Composers who have written solos for trumpeters to play off stage are surprisingly many and varied. Beethoven wrote two good ones in his Leonore Overtures number two and three. Two of my favourites are both by Respighi, in both ‘The Pines of Rome’ and ‘Church Windows.’ Mahler’s Posthorn solo in his third symphony is a masterful piece of writing. Another favourite of mine are the two offstage calls in Lieutenant Kije by Prokofiev. Jon Lord wrote a lovely off stage flugel solo in his ‘Durham Concerto.’ The list goes on…

The enjoyment stems from getting a nice tuneful solo or bravura fanfare to play. It is also nice, when all goes to plan, to be brought on stage, at the end, for an ovation from the conductor, colleagues and audience: as much out of relief that all has gone smoothly, as anything else.  Of course, this does mean having to dress up in concert clothing, despite normally performing out of sight.

The trepidation comes from the problems caused by distance; intonation, volume, playing in time, following the conductor, seeing the conductor, ‘bad conducting’ and not being able to hear anything other than oneself. Being in position before the start of the piece can mean that the trumpeter has to play something difficult after a long wait when his instrument and chops have gone cold. Sometimes the trumpeter has to run to play somewhere else, too, and can find his breathing very uncomfortable.

Jerry Schwarz, “For goodness sake, off stage tpts-don’t follow me there!” (Mahler 1)

Let’s get one thing straight: playing off stage is completely, and utterly, acoustically different to performing in the auditorium. It is generally in an artificially uncomfortable environment and a completely different ‘set of rules’ need to be applied to achieve success. I usually like to work out where I will play the solo by entering the auditorium prior to anyone else being around and practicing on my own. If the performance is in our own auditorium, and I am allowed to play the off stage solo from my preferred vantage point then I consider myself fortunate. I reckon I can count on a good few years experience to know just about how to gauge the standard fayre about right.

When the rest of the guys arrive I try to make the best of a difficult situation by using modern technology. If possible, I can use a television monitor to see the conductor’s cue better: I can use a ‘tuning machine’ to help gauge my pitch at distance: I can use my mobile phone as a two way device between myself and the first trumpet on stage, in the orchestra; here, the first trumpet can relay the messages from the conductor, but also tell me what is really going on ‘despite’ what the conductor says.

Sometimes, the composer asks for the trumpet to sound further or closer or both, if he wants two fanfares played differently within the same piece. A more old fashioned method than those employed in the previous passage is to open and close the stage door to different degrees, thus giving the impression of differing distances, without the player actually moving at all. This can really help with intonation in the auditorium; so the distances don’t create an effect a bit like the Doppler Shift has on an approaching police siren which goes higher in pitch as the vehicle approaches, and slides lower as the vehicle recedes. Of course, I realise I am not actually moving whilst playing, the and neither does the sound audibly bend; but I am merely saying that at two different initial points of vibration, although a tuning machine tells the performer he is playing at the same pitch; what reaches the stage can differ dramatically. being further away can also make the off stage trumpeter also sound late.

A recent example of the tricks this pitch variance plays on the trumpeter was last week’s concert with the RLPO and Leo Hussain conducting the less popular of Beethoven’s two Leonore Overtures, nr. 2. This work is also more technically challenging on the trumpet than it’s more oft heard sibling, nr. 3. On arriving, I took up my normal position in the ‘broom cupboard’ that is the entrance to the choir stalls, behind the orchestra. The fanfare is played twice. Many conductors prefer the second entrance to be performed more stridently to signal the closer proximity of the king. Some conductors, such as Andrew Manze, prefer the fanfares to sound the same volume because they consider that the trumpeter stays on the battlements, in the same place, and only the character of the king approaches. Anyway, from my chosen spot, I could see the conductor, was in close proximity to the orchestra and could use the door for any variances in perceived distances.  Perfect…

However, the trumpeter is beholden to the age old maxim, on occasion, that ‘he who pays the piper calls the tune.’ Leo had a ‘good’ idea. Could the trumpeter play from the back of the auditorium, down the exit staircase in the Grand Circle. When are we starting that piece? Oh, now!

