incrediblyhardtomaketheeventsuchasuccess.Theday fittinglyrememberedpeoplewhomadetheSocietywhatitis today,andlookedtothefuture,too.Wewelcomedstudents fromacrossthecountry’smusiccolleges,allplayingtogether, youngplayerssittinginalongsidetopprofessionals,and enjoyedeveryonecomingtogethertoplayinthemassed CommunityTromboneChoir.That’swhatit’sallaboutfor me!
Wealreadyhavelotsofthingsplannedfornextyear,with moretocome,sowehopetoseeyouatoneofthoseevents. InFebruary,theBTSwillbesupportingtheBonesApartLow BrassWorkshopinTonbridge,sopleasecheckitout. InMarch,therewillbeaBTSeventatRAFNortholt,hosted bytheTrombonesofBandoftheRAFRegiment,andour usualeventatWellsCathedralSchool,whichwillfeature IanBousfieldandJamesBucklealongsideEmilyWhiteand myself.RegionaleventsinDurhamandNorthernIrelandare currentlyintheplanningstage.Lookingfurtherahead,Iam pleasedtoannouncethattheBritishTromboneFestival2026 willtakeplaceattheRoyalBirminghamConservatoireover theweekendof24and25October.Lookoutforitslaunchin theNewYearandbookearlytoavoiddisappointment!
IfyouaretakingadvantageoftheChristmasmusicthatthe BTShasputtogethertoputonyourownChristmasCome& Play,thentheverybestofluck;pleaseletusknowhowyou geton.Toeveryoneinourtrombonecommunity,Iwishyou allapeacefulChristmasandahappyandhealthyNewYear.
TomLees president@britishtrombonesociety.org
tasteofwhatmadethedaysospecial,andIdon’tjustmean JurgenKrauss’strombonebiscuits!Tofurthercelebrateour anniversary,thiseditionofTheTrombonistfeaturesaspecial frontcoverdesign,inspiredbytheearlyeditionsofthe1980’s.
TheBTS@40GalaConcertfeaturedthewinningentryto the2025BTSComposer’sCompetitionandthepresentation ofthe2025AnnualAwards;readontofindoutmoreabout thisyear’srecipients.
Elsewhereinthisedition,abumpernewssectionagain reflectstheactivitiesofourvibrantanddiversetrombone community,includingnotablesuccessesofBritishplayers achievingorchestralpositionsoverseas.Wealsolearnabout thecreationoftheworld’sfirstconcertoforsackbutand orchestra,andJazzbyJeremytakesadeepdiveintooneof RichardEdwards’ssolos.
AheadoftheBTSeventatWellsCathedralSchool,Wells HeadofBrass,RossBrown,speakstoIanBousfieldabouthis newrelationshipwiththeschoolandinYoungBones,we interviewaremarkableyoungBritishtrombonist,featurea toptipfromoneoftheBTS@40guestartists,andsharesome ofourfavouritecontentfromtheinternet.
Finally,wereviewadiverseselectionofnewrecordings,a newbookfromChrisVanHofandCarolJarvis,andan outstandingconcertbythetrombonesofOperaNorth.
OnbehalfofTheTrombonistteam,merryChristmasand happyNewYear!
AlastairWarren editor@britishtrombonesociety.org
THETROMBONISTMAGAZINETEAM EDITOR
AlastairWarren editor@britishtrombonesociety.org
SUB-EDITORS
PeterChester
AlisonKeep
NEWSEDITOR news@britishtrombonesociety.org
EVENTSEDITOR events@britishtrombonesociety.org
REVIEWSEDITOR
JaneSalmon reviews@britishtrombonesociety.org
ADVERTISINGMANAGER advertising@britishtrombonesociety.org
SOCIALMEDIAMANAGER
MartinLeeThompson content@britishtrombonesociety.org
MAGAZINEDESIGN
AlastairWarren
FRONTCOVER
BTS@40Celebration
Photocredit:GeoffWolmark
CONTRIBUTORS
AlastairWarren
BeckySmith
JoshCirtina
TomLees
PeterChester
BeckyPepper
JaneSalmon
TomPilsbury
EricCrees
JohnKenny
DrAnthonyBoorer
DavidHorden
RossBrown
SimonProctor
JeremyPrice
RobEgerton
EmilyWhite
Helena
THE NEWS RCMAppointment JonStokeshasbeenappointedprofessorofjazztromboneat theRoyalCollegeofMusic.AnRCMalumnus,Jonjoinsthe BrassFaculty,bringingvastexperiencefromhisdistinguished andversatilecareer.Hisworkspansperformanceswiththe HeritageOrchestraalongsideartistssuchasRAYEandDua Lipa,collaborationswithJulesBuckleyandJohnWilson,and performancesonmajorfilmsoundtracksincludingWicked andMissionImpossible
movingfromtheBBCScottishSymphonyOrchestra.Hailing fromBury,Lancashire,SimonstudiedatChetham’sSchoolof MusicinManchesterbeforeenteringtheRoyalNorthern CollegeofMusicin1990.Duringhistimeasastudent,he playedwithBesses’Boys,LeylandandWilliamsFairey EngineeringBrassBands.
Simonhasperformedonmanyoccasionsasasoloistfor BBCRadio3andBBCRadioScotland,includinggiving premieresofAnnaMeredith’ sBarchan,Geddes’AlleyCatand FranciscoColl’ sTapias,aswellasashortballadbytheformer LSOhornplayerTerryJohns(‘Drac’)calledOneDay
ITFComestoEurope The2026InternationalTromboneFestivalwilltakeplacein Riga,Latvia,attheLatvianAcademyofMusic,between29 Julyand1August.KeepaneyeontheITFwebsiteforfurther details.
Daws
headsDownunder IsobelDawshasbeenannouncedasthenewPrincipal TromboneoftheSydneySymphonyOrchestra.Shewillmake themovetohernewroleaftercompletinghercommitments asSoloTrombonewiththeLuxembourgPhilharmonic Orchestra,whereshewasappointedin2023.
DayOutforHolst’sTrombone SueAddisonrecentlycompletedaprojectrecordingGilbert& SullivanwiththeAcademyofAncientMusic,playingGustav Holst’strombone,loanedtoherfromtheRoyalCollegeof Musiccollection.HolstplayedtromboneintheCarlRosa Operacompany,andhisfirstOperetta,LandsdowneCastle, waswritteninthestyleofGilbert&Sullivan.
SlideAction SlideActionhavebegunanexcitingcollaborationwith SpitalfieldsMusic,StCatherine’sCollege,Oxford,and composerTobyYoung,astheensemblefortheHenfreySpitalfieldsCompositionPrize.Thewinningpiecefromthe competitionwillbeperformedbytheensembleinOxfordin May,andtheSpitalfieldsMusicFestivalshortlyafter.
WillMorley WillMorley,aBritishtrombonistfromLondonworkingin Germany,hasbeenappointedsecondtromboneatthe KomischeOperBerlin,movingfromtheBergische Symphoniker(Solingen),wherehewasprincipaltrombone. WillstudiedattheGuildhallSchoolofMusicandDrama underEricCreesandPeterGanebetween2016and2020and
wasamemberoftheEuropeanYouthOrchestrafortwoyears. Hestudiedforhismaster'sdegreeattheFolkwangUDKin Essen,Germany,withChrisHoulding,
CurrentlyBandmasteratSaleCorps,Jonathan'smusical journeybeganasatrombonistintheWrexhamCorpsofthe SalvationArmyandtheTerritorialYouthBand.Hehonedhis conductingskillswhilepursuingamusicdegreeatthe UniversityofManchester.Beforecompletinghisstudies,he wasappointedResidentConductoroftheFaireyBand.
AformerprincipaltromboneoftheInternationalStaff Band,JonathanhasalsoheldpositionsasaDivisionalYouth BandLeaderandhasbeenaguestatvariousmusicschools, camps,andcorpscentres.
NewNo.2atBrighouse
Brighouse&RastrickBandhaswelcomedJoeHeartfieldto thesecondtromboneseat.
Joebeganplayingthetromboneattheageofsixunderthe guidanceofStanLippeatt.In2017,heachievedaremarkable doublewin,takinghometheprestigioussoloprizeatboththe NationalandEuropeanYouthBrassBandChampionships whileperformingwiththeEllandSilverYouthBand.Hewas principaltrombonewithboththeNationalChildren’sandthe NationalYouthBrassBandofGreatBritain,aswellasseveral otherbands.Mostrecently,heservedforfiveyearsasprincipal tromboneoftherenownedCarltonMainFrickleyColliery Band.
NowenteringhisfinalyearattheRoyalNorthernCollegeof Music,Joeregularlyperformsbeyondthebrassbandscene withfunctionbands,andisafull-timememberofthe dynamicbrassensembleAtomicBrass.
ChristianJones AttheendofJuly,ChristianJonesperformedBenjamin Ellin’sbasstromboneconcerto,Gresley,attheNational RailwayMuseuminthepresenceofSirNigelGresley’smost famouslocomotive,Mallard.Celebrating200yearsofthe StocktonDarlingtonRailwayandthe50th Anniversaryofthe NationalRailwayMuseum,theconcert,entitledSteamand Symphony,wassetbeneaththevastroofoftheGreatHall. ChristianwasaccompaniedbytheSlaithwaitePhilharmonic, conductedbyBenjaminEllin.
BestBrassBandTrombones OverthecourseoftheAutumn,trombonistshavebeen competingwiththeirbrassbandsupanddownthecountry, winningmanyawardsalongtheway.
AttheFifeCharitiesBandAssociationContest,theCharles McewanTrophyforBestTrombonewenttoBathgateBand principaltrombone,GarryKennedy.TheUnsungHeroaward waspresentedtothetrombonesectionoftheCoalburnSilver Band:AnnaBiggart,JoshuaParkhillandPeterHolmes.
AttheRedAdmiralMusicAcademyEntertainment Contest,thebesttrombonesectionswererecognised.
Remarkably,theRobertsBakeryBandplayers,Gareth Broughton(solo),PaddyBloor(second)andChrisReid(bass), woninboththeChampionshipandFirstSection.TheSecond SectionprizewenttoPeteSutton(solo),AdrianCook (second)andSteveHulme(bass)oftheRolls-Royce(Derby) Band,andtheThirdSectiontoRivington&AdlingtonBand: IanHunt(solo),Ian’ssonAdamHunt(second),andDaniel Taylor(bass).
AttheNationalChampionshipsofGreatBritain,Andy Leeming,SoloTromboneoftheDiggleBand,wasdeclared BestInstrumentalistintheFirstSectionFinal.
AttheLeicestershireBBAContest,theDerwentBrass trombonesection,RobWilshaw,SimonBaum,andChris Clayton,wasawardedtheBarryFernMemorialShieldforbest trombonesintheOpenSection.GaryClegg,SoloTrombone
PhotoCredit:EmilyTaylor/KatyJones
ofEllandSilverBand,wasawardedtheHarryParkerTrophy forbestFirstSectioninstrumentalist.
InNovember,RawsonDonovan,ofShipstonTownBand, wasawardedtheWFBSoloistTrophyforthebestThird SectionsoloistattheWychavonFestivalofBrassandChris Thomas,solotromboneoftheFlowersBand,receivedtheDon LusherTrophyforBestTromboneatBrassinConcert.
HouseholdDivisionMusicianoftheYear CongratulationstoMusicianHenryNewton,whorecently wontheHouseholdDivisionMusicianoftheYear2025, becomingthefirstHouseholdCavalryBandMusicianto receivetheprestigioushonour. MsnNewtonperformedFog CitybyMichaelDavis.
MusnNewtonbeganlearningthetrombonewith LeicestershireSchoolsMusicService,beforesuccessfully auditioningfortheRoyalBirminghamJuniorConservatoirein 2014.In2018,heperformedDavid’ sConcertinowiththe RutlandSinfonia.
In2018,MusnNewtonbeganstudyingattheRoyalCollege ofMusic,studyingjazztromboneunderRichardEdwards,and classicaltromboneunderRobHolliday,LindsayShilling,and ByronFulcher.Highlightsofhisstudiesincludemanybig bandprojectsasleadtrombone,directedbyPeteLong,which includedperformanceswithBennyGrebbandGeorgina Jackson.HeperformedasprincipalintheRCMPhilharmonic underthebatonsofMartynBrabbins,PeterStark,Toby Purser,andJacVanSteen.Healsoperformedinmasterclasses forHåkanBjörkman,ChristianJonesandJamesMarkey. MusnNewtonwasfortunatetohavehisfinalyearsupported bytheRCAMBursary.
MusnNewton’sfirstassignmentwastoTheBandofthe HouseholdCavalrytosupporttheMountedBandforHis Majesty'sCoronationin2023.Recenthighlightsincludethe FestivalofRemembrance2024,ScarlettandGold2024,and hisfirstmountedengagements;VE80celebrationsandHM TheKing’sBirthdayParade.
MusnNewtonperformsregularlyinvariousorchestrasand bigbands,notablytheOrionOrchestraandStarlightBigBand.
NewProjectforMoore Saturday,31January2026,willseethelaunchofPeterMoore’ s newprojectTrivergence,atRegentHall,London.Threeofthe UK’sleadingtrombonists,PeterMoore,AndyWoodand MarkNightingale,willcometogethertocelebratethe expressivepowerandversatilityofthetrombone,accompanied byahandpickedtromboneoctet.Aprogrammeofpremieres willincludeMark’ sWestSideStorySuite,hisepicPorgyand BessSuitebyGershwin,andTrivergence,whichexploresthe uniquestrengthsofeachsoloistacrossthreediverse movementsinarichlytextureddialoguewiththeoctet.
SupportedbytheBTSandMichaelRathTrombones,buy yourticketsforthisunmissableeventhere.
HannahRebeccaStell
HannahRebeccaStellhasbeenappointedsecondtrombonein theSønderjyllandsSymfoniorkester,Denmark.
HannahstudiedforherundergraduatedegreeattheRoyal AcademyofMusic,whereshewastaughtbyDudleyBright, MattGee,PeterMoore,andIanBousfield.In2024,she completedaMasterofMusicPerformancedegreeatthe HochschulederKünste,BernHKB/Hauteécoledesartsde BerneHKB,Switzerland,studyingwithIanBousfield.
