astronaut, joined us for one track that I had specially composed for her.

Entitled Ozone 3, after her call sign on her mission to the MIR space station back in 1991, she joined us on our floating studio in London to record the solo piano part. The day before, we had recorded the string section in Cape Town, South Africa and it all started to come together with her incredibly sensitive playing.

I’m so proud of the whole album, and was delighted to be featured in the Times, on ITV news and on Times Radio and the BBC.

Looking back, it’s surreal. Who would’ve thought that saying yes to my Dad’s suggestion to try out the trombone 40 years ago would lead to working with incredible people, having a real astronaut play my music,

and sending an album on a 500,000-mile round trip into space, even if it didn’t quite reach the Moon?

And who knows, maybe the Moon isn’t the final frontier for my trombone after all. If this adventure has taught me anything, it’s that the musical universe is vast and the unexpected is always just around the corner.

To find out more about 1201_Alarm, please visit our website

Steve Thompson is a London-based freelance trombonist, composer, arranger, laser harpist, multi-instrumentalist and teacher. His journey spans traditional orchestras, pop, jazz and more. Hello_World is available on limited edition double vinyl with a unique double groove on side 4 and Moonshot is available on CD here. ◆

RECORDING WITH HELEN SHARMAN. PHOTO COURTESY OF STEVE THOMPSON.

CD Review

Light Fantastic

– DR BRETT BAKER

BY ALASTAIR WARREN

In the programme notes to his latest album Light Fantastic, Dr Baker writes, ‘…this will be my last large recording project, where I record pieces that are significant to me and the instrument. This album includes contributions from the length and breadth of the United Kingdom…[from] English, Welsh, Scottish and Northern Irish composers.’

Dr Baker premièred Philip Wilby’s Light Fantastic in 2021, and it is clear from this recording that he knows the work intimately. Composed in memory of Canon Dr Colin Harrison CBE, Capitular Canon of Ripon Cathedral, Wilby explains, ‘In planning the score, Janina [Harrison] and I enjoyed memories of Colin’s time at the Cathedral. There were reflective moments of course, but also some light-hearted and happy times. In consequence of this mixture, I have chosen to write a piece that reuses the pattern of the dance suites of the late Baroque era; the stately opening and complex inner movement of a French overture, followed by a string of dances. These include Kemp’s Jig, a solo adage, a duo jive, and a comedia dell’arte trio.’

Servant of Peace by Dorothy Gates is based on writings by the former UN Secretary-General Dag Hammarskjöld. Following the outline of one of Hammarskjöld’s poems, the work is in three movements: The Road, The Cup and The Truth. Each movement begins with a chord progression spelling out his first name: D-A-G. Gates observes, ‘I use Dag’s name as a “calling” to his life of service to humanity. In addition, you will find his name melodically and harmonically throughout the piece — and in every form imaginable.’ A work new to me, I found Dr Baker’s lyrical playing in the second movement particularly affecting.

Light relief comes in the form of two Latin American numbers, Rob Wiffen’s La Chica Sin Nombre, commissioned by Dr Baker in 2020, and Fiesta! by Peter Graham. Both pieces are played with great style, Dr Baker’s tone and articulation perfectly matched to this genre.

Diversions on Calon Lan by Tom Davoren attempts to redefine the most famous, if sometimes dated, form of the band movement, the Air and Variations. Rather than embellishing the chosen theme, Welsh hymn Calon Lan, it instead develops tonal and rhythmic elements of the original and generates new music, or ‘diversions’, from these excerpts, resulting in a lyrical and technical tour de force for the soloist.

Rounding off a hugely ambitious album is the Bourgeois Concerto, commissioned by the BTS some 35 years ago. Dr Baker has wanted to record this work since he was a teenager, living only three miles from the composer in the Forest of Dean. It forms a fitting finale from a great servant to the British trombone community, superbly accompanied by the Flowers Band, directed by Paul Holland, who are on top form throughout the album.