Well, I reckoned I’d have about six minutes or so to get my trumpet, music stand etc about as far away as I could possibly get from my current vantage point. Off I went, managing swing doors, security locks and staircases: put down the music stand, just in time to start. The cue was loud so I could tell the cue for the first fanfare. I couldn’t really hear the orchestra at all whilst I was playing. I would have to wait for the message on the phone from the orchestral first trumpet to see if I was in tune with the strings. I could neither see the conductor nor hear the cue for the second fanfare from my position right down the stair well. Anyway, the music stopped, so I ran up the stairs and peered at Leo over the balcony. He wanted the second fanfare at the top of the flight of stairs I was currently playing at the bottom of! Okay; we started the cue for the first one – fine. There was now about eight seconds in which to lift the stand, trumpet, music and tuning machine up the stairs and play. Just about got there with the music falling off, but managed a breathless attempt. It was now the tea break – I joined the trumpets and trombones in our downstairs cafe, Rubato, and he first trumpet said the conductor had now also asked if I could do the second fanfare from the stair well on the other side of the hall. Enough was enough! No, that would not be possible!

After the break, we tried the bottom and top of the stairs version again. The tuning machine said both were a little sharp, but I  thought that would be easy to rectify, as they were registering at the same pitch. Rhys texted that the one in in the hall was sounding far sharper than the one hidden at the bottom of the stair well. What a pain! It would seem that the variance in distance was playing around with the pitch . Although my machine assured me that I was playing both at the same pitch, the closer I got, the sharper it sounded on the stage. This is what I meant when I likened the change in distances to be as alarming as a police siren, pitch wise. Leo Hussain had moved on to the next section by now, seemingly happy, so I would have to think ahead and sort it out in tomorrow’s rehearsal.

The next day’s rehearsal was fine. I had organised two music stands, positioned accordingly, two battery operated music stand lights, for when the house lights were dimmed, and had two copies of the music firmly taped to the stands. Our platform manager was also on hand, in case any emergency occurred. We had also tuned the orchestra trumpet and me prior to starting the piece, and the conductor and opposite, orchestral trumpeters seemed happy.

Before the concert, I had to be in place just before the performance as the audience traipsed by. Several expressed an interest and chatted. One man asked if I had turned up to the wrong fanfare as he thought Leonore nr. 3 was the one with trumpet fanfares. After I explained he said, “… What a treat is in store for us.” One lady, on hearing that the trumpet was signalling a reprieve for a prisoner, told me that her husband was a magistrate, and that she would be looking forward to it too. Two ladies squeezed by just as the conductor was walking on; they later contacted me on Twitter, to say I had been tweeting about the solos with them earlier in the day. I did wonder how the fanfares were going to sound at all distant, given that I would be standing in the middle of the audience.

The cue for the first fanfare arrived so I started the said signal; fine, although I was aware of several pairs of eyes peeping over the top of the stair well at me as I played. They immediately disappeared, as soon as I’d finished. Right then, up the stairs to the aisle in the Grand Circle; slap bang in the middle of the upstairs audience. I switched on the little halogen light and was shocked by the amount of light it gave off. I noticed what seemed like a couple of hundred necks straining round to see what was going on. I started, and played it louder than the first one, as requested. Right in front, a bald head, with a few grey wisps of hair appeared to jump about six inches higher, suddenly. I turned off the light and retreated down the stairs until the end of the piece. When the applause came I walked back up and just peeped out to see if Leo Hussain would point me out to the audience. He did so and I received a very pleasant round of applause. The aforementioned  head that had jumped up in surprise turned round and I recognised it as the same gentleman who had said ‘what a treat.’ He grinned and held up his thumb. One surprisingly satisfied customer!

I was rather surprised whilst having some refreshment afterwards, in the Art Deco bar, front of house, to see yet another big picture of me. I’m starting to take this personally!

It’s not fair to name names, but there are stories of trumpeters, in view of their colleagues only, not the audience, playing off stage solos naked apart from bowler hats, etc. Another story tells of a trumpeter having to play on the back of the orchestra lorry at Llandudno theatre. There is not sufficient offstage area for the trumpeter to do otherwise there. The lorry is reputed to have started up and driven off during his solo, taking him with it!

Well, Leo Hussain had been correct all along. The audience really enjoyed the spectacle of it all, and so did I! All that fuss was worth it. It was nice to retreat to the Belvedere for a pint of ‘relief’ afterwards!