AformermemberoftheNationalYouthBrassBandof GreatBritain,Hannahhasperformedwithmajororchestrasin
PhotoCredit:CplAdrianCalef.
theUKandEurope,includingarecentperiodasSubstitute PrincipalTromboneoftheLahtiSymphonyOrchestra (Finland).
HannahwasfeaturedastheStaroftheFutureinthe Autumn2012editionofTheTrombonist;sheismakinggood onherambitiontotourtheworldplayinghertrombone.
Come&Play6 On27October,theBTSreturnedtoRegentHall,London, forCome&Play6.25playersattendedthiswarm-upevent fortheBTS@40Celebration,amixoffamiliarfacesandfirst timers,andofallagesandexperiences.ConductedbyThe Trombonisteditor,AlastairWarren,awiderangeofrepertoire wasenjoyed,includingRepton,PastimewithGoodCompany, Here’sThatRainyDay,AveVerumCorpus,TheTeddyBear’ s Picnic,AmazingGraceandthefirstoutingofhisnew arrangementofTheAvengersthemetune.Ashasbecome tradition,thedayendedwith12th StreetRag,andsomevery tiredchopsallaround.
Ourthanks,asalways,gototheSalvationArmyformaking suchafantasticvenueinthecentreofLondonavailabletous; wewillbereturninginApril2026forCome&Play7, celebratingInternationalTromboneWeek.
NewBTSRegionalRepresentatives TheBTShasrecentlywelcomedAlexKellyandAdam WarburtontoourteamasthenewRegionalRepresentatives forScotlandandtheNorthWest,respectively.
AlexhasworkedwithmostoftheUK'sprofessional orchestrasandiscurrentlyprincipalbasstrombonewiththe BBCScottishSymphonyOrchestraandaprofessoratthe RoyalScottishConservatoire.Alexstudiedasan undergraduateattheRoyalAcademyofMusic(RAM), taughtbyBobHughesandKeithMcNichol,and subsequentlycompletedamaster'sdegreeattheRoyalCollege ofMusic,studyingwithDaveStewartandPaulMilner.
Duringhisstudies,AlexwontheJohnSolomonBrassPrizeat theRAMandwasPrincipalBassTromboneintheEuropean UnionYouthOrchestraforfourconsecutiveyears.In2012,he wontheBrassCategoryoftheBBCYoungMusicianofthe YearwhilstastudentatChetham’sSchoolofMusicin Manchester.
Inhisfreetime,AlexvolunteerswiththeAirCadetsand ferventlysupportshisbelovedfootballteam,Manchester United.
NowinhisfinalyearattheRoyalNorthernCollegeof Music,Adambeganplayingthetromboneattheageofseven andprogressedthroughthebrassprogrammeatWardle Academy,Rochdale,underthedirectionofLeeRigg.During histimeatWardle,hewon‘BestSoloist’awardsatboththe 2019and2022EuropeanYouthBrassBandChampionships. PrincipaltromboneoftheNationalYouthBrassBandof GreatBritainfrom2019to2023,AdamiscurrentlySolo TromboneoftheBlackDykeBand,succeedinghisformer teacher,BTSPast-PresidentBrettBaker.
Whilebrassbandingremainscentraltohismusicallife, Adamalsoenjoysadiverseperformanceportfolio.Hehas playedwiththeHalléOrchestraandregularlyperformsat weddingsandfunctionsacrosstheNorthwithavarietyof groups,inadditiontoplayingasapitorchestramusician.
AdamisproudtobeaPerformingArtistforbothMichael RathTrombonesandDenisWickProducts.
BTSNorthEastTromboneDay Bookingisnowopenforthe2026BTSNorthEast TromboneDay,tobeheldonceagainatCollingwood College,Durhamfrom11.00amonSunday,10May.
ConfirmedguestsincludefeaturedsoloistIanSankey,who willalsoleadtheMassedBlow,andtheCoryBandTrombone EnsembleledbyDr.BrettBaker.
VisittheBTSwebsitetobookyourplace.
BTSANNUALAWARDS 2025 ByAlastairWarren
TheBTSAnnualAwards2025wereannouncedinOctoberandpresentedduringtheGalaConcert attheBTS@40Celebrationon16November.
PlayeroftheYear–PeterMoore
‘I’mhonouredtobenamedBTSplayeroftheyear.Itisvery gratifyingtofeelthestrongsupportandencouragementfrom ourcommunity,asweattempttochipawayattheresistance tothetromboneinthewidermusicalworld.Wemustkeep going!
Thankyou,BTS,forallthewonderfulandinspiringthings thatyoudo.’
PeterMooreisoneofthemostexcitingandwell-respected exponentsofthetrombonetoday.Hecametointernational attentionin2008when,aged12,hebecametheyoungest-ever winnerofBBCYoungMusician,kickstartingasolocareerthat continuestogofromstrengthtostrength.Peterisaformer PrincipalTromboneoftheLondonSymphonyOrchestra, joiningin2014astheensemble’syoungest-everplayer.After 10years,heresignedtofocusonhiscareerasasoloist.Heis currentlyaprofessorattheRoyalAcademyofMusicandhas givenmasterclassesallovertheworld,includingattheJuilliard School,ParisConservatoire,andNewEnglandConservatory. VisitPeter’ swebsitetofindoutmore
2025,havingachievedaMasterofMusicPerformancedegree withdistinction.Priortothis,shestudiedforherBachelorof MusicdegreeattheRoyalConservatoireofScotland, graduatingwithHonours.Robynhasperformed professionallywithsomeoftheUK'stoporchestrasandis currentlyamemberoftheKarajanAkademieoftheBerliner Philharmoniker.
StudentoftheYear–RobynAnderson
‘Iamsohonouredandthrilledtohavebeenvotedthisyear’ s studentoftheyearandwouldliketosaythankyoutoallmy teachersandcolleagueswhosupportedmeoverthelastyear! RobyngraduatedfromtheRoyalCollegeofMusicinsummer
PeterGaneTeacheroftheYear–BobHughes mdelightedandhonouredtoreceivethePeterGane TeacheroftheYearAward. Alovelyretirementpresent! vebeenluckytoworkwithsomanyspecialandtalented youngpeopleovermorethan40years,andit’saprivilegeto seesomanyofthemenjoyingsuccessfulcareersinmusic.’
BorninWales,BobmovedtoLondonin1976tostudybass tromboneattheRoyalAcademyofMusicwithHaroldNash, wherehewontheSydneyLangstonBrassPrize.
JoiningtheBBCScottishSymphonyattheageof20,Bob wentontoholdpositionswiththeRoyalScottishNational Orchestra,thePhilharmoniaandtheLondonSymphony Orchestra,makingmultiplerecordings,includingsoundtracks forblockbusterfilmssuchasStarWars,HarryPotterand Braveheart.
BobbeganteachingattheRoyalAcademyofMusicin1989 andretiredthisyear,havingmentoredagenerationofthe
UK’smostsuccessfultrombonists.PresidentoftheBTSfrom 2006-2010,BobwasfirstawardedtheBTSTeacherofthe YearAwardin2015,makinghimtheonlydoublerecipient. HewasawardedtheBTSOutstandingContributionAward in2021,andtheSociety’sbasstrombonecompetitionis namedinhishonour.
Competition,winningtheWoodwind&BrassAwardand PhilipJonesMemorialPrize.
HelenwasawardedBTSPlayeroftheYearin2022. VisitHelen’ swebsitetolearnmore abouther.
OutstandingContribution–RichardEdwards
‘
Althoughhewasaprizewinner,withawonderful,variedand successfulcareer,Richardneversoughtaccolades.Hispassion wasfortheinstrumentitself,andhisgoalwassimplytobethe verybesthecouldbe.
ThoseclosetoRichardknowthathewouldprobablyhave felthumbledandevenalittleembarrassedtoreceivethis award.Nodoubthewouldhavemadeajoketoplayit down.YetIknowhewouldalsohavebeendeeplyhonoured, especiallyknowingthatthisrecognitioncamefromhis colleaguesandpeers.
Iwasimmenselyproudtoacceptitonhisbehalf.’ PennyEdwards,Richard’swidow.
SheilaTracyAward
‘It’sagreathonourtoreceivetheSheilaTracyAward,andI amverygratefultoallintheBTSwhovoted’
HelenhasbeenPrincipalTromboneoftheBBCSymphony Orchestrasince2004,thefirstwomantobe appointedprincipaltromboneofaLondonorchestra.Sheis alsoamemberoftheChamberOrchestraofEurope, SepturaandBonesApartTromboneQuartet.
HelenstudiedattheGuildhallSchoolofMusicandDrama withEricCreesandSimonWills.ShewasPrincipal TromboneoftheEuropeanUnionYouthOrchestraandwon theBronzeMedalinthe1995Shell/LSOMusicScholarship competition.In2003shewasthefirstevertromboneplayerto reachthefinaloftheRoyalOver-SeasLeagueMusic
RichardEdwardswasaversatileBritishtrombonist, composer,andeducator,knownforhismasteryacrossboth classicalandjazzgenres.BasedinLondon,heperformedwith leadingorchestrasincludingtheLSO,LPO,andRoyalOpera House,andtouredwithbigbandssuchasJamesLastandthe PasadenaRoofOrchestra.Aprolificsessionmusician,he recordedwithartistsfromCarlaBleytoJamiroquai.Hewasa corememberofLondonBrasssince1991,contributing originalworksandarrangements.HealsoservedasProfessor ofJazzTromboneattheRoyalCollegeofMusic.Hepassed awayinMay2025,leavingaprofoundmusicallegacy.
ReadmoreaboutRichardintheSummer2025editionof TheTrombonist.
BTS@40Celebration Sunday,16November2025,GuildhallSchoolofMusicandDrama,London ByAlastairWarren
Aftermanymonthsofplanning,thedaychosentocelebrate theBTS’s40thAnniversaryhadfinallyarrived,and trombonistsfromacrossthecountrybegantogather,bright andearly,attheGuildhallSchoolofMusicandDrama (GSMD).Despitethesizeofthevenue,demandwassuchthat ticketshadsoldoutdaysinadvance.Sohotwastheeventon socialmediaweevenexperiencedonlineticketscammers toutingnon-existentreturns,a(dubious)firstfortheBTS.
BTSPresident,TomLees,andJaneSalmon,supportedby thewiderBTSCommittee,hadplannedadaythemedaround payingtributetotworecentlydepartedgreatsofthe tromboneworld,PeterGaneandDenisWick,celebratingthe diversityofBritishtrombonelife,andinspiringfuture generations.
Manyoftheguestartiststakingparthadcloseconnections withPeterandDenis,asstudents,colleaguesorboth,andthe chosenvenuewasintimatelylinkedwiththebirthoftheBTS. Peter,theBTSfoundingPresident,wasatromboneprofessor attheGSMDfromtheearly1970sandHeadoftheWind, BrassandPercussionDepartmentfrom1988-2008.Thevery firstBTSgatheringwasheldattheschoolinautumn1985.
Theday’sactivitiesstartedwitheveryoneintheMusicHall forawelcomefromTomLees,followedbyawarm-upsession ledbyMarkTempleton,PrincipalTromboneoftheLondon PhilharmonicOrchestra.Markfocussedfirstonwarmingup themindbeforemovingontowarmingupbodyand instrument.
Wellwarmed-upattendeeshadtomakethefirstchoiceof theday,whethertostayintheMusicHallforaninteraction sessionwiththeTrombonesoftheBandoftheRoyal AirforceRegiment,joinTracyHollowayinconversation,or headthefirstMasterclassoftheday.
RAF ThosethatchosetostayintheMusicHallweretreatedtoa highlyentertainingandengagingworkshopbythe TrombonesoftheBandoftheRoyalAirForceRegiment, demonstratingtheskillsandversatilityrequiredofmodern militarymusicians.
SergeantMatthewEdwardson,SergeantJoshHayward, SergeantJonathanHillandAirSpecialistClass1Maddie Higginson,invitedparticipantstojointhemtowork side-by-sideonexcerptsfromtheircurrentrepertoire,and learnsometricksofthetrade,suchastheneedtoplayoff
beatsinmarcheslongeroutsidewhencomparedtoinside,to compensateforthelackofacoustic.
TheRAFplayerssharedhowtheygoaboutlearningsome ofthemoredifficultpassagesintheirrepertoire,madedoubly complicatedbytheneedtoplaywhilstalsomarchingwiththe expectedprecision!
Asalways,thestandardofplayingfromtheRAFmusicians wasexceptional;oneyoungplayer,aged11,wassoinspired sheimmediatelywenttofindouthow,andwhen,shecould joinup.
JointheTrombonesoftheBandoftheRoyalAirForce RegimentagainonSunday,8March2026,whentheywillbe hostingaBTSTromboneDayatRAFNortholt.Booking openssoon.
LifeonTheLionKing TracyHolloway,inconversationwithJaneSalmon,spoke abouthercareer,andinparticular,herlifeasoneofthetwo trombonistsontheWestEndproductionofTheLionKing,a positionshehasheldsincetheshowstartedin1999.
Touchingonthedifferencesbetweenwhosheisnowand whoshewasbeforeTheLionKing,Traceytalkedabouther timefreelancingimmediatelyaftermusiccollege,andhowher careerpathhasbeeninfluencedbyholdingaseatintheWest End.
Tracyfieldedmanyquestionsfromtheaudience, coveringeverythingfromtheequipmentsheusestothefact thatTheLionKingisthelongest-runningWestEndshow
PhotoCredit:AlastairWarren
withasectionoftwotrombones,andthethirdlongestofall time,beatenonlybyLesMisérablesandThePhantomofthe Opera,althoughtheyonlyfeatureonetromboneeach.
AmongtheaudiencewereChrisHoldingandEricCrees, bothofwhomtaughtTracyandJane.Duringadiscussionof thekindofskillsetanaspiringWestEndplayermightrequire, Ericrecalledthatearlierinhiscareer,therewasaclear distinctionbetweentheclassicalandnon-classicalplayers,but apointcame,almostovernight,whenyouhadtoknowhow todoeverything.Theadvice,therefore,istogainaswidea varietyofexperienceaspossible:knockoneverydoor,take lessons,makesureyougetsomekindofbigbandexperience andsoon.Tiedintothisisthe‘dep’system.