Light Fantastic is available for purchase from Dr Baker’s website, where you can also find details of his many other recordings and a legacy of nearly 100 works commissioned for our instrument. ◆

In Memoriam

— WILLIAM GELDARD BEM

BY KIM GELDARD

William (Bill) Geldard died peacefully at his home in Thames Ditton on 20 December 2023 at the age of 94. He was one of the UK’s foremost trombonists and musical arrangers.

Born in County Durham, Bill started his musical life as a string player, playing both violin and viola, but took up the trombone at the age of 11 and developed an instant love of the instrument. Bill began learning his trade in local brass bands, becoming Durham County Junior Trombone Champion soloist three times.

His first professional engagement was at the age of 15, when he played in the pit at the Eden Theatre in Bishop Auckland, and in 1945 he played on Children’s Hour for the BBC. He was asked to join the local Charles Amer Band and this involved a spell at Butlin’s holiday camps which was where Bill first became a big band player.

In 1947 Bill was called up for National Service and spent most of the two years playing with the RAF Central Band. After demobilization, he was invited to join the George Evans Orchestra as 1st Trombone and played as a featured soloist. It was whilst with George Evans that Bill met the renowned trumpeter Gracie Cole and they were married in 1951, with their marriage being featured in the Melody Maker newspaper. It was a marriage that lasted until Gracie died in 2006; they had two daughters, Kim and Lois, both professional musicians.

Shortly after their marriage Bill and Gracie were invited to join the RAF Squadronaires, which they did for a while. Bill then had an offer to join the Ted Heath Band where he played for 6 months before joining Oscar Rabin.

In 1951 he changed bands again, this time joining the John Dankworth Orchestra and a close friendship

developed, both personal and professional, which lasted until John died. It was while with Dankworth that Bill started to pick up studio work in London. He had a further spell with Ted Heath, combining this with his freelance studio work, but in 1962 he contracted TB and was hospitalized for six months. While in hospital he used the time to study arranging, harmony and orchestration in depth. He had a love of learning that stayed with him throughout his long life, something he enjoyed passing on to others. There followed a period of study with the eminent American composer/arranger Bill Russo. Arranging became a huge part of Bill’s life and his arrangements are very highly regarded and in great demand.

When Bill was discharged from hospital, he was asked by the Mantovani Orchestra if he played bass trombone. He didn’t but purchased one very quickly. This proved to be a wise move as he was very successful and went on to be one of the UK’s top bass trombonists, although he never stopped playing the tenor trombone.

Bill spent the 1960s and 70s as a very prolific freelance/session trombonist in the London studios. One of the proudest moments of his career was when Nelson Riddle (Frank Sinatra’s arranger) composed a bass trombone solo for him in 1970 for the Nelson Riddle Arranges and Conducts 101 Strings Album The piece was Nelson’s Blues

Bill’s career highlights included playing with artists such as Frank Sinatra, Bing Crosby, Tony Bennett, Liza Minnelli, Sammy Davis Jr., He recorded with many pop musicians including The Beatles, Tom Jones, Shirley Bassey, Andy Williams, Elton John, and David Bowie.

He was a member of the band CCS with Alexis Korner and was very proud that their rendition of Led Zepplin’s Whole Lotta Love was the Top of the Pops signature tune for many years. He contributed to countless movie soundtracks from the ‘Carry On’ films to the first Bond film, Dr. No, and the Pink Panther films.

Bill was involved with too many TV shows to mention them all, but he was a regular member of the band for Parkinson and Morecambe and Wise, and played on the soundtracks for Thunderbirds, Dr Who, Minder, The Avengers and many more.

Through his love of arranging Bill formed a new band, the Bill Geldard Tentette, in 1972. The idea was to feature the bass trombone and expand his arranging. It was very successful and did many broadcasts for the BBC. It was around this time that the Bill Geldard Big Band was formed. By the mid 70s Bill was also arranging for the BBC Radio 2 Big Band, for whom he was a regular guest conductor. He particularly liked arranging for the full radio orchestra, as it was for strings, double woodwind, brass, horns, tuba, and so on. As an arranger it was this of which he was most proud.