“There is only one thing in the world worse than being talked about, and that is not being talked about.” OSCAR WILDE

It may seem an obvious thing to say, but orchestras need critics and vice versa. Amongst the most effective ways of informing people about what we’re up to is to be reviewed or talked about in the press and on line. People need to know about our concerts, recordings, news, etc. and we need to tell ‘em. Critics need to be talked about for their opinions to be heard and the news papers need both of us to inform their readers and sell copy. This ‘uneasy’ alliance can come tumbling down like a house of cards, occasionally, especially when the critic ‘slags’ almost everything about his evening out. This can have devastating consequences: a prime example of this was the early closure of Aspects Of Love, on Broadway after being slaughtered in the press by Frank Rich (the Butcher of Broadway). Conversely, a glowing review can be a cause of much celebration. Of late, the Royal Liverpool Philharmonic Orchestra, and it’s effervescent  Chief conductor, Vasily Petrenko,  have been on the crest of a wave of unprecedented success; with critics lavishing praise and receiving awards galore. When the odd ‘howler’ from a critic does appear, from time to time, it can prove very irritating, to say the least. Especially if the weight of opinion is almost universally against the opinion of this one person. After sixteen hours of rehearsal, or so, everybody giving their best and a standing ovation: one man out of a couple of thousand is in a bad mood and is in a position to vent his spleen to the whole country! It doesn’t always work out for the poorer and the concert going public, other critics, the musicians and the conductor can rise on mass and give the said critic a bloody nose. Read on…

Last Thursday the Royal Liverpool Philharmonic Orchestra suffered a terrible savaging from Prof. David Fanning in The Telegraph. This was after a well received pre-concert talk given by the Professor of Music from Manchester University. The orchestra then placed the critic’s remarks on it’s Facebook page and invited comment. All hell broke loose as hundreds of people responded and vied to give David Fanning ‘a good kicking!’ Click here to see his review…

Telegraph-review

I have seldom seen such a reaction to his, or anyone’s, criticisms. The paying public are baying for his blood (some literally!!!). Have a look at the Phil’s website and see what the discerning Liverpool audience, Vasily Petrenko, other critics and Fanning’s only supporter, Mrs. Fanning (Michelle Assay) have to say about his scurrilous remarks. One concert goer has offered a public hanging and another, a former soldier, has challenged Fanning to three rounds in a boxing ring!

The Phil on Facebook

Even heavyweight critic Norman Lebrecht has waded in on the act:-

SlippedDisk

I also felt moved to say something and posted the following on the RLPO Facebook page:

“…I have been following the ‘savaging’ of what seems like every aspect of last Thursday’s concert experience by David Fanning in the Telegraph, with interest. Apart from Mrs Fanning, Michelle Assay, he would appear to be the only person, so far, who is of this opinion.

For what it’s worth, I have been playing Shostakovich symph. no. 7 up and down the UK for nearly thirty years, with most orchestras and many conductors including other, excellent Russians. Despite being involved in the performance last Thursday myself, I would like to state that I believe Maestro Petrenko’s reading of the work stands alongside any of those other performances; to say the very least. I did not hear the Qigang Chen, as I was not involved, but all my colleagues have expressed a certain amount of delight. In my opinion, The Chairman Dances, by John Adams, is a fabulous piece, by a composer writing at the very top level in his genre. The audience expressed appreciation heartily throughout, culminating in the standing ovation. (Well deserved according to Richard Morrison-The Times). Many concert-goers then bought tickets for Sunday’s concert also, to hear the Shostakovich again.

I believe I have strengthened my opinion after listening to the concert again on BBC iPlayer. The resultant savaging, in return, of Prof. Fanning’s review by outraged concert-goers has come as no surprise to me. Maybe the offer of a public hanging and the challenge of three rounds in a boxing ring are more so.

Of course, being in the business of professional performance, I am happy to read criticism from anyone in attendance at one of the RLPO’s concerts. That’s what live performance is all about. I suppose it is impossible to please everyone, all the time; especially David Fanning, seemingly. On a final, albeit rather amusing note, I would like to ask the ‘wife who piped up, then piped down again’ (Lebrecht), Michelle Assay, whether or not there is any truth in the rumour of Prof. Fanning falling asleep during the performance, or not. Only, you both seem to have attended a very different concert to myself and the overwhelming consensus of the audience.