Whenaskedhowshekeepsherstandardsupforeightshows aweek,Tracyrepliedyouhavetochallengeyourselftoplay yourbesteveryday,butitisalsoimportanttotaketimeoffto enjoyavarietyofotherwork,andindoingso,helpmaintain the‘dep’ecosystem.Likemanyshows,themusiciansonThe isoftenthefinalsteponthejourneyinto
HelenVollamOrchestralMasterclass players,atatimewhentechnologyisencouragingtheindustry
HelenVollam,PrincipalTromboneoftheBBCSymphony Orchestra,workedwithcollegestudentsonorchestralsection playing,passingontheknowledgegainedfrombothherown experienceandasastudentofbothDenisWickandPeter Gane.ToallowattendeestobenefitfromPeter directly,avideohehadpreparedfortheEuropeanUnion YouthOrchestraonovercomingperformanceanxietyranona loopthroughouttheday.Click theassociatedguide.
JürgenKrauss
Knownfirstandforemosttomanyasabaker,followinghis appearanceontheGreatBritishBakeoff,JürgenKraussisalso anenthusiastictrombonistandaqualifiedFeldenkrais practitioner.FollowingTracyHolloway,Jürgenpresenteda sessionintroducingtheFeldenkraisMethod,whichuses gentlemovementanddirectedattentiontohelppeoplelearn newandmoreeffectivewaysofliving,increasingeaseand rangeofmotion,improvingflexibilityandcoordination,and rediscoveringacapacityforgraceful,efficientmovement. Theseimprovementsmayenhancethinking,emotional regulation,andproblem-solvingcapabilities.
Truetoform,JürgennotonlybakedtheBTSamagnificent birthdaycake,auctionedforasignificantamountduringthe Galaconcert,butalsocraftedauniqueandverytastylineof trombonebiscuits enjoyedbyalloftheday'sparticipants.
Rockschool Inanotherinteractivesession,jazztrombonistRoryIngham joinedoursponsorsfromRockschooltoexploretheirexciting HornSectionexamssyllabus.Roryworkedonavarietyof pieceswiththeyoung,andnotsoyoung,participants, exploringthestylisticdifferencesofrock,swingandLatin,and introducingsomebasicideasandexercisestobeginonthe pathofimprovisation.
PhotoCredit:BeckyPepper
SergeantJonathanHillwithoneofJürgenKrauss’sbiscuits. PhotoCredit:AlastairWarren
HelenVollamMasterclass.PhotoCredit:BeckyPepper
PhotoCredit:BeckyPepper
FanfareRehearsal Thefinalactionofthemorningwastogatherthemassed CommunityTromboneChoirintheMusicHalltorehearse RobinBenton’ sCelebrationFanfare,thewinningentryof thisyear’sBTSComposers’Competition.Anyanxiety experiencedbytheorganisingcommitteeaheadoftimeasto whethereveryonewouldfitonthestagewasquicklydispelled, thankstoMichaelPilley’sexcellentorganisationofmusicand stands.Beforelong,over100players,conductedbyAmos Miller,weregettingtogripswithRobin’sstirringandhighly effectiveworkformixedabilitychoir.
Rehearsalover,itwastimeforlunch,withthebreak providingampletimetoperusestandsfromPhilParkerLtd, DanJenkinsMusic,Rockshool,HawkinsMutes, CalaRecords,JürgenKrauss,RAFMusicServices,Gender andtheLargeandShinyInstruments(GALSI),andWells CathedralSchool
AlsoondisplaywasaselectionofBTSmemorabilia, includingrareoriginalcopiesofTheTrombonistfromthe 1980s,andtheofficialphotoalbumofthe1989International TromboneWorkshop,organisedbytheBTSandheldatEton College,kindlylentbyJimWortley,HeadofBrassatEtonat thetime.Additionaldisplayscouldbefoundaroundthe variousperformancespaces,featuringextractsfrom TheTrombonist,factsandfiguresabouttheBTS,and memoriesandtributesfrommembers,aselectionofwhich canbeaccessedhere
Asifthatwasnotenough,wewerealsotreatedtotwo lunchtimerecitals.
Firstcameashortperformancebyourgueststudentsfrom theRoyalConservatoireofScotland(RCS),intheguiseof theInslideoutTromboneQuartet.EmmaClose,Gregor Dowall,RobbieDowall,andMarkGammonperformed DonaldMiller’sclassicarrangementofAchievedistheGlorious WorkfromHaydn’ sCreation,ananonymousCharleston,a suitefromBernstein’ sWestSideStoryarrangedbyDennis Armitage,andIsobelDaws’sarrangementofLochLomond.
ThesecondrecitalfeaturedPandora’sBox,atrio comprisingJohnKenny,EmilyWhiteandMiguel
Tantos-Sevilliano,whichcombinesmusicofthelatemedieval andRenaissanceperiodswithcontemporarycomposition, improvisation,poetryandphysicaltheatre.
Multi-instrumentalists,theensemblemixestrombone, sackbut,recorder,baroqueviolin,carnyx,voice,andevena bicyclewheel,tomesmerisingeffect.
Thecarnyx.
TherecitalopenedwithtwopiecesbyJohnforthecarnyx,a largeCelticlip-reedinstrumentandancestorofourmodern brassinstruments,CryoftheWolf,forsolocarnyxandThe VoiceoftheCarnyx,forcarnyxwithsoundtrack.Twoworks forthreetrombonescamenext,theanonymous13th-century AllePsalliteandJohn’ sPandora'sBox,followedbyanotherof John’scompositions,Maghera,forrecorder,violin,and sackbut.
TherecitalcontinuedwithtwopiecesbyEmily,Walk AwayGently,forviolinandtwotrombonesandthedeeply movingSpringinanUnrealWorld,fornarrator,sackbutand violin,beforewemovedbackintimeagainforthesoundof
AmosMillerconductstheCommunityTromboneChoir.PhotoCredit:GeoffWolmark
threesackbutsplayingLaHarpedeMelodie,fromthe14th centuryChantillyCodex.Therecitalendedfirmlyinthe presentwithEmily’ sDarkAwakening,forthreetrombones, Rustfornarrator,sackbutandbicyclewheel,Susumo Yoshida’ sEqualiforthreetrombonesandMiguel’ s whimsicallytitledLullabyforaMoose.
TheafternoonsessionsbeganwithamasterclasswithAudun BreenontheGordonJacobTromboneConcerto,composed forDenisWickin1955.Audun,agraduateoftheGSMD,has
MillyDeering,fromtheRoyalCollegeofMusic(RCM), tackledmovementtwo.
‘Audundefinitelygavemenewthingstothinkabout withinmyplaying.HehadsomethoughtsabouthowI couldimprovemylegatoplaying,andhowthedifferent
ThefinalmovementwastakenbyEmmaClose,fromthe IreallyenjoyedthemasterclasswithAudunandlearntso much.ThethirdmovementoftheGordonJacobisnot performedasoftenastheothers,soitwasinterestingto hearAudun’sadviceonhowtoapproachitandthe nuancesinthepiecethatprovideaglimpseofDenis
MillyDeering.PhotoCredit:AlastairWarren
AudunBreenandEmmaClose.PhotoCredit:HelenaMarionPhotography
Pandora’sBox.PhotoCredit:BeckyPepper
BonesApartMasterclass WhileAudunwasputtingthesoloiststhroughtheirpaces, BonesApartTromboneQuartetwasdoingthesamewith quartetsdrawnfromthenation’smusiccolleges.AmuchanticipatedsessionsawRoom250filledtocapacity.Indeed, keenspectatorsspilledoutofthedoorandontothestairs outside.
Reflectingontheirexperience,themembersofInsildeout commented,‘Duringourrecenttriptoparticipateinthe BTS@40Celebrationwewereprivilegedtobeinvitedto participateinamasterclasswithBonesApartTrombone Quartet.Wewereallextremelyexcitedastheyhavebeena hugeinspirationtoourensemble.WedecidedtotakeEric Ewazen’ sMythsandLegends,whichwehavebeenworking on,asweknewBonesAparthadrecordeditandsocould sharetheirknowledgeoftheintricaciesofthepiece,andgive tipsinrehearsingandpreparingit.Wewerenotdisappointed, andallfeltlikewelearnedagreatdeal,notonlyaboutthis workandhowtotackleit,butalsoonensembleplayingasa whole.Anunforgettableexperience,somanythankstoBTS andBonesApartforaffordingusthislearningopportunity.’
RoyalOperaHouse TheRoyalOperaHouseTrombonesandTuba,represented byLindsayShilling(tenortromboneandbasstrumpet), ByronFulcher(altoandtenortrombone), PauAlexandra-Hernandez(tenortrombone),PatrickJackman (basstrombone),KeithMcNicoll(bassandcontrabass trombone),andMichaelLevis(tuba),presentedatrue masterclassinsectionplaying,drawingonexcerptsfrom Verdi’ sOtello,Puccini’ sTosca,RichardStrauss’ sElektraand Wagner’ sDieWalküre,andthecontemporaryballetAlicein WonderlandbyJobyTalbot.
Keepingtothethemeofinspiringthenextgeneration,the ROHplayerswerejoinedbymembersoftheNational
Children fromAct1ofTchaikovsky Mozart TheMagicFlute.
Foragrandoperaticfinale,theROHandNCOplayers werejoinedbystudentsfromtheLondonmusiccollegesfor twoepisodesfromWagner’sRingcycle,theEntranceofthe GodsintoValhallafromDasRheingoldandtheImmolation ScenefromGötterdämmerung.BothpiecesfeaturedKeith’ s newlycommissionedcontrabasstrombone,builtforhimby thelegendaryMikeJohnson.
40 Years
oftheBTS ApanelcomprisingBTSPastPresidentsChrisHoulding,Bob Hughes,andMatthewGee,PatGane,widowoffounding PresidentPeterGane,andSimonHogg,mettodiscussthe beginningsoftheSocietyanditsgrowthintothe organisation weknowandlovetoday.
Commentingontheday,Patwrites,‘Iwasprivilegedtobea guestattheday-longcelebrationsattheGuildhallSchoolin honouroftheBritishTromboneSociety's40thAnniversary. Thisshowcasedmanyofthefinesttromboneplayersfromthe UKandbeyondandseemedtoinvolvehundredsofyoung
RoyalOperaHouseTrombonesandTuba.PhotoCredit:HelenaMarionPhotography
playersofallagesandstages!(includingtwodancing youngstersatthefrontoftheensembleswithacoloured pBoneeach!)Therangeoftheeventsavailablewasa wonderfultributetothisgreatSociety,whichPeterGanewas instrumentalinstarting40yearsago.
Peter’smotivationininitiatingplansforthestartofBTS wasthesameastheinspirationshowninhisentirecareer–the wishtosupporttromboneplayers,musically,socially, personally,givingthemthechancetoshareandfulfiltheir potentialtothemaximum.
Hewouldhavebeensoproudtoseethesuccessandjoy evidentinadayofvariedanddiverseactivities,from workshopstoquestion-and-answersessions,splendidfull warm-upsandperformancesbythefinesttromboneplayers–professionals,studentsandyounglearners–finishingwithan unforgettablearrangementof76trombonescreatedand conductedbyEricCrees!Iwashonouredtolistentoa speciallycomposedfanfare,createdbyEricCrees,who successfullycapturedsomeofthekeyaspectsofPeter’ s qualities–aboveallhisenergy,senseoffun,enthusiasm
ItwasgreattosharesomememoriesofPeterwithguys whosecareerswereinsomewaysshapedbyhismagic
OneofPeter’sfavouritephraseswas“….itmademe smile”(andwhatasmile!)Hewouldcertainlyhavesmiledon thisday!’
SackbutJamboree
VisitorstoSackbutJamboree,ledbyEmilyWhite,enjoyed performancesbytheGSMDSackbutEnsembleofMonCoeur GistTousjoursbyClaudindeSermisy,andtheRoyalSackbut Collective(fromtheRCM),whoplayedPavaneforfive
trombonesbyMoritzvonHessen,beforejoiningintoplay DomineadAdiuvandumbyChiaraMargaritaCozzolani, manyexperiencingplayingbaroquetromboneforthefirst time.
Emilyremarked,‘Weexploredhowquicklywecanplay vocalmusicstylishlybyspeakingourlinestogetherafew times,thenplayingitreallywellimmediately.Theywere #incredible.Iwasn’texpectingittohappensoquickly,and consideringtherewerepeoplewhoweretotallynewto sackbuts,readingtrebleclefinCandwithbellsin4th position, itwasastonishing.Ifwehadhadanotherhalfanhour,we couldhavebeenreadyforaconcert!Threeundertheageof sixhadago,andseveralattheotherendoftheagespectrum.’
FinalRehearsal Withtheafternoonsessionsconcluded,everybodygathered againintheMusicHalltorehearsewhatwouldbethefinale oftheearlyeveningGalaConcert.2025marksthe30th AnniversaryoftheseminalLondonTromboneSoundalbum, andweweredeterminedtomarktheoccasionwitha performanceofEricCrees’sinventivearrangementof MeredithWillson’ s76Trombones.
Fittingatuttiensembleofover100,plusthe20solo ensembleplayersandseveralpercussionistsintotheMusic HallhadrequiredsomethoughtbyGSMDstage management.Neverbeforehadsomanytinytrombonists appearedonastagelayout,buttheplanworkedperfectly!
Itwaswonderfultohearthememoriesofseveral membersofthetuttiandsoloensembleswhohadtakenpart intheoriginalrecording,andtowitnesstheprogressioninto thesoloensembleofplayerswho,asstudents,hadbeenpart ofthesupportingensembleattheBTS’s30th anniversary celebrations.Howmanyoftheyoungplayersinthisyear’ s tuttiensemblewillfeatureinthesoloensemble10years hence,whenwewillnodoubtcelebratethealbum’s40thand theBTS’s50thAnniversarieswithanotherperformance?