As studio work diminished in the 1980/90s, Bill again played with big bands. He enjoyed playing with John Dankworth again after many years and he played bass trombone for the Ted Heath Band, when it was fronted by Don Lusher. He also returned to his brass band roots and conducted both Oxted and Horsham bands for several years. At around this time he also started coaching a big band class for Sutton College of Liberal Arts. This was so successful that it increased to two bands, both of which then played gigs!

In his later years Bill was band leader and tutor of several amateur big bands, including the Ember Big Band, and was involved in many charity concerts.

In 1991 Bill was made a Freeman of the City of London for Services to Music. This was a very proud

moment. In 2019, at the age of 90, he received the lifetime achievement award from the British Trombone Society and was awarded the British Empire Medal for services to music in 2023. He was a humble man and was always rather bemused that he had achieved these great awards!

In 2020 Bill had a stroke which left him with a weakened left side and slowed him down. Sadly, he had to stop conducting his big bands, but he enjoyed playing the trombone and practised every day until he died.

In addition to his musical career, Bill was a beloved father, grandfather, great-grandfather, and great-greatgrandfather. He was a much-loved member of the community, passionate about sharing his vast musical experience with the next generation of musicians.

As the accolades started to arrive after Bill died, one over-riding theme emerged: ‘Bill was a fantastic musician and a gentle, kind and generous human being. A truly special man who will be hugely missed.’ ◆

BILL, SECOND FROM LEFT, AND GRACIE IN THE GEORGE EVANS ORCHESTRA.

BILL AND BARRY FORGIE DUETTING ON BILL’S 90TH BIRTHDAY.

JOHN DANKWORTH AND BILL.

BY SIMON MINSHALL

BTS Competitions 2024

I am delighted to announce that entries for the BTS Competitions 2024 are open.

Applications for the first round close on 15 June, with the selected finalists in the performance categories heading to the British Trombone Festival in October to perform live, where the winner of this year’s Composers’ Competition will also have their work premièred.

The BTS is committed to supporting and encouraging the whole trombone community and so, following the hugely successful addition of the Sackbut Competition in 2022, I am excited to introduce a further two new categories for 2024: Community Trombone Choir and Alto Trombone. Read all about them on the BTS website

Over the years, the BTS has been overjoyed to see winners and finalists from previous competitions

develop successful careers in the music industry, both at home and abroad. However, although everyone wants to win, I would stress that the process of recording oneself and evaluating one’s own performance is vital for growth as a musician. The whole experience of putting yourself forward for these prizes can help you develop whilst giving you a real goal to work towards. Please listen back to what you are going to submit. The judges for the first round do want to hear you at your very best and showing what you can do.

Tom Pilsbury, BTS Competitions Administrator, will be delighted to start receiving entries, please email him with any questions. Full competition details can be found on the BTS website

We can’t wait to showcase this year’s finalists at the British Trombone Festival 2024! ◆

Tone Halo

BY ALASTAIR WARREN

At the end of 2023, trombonists Jonathan Pippen and Beth Calderbank launched the Tone Halo through their company CalderPips Music. The Trombonist caught up with them to find out more.

Alastair Warren: What was your inspiration for creating the Tone Halo?

Jonathan Pippen & Beth Calderbank: Primarily the concept was born from wanting a Conn 88HLT (light bell) to sound and respond more like a standard bell version. While the LT bell is reminiscent of an Elkhart production 88H in terms of dexterity and effervescence of sound, the darkness in tone created by the heavier bell is lost and it is this darkness that seems to keep the 88H sound warm when using power and in the louder volumes, a trait shared with older Elkhart instruments.

We figured it must be the weight, so started to think about how to add some. . . without the major surgery required to swap the bell for a heavier gauge or convert the instrument to take a modular bell from another manufacturer.