Yours sincerely

Brendan Ball (Principal Trumpet-RLPO)

p.s. These views are entirely my own and do not represent the opinions of anyone else.”

One of many, very passionate replies to Prof. Fanning, which The Telegraph has also published, was posted on the Phil’s Facebook page. Former soldier Bryn Gerrard has given me permission to reproduce it here:-

“I feel I have to say something about the review of the RLPO by Prof. Fanning in the Telegraph. This is the weakest piece of journalism I have encountered for a considerable time. I have to wonder about the quality of the Telegraph’s editors if this represents their best.

What did I gain from the outburst of vitriolic bile? Well quite a lot as it happens. Having been a warrior and lived with the tug of death at my sleeve each moment in time gives me a great affinity with art that represents the terror of combat and forthrightness & courage needed to end the damn thing. The Leningrad Symphony represents a pinnacle in artistic expression with regard to that subject, the full gamut of martial will, power and orchestration is there for the warrior to bathe in. Many call the piece propaganda but so what, war is all about propaganda.

But what I gained most was the confirmation of the mightiness of Real artists and the triviality of academics trying to be critics. Prof. Fanning, Who are you to criticise anything?. Your not an artist, what would you know of such things? I am reminded of my dear departed friend Florian Fricke, one time arts critic for Suddeutsche Zeitung. He would often write things like “I went to see such-and-such an exhibition.”, full stop. I used to laugh at him and asked how he could submit such things for publication and get away with it? He said “Who am I to criticise the work of other people? How can anyone pass judgement on the work of artists because it doesn’t resonate with them? I am nobody. That “nobody” wrote the music for Werner Herzog’s films, he was a real artist and not a little academic that comes across as an intellectual dwarf, not that being an intellectual will ever help you become at one with any art.

Vassy Petrenko and the RLPO are a first rate outfit. The reason they get standing ovations is because of the dedication and professionalism of all engaged, including the audience. Their are too many snobs who haunt the corridors of classical music. Elitism is dead Prof. Fanning. Like you, it belongs to yesterday.

Petrenko and the RLPO regularly sell out to a broad spectrum of Liverpool’s community because their performances are dynamic and full of vitality and energy under excellent direction. Music must be dynamic for it to come alive. This can only happen with the live performance. It takes the audience to a level whereby creative listening is possible and the narrative unfolds in an intuitional way that academics will never understand. Vassy & the crew deliver this quality consistently.

Vassy and the RLPO are at the top of their game and should realise that this goes with the territory. People who do great things will always be assaulted by the mediocrities. This fellow is beneath mediocrity and I feel totally affronted by the little man’s scribblings. I feel honour bound to invite him to three three minute rounds of boxing at my local Gymnasium in Toxteth. I will then render three three minute lessons to him on Creativity, Warriorship and the Law of Cause and Effect.

We could erect a boxing ring in the car park between the Belvedere Public House and the Philharmonic Hall. Proceeds could go to fund the RLPO’s work in schools across the city. I don’t imagine any of us will be hearing from Prof Fanning any time soon but as always I live in the NOW and am ready each moment in time.” BRYN GERARD

For all you budding arm chair critics out there, the performance was broadcast live on BBC Radio 3 and is available on the BBC iPlayer. Judge for yourselves and let me know what you think.

 My old pal and colleague from London, Andrew Waddicor, who has done a few Shostakovich 7′s himself, has contributed the following to the general debate, “… I remember a crit of an RLPO concert we did years ago, when the critic complained in his column that the brass – as always- were too loud in the opening Carmen Suite. It was an arrangement for percussion.”

Finally, some views from well known people on critics:-

From Jean Sibelius : ‘Never pay attention to what the critics say; a statue has never been set up in honour of a critic.’

From Brendan Behan : ‘Critics are like eunuchs in a harem. They’re there every night, they see it done, they know how it should be done, but they can’t do it.’

The quote that says it all. Peter O’Toole, when questioned about the critics’ poor response to his first night on Parkinson replied with the line we all use now to keep our spirits up ‘Tomorrow’s chip wrapper’.