Ericdescribestheopeningofhisarrangementassomething ofa‘trombonist'snightmare’,featuringasitdoessomeofthe mostfamousexcerptsassociatedwithourinstrument,layered
PhotoCredit:HelenaMarionPhotography
RoyalSackbutCollective.PhotoCredit:HelenaMarionPhotography
oneontopofanother,andperformedoff-stage,justtomake thingsthatlittlemoredifficult.However,guidedbyEric’sfirm handandwithonlyafewtweaksneededhereandthere,the stellarsoloensembleofCallumAu,EmilyWhite,Matthew Lewis,AudunBreen,MarkTempleton,HelenVollam,Pau HernándezSantamaria,RupertWhitehead,ChrisHoulding, MatthewGee,BeckySmith,JohnKenny,TracyHolloway, JonathanHill,JaneSalmon,TomPilsbury,KeithMcNicoll, SarahWilliams,AdamCrighton,andSimonMinshall,soon hadeverythingtogether.Withthetuttiensemblesmoothly slottedin,preparationsfortheGalaConcertwerecomplete.
GalaConcert TheGalaconcertbeganinspellbindingfashionintheFoyer withaperformancebytheIntercollegiateChoirofInvocation, composedespeciallyfortheoccasionbyJohnKennyand dedicatedtoStuartDempster.Comprisingstudentsfromthe RCS,RoyalNorthernCollegeofMusic,RoyalBirmingham Conservatoire,RoyalAcademyofMusic,RCM,Trinity CollegeofMusic,andGSMD,theIntercollegiateChoirwas splitintofivegroups,positionedondifferentlevels, surroundingtheaudienceinanallenvelopingblanketof sound,subtleshiftsindynamic,tonecolourandcomplexity conjuredfromtheensemblebythemagicianthatis JohnKenny.
admittedthelatterwasalittleoutofhiscomfortzone,more
wasdedicatedtothememoryofthelateRichardEdwards, featuredjazzsoloistonthealbum.Onthisoccasion,hisplace wastakenbytheincomparableCallumAu.
Celebration TheGSMDTromboneChoirfollowed,conductedbyMatt Kieser,AndyLeeming,RobbiePalmer,SamCox,Benjamin Loska,JamieCadden,andTomHornbyperformedanew workbyEricCrees,FlourishforP.G.andBourgeois’ sScherzo Funebre,commissionedbyPeterGanefortheGSMDin1983. Theensemblewas joinedbyMatthewGee,Principal TromboneoftheRoyalPhilharmonicOrchestrafora beautifulrenditionofBillGeldard’sarrangementofAutumn LeavesandArthurPryor’ sBlueBellsofScotland.Matthew
TheBTSwasdelightedthatseveralspecialguestswereable toattendtheconcerttopresentandreceiveawards:PatGane presentedthePeterGaneTeacheroftheYeartoBobHughes, theSheilaTracyAwardwaspresentedtoHelenVollamby ChrisPunter,thepartnerofherveryfirsttromboneteacher AnneHiggs,andPennyEdwardsreceivedtheOutstanding ContributionAwardonbehalfofherlatehusbandRichard. Turntopage10tolearnmoreaboutallofthisyear’saward winners.
MatthewGeeandtheGSMDTromboneChoir.PhotoCredit:BeckyPepper
BobHughesreceiveshisawardfromPatGane.PhotoCredit:AlastairWarren
Invocation.PhotoCredit:BeckyPepper
FlourishforP.G. FlourishforP.G.waswrittenspeciallyfortheBritish TromboneSociety's40thAnniversaryCelebrationsatthe GuildhallSchool,inmemoryofPeterGane.Scoredforsix tenorandtwobasstrombones,itisdedicatedtoPeterGanes’ s wife,PatandwasplayedbyanensembleofGuildhall students.
PeterwasverymuchafoundingfatheroftheBTSin1985. Iwantedtowritesomethingthatreflectedthegreatdignity andhugeenergyofPeterandtomakeitbothapersonaland musicaltribute,soIbasedthematerialonthe'musicalletters' inhisname,PeterGane.
FollowingtheAwardscameajazzsetarrangedbyCallum Au,performedbyCallumandfriends:AndyWood,Robbie Harvey,RoryIngham,MattLewisandSimonMinshall. Atrulyworld-classline-up.Thesetopenedwithanew arrangementofRogersandHart’ sLittleGirlBlue,followed bytwomovementsofasuiteoriginallycomposedforMatt Lewis’sensemble,andendedwithanewcomposition,Two
Theseare:
E,T(intonicsol-fati=B), E,R(tonicsol-fare=D),G,A andfinallyE.Inorder,thatisEBEDGAE
Peterhadapassionforallsortsofmusic:oneofthesewas jazz.Theopeningdeclaimstheoverlappingnotesfourtimes, eachinterspersedwithjazzchords,andanaccelerationbrings ustoa7/8Allegro.Thepiececontinueswithmanychanges ofmetre,dynamicsandreworkingsoftheinitialtheme, buildingtoaboisterousclimax.
EricCrees
ViewsoftheBlues.Anchoredbythemightybasstromboneof SimonMinshall,thisnumbergavealltheplayersthechance forablow,anditwasfascinatingtohearthecontrastingstyles anduniqueapproachestoimprovisingofeachplayer.
Andthenitwastimeforthegrandfinale.Rathermorethan 76Trombones,gatheredtogetherincelebrationoftheBTS andtheinstrumentwealllove.Auniqueandwonderful experienceforallinvolved.
Postscript Forthosenotrunningtocatchtrainstoallpartsofthe countryorfacingearlystartsthenextmorning(notthatit stoppedsomeofus),thepartycontinuedlongintothenight attheArtilleryArms,withaJazzJamfeaturingFive-a-Slide, theUK’spremiereyoungjazztromboneensemble.
LedbyRichardJones,basstrombonistwiththeSyd LawrenceOrchestra,theensembleincludestrombonistsMatt Seddon,MattCooper,JamesWade-SiredandJaiPatel,anda rhythmsectioncomprisingJosephGameonpiano,Murray DareonbassandSimonSpiesondrums.Membersofthe bandarefastestablishingthemselvesalongsidethebestinthe business,havingalreadyperformedwiththelikesoftheBBC BigBand,RonnieScott’sJazzOrchestra,OliviaDean,Slum Village,andtheLondonJazzOrchestra,tonameafew.
CallumAuandfriends.PhotoCredit:BeckyPepper
JazzJam.PhotoCredit:JaneSalmon
WaybackwhenTom[Lees]saidhewouldlikePandora'sBox toperformandthathe'dlikemetoplaythecarnyxI proposedtheideaofdoinganintercollegiatepieceinhonour ofStuartDempsterandtheenormouscontributionhehas madetomusicandtromboneinparticular.Myintentionwas toperformoneofhisownpieces.However,asIstartedto exchangeemailswithhim,andaskedhimforthescoreand playingdirectionsforoneofhisenvironmentalpieces,he madeitclearthathewasdelightedIwasgoingtodo something,butheveryfirmlywrotethefollowing:
‘....youseemtothinkthatthiswouldbe"my"piece.Itreally shouldbeyourpiece;youwillbetheleaderthroughitalland perhapsitwill,well,serveyourightasyougetitalltogetherfor themayhem(orJunehemorJulyhemor,or,or...).
Wishingyouallthebest–letmeknowhowitallplaysout! Takecare, Stuart.’
So,Itookhimathisword.Hewasquiteright–hisown worksforlargetromboneensembleswereverydeliberately conceivedtobeperformedinahugelyresonantspace,with totalconcentrationandinastateoftranquillitythatwould enable‘deeplistening’.Thereisdeliberatelynoelementof virtuosityinthosepieces,nosoloistintheconventionalsense –butthiswouldbeexceedinglydifficulttoachieveinthe situationofthepublicatriumofGSMD,withacoffeebar, tradestands,andawholeconferencefullofpeoplechatting andtryingoutinstruments!IknewthatIwouldhavetodo somethingtoSTOPthat–toarrestattention,andthen somehowtobuildthatdeeplisteningconcentration. ThatmeantIwouldhavetotakeonasolo,directorialrole, andyetsomehowallowasenseofmysteryandcontemplation togrow,eventobecomeecstatic-andtoattempttoreturnto silence.
Givenallthis,thefirstquestionwashowtobeginthepiece inamannerthatwouldarrestattentionandyetdosowithout anyformofspokenintroduction,ormakingastatementon tromboneinaloud,virtuosicmanner?Myanswerwas,don't usethetrombone–sing.
SponsorsandGrandPrizeDraw
Ahugethanksgotooursponsors:PhilParkerLtd,Conn Selmer,JSVMouthpieces,DanJenkinsMusic,Rockshool, HawkinsMutes,Yamaha(whosesilentmutewasputupfor silentauction),EggerandJuneEmersonWindMusic.Putting onaneventlikethiswouldbeimpossiblewithoutthem.
Invocation–tobeperformedbyalargetromboneensemble inaresonantspace.
DedicatedtoStuartDempster
Thispieceisconceivedtobeperformedbyalargenumberof trombonists,separatedintogroupsanddisposedatawide distancefromeachotherinalargeresonantspace.Each groupelectsaleader,andthewholepieceisdirectedbya centralsoloist.
Thepieceopenswithamelismaticvocalintroduction,sung wordlesslyinastyleinspiredbytheAdhantechnique employedbyIslamicmuezzins.Atthesoundingofa bronzetingshacrotalethegroupsenterasdirectedbythe soloist,whosendsthemanote–thisissustainedaverylow dynamicforalongtime(untilitfeelsright)tosendanother notetoanothergroup.Achordisbuiltverygradually,with membersofeachgroupcoveringeachother'sbreathing,all usingthesoftestpossiblearticulation,untilagiantbutsimple chordstructurehasdeveloped,fillingthespace.
Thereshouldbenomodulationinthispiece–different registersanddynamicsofthechordarehighlightedbyentries initiallydirectedbythesoloist–gradually,thedirectordirects melodicfragmentstotheleadersofeachgroup,inno predeterminedorder.Eachgroupleaderthendevelopsthose melodicfragmentsintotheirownimprovisedcommentaryof thematerialthathasbeentransmitted,andinturnworks withplayersintheirowngrouptoformcellsofmelodic improvisation.
Throughoutthepiecethesoloistcandirectthetotaland ‘regional’dynamicsuntilapointofmaximumcomplexityhas beenreached–fromthispointthepitchmaterialcanbe graduallyreducedthroughsignalsfromthesoloist,whonow transmitsanotea5thabovetheveryfirsttoneofthepiece, untilthatdominanttonehasbeenestablishedbytheentire massedensemble,andthedynamicreturnstotheopening pianissimoofthepiece–atwhichpointthesoloistagain soundsthetingshacrotale,andtheleadersofallgroups respondwithsimilarcrotalesindifferentpitches,gradually directingtheirowngroupmemberstofadeout,thusleaving onlytheresonanceofthelittlebells.
John Kenny
ManyalsodonatedtotheBTS@40GrandPrizeDraw,which generatedasubstantialsumforBTSfunds.Otherprizes includeddonationsoflessonsfromPeterMoore,Dr.Brett Baker,AdrianHirst,EricCreesandEmilyWhite,andacake fromJürgenKrauss,forwhichtheBTSisextremelygrateful.
Photo
ByBeckyPepper,AlastairWarren,JaneSalmonandTomLees
Spotlighton…Apollo YoungBones Howoldareyou?Howlonghaveyou playedthetrombone,andwhoteaches you?
Iam11yearsold,andhavebeenplayingthetrombonefor eightyears.WhenIwasatoddlermymumsaysthatIwasvery stubbornandIreallywantedatrombone.Sheboughtmea pBonemouthpieceand,asIquicklylearnedtobuzzmelodies onit,shefinallygaveinandboughtmeapBoneminiwhenI wasthreeandabit.MyteacherisMichaelBuchanan.Ialso havelessonswithJamesBuckleandEnzoTurriziani(Principal oftheViennaPhilharmonic).
Whatmadeyouwanttoplaytrombone?
Ithinkitwasthespecial,beautiful,wonderfulsoundthatthe trombonecanmake.WhenIwaslittle,Ialwaysusedtopoint tothetrombonesinconcerts,andIwantedtositnexttothem inthechoirseatsattheRoyalFestivalHall.
Ifyoucouldgobacktobeingabeginner,whatwould youtellyourself?
IwishIhadknownthatIhadtheincorrectembouchurefora longtime.
Whatgroupsorensemblesdoyouplaywith?
IplayfortheLondonConcertSinfonia(LCS),andIamgoing toperformaconcertoasasoloistwiththisorchestrathis season.IamalsosecondtromboneoftheOrchestraofthe21st Century,whichisaprofessionalorchestrainBarcelona,and I’mprincipaltromboneoftheViennaPhilharmonicYouth Operaproject.IalsoplayinmanyRAMJuniorensembles. IalsoplayinotherensemblesandorchestraswhenIgoabroad tocoursesorevents.
Whatareyouworkingonrightnow?
IamworkingonthefullDavidConcertino,theHindemith Sonata,MorceauSymphoniqueandElegyforMippyII.
Whatskillorpiecewouldyouliketo learnnext?
IwouldliketolearntheBourgeoisConcertoandotherdifficult concertosandpieceslikethoseofArthurPryor.
What’syourfavouritepiecetoplay?
AllofthemifIplaythemright!ButIalsolovetoplayClara Schumann’sliedertransposedtotrombone.Theyare beautiful.
What’syourfavouritepieceormusictolistento?
ProbablythePreludetoTristanundIsoldeorMahler’ s9th, especiallythe4thmovement.ThelateBachcantatasarealso marvelous.MyfavouritecomposersareWagnerandMahler.
WhatdoyouNOTlikeplaying?
Super-crazymodernpieces.
Whoareyourbiggesttromboneinspirations?
I’vealwayslovedAlessi,whowasmyteacherforawhile. WhenIwaslittle,IwasobsessedwithPeterMoore!Ijust adoreMichaelBuchanan’ssound;itisincredible.I’malsovery inspiredbyIanBousfield.He’sagreatteacher.Hewasalsothe teacherofmyteachers.
Canyougiveusahottrombonetip?
Alwaysthinkoftheresistanceoftheairwhileplaying.Also, thinkaboutthetoneyouareproducing.Thequalityofthe toneissuperimportantandmakesahugedifferencetoyour playing.