Market research followed, buying and trying all kinds of devices for adjusting and manipulating the instrument: counterweights added in the usual place on the tuning slide, heavy valve caps for the rotor, the Lindberg Resistance Balancer, which is wrapped around the bell with metal inserts, heavy mouthpieces and cut/

screw bell instruments were just some, before we started experimenting with strapping pieces of brass to the instrument here and there. The Halo was born out of these latter experiments. Most pleasing, being attached almost at the point of exit, it seemed to retain the best characteristics of the instrument while improving the sound, focus, articulation and core, with the happy side effect of increasing the point at which volume causes the sound to break.

AW: Once you had settled on a design, what was the development process like?

J&B We decided we didn’t want to have anything made in the Far East, (and didn’t want to order 10,000 to start with), so instead sought out British companies in an attempt to find the highest quality brass possible, which hopefully would interact best with the bell of the trombone. We had several prototypes made at different weights and sizes to find the best fit and effect on the sound. We expected to have a selection of sizes available for different instruments but amazingly, we found that for bass and tenor trombones the same size and weight

PHOTO CREDIT: CALDERPIPS MUSIC.

Halo worked best on both. It also fits alto trombone, flugel horn and tenor horn so we were very lucky. There is room for personal adjustment too and with slight manipulation, fitting up or down the bell within 2–3 cm or so is possible. We also had to think about the contact between the bell and Halo. Metal on metal isn’t possible so we experimented with cork, neoprene and other soft foam and rubber materials, but in the end, the best interface both for musical satisfaction and for protection of plating or lacquer was leather.

AW: How does the Halo work?

J&B: The Halo is made of brass, of the same quality used to make instruments and mouthpieces. It works by adjusting the frequency of vibration of the bell, changing the characteristics in a similar way to when a trombone bell is cut and a screw bell fitted. The extra weight is the secret. In simplest terms, it is like switching the bell in a modular system for a thicker gauge but takes 10 seconds and doesn’t cost £1000.

AW: What can players expect when adding a Halo to their instrument?

J&B: For us, the Halo improves projection and the definition of the sound. There seems to be more core and some of the airiness, or wooliness around the sound that can exist is eradicated. It adds darkness and warmth to the sound in all registers and increases the volume you can play at before the sound breaks.

AW: What has the feedback been like?

J&B: We have sold just over 100 Halos since December 2023, and so far we have only had positive feedback and remarks, much of which can be seen on our Facebook page. We both use them and believe in them, so are really pleased others are enjoying them too. The trumpet version is in development now.

The Tone Halo, along with the popular CalderPips Grip, is available from CalderPips Music. ◆

TONE HALO FITTED TO CONN 88HT. PHOTO CREDIT: CALDERPIPS MUSIC.

TONE HALO IN USE ON AN EDWARDS BASS TROMBONE. PHOTO CREDIT: CALDERPIPS MUSIC

BTS Northern Ireland Trombone Day

BY NATHAN MOORE

On Sunday, 3 March the annual Northern Ireland Trombone Day was held in Belfast. This year we found a new venue in the Belfast Temple Salvation Army Hall, just minutes away from where our special guest, Peter Moore, was born and raised. Peter was in Ireland for the weekend, giving the European première of Joe Chindamo’s trombone concerto Ligeia with the National Symphony Orchestra in Dublin on the Friday night, then featuring with the 1st Old Boys Brass Band on the Monday. It was such a good opportunity to have him meet with the brilliant trombone community of Northern Ireland.

We started the event off with some stretching, breathing and warming up. The participants particularly enjoyed the movement despite the groans and cracks heard around the room! Peter focused on the importance of the basics: if you can do the simple things really well, you can have an easy, beautiful sound and the rest will fall into place.