Whatisyourultimatetrombonedream?
ToplayingreatorchestrasliketheViennaPhilharmonic, Berlin,etc.Iwouldalsolovetobeatrombonesoloist.Ialso wanttobeaprofessionalconductorandcomposer.I’moneof theconductorsoftheLCSandsometimesconductmyown pieces,likemysecondsymphony.Wedoaconcertevery month.We’vejustperformedSchumann’ s4thSymphony.
Whatdoyouwanttosaytootheryoungplayerswho maybefindingthingshardatthemoment?
Justnevergiveupandthinkofyourpracticelikeasandcastle: italwaysgetswashedawaybythesea,butsuddenly (magically!)turnsintocementandcannevergetwashedaway.
ThisisatipfromMike!Mytipisifyouarehavingabad period,keepplaying,keeppractising,havebreaksmoreoften butdon’tgiveup,andfocusonthemusictotrytoenjoyas muchaspossiblethepieceyouareplayinguntilthingsgo
HowTo...PlayMoreSmoothly Continuingourseriesoftoptipsfromtopplayers,Audun Breen,PrincipalTromboneoftheOsloPhilharmonic,gives someadviceonimprovinglegato.
Turntopage24forAudun’sexercise.
TVThemeTunes
InthelasteditionofYoungBones,weaskedifanyofyouknew ofanotherTVthemetunewhichfeaturedatrombone.
Theansweris...JonnyBriggs,achildren'stelevisionseries whichairedfrom1985to1987,focusingontheadventuresof ayoungboy,hisdogRazzleandhiseccentricfamilyin Yorkshire.ThethemetunewasnoneotherthanTheAcrobat, asfeaturedontheTrinitygrade6syllabus.
KPopDemonHunters
LikeKPopDemonHunters?Likethetrombone?Wantto learnhowtoplayGolden?LizaLizTrombonehasyou covered.Clickheretoplayalongwithher,andherVERY specialtrombone.
TryThisAt Home…
betteragain.Technically,justkeepworkingonlotsinsmall points.
Veryimportantquestion!Whatisyourfavourite pre-performancesnack?
Anicechocolatebar!
IalsowanttothanktheBTSforallowingmetopractice andperformwithagreatinstrument,sothankyou!
It’sInTheGame Greattromboneplayingpopsupinallsortsofplaces, includingonvideogames,likethissoloinMarioKartWorld.
WoopWoopWah Whatdoesyourphonethinkyourtrombonesoundslike?
PaultheTrombonistfoundoutwhenheaccidentallytexted hiswifewithvoicerecognitionturnedon whileplayingthe trombone.
StealingIsBad JazzsingerEmmaSmithsaysherjazzcareerstartedbecauseher grandad,ChrisSmithSnr,oncestoleatrombone.Hewas17, andabouttobedraftedintothearmy…onebrokenshop windowlater,hewasinthebandinsteadofthewar.Watchher explainallinthisvideo
...ButMaybeNot This!
ByJeremyPrice
JAZZ BYJEREMY SouthAfricabyWorkingWeek Ifyouhavenotbeenluckyenoughtohaveplayedinasection withRichardEdwardsorheardhimplayliveinclose proximity,eitherasanaudiencememberorfellowmusician, youcouldbeforgivenforwonderingwhythereissomuch reverenceforhisincredibletromboneplayingbutalsoso muchsadnessforhisrecentpassing.I’mdelightedtohave beengiventhisopportunitybyTheTrombonisttosharewith youthisawesomesolofromRichardonatrackcalledSouth Africaby1980spopbandWorkingWeek.Whetherthis introducesyoungplayerstoanastoundingmusicianor triggersfondmemoriesforthoseofuswhoknewRichard well,pleaseclickonthevideobelowandenjoytheincredible solo.
Firstly,thissoundstomelikeapopbandthatisbornoutof touringandgigging.Allfinemusicianswhocanplaywith greatskillandthestylisheconomyrequiredofthepoparea, andallgreatgrooveplayers.Arealband.Butthisisoneof thosemomentswhenthehornsoloundoubtedlymakesthe track,whichmightotherwisehavebeenabsorbedintoa slightlyobscure80sbackcatalogue. Fromaninstrumentalperspective,thesolosoclearlyexploits themanyidiosyncrasiesofthetrombone,withfulllyricaltone andcharacteristicglissandoswoopsandslidevibrato.Also notice‘lipbreaks’andclassicarpeggiationonthecommon slideshiftswealllovetoplay.Whatair!Streuth,thismanhad themostincredibletoneandprojection,andseemingly
boundlessstaminaandstrength.Probablythebestwayto learnoptimalbreathingforbrassisjusttoemulatethesound ofagreatplayer.Ifyoucanhearyourselfevenapproaching thisrichnessofsound,youmustbedoingitright.
Melodically,Richardisembellishingthevocallinethat comesbefore,echoingthemaincomposedthemebut personalizingitandexpandingitsscope.Lotsofblueshere, andbythesecond8-barsection,weareintomore improvisatoryterritoryyetstillreflectingthepaceoftheearlier vocalline.Allverycoolandsuavefornow,settingthescene nicelyforwhatiscomingup.
Then,whatworkssodramaticallyinthistrackisthesudden ‘outofnowhere’extragearbroughtinwiththepickuptobar 17.ThealtissimoFstillsoundsbroadandtrombone-like, playedasifit'seffortlesslyinthemiddleofthestave.Perhaps thisisthepeakofthesolo?Butno!Thisherculeansoaring soundissustainedforthenext16bars.MorecorkingDsand FsandthenthetemeritytogiveusatopGwithasoundlike thesideofahouse!Mostsignificantly,thisisalldonewithina reallyengagingmusicalline,notmerelychopstothefore.
Itisfascinatingtomehow,despiteplayingcommon melodiclanguageandthetrombonismsthatmanyofus trombonistsshare,thereisstillanindeliblepersonalsound anduniqueapproachcomingthroughinajazzsoloistsuchas Richard.Thereisalsoaconnectiontothesensibilityofthe personplaying.Thissoloatoncesoundsgenerousandgiving whileembracingrisk-takingandasenseofgleeforlife.Jazzisa socialmusic,andthisisexactlythecompanyyouwouldwant tobekeeping.
ThanksagaintoRobEgertonforthetranscriptions, appearingbothintrebleBbandbassclef.Notewellthesmall figure8sabovetheclefsindicating8va!
Richardhasleftquitealegacyofrecordings;manyareon YouTube.Thisrecordingwillleadtoothers,soIhopeyou enjoythejourney.ThankstotheBTSforallowingmetowax lyricalaboutthiswonderfulmusicianandincredible personalityIwasfortunateenoughtobeinthecompanyof formuchofmyearlycareer. Nam-myoho-renge-kyoRichard.
By HelenaKeiser,SimonProctorandEmilyWhite
ProctorConcertofor SackbutandOrchestra EmilyWhites’sworldpremiere performanceofSimonProctor’sconcertowasalsoahistoricalfirst: thefirsteverofitskindforsackbutandfullsymphonyorchestra.
OnSunday,21September,EmilyWhitepremieredSimon Proctor’ sConcertoforSackbutandOrchestra,withthe OrchestraofSt.John's(OSJ),treatingtheaudiencetoan excitingunionofcontemporarywritingandhistoricalsound. PerformedinDorchesterAbbey,oneofEngland’soldest Christiansettlementsites,theatmosphericsettingservedasa reminderofthesackbut’sagedandecclesiasticalorigins. WhenjuxtaposedwithProctor’slushRomanticmelodiesand jazz-influencedmotifs,theAbbeybecamealiminalspacein time–ameetingofbothnewandold.Thisfeelingof suspensionfromtheoutsideworldwasonlyheightenedby White’sbreathtakinginterpretationofthepiece,specifically writtenforher.HoldingthepackedAbbeyinthepalmofher
hand,White’sartistryandunwaveringcommitmentto musicalintegritylefttheaudiencebothmovedanddelighted. Commencingwithforebodingorchestralchordsthatswelled intowarmth,Whitejoinedtheromanticsoundscapewith sensitivity,blendingwithheraccompanimentbefore blossomingintotheroleofprotagonistwiththeexpanding melodicline.Themovementsubsequentlytransformedinto aneffervescentallegro,inwhichWhitepeekedthroughthe orchestrationwithchatteringmelodiesandsparklyutterances –inconversation,neverconfrontationwithher accompaniment.Meetinginthegoldensoundofthesackbut’ s moderncounterparts,Whiteemergedincadenza,risingwith longingbeforesighingdowntothedepthsofthesackbut’ s
range.Inthefollowingmovement,thissenseofmusical dialoguewascontinuedbythesackbut’ssoaringmelodyand echoedutterancesofthemotifthroughouttheorchestra. Here,Whitefoundaquietstrengthandbeautyofsoundthat unfoldedwithyearningandemotionalintensity.Thelast movementwasa‘big-band-inspired’finale,whichhadthe wholeaudienceswayingandtappingtheirfeet.Improvisatory infeelandfullofzest,Whitedazzledwithhervirtuositybefore themovementculminatedinathrillingorchestralflourish. Duetotheunusualinstrumentationofthiscomposition,I wrongfullyassumedthepremierewouldpredominantlydraw sackbutenthusiastsfromfarandwide.Instead,ittranspired thatveryfewmembersoftheaudiencehadheardofthe sackbut,letalonehearditlive.Whatadelighttobeintroduced tothesackbutasnotathingofthepast,butasavoicethatcan spancenturiesandgenres.Incommunicatingthis,thereisno oneasadeptandcompellingasEmilyWhite. HelenaKeiser
Iamdefinitelyaconcertocomposingspecialist,havingjust startedmy35th!MyfirsteverconcertowastheoneIwrotefor theserpent.Thatwasfollowedbyoneforthekeyedbugle, thenlater,onefortheophicleide.Ihaddefinitelydevelopeda fascinationforhistoricbrassinstrumentsduetotheirunique appearanceandindividualsound.Havinggottohearthemin theirtypical'old'music,Ifeltastrongdesiretobringthese virtuallyobsoletedinosaursintothemodernageandgivethem anewleaseoflife,combinedwiththemodernorchestra. Therehadalwaysbeenonemissingparttotheseconcertosfor historicbrassinstruments,andthatwasobviouslythesackbut. IknewIhadasackbutconcertoinme,andsoacoupleofyears agoIdecidedIsimplyhadtowriteit!Inordertoensurethe workhadanendproduct,i.e.aperformance,thenextstepwas tofindasuitablesoloist.Iaskedoneofmyserpent-playing friends,PhilHumphries,ifhecouldrecommendanygood sackbutists,andheimmediatelysaid,EmilyWhite.So,Igotin touchwithher,offeredtowriteheraconcerto,andshesaid yes,aswellashavingapotentialperformanceinmindwiththe OSJanditsconductor,JohnLubbock.
Wediscussedthebasictechniquesofidiosyncraticsackbut writingandthefactthatIhadnointerestinmodern,useless extendedmethodsandthatwasessentiallyallIneededtoget started.
Iwantedtowriteforafullsymphonyorchestra,butwith carefulconsiderationofthebalance,asthesackbutisnotas powerfulasthemoderntrombone.Itwasimportantthatthe specialtonalqualitiesofthesackbutcouldbeheardand exploitedtothefull.Eventhoughthesackbutisnotthesame asamoderntrombone,Iwantedmyconcertotogivethe sackbuttheopportunityto'think'it'satrombone,andsoalot oftheworkisaboutthesackbutlookingintothefutureand wishingitcouldbejustlikeatrombonewithitssuave sophisticationembracingboththeformalandjazzworlds.
Myconcertodoesallthetypicaltrombonethings,suchas bigboldtunes,gentlelyricismandthenletsitshairdownin unabatedjazz,butallslightlycontainedintheuniquesound worldofthesackbut.
Ialwayscomposemusicwiththelistenerinmind,sothere hastobeaproper,appealingmelody,sumptuousharmonic language,anemotionalroller-coasterrideandaboveall,an intentiontoentertain.Alargeproportionofmodernmusic failstoconnectwiththeaudience.Iaimtodosomething positivetoaddressthisgeneralmalaise.
OnelastthingwhichmaybeofinterestisthefactthatI alwayswritemusicbyhand,neveronacomputer.Itisavital ingredientinmycreativeprocess.It'sjustme,apiano,some manuscriptpaperandalargesupplyof2Bpencils,arubber andaruler.Ienjoythissimplewayofworkingandwouldhate theideaofstaringatascreenallday!Thatwouldbehorrible anduninspiring!
SimonProctor
Reflectingonthepremiere,EmilyWhitewrites,‘WhatIwas blownawaybywasthefun,andthegloryofbeingcarriedon thesoundofafullsymphonyorchestra. Therewasamoment whenthefulllowerbrasscrestedawaveofsound,justasthe tam-tamfilledtheAbbey,andIjustturnedaroundandgaped inawe,insteadofdoingmyplannedemptyofthesackbut slide!It'sboldtocomposeforsackbutandtheseforces. Ratherthanbeinganintimidatingchallenge,itwasjoyous. Ilookforwardtorecordingit,andalsohearingothersackbut playersperformit.TheOSJwereincredible,itwasanhonour topremiereitwithsuchafabulousorchestra.ToJohn LubbockandSimonProctor,thanksonbehalfofthe internationalsackbutfamily.
BTS Composers’Competition 2025 ByTomPilsbury
TheresultsoftheBTSComposers’Competition2025wereannouncedon1September.
Fromthemanyentriesreceived,thejudgingpanelofDaniHoward,RachelStott,andBeckyPepper awarded1st PlacetoRobinBenton,2nd PlacetoLuísMarrocosand3rd PlacetoJoeGaluszka. Entrantswereinvitedtocomposeaneight-partfanfareformixed-abilitytrombonechoir, whichwasperformedbyaCommunityChoirofover100playersduringtheBTS@40CelebrationGalaConcert.
CelebrationFanfare–RobinBenton(UK) RobinlearnedpianoandGbasstrombonefromanearlyage. Inhisteens,hewrotethemusicfortwolocalmusicals. Afterqualifyingasateacher,hegainedaBMusdegreeandan ARCMdiplomainmilitarybandmastershipandtaughtin juniorschools,wherehestartedbandsandhandbellgroups. HisschoolwindbandwonaMcDonald's‘Childof Achievement’awardplayinghisarrangementof Tchaikovsky's1812Overture
Robinenjoysplayinginorchestras,bigbands,trombone quartets,andfortheatreshows,andisafoundermemberofa localcommunitybigband,forwhichhehaswrittenmany arrangements.Healsowritesforhandbells,andhis compositionshavebeenchosentorepresentGreatBritainat InternationalSymposiaonthreeoccasions.Robin’ sDance
Suitewon1st placeintheJuniorTromboneQuartetcategory ofthe2008BTSComposer’sCompetition.ManyofRobin’ s compositionsforbrass,handbells,andchoirshavebeen published;visithiswebsitetofindoutmore.
FarewelltoConstantinople–LuísMarrocos(POR) LuísisayoungamateurtrombonistandcomposerfromViana doCastelo,Portugal.HebeganhisstudiesattheEscolade MúsicaJoãoCostaeSilva,locatedinhishometownof Lanhelas,undertheguidanceofHugoSilva.Luís subsequentlyjoinedtheSociedadeMusicalBandaLanhelense, abandfromhishometown,whichhestillplaysin.Inrecent years,hehasplayedinseveralbandsaroundthenorthof Portugalanddevelopedaninterestincomposition.Currently studyingcompositionandmusictheory,Luíshasstartedto explorecomposingmusicforsmallergroups,whilealso writingforbandsandorchestras
RubyRed–JoeGaluszka(UK)
Joetaughthimselfpianobeforejoiningabrassbandat14. Asatubaplayer,timpanist,andpercussionist,hehasperformedwithsomeoftheUK’sfinestbrassbands,including Tredegar,Flowers,andAldbourne.Recentlyappointed MusicalDirectorfortheGloucestershireMusicServiceand YouthOrchestras,heisalsoatutorwiththeWestofEngland MusicHubandTheBristolEnsemble’seducationalarmand hasworkedfortheNationalChildren’sOrchestra.Heis currentlytrainingwiththeAssociationofBrassBand Adjudicators.
Joe’scompositionsspanmanygenres.Hisscore forFirekeepersofKakadu,adocumentarybroadcastonSBS Australia,wonBronzeattheGlobalMusicAwardsandGold attheLondonIndependentFilmAwards.Hisworkshave beenshortlistedfortheEuropeanBrassBandComposition ChampionshipandtheA4BrassQuartetCompetition,with histubaquartetPandemicwinning1stplaceintheWhen TubaComeOneInternationalCompositionCompetition. VisitJoe’ swebsitetofindoutmoreabouthim.
SteveThompson’ sWildSwansisahauntingmultimedia reimaginingofHansChristianAndersen’sfairytale,blending narration,trombone,andsurrealvisualartintoamodern storytellingtapestry.
PremieredinOctoberatLondon’s1901ArtsClub,Wild SwanstransformsAndersen’staleofPrincessEliza,whomust rescueherelevenbrotherscursedintoswans,intoacinematic soundscapeofcourage,silence,andtransformation. TheprojectfeaturesnarrationbyJohnSuchetOBE,Elena Kats-Chernin’sballetscorearrangedfortromboneandpiano, andThompson’sdreamlikeillustrations,creatinga multisensoryexperiencewheremusicandspokenwordare inseparable.
Thompson’sversiondeepensthepsychologicalcomplexityof thecharacters,especiallytheQueen,portrayedasafigure grapplingwithgriefandpower.Thetrombone,often overlookedinnarrativemusic,becomesavoiceofemotional resonance,echoingEliza’ssilentstruggle.Theworkispart audiobook,partvisualconcert,andpartcontemporary classicalperformance,defyinggenreboundarieswhile remainingfaithfultothefairytale’semotionalcore.
ReleasedasabookandCDset,WildSwansinvites audiencesintoaworldwheresilencespeakslouderthanwords, andtransformationisbothmagicalanddeeplyhuman.It’ sa
Wild Swans ByAlastairWarren
bold,lyricalretellingofaclassicfortoday’slistenersand viewers.
Thompsonwrites,‘IfirstcameacrossEliza’sAriafrom ElenaKats-Chernin’ sWildSwansballetbackintheearly 2000s.Iwasimmediatelyintrigued,asI’vealwaysbeenahuge fanofminimalistmusic.IloveJohnAdamsandthinkNixon inChinaisoneofthegreatmasterpiecesofthelate20th century.ButI’vealwaysfeltthatminimalismtendstosplitin twodirections:ononehand,there’sthecoolintellectualismof composerslikeAdams,whichsomepeoplefindalittle detached;ontheother,there’sthemoresentimentalapproach ofsomeonelikeLudovicoEinaudi.Elena’smusicseemedto strikeaperfectbalancebetweenthetwo,emotionallydirectyet structurallysophisticated,andIfoundthatreallyfascinating. IreachedouttohertoaskifImightarrangesomeofhermusic fortromboneandwasdelightedwhenshesaidyes. Unfortunately,lifegotintheway,andIfoundmyself increasinglyinvolvedinjazzandcommercialprojectsrather thanclassicalones,soitdidn’tfeelliketherighttimetorecord ituntilacoupleofyearsago.
Theprojecthasahardbackbookwithit,andofcourse,the audiobooknarratedbyJohn[anenthusiastictrombonistand oneoftheBTS’snewestmembers].Icreatedavideoofthe preludefeaturingsomeoftheartanimated,justforsocial media.Forthelaunchnight,Iwantedtoplaymyfavourite track,TheMagicSpellTango(whichIwasluckyenoughto receivesomebriefcoachingonfromChristianLindbergwhen wechattedonZoomduringthepandemic).IthoughtIhad bettercreateavideoofthatforpeopletowatchfortheevent!’
WildSwanscanbepurchasedfromWaterstonesintheUKor Barnes&NobleintheUS.
Photocredit:FionaFellows
©SteveThompson
InConversation with IanBousfield Aheadofthe2026BTSWellsCathedralTromboneDay,RossBrown,HeadofBrassatWellsCathedralSchool, chatstoGuestArtistandWellsschoolparent,IanBousfield.
RossBrown:Greattoseeyou,Ian.Shallwestartwithwhen youfirstcametoWells?
IanBousfield:IfirstcametoWellsinJune,Ithinkitwas 1995,andI'vebeencomingbackalmosteveryyearsincethen! Ifellinlovewiththeplacerightinthebeginning,partly becauseit'sthemostbeautifulschoolintheUK,oneofthe mostbeautifulcitiesintheUKandprobablythemost beautifulcathedralintheUK!ButIreallyfellinlovewiththe ethos,theauraofpositivityaroundtheschool,andaftera while,itbecamecleartomethatIwasn'tcomingbackas muchtogiveastotake.Iwascomingbacktorechargemy batteriesinthepositiveenvironmentoftheschool.Andit hasn'tchanged,it'sstillthesame!Infact,wherewe'redoing thisinterviewrightnow,inthebeautiful14th-centuryQuilter Hall,iswhereI'vedonemyfavouriteconcertsinmylife. Someofthemostspecialmomentshavehappenedinthis room.
RB:You’vebeenvisitingforalongtime!PaulDenegri,who wasmyfabuloustrumpetteacherandHeadofBrass,washere formanyyears,alongsidethelegendaryAlanHutt.
IB:AlanHutt,stillthegreatestteacheroftromboneplayers undertheageof18thatIknow.Anabsolutegenius,fartoo modest,andstilldoesn'trealisewhataneffecthehadonso manytromboneplayers.Andwhataneffecthehadonmeasa teacheraswell!
RB:WhatisitaboutAlan'sstudentsthatyoumostadmired?
IB:Theylovemusic,andtheylovelife.Andifyoucangeta youngpersoninthatposition,theywillachieveanythingthat theywanttoachieve.Itwasjusttheirunquenchable enthusiasmanddesire,notonlytomakemusic,butalsotheir enthusiasmforlisteningtomusic.Theywereobsessedwith thisrecording,orthatsoloist,orthispieceofmusic.Andthey justthoughtmusicwasthebestthingever.Hedidthatfor them,andIknowthat,becauseitwasn'tjusttheoddone–itwasgenerationaftergeneration.Also,everyonewhostudied withhimstillhasanunbelievablypositiveoutlookonlife. Youcanhavetheoddcoincidence,butyearafteryear, generationaftergeneration,itain'tnocoincidence,isit? Hedidit.
RB:Andoneofhisex-pupilsisEmilyWhite,whoteachesat WellsandwillbeattheTromboneDayinMarch,whichis wonderful.
IB:EmilywasoneofmyfirststudentsattheRoyalAcademy 30yearsago,andshefirstintroducedmetothebeautyofearly music.Irememberwhenshewasastudent,sheplayed somethingontheBaroquealto.Itwasareallife-changing momentforme.Itwassomethingshedidcompletelyonher owninitiative,anditsoundedabsolutelywonderful.Emilyis suchauniquemusicianandauniqueperson.Iwouldn'tbe trustingmyson’sdevelopmentatthemomenttoherifI didn'tbelieveinher,whichItotallydo.ThewayEmilyand Tom[Lees]collaboratetolookafteralltheyoung trombonistsiswonderful.Theyreallythriveundertheir dedicationandcare.WearejustsodelightedthatAidanhas joinedWellsasachoristerandasawonderfulyoung tromboneplayer.
QuilterHall.Photocredit:WellsCathedralSchool
RB:Andwhatisitabouttheschoolnowthatyouthinksuits himasayoungtrombonist?
IB:WeliveinSwitzerland,ourlifeisinSwitzerland,my futureisinSwitzerland.WellsCathedralSchoolistheonly schoolintheUKthatIwouldtrustwithmychildren,andwe aremakingincredibleeffortstomakeithappen,alsoasa familyasawhole.WhatIseeinWellsisthatWellsCathedral Schoolwantstoknowwhateachchildexcelsat,andtheywant torejoicewiththechildinthatexcellence.Idon'tknowwhat mysonisgoingtobecome.Hemightbecomeacricketer! Wedon'tknow,he'sneverplayed.Butifhe'sgotanytalentin anydirection,IknowWellswillfindit,andWellswillhelp himgrowinthatregard.Sowearefeedingbothofour children,AidanandAnnick,intothebeginningofthe process.Whatcomesoutoftheotherend,Idon'tknow. [Addendum:AidanhasfalleninlovewithRugbyandis apparentlyquitegood!]
IencouragedAidantoplaythetrombonebecauseit's somethingthatIunderstand.Ineverintendedforhimto becomeatromboneplayer,butIwantedhimtoexperience excellenceinsomething,andIknewIcouldhelphimachieve that.ImaynowberegrettingwhatIwishedfor,becausehe reallydoesseemtowanttobeatromboneplayer,andheplays verywell.Andsowe,asaschoolandasparents,haveajobto doinsupportingmysonasatromboneplayer.Somepeople mightseethatasbeingalotofpressureforhim,butifhefeels that,thenIgotmyjobwrong.Youknow,Ihavetohelphim growandbecomehimself,whichiswhatItrytodowithevery studentthatIsee,andIknowthatWellsisanincredibly nurturingenvironment.
Sothat'swhatIwantformykids.Iwantthemtobeina safe,nurturingenvironment,forthemtobeabletoexploreall kindsofdifferentthingsandfindoutwhatitisthattheywant todo.Andthisistheplacetodoit! Whatwearealready feelinginWellsisthatthereisasenseofcommunityand teamwork.It’sathree-partteamwiththeschool,thepupil, andtheparentsallworkingtogetherforthebenefitofthekids, andatanyonetime,oneofthosethreeingredientsiscoming totheforeandtakingthelead.Certainly,asparents,we alreadyfeelincrediblyinvolved.
RB:Andobviously,we'rethrilledthatyou'regoingtobe morecloselyassociatedwiththeschoolintermsofpedagogy andcoachingandjustbeingaroundasanincredibly experiencedmusician.Whatareyouhopingtobringtothe BrassDepartment?
IB:LikeIsaid,mywholelifeisinSwitzerland.Ihaveajobin SwitzerlandattheUniversityoftheArtsinBern,andIstill haveaverybusysolocareer.ButIwanttocomebackhereand bepartoftheWellscommunity.Iwanttocomehereand remindtheyoungpeopleandmaybealsotoanextentthe teachers,becauseI'vebeenaroundherealongtime,ofthe positiveenvironment.Andjusttokeepthatballrolling. Iwanttobepartoftheteam.Iwanttohangoutwiththe
youngbrassplayers,playsomemusicwiththem,sharewith themwhatI'mworkingonandjustbesupportive–basically, thatisit.Hopefully,somehowbyosmosis,whateverImay havelearnedinmylifewillpasson.
Ialsowanttopassonmyenthusiasmforplayingthe trombone.ThereisstillnotasingledaythatgoesbythatI don'twakeupandthink,‘Great,Igettoplaythetrombone!’ It'salwayslikethat,andifIcansharethatwithsomeyoung peopleorwecanshareourloveforwhatwedo,thenthat's whatI'mhopingfor.Ofcourse,Iwillalsocometovisitmy kidsandtorememberwhatitistobeEnglish,becauseitis veryEnglishhere!Butbasically,Iwanttobehere.
RB:Brilliant!Andwe’redelightedthatyouwillbeoneofthe tutorsforthenextBritishTromboneSocietyDayinWells alongsideourfabuloustromboneteachersTomLeesand EmilyWhite.We'vebeenincrediblyluckyoverthelastfew yearstohostBonesApart,theRoyalCollegeofMusic TromboneChoirwithByronFulcherandex-Wellsstudent JamesBucklefromthePhilharmonia,aswellastheRoyal BirminghamConservatoireTromboneDepartment. Andnowwe'rethrilledthattheRoyalAcademyofMusicis comingdowninMarchforthenextevent.Whatareyoumost lookingforwardtoaboutTromboneDay?Whatdoyouthink willmakeitextraspecial?