Next, former NI Representative, Stephen Cairns, conducted and rehearsed the trombone choir. We had 20 trombones on stage playing through a variety of pieces starting with Stephen’s own Fanfare based on David’s Concertino, The Teddy Bear’s Picnic and the

PHOTO CREDIT: SARA-JANE CARMICHAEL.

mammoth Massaino Canzon Trigesimaterza. Stephen rehearsed a few more pieces which we would play at the very end for all the spectators.

Peter then led a masterclass featuring some of Northern Ireland’s young trombonists, starting with Michael Hickinson who played Bernstein’s Elegy for Mippy II. Peter focused on posture and stage presence, focusing on interacting with the audience and making oneself feel more confident. Jamie Cadden then played the Sarabande from Bach’s fifth Cello Suite. We discussed the importance of listening not just to great trombonists

but musicians of all instruments, the cello in particular for this piece. Jamie worked on his dynamics and phrase lengths to replicate how a cello might play this beautiful piece of music. Finally, James Hughes played Ride of the Valkyries and Peter showed us some tricks to help us with the high range, including good breathing and confident posture to execute those high F sharps.

Over a cup of tea we had an informal Q&A with Peter who answered questions on practice routines, his musical inspirations and heroes, as well as what he enjoys doing away from the trombone – a vital aspect we often neglect!

T–B PETER WORKS WITH MICHAEL, JAMES AND JAMIE. PHOTO CREDIT: SARA-JANE CARMICHAEL.

DR JONATHAN CORRY (GETZEN IRELAND) AND PETER MOORE. PHOTO CREDIT: SARA-JANE CARMICHAEL.

To finish off the day Peter gave us a recital of violin music, trombone fireworks and a beautiful jazz standard to finish. He played Persichetti Parable XVIII, Kreisler’s Tambourin op 3 and La Précieuse (in the style of Couperin), Jiggs Whigham’s Wooden Snow, Arthur Pryor’s Fantastic Polka and Errol Garner’s Misty. This was the first time many of the young players had heard a trombone recital and we were all blown away with his musicianship and virtuosity.

The trombone choir then performed Mouret’s Rondeau, Here’s That Rainy Day and finally Kevin Morgan’s arrangement of When the Saints. I want to thank Cindy at Belfast Temple Salvation Army for the use of the facilities, Simon Minshall and everyone at the BTS for their support, Stephen Cairns for conducting and rehearsing the choir, Audrey Gillian for her superb piano accompaniment and of course Peter Moore for his performance and insights throughout the day. Finally, I want to thank our participants and spectators for their support and enthusiasm throughout the day. It has already generated excitement for the future and we’re hoping to keep growing and put on even bigger events.

Nathan Moore is the BTS Northern Ireland Representative. ◆

PHOTO CREDIT: SARA-JANE CARMICHAEL.

PETER MOORE ACCOMPANIED BY AUDREY GILLIAN.

PHOTO CREDIT: SARA-JANE CARMICHAEL.