IB:Again,it'ssharing.I'mgoingtobehavingfunwithmy colleagueswhowereformerstudentsandalsobringingoneor twoveryspecialRAMstudents,includingSophieBright. Ijustwanttocreatesomemoreofthosespecialmoments.Isee thedayasauniqueopportunitytobringsomereallyamazing tromboneplayerstogetherandgatherasmanystudent
Photocredit:WellsCathedralSchool
players,amateurtrombonistsandbrassbandplayersaswecan –justtoreachouttothewidertrombonecommunityandto haveafestivalofenjoyingtheinstrumentonaverynerdy level!
RB:Well,speakingasatrumpetplayer,whatIloveaboutthe WellsBTSeventsisallthesetromboneplayersfromlotsof differentbackgroundsandgenerationsallchattingtoeach other,havingsomuchfunandsoundingamazingplaying together!
IB:Ifyou'reatromboneplayer,you'repartofaverybig family.It'sreallyamazing.Andtoreconnecttothatandto contributebacktoitisgreat.So,I'mlookingforwardtothat again.It'llbecool,anditpromisestobeagreatday!
RB:I'mlookingforwardtoitalready!
IB:Metoo!Andifyoucan'tmakeitdowntotheBTS TromboneDay,butyouareinterestedinwhatwe're doingatWellsCathedralSchool,reachout.ContactRoss Brown,music@wells-cathedral-school.com,findoutwhen I'mhereandlet'smeetup!
RB:It’sbeenahugepleasurespeakingwithyou,Ian. Ican’twaitfortheBTSDayandalsotoworkwithyouinthe BrassDepartmentinWells,helpingtocreatesomemoreof thosespecialmusicalmomentsyoumentioned!
Photocredit:WellsCathedralSchool
TheHeroicTromboneandTrombone21 ReviewedbyAlastairWarren
TheHeroicTrombone–DrBrettBaker
Withhislatestrecording,TheHeroicTrombone,DrBrett Baker,solotrombonewiththeCoryBand,paystributetothe inspirationalheroicfigureshehasencounteredonhismusical journey.BeginningwithDenisWick’sarrangementofthefirst movementofGordonJacob’ sConcerto,healsoreferences DonLusher,viahisarrangementofMakin’Whoopee,Ray Steadmann-AllenwithhisImmortalThemeandMarkFreeh, withhisarrangementofJohnBarry’ sYouOnlyLiveTwice.
Ofparticularinterestarethefourpremiererecordings:Rob Wiffin’ sHeroicEtudeisapleasingadditiontothegrand traditionoftheconcertétude,pittingtechnicalsectionswith plentyofdouble-tonguingagainstmorelyricalpassages.
BothBelke’ sConcertinoof1826andZimmerman’ sAutumn Dreams,avalsebrillantefromtheearly1900s,aregivenbrass bandaccompanimentsforthefirsttime.Replacingthe legendaryArthurPryorastrombonesoloistintheSousaband, Zimmermanhasbeensomewhatovershadowedbyhis predecessor,buthiscompositionallegacyshowshimtohave beeneverybitastalented.
KING!byAustraliancomposerBrentonBroadstockis dedicatedtofellowcountrymanDavidKing,aninfluential figureforDrBakerwhilstastudentattheUniversityof Salford.Inthreeconnectedmovements,King!isafine additiontotherepertoire.Thefirsttwomovementsarehighly atmospheric,featuringthesoloistinlyricalmode,whilethe finalmovementismuchmoredramatic,fulloftechnical flourishes.
DrBakerisaccompaniedbyPaulHollandandtheFlowers Band,theirsixthsuchcollaboration.Thebandprovides outstandingaccompaniment,particularlyinchallenging
repertoire,suchastherarelyheardbrassbandversionof Lindberg’ sMandrakeintheCorner.
TheHeroicTromboneisafinetributetoDrBaker’smentors, showcasingbothhisversatilityasasoloistandactingasagreat introductionto200yearsoftrombonerepertoire.
BuyHeroicTrombonehere
Trombone21–ChrisVanHofandCarolJarvis
Trombonistsinthe21st centuryareexpectedtobeevermore versatile,abletoturnourhandstoawiderangeofgenres, frequentlydoublingondifferentsizesofinstrument.
WithTrombone21,ChrisvanHofandCarolJarvishave takenthemusicminusoneconcepttoanewlevel,presenting trombonesectionexcerptsfromacrossthebaroque,classical, jazz,funk,pop,andLatingenres,deliveringastyleguidefor navigatingtherichandvariedsoundscaperequiredof thecontemporarymusician.Userscanchoosewhichtrackto mutebeforeplayingalongwithsomeofthebestinthe business,inthiscase,Chris,CarolandSimonMinshall.
Withgenre-specificstylistictips,includingadviceonsuitable equipment,andperformanceinsights,Trombone21isan indispensableadditionnotonlytothefreelancer’stoolkit,but alsoforanytrombonistlookingtohavefunexploring unfamiliargenres,whilstdevelopinglisteningskills,tuningand soundconceptalongtheway.
PurchaseyourcopyofTrombone21here
OperaNorthTrombones HowardAssemblyRooms,Leeds,23November2025
ByPeterChester
OperaNorthismorethanjustanoperacompany.Itseightor moreimaginativeandinnovativeoperaproductionsperyear, anditstremendousoutreachworkwithchildrenandpeople newtooperamorethanjustifiestheawardsithasreceived. Atthecentreofmanyofitsactivitiesisthelong-established permanentOrchestra,which,alongsidetheoperas,hasan extensivecalendarofperformancesallofitsown.Thisyearhas seenyetanotherinnovation,undertheheadingofDistilled, duringwhichOrchestramembershavegivenaseriesofrecital programmes.Oneofthese,inlateNovember,waspresented bythetrombonesection,comprisingBlairSinclair,Tom Berry,andChristianJones.Christianofcourse,needsno introductiontoBTSmembersashewasPresident2013-2015, andinfactpresidedoverour30th Anniversaryin2015,which indeedgotamentionintheirrecital.
Alongsidetheirsuprememusicianship,allthreeplayers spokeaboutthemusicinaveryrelaxedyetinformativestyle. Theywereclearlyateasewiththeproceedingsand,asBlair saidquiteearlyon,theyhopedtodispelsomeofthe uninformedstereotypesofthetrombonesection,‘thosewho satinthebackrowandplayedveryloud’!Theirperformance didindeeddispelsuchscurrilousmythsandaverywiderange ofmusicalepochs,styles,coloursandwasoffered,includinga worldpremiere.
Theprogrammeopenedwithacharacteristicfanfarewritten byalittle-knownFrenchcomposerfromtheParis Conservatoiretradition,JeanInabelle,whichwasfollowedby asuperblyantiphonalrenderingofoneofDanielSpeer’ s Sonatas.Includedtoillustratethewarm,caressingsoundthat threetrombonescanprovide,anarrangementofagentlearia, Lasciach’iopiangafromHandel’ sRinaldofollowed,to beautifuleffect.Insignificantcontrast,DanJenkins’ sRed, Blue,Yellow,asubstantialpiecefromour30th Anniversary yearin2015,allowedeachoftheplayersto‘havetheir moment’,andthereweresomeparticularlymagicaleffects fromthewah-wahmutesused.Toremindtheaudienceof theirdayjobasorchestralplayers,acoupleofcontrasting orchestralexcerptswereexplainedandexpertlypresented:the choralefromBrahms’ sFirstSymphony,followedbyafewbars ofBritten’sstormfromPeterGrimes.AshortAequalefrom Brucknerwassmoothanddignified,asonemightexpect. Backintocontemporarymusic,RedSilkShawl,byJennifer Mitchell,inmemoryofaleadingAmericanSuffragette,and commissionedbytheITFin2010,provedtobeachorale-style piece,requiring,andeliciting,greatcontrolofdynamicsand tonecolour.ComposerBenEllinisnostrangertotrombone music,andapiece,HoeStreetDemons,fromhis2015suite StowSketches,offeredalighter,almostjazzycontrast.
TheworldpremieretowhichweweretreatedwasaTrioby DuncanAbrahart,acomposer(andtrombonist),whostudied inLeedswithBlair,anditsvariedelementscertainlyaddedto theafternoon’sexplorationofthecapabilitiesofthe instrument.OperaNorthplayerscertainlyseemedtoenjoy playingit,andaswassaid,theywerethrilledtobepresenting newmusicforthetromboneforthefirsttime.Perhapsto restoreacertaincalmandfocus,theofficialprogramme concludedwithanarrangementofNimrod.Remembering Elgar'saffectionforthetrombone,itisverylikelyhewould havemuchapprovedthesmooth,dignifiedandsonorous soundproducedbythesethreeexcellentplayers.Itwasvery wellreceived,somuchso,wegotanextrapiece,catchy,fun andbrilliantlypresented,BrianLynn’ sBa-Dee-Doo-Dup Agoodprogrammefromagreatteam–Congratulations!
L-RBlairSinclair,TomBerry,ChristianJones.
SilfraisthedebutalbumofPharos,anewprojectfrom TrevorMiresandPaulDunlea.Trevorisoneofmyfavourite tromboneplayersandisalong-termBTSsupporterand contributor,butIdon’tbelieveIhaveeverheardIrishman PaulDunlea’splayingbefore.RyanKeberlieaddsathird trombonevoiceonacoupleoftracks.
SupportingTrevorandPaularethreehand-picked Americans:BillyKilsonondrums,whodrivestheensemble alongwithanamazingfeelovermanydifferentgrooves. Histouchesandinflectionsaresointerestingandalways supportthemusicandmusiciansbrilliantly.IkeSturmonbass displayslovelymelodicplayingattheopeningofthefirst track,Frongoch,aswellashippocketplayingonmanyothers. JimRidlonpianocompletestherhythmsectionandtakes someincrediblesolos;heimproviseswithreallyclearphrases, givingplentyofspacewhilstdevelopinginterestinglines. Hissoloontrack7,Saoirse,isincredible.
OneofthepartsImostenjoyeduponlisteningwas discoveringPaulDunlea’swriting;hecomposedfourofthe tracksonthealbum,withTrevorcontributingtheotherthree. EachofPaul’sconjuresreallyclearpicturesinthemind. Silfra,thetitletrack,isaplaceinIcelandwheretwotectonic platesmeet,andtheinspirationcamefromPaulscuba-diving andtouchingbothplatesatonce.Youcanreallyhearhissense ofwonderandamazement,aswellastheawe-inspiringand slightlyterrifyingpowerofMotherNature.Hiswritinghas suchalushtextureandreallytakesyouonajourneyoverthe courseofeachtrack.Paul’ssoloonSilfraisamasterclassof creatingtensionandreleaseusingharmony,dynamics,and articulationcombined.
AnothertrackworthyofspecialmentionisCypherNutria ComposedbyTrevor,itstartswitha12/8shufflebuilding tensionwithapianoostinato(Billy’sdrummingonthis
Silfra Pharos ReviewedbyDavidHorden
sectionissomeofthebestyouwilleverhear)beforesettling intoanexciting4/4groovefromtherhythmsectionthatI couldlistentoallday.Incaseyouaren’tfamiliarwithTrevor’ s playing,histechnicalfacilityonthetromboneisincredible. Hissoloonthistrackisanamazingdisplayoftechniqueand harmonicdiversity,whilststillputtingthemusicandits messageasthefocalpoint.Whatalwaysinspiresmeabouthis playingishisarticulation;evenwhenatlightspeed,hepicks outeverynoteandmeansallofthem.
Anotheramazingdisplayofimprovisationisonthetrack Don’tGiveUpOnMe,inwhichTrevorcombinesharmonic languagefromacrossthewholehistoryofjazz,transitioning fromcomplexBrecker-esquelinesintoahipblueslick, throwinginsomebebop,allwhilstbuildingsuchexcitement throughthewholesolo.Thistunealsofeaturesaseriously swingingpianosolofromJimRidl.
Themostimpressivepartofthisalbumisthatevery musician,andtheensemblecollectively,alwaysputsthemusic first.Theimprovisedsolosaresensitiveadditionstothe compositions,notthedominatingfeature.Alltheperformers' ideasandvirtuosityareputtowardscreatingthesceneand moodofeachtrack,atruecollectiveeffortinserviceofthe music,andtheresultsaresublime.Recordedatthelegendary NewYorkstudioofRudyVanGelder,andsuperblymixed andmasteredbyLouisDowdeswell,thisisanalbumfor everyone,notjustthejazzfans.
StreamorpurchaseyourowncopyofPharoshere.
18Monologues Élastiques SamuelBlaser ReviewedbyDrAnthonyBoorer
Whereawanderingtrombonemeetstheshifting acousticsofBerlin’sFunkhaus.
SamuelBlaser’ s18MonologuesÉlastiquesisacurious, compellingrelease:asolotrombonealbumthatbehaves nothinglikeaconventionalrecitalandeverythinglikean acousticexplorationofplace.Recordedinsidethesprawling corridorsandchambersofBerlin’sFunkhaus,theprojectturns thetromboneintoawanderingnarrator,reactingmomentby momenttowhateverthearchitecturethrowsbackatit. Youheartheperformer,ofcourse,butyoualsohearthe building itssurfaces,itsshapes,itssuddengenerosityand occasionalhostility.Ineffect,itbecomesaduetbetweenBlaser andtheroomshepassesthrough.
Theproject’sconceptualnodtoBlaiseCendrars’Poèmes élastiqueslendsitamodernisttilt,characterisedbyabrupt shifts,fragments,andelasticgestures.Inthatsense,thereisa faintconversationherewithtwentieth-centuryancestors not asimitation,butassharedinstinct.Onecancatchtheghostof Berio’sperformativeawarenessinSequenzaV,thespatial wanderingofNono,orthetimbralsculptingJamesFulkerson achievedinhistape-delayworksofthe1990s.Blaserisn’t quotinganyofthem,butthefamilyresemblanceis unmistakable.Thequestionofpastichesimplydoesn’tarise; themusicgrowstoodirectlyoutofthephysicalspaceshe occupies.
ThealbumopenswithAppearance,recordedinthe Künstlergangandadjacenttoilets awonderfullyodd, unexpectedlyeffectivebeginning.Youencountertheresonance ofthecorridorbeforetheinstrumentfullyemerges,asthough Blaserislettingthebuildingintroduceitself.ByMissingMarc Sütterlyn,inSaal3,thetrombonestretchesintoalarger acoustic,lettingphrasesbloomanddissolveintotheroom’ s naturalreverberation.
What’sespeciallystrikingishownaturallyBlaserfolds extendedtechniquesintothisenvironment.Sub-tones(false tones),breathnoise,vowel-filteredcolours,understated multiphonics,pedalfundamentals,lipbendsandglissandiall
appearwithoutanysenseofgrandstanding.Theyareusedthe wayelectroacousticcomposersuseprocessing:toshade,distort, orrevealdifferentlayersofthesound.Thesearethesame techniquesIexploredandcodifiedinmyownresearchinto trombone-centredsounddesign,andBlaserusesthemwith thatsameemphasisonmusicalpurposeratherthantechnical display.
Sometracksbehavealmostlikestudiesinlistening.TheBlues isGreen,ananechoicchamberpiece,stripsthetromboneof everysafetynet,leavingthesmallestinflectionexposed.Torture Room,inaKreuzgewölbe(crossvault),doestheopposite:the reflectionssnapbackwithsuchforcethatshortarticulations turnintojaggedrhythmicevents.Legrandnuméromoves throughseveralspacesinsuccession,thetrombone’svoice reshapingitselfwitheachchangeofacoustic.AndGlissandino, inSaal1,maywellbethealbum’shighlight:long,quiet glissandiunfoldinglikearchitecturalarcsdrawnintoavasthall.
Whatmakesthealbumsoquietlyradicalisthatitachievesan electroacousticaestheticwithoutusingelectronicsatall.Inmy ownworkwithtromboneaugmentation,theaimisoftento createpreciselythissenseoffluid,responsiveinterplaybetween performerandenvironment.Blaserachievesitacoustically, usingnothingmorethanbreath,metal,andthecharacterofthe Funkhaus.Itisareminderthattheroomyoustandincanbeas expressiveasanyprocessor,ifyouchoosetolistentoit.
Intheend,18MonologuesÉlastiquessitsinaverybeautiful niche modernwithoutfuss,exploratorywithouttheatrics, andfullofsubtledetailsthatrewardpatientlistening. Fortrombonists students,professionals,improvisers, orchestralplayers,andanyonecuriousaboutcolourand resonance thisisessentiallistening.Itisavailableonallmajor platformsanddeservesattentiveearsfromthosewhocare abouttheevolvingvoiceofthetrombone.
ONYXBRASS
1.00pm,Thursday,8January
MusicbyBritten,DaniHoward andmore
HolyTrinityChurch,London
IANSANKEY
1.00pm,Friday,9January
TheLit&Phil,Newcastle
GEOFFMASON
7.30pm,Tuesday,13January EastGrinsteadJazzClub
CITYOFBIRMINGHAM SYMPHONYORCHESTRA
UKpremiereofDaiFujikura VastOceanIIw/PeterMoore
7.30pm,Thursday,15January SymphonyHall,Birmingham
SLIDEEFFECT
TROMBONEQUARTET
1.00pm,Tuesday,20January CharltonHouse,Greenwich
BONESAPART
WorldpremiereofClaireCope’ s
TheGreenChapelw/Foden’sBand
7.30pm,Friday,23January
RNCM,Manchester
7.00pm,Saturday,28February
TonbridgeMusicClub,Tonbridge
RNCMYOUNGLOWBRASS ANDYOUNGTROMBONES
12.30pm,Sunday,January25 RNCM,Manchester
RORYINGHAM
8.00pm,Wednesday,28January
8.00pm,Wednesday,18February
8.00pm,Wednesday,25March
8.00pm,Wednesday,29April
TheWoodman,London
DENNISROLLINS
8.00pm,Friday,30January
TheStoke,Guildford
7.00pm,Sunday,22February
BakewellTownHall,Derbyshire
TRIVERGENCE
7.30pm,Saturday,31January
RegentHall,London
BATHPHILHARMONIA
DaniHowardTromboneConcerto w/PeterMoore
7.30pm,Wednesday,4February TheForum,Bath
CONNAUGHTBRASS
ScotlandTour
7.30pm,Friday,13February
CommunityHall,BoatofGarten
7.30pm,Saturday,14February
SACommunityChurch,Ayr
7.30pm,Sunday,15February
MunicipalHall,Biggar
BBCNATIONALORCHESTRA OFWALES
UKpremiereofDeborahPritchard’ s TromboneConcertow/PeterMoore
7.30pm,Thursday,19Feb
BBCHoddinottHall,Cardiff
TRINITYLABAN
BrassRoots:LowerBrassMasterclass Dayforplayersaged11–18.
11.00am,Sunday,1March
TrinityLaban,London
PETERMOORE
TromboneandPianoRecital
7.30pm,Wednesday,18March
KeeleUniversityChapel
ENGLISHCORNETANDSACKBUT ENSEMBLE
7.30pm,Saturday,14March
SherborneAbbey,Sherborne
AllDay,Saturday,21March
PembrokeCollege,Cambridge
7.30pm,Saturday,28March
St.James’sChurch,London
7.30pm,Thursday,16April
TrinityCollegeChapel,Cambridge
ROYALORCHESTRALSOCIETY
DaniHowardTromboneConcerto w/PeterMoore
7.00pm,Sunday,29March
RoyalAcademyofMusic,London
LILLETROMBONEFESTIVAL
13–18April
Lille,France
VisittheBTSwebsiteforup-to-date eventslistings
WhatareyouhopingtoseefromorchestrasaroundtheUKthisseason?Forsure,wealwayswantsomebigMahler orStrauss;however,I’mmoreintriguedtoseehoworchestrascontinuetodevelopthemselvesandinnovate. Ithinkit’snotreallyenoughthesedaystoexclusivelypresenttheoverture-concerto-symphonyformat.
Whilethereis,ofcourse,aspaceforit,Iwanttoseemoreinnovativecollaborationswithartistsandnewmusic thatspeakstoall,notjustafew.Inthatvein,thisyearisshapingupnicely.Seewhatyouthink.
BYJOSHCIRTINA//
PRINCIPALBASSTROMBONEOFTHEROYALPHILHARMONICORCHESTRA
SYMPHONICHIGHLIGHTS
MusicalPainting,Impressions&Intrigue
–BBCNOW
7.30pm,Thursday,8January
BBCHoddinottHall,Cardiff
InspiredbytheplayfulCadavreexquisgame,whereeach personwritesaline,foldsthepaper,andpassesiton,Anders Hillborgcreatesawild,energeticmusicalcollageinExquisite Corpse,pullinginmusicalquotesfromothercomposersand weavingthemintosomethingchaotic,surprising,and unexpectedlybeautiful.AlbanGerhardtreturnstoBBC NOWbypopulardemandtoperformShostakovich's CelloConcertoNo.2,aworkpackedwithrawemotion,grit, andhauntingintensity.TheconcertcloseswithSibelius's LemminkäinenSuite,inspiredbytheancientFinnishlegends oftheKalevala.Originallyimaginedasamythicopera,the pieceunfoldslikeanepicadventurefilmscore:mysterious, broodinglandscapes,burstsoffolk-danceenergy,dramatic climaxes,andshimmeringorchestralcolours.RyanBancroft conducts.
KindredSpirits–UlsterOrchestra
7.45pm,Friday,23January
UlsterHall,Belfast
BenjaminBrittenspokenoRussian,andDmitriShostakovich spokenoEnglish,buttheyfoundineachotherakindred spirit,becomingfirmfriends,supportersofeachother'swork, usingasortofbrokenGermanasasharedlanguage.Britten's tributetohisteacherandmentor,FrankBridge,uses eachvariationtolooselysketchafacetofBridge's
personality,whileShostakovich'sNinthSymphonywasnot thegrandartisticstatementRussiaexpected,andinsteadisa witty,playfulandsarcasticworkthatinevitablyledtopolitical trouble.SaxophonistJessGillamperformsGlasslandsby AnnaClyne,inspiredbythebansheeofIrishmythology. JonathanBloxhamconducts.
Bluebeard’sCastle–BBCPhilharmonic
7.30pm,Friday,23January
RoyalConcertHall,Nottingham
7.30pm,Saturday24January
BridgewaterHall,Manchester
ThisspecialperformancebytheBBCPhilharmonic, conductedbyAnjaBihlmaier,isarareopportunitytohear Bartók'sgrippingone-actopera,Bluebeard'sCastle,inan atmosphericconcerthallstagingwiththeatricallighting. Withsinisterstrings,stridentwindsandcommandingbrass, it'sbothacompellingpsychologicaldramaandamasterpiece oforchestralscenepainting.Thefirsthalfiscontrastedwith LiliBoulanger’sintenseD’unsoirtristeandKodály’ssparkling DancesofGalánta–greatprogramme!!
TheHalléPresents:JonnyGreenwood
7.30pm,Thursday,26February
BridgewaterHall,Manchester
DanielPioroconductsthisconcertcelebratingJonny Greenwood's(leadguitarandkeyboardofRADIOHEAD) loveoforchestralstringwriting.InWater,thewarmthofthe HalléstringsenvelopestwoflutesandanIndiantanpuraona journeyofripplingcolour.Lutostawskidedicatedhismoving MusiquetunebretothepioneeringcomposerBélaBartók, whilstSteveReich'slyricalPulseisatenderlycontemplative, yetconstantlypulsating,work.Greenwood'sground-breaking HorrorVacuiplaysupontheartisticconceptof'thefearof emptyspaces'toastonishingeffect.Usingthefullsonic
potentialofthesoloviolinandextensivestringorchestra,he createsaneerilyliminalsoundscape,buildinginatmosphere andintensitythroughouteachmovement.Thesearestring instrumentsasyou'veneverheardthembefore.
Tchaikovsky,Langer&Pärt–RSNO
7.30pm,Thursday,19March
CairdHall,Dundee
7.30pm,Friday,20March
UsherHall,Edinburgh
7.30pm,Saturday,21March
RoyalConcertHall,Glasgow Beauty,passionandthemiraclesofnature,there’snotalethat anorchestracan’ttell,andthere’sdefinitelynosymphony quitelikeTchaikovsky’sshatteringFourth.Rawtragedy, roof-raisingtriumph:it’sexplosivestuff,soguestconductor KristiinaPoskabeginswithsomethingalittlemoretranquil. ArvoPärt’shauntingCantusistheperfectcomplementtoa wonderfulnewsetofsongsfromElenaLanger,inspiredby thesongsofbirdsandthenaturepoetryofGlynMaxwell.
PucciniinRome–CBSO
7.30pm,Wednesday,15April
SymphonyHall,Birmingham
EnjoyasumptuouscelebrationofItalianorchestralmusicand alook'underthebonnet’oftwofamousoperas. WhilePucciniisrightlyfamousforthegloriousvocallinesin ToscaandMadamButterfly,hiswritingfororchestrahas alwaysbeenequallysublime.ConductorCarloRizzi'ssuites fromtheoperasrevealtheorchestralcolourinallits shimmeringbeauty.Respighi,meanwhile,wasgiving Pucciniarunforhismoneyinhisbeautifullyevocative depictionsofRomeinTheSunset–heresungwithher customaryopulentflairbyFleurBarron.I’verecommended thisoneasweplayedRizzi’ sToscaSuitewithhimintheRPO afewyearsago.Itwasabsolutelyfantastic,astunningoperain anincrediblesymphonicformat.
BYBECKYSMITH// PRINCIPALTROMBONEOFENGLISHNATIONALOPERA OPERAPICKS
LookingattheUK'smainoperahouses,therearelotsof excitingshowstoseeintheNewYear,startingwithafirm favouriteofmine,Turandot,attheRoyalOperaHouse,until 4February.ThisisPuccini’sfinalopera(unfinishedathis death),andperhapsasaresult,itisbyfarandawayhismost musicallyadventurous.Thechorusplaysamuchmore significantrolethaninPuccini’sotheroperas,actingasan onstagewitnesstooverhalfoftheaction.Itisagreatblowfor thebrasssection,andofcourse,itcontainsarguablythemost famoustenorariaofall,NessunDorma
Travellinglessthanamiledowntheroad,EnglishNational Operaisstaginganewproductionoftherarelyperformed RiseandFalloftheCityofMahagonny,byKurtWeilland BertoltBrecht.Weill’smusicalstyleinMahagonnycombines operawiththepopularmusicofthetime,ragtimeandjazz. Hemixesthestandardorchestrawithbanjoandbassguitar, creatingauniqueyetrecognisablesound.Iamlooking forwardtoperformingthiswithournewMusicDirector, AndrédeRidder.Sadly,thereisashortrunofjust3shows, between16and20February,somakesuretogetyourtickets early!
Movingnorth,OperaNorthisbringingBenjaminBritten’ s PeterGrimestoLeeds,Nottingham,SalfordandNewcastle between13Februaryand20March.TheGuardiangavethe productionafive-starreview,saying,‘Itisgenerallyaccepted thatPeterGrimesisthegreatestofBritishoperas.
Onoccasionslikethis,youfindyourselfwonderingifitmay bethegreatestopera,period.’JohnFindonissingingtherole ofGrimes;heisatalentnottobemissed,andalsoa trombonist,Iamledtobelieve!
Foraheart-warmingstory,takeinWelshNationalOpera's toe-tappingshowBlazeofGlory!.Ittellsthetaleofagroupof minersreformingtheirmalevoicechoirintheaftermathofa devastatingminingdisaster.‘BlazeofGlory!isajubilant celebrationoftheLandofSongandatributetohow communityspiritcantriumphoveradversity.Traditional Welshharmoniesblendwithacappellasoundsofthe 1950s,operetta,gospelandbigbandasourintrepidband ofgleemenLindyHoptheirwaytoglory.’Performancesin Cardiff,Plymouth,Birmingham,MiltonKeynesandSwansea, from1Apriluntil22May.
Finally,togetyourWagnerfix,thereareacoupleofoptions inspring2026;theRoyalBallet&Operaisontothethird partofitsRingCycle,Siegfried,from17Marchuntil6April, andScottishOperaisperformingjusttwoshowsofTristan andIsoldeinGlasgowon7MarchandEdinburghon11 March.Let’shopethesetruncatedrunsaren'tgoingto becomethenormanytimesoon.KeepsupportingtheBritish operascene!