By Alastair Warren

What’s on

PETER MOORE

1.00pm, Friday, 19 April

Wigmore Hall, London

4.30pm, Saturday, 25 May

Furness Academy, Barrow-in-Furness

DENNIS ROLLINS

7.00pm, Sunday, 21 April

Number 28, Belper

7.45pm, Friday, 7 June

Cathedral Hotel, Lichfield

LAURA IMPALLOMENI TRIO

8.00pm, Thursday, 25 April

Karamel, London

ENGLISH CORNETT AND SACKBUT ENSEMBLE

7.30pm, Saturday, 27 April

St John’s Smith Square, London

MATTHEW GEE

Tomasi’s Trombone Concerto with Royal Philharmonic Orchestra

7.30pm, Wednesday, 1 May

Cadogan Hall, London

RORY INGHAM SEXTET

8.00pm, Saturday, 4 May

SpArC Theatre, Bishops Castle

KATY JONES

7.00pm. Saturday, 4 May

The Civic, Holmfirth

SLIDE ACTION

7.30pm, Saturday, 18 May

St Mary’s Church, Wooler

BONES APART

7.30pm, Saturday, 25 May

St Andrew’s Church, Oakham

BRETT BAKER

Tipton Green Methodist Church, Tipton

w/Thundersley Band

Saturday, 25 May

Benfleet, Essex

w/West Midlands Police Brass Band and Sovereign Brass

3.00pm, Sunday, 23 June

ONYX BRASS

6.00pm, Saturday, 25 May

Sje Arts, Oxford

1.00pm, Saturday, 13 July

Victoria Hall, Sheffield

BONE-AFIDE

TROMBONE QUARTET

4.00pm, Wednesday, 5 June

Holy Trinity Church, Wensley

2.00pm, Saturday, 8 June

Town Hall, Reading

11.30am, Friday, 28 June

St Mary’s Church, Beaminster

SHAWN GROCOTT

10.00pm, Friday, 21 June

Wigmore Hall, London

BLAIR SINCLAIR

Rota Trombone Concerto and Takemitsu Fantasma/Cantos II with Sinfonia of Leeds

7.30pm, Saturday, 22 June

St Edmund's Church, Roundhay

MARK NIGHTINGALE AND CALLUM AU

The Sound of J&K

8.00pm, Wednesday, 3 July

PizzaExpress Jazz Club, Soho

DURHAM BRASS FESTIVAL

Friday, 5 to Saturday, 13 July

Various Venues, Durham

TROMBONE SHORTY

Saturday, 6 July

Love Supreme Festival, Lewes

LIVERPOOL

PHILHARMONIC YOUTH

BRASS BAND

Conducted by Simon Cowen, RLPO Principal Trombone

2.30pm, Saturday, 6 July

The Tung Auditorium, Liverpool

MIKE LOVATT’S BRASS PACK

7.30pm, Thursday, 8 August

Symphony Hall, Birmingham

From the Stage to the Pit …

As we draw closer to the summer months, UK orchestras are closing their seasons and looking forward to the world’s largest classical music festival - the BBC Proms. The Proms are yet to announce their line up, however, so keep a look out for the BBC press releases. If last year is anything to go by, lots of the popular offerings could sell out very quickly, though that’s not a problem if you don’t mind promming down in the round or up in the Gods. Before then though, there is a huge variety of programming out there, a small selection of which can be seen below, all of which I’d be a keen punter at! I also realise I’m recommending two Mahler symphonies, but they are in different countries so I’m turning a blind eye on this occasion…

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

PEACE & PASSION — WELSH NATIONAL OPERA

7.30pm, Sunday, 21 April

Donald Gordan Theatre, Cardiff

The WNO orchestra extracts itself from the pit for a performance of Mozart’s Requiem. Timeless is possibly an overused term these days but could not be more apt for this master work of the repertoire. A roster of top soloists including Sophie Bevan is sure to make this a must watch performance. Also on the programme is Fauré’s Cantique de Jean Racine and Schumann’s Symphony No. 4. Tomas Hanus conducts.

SYMPHONIC SESSIONS IN C

— CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

5.00pm, Sunday, 28 April Symphony Hall, Birmingham

A unique offering from the CBSO musicians which I

HIGHLY recommend. Terry Riley’s In C is one of the earliest minimalist pieces, and with endless chances for improvisation, no two performances are the same. You’ll hear it performed by 35 musicians from the CBSO, a piece that builds on ever-changing textures and melodies, open fully to interpretation.

GRAMMY nominated composer Andy Akiho’s infectious Karakurenai and a DJ set from Echo Juliet makes this a Sunday afternoon not to miss.

WEST SIDE STORY — ROYAL SCOTTISH NATIONAL ORCHESTRA/SCOTTISH NATIONAL JAZZ ORCHESTRA

7.30pm, Friday, 3 May

Usher Hall, Edinburgh

7.30pm, Saturday, 4 May

Royal Concert Hall, Glasgow

Bluesy piano, wailing clarinets: no composers defined a city like Duke Ellington and George Gershwin defined Manhattan. Tonight, they come to you in full symphonic sound, as the RSNO joins forces with pianist Makoto Ozone, conductor Bertie Baigent and the Scottish National Jazz Orchestra in a special arrangement of Gershwin’s intoxicating Rhapsody in Blue, before flying to San Francisco in a classic Hitchcock film score and finally prowling the urban jungle of West Side Story. Big cities, big tunes – and you’d better believe it’s going to swing.

GAMES MUSIC FESTIVAL: SOUND OF THE FIREFLIES

— PHILHARMONIA ORCHESTRA

1.00pm, Saturday, 4 May Royal Festival Hall, London

This concert is part of the Philharmonia’s innovative Games Music Festival. It’s time for the classical scene to readily accept the prominence and importance of music for game, particularly for orchestras. The Southbank Centre/Philharmonia say: ‘Traverse the austere musical landscapes of The Last of Us as Gustavo Santaolalla’s soundtrack is brought to life in an unforgettable concert.’

THE BEGINNING OF SUMMER, MAHLER’S THIRD — LONDON SYMPHONY ORCHESTRA

7.00pm, Sunday, 12 May 7.00pm, Thursday, 16 May Barbican, London

The LSO writes: ‘Mahler, reluctant to explain the meaning behind the music, instructed his audiences, ‘Bring along ears and a heart,’ but we know that in his Third Symphony, Mahler set out to compose a work that encompassed the whole of existence.’ This is set to be a special night, with an ultimate combination of conductor, Michel Tilson Thomas, soloist, Alice Coote and orchestra performing one of the greatest symphonies (in my opinion …!).

RESURRECTION — ULSTER ORCHESTRA

7.45pm, Friday, 24 May

Waterfront Hall, Belfast

The Ulster Orchestra bring their formal partnership with conductor Daniele Rustioni to a close with Mahler’s Second Symphony. This work tackles the most fundamental question – existence itself.

One of the largest symphonies ever written in terms of forces, length and harmonic scope, it starts with a contemplation of death and ends with soloists, in this performance soprano Ruby Hughes and mezzo-soprano Kai Rüütel, and chorus joining with the orchestra in a phenomenal hymn of resurrection. It’s an incredible journey, and one that is only truly experienced in a live performance where you can feel the air shake.

BY BECKY SMITH // PRINCIPAL TROMBONE AT THE ENGLISH NATIONAL OPERA

OPERA PICKS

We are looking ahead to the late spring and summer opera season for this edition of From the Stage to the Pit. Most of the larger opera companies tend to wind down and have a break over the summer, leaving the season companies to come to the fore.

Before taking their summer holiday the ROYAL OPERA HOUSE are performing some classics. You can catch Puccini’s masterpiece Tosca, running until 21 July, Mozart’s Cosi fan Tutti, until 10 July and perhaps the lesser known but epic historical drama Andrea Chernier by Giordano with Jonas Kaufmann headlining, which runs until 11 June.

Head down to GLYNDEBOURNE between 11 June and 26 July for Lehar’s Merry Widow, in a 1900’s Parisian setting; gorgeous tunes and laugh out loud moments in this romantic comedy. Alternatively watch a fabulous cast perform Wagner’s Tristan and Isolde, with one of my

favourite singers, mezzo-soprano Karen Cargill singing the part of Brangäne, a role which happens to have one of the best arias in opera ever! Tristan runs from 29 July to 25 August.

If you like Britten, you will love A Midsummer’s Night Dream, so get to GARSINGTON OPERA to watch this show, accompanied by the Philharmonia Orchestra between 16 June and 19 July.

OPERA HOLLAND PARK have a good variety of shows during their summer season, which runs from 28 May to 10 August, and it is an easy venue to access. I would opt for Acis and Galatea by Handel, The Barber of Seville by Rossini and one for the whole family, Prokofiev’s Peter and the Wolf. ◆

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