The Official Web Site of Clarence Adoo

Clarence Adoo

I have wanted to write some articles about British cornet players and playing, especially of yesteryear, for some time. After a brief conversation on Facebook today, I have decided to start with a short article about the amazing James Shephard. I will be adding to this article and writing in some detail about the other virtuosi cornet soloists. Jim came up in the conversation with Any Waddicor, earlier, who recommended a rather special film clip for all to watch.

I began playing in my village band on the cornet. I continued with various bands in the North of England for many years before taking up the trumpet. I think I served my time doing all the slow melody contests and air-varie competitions that all enthusiasts partake in. I still play the cornet, as already mentioned and try to play through one of the great solos each day, as part of my warm up. RLPO Chief Conductor, Vasily Petrenko can choose an encore such as the Danse Napolitaine from Swan Lake without any notice; rather than complain, my pride prefers it that I stay as prepared as possible. One solo always gives me a little trouble. I have performed it more than once, but I prefer to choose almost any other of the famous works in the repertoire. This piece is Pandora by E. Damare. It is slap bang in the middle of my Harry Mortimer solo book, so I always have a go at it, if that work is on today’s page. I have only heard one player perform this piece in concert, personally, and I used to have a recording of the same artist when I was a child. Thirty years later I still find things unravelling around bar 28 in the Polka!

Each of the great British cornet virtuosi seem to be remembered for one particular work, although I’m sure they played everything. Each has become associated with their own signature piece. Jack Macintosh was noted for his extraordinary Carnival of Venice (Arban version). Harry Mortimer was revered for his tone and Zelda, by Percy Code, has become associated with him. I have recordings of these two. I have heard the late, great Maurice Murphy play Hartmann’s Facilita several times and Philip McCann play the Del Staigers version Canival of Venice more than once. Derek Garside was famous for playing Cleopatra, as was my old teacher Harry Bentham. The list is endless really, but the above mentioned stick out in my mind. I have learned all the above mentioned solos over the years and am certain I can make a good account of them all, except Pandora. This piece was associated with one of the greatest English Brass Band Principal Cornettists of all time, James Shephard. This guy had a technique honed to perfection and a sound that was as sweet as a nut. He seemed to be able to play all day too!

Watch this video of James Shepherd performing Pandora at Uppermill Civic Centre. Not at the height of his fame in the 1970s, but as a much older man in his sixties, possibly around the year 2000. Remarkable! I have been informed that Jim would have been well into his sixties when this live video was taken!!! What an example to all the young players out there; his technique is still so efficient. Watch and learn…

The Great James Shephard<http://youtu.be/CtGja83BayI

Gramophone UK have made the award to the Royal Liverpool Philharmonic. This  award winning series of the complete set of Shostakovich’s symphonies is going from strength to strength. Conducted by Vasily Petrenko and recorded for the Naxos label, the tenth symphony has attracted much critical acclaim. The Phil’s Chief Executive, Michael Eakin, said, “…Pleased is an understatement.”

Watch RLPO Principal Percussionist Graham Johns at the 2011 Gramophone Classical Music Awards Ceremony accepting the Orchestral Award from Susan Bullock and James Jolly. Graham was there on behalf of Vasily Petrenko and had to speak following Dame Janet Baker, Sir David Attenborough and Sir Peter Hall… rather nervy!

Video of Graham Johns accepting the prize on behalf of Vasily Petrenko and the RLPO 

For more information you can visit the above link to Gramophone UK for the full review. To purchase your own copy visit the Naxos link above. The link to the Royal Liverpool Philharmonic has all the recent news regarding the orchestra.

Coincidentally, we have just released our latest recording. Click here to read the Financial Times review of Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra playing Shostakovich’s symphonies 6 & 9.

RLPO Trumpet section - Mahler 8- 1/10/2011 Liverpool Cathedral

Not to forget the evening programme of music themed around birds, which included the big cornet solo Danse Napolitaine from Swan Lake. This week sees the welcome return of Czech Maestro, Libor Pesek, to conduct several concerts of French music by Debussy, Bizet and Francaix.

Libor Pesek

Today, we are all currently on a train to London, to perform an evening of perennial favourites for Classic fm at The Albert Hall. This programme has been sandwiched into Libor’s week, so we have rehearsed all yesterday with him on La Mer etc; we now head for the capital for this quick ‘commando raid’, with a different conductor, before getting back to Liverpool for Libor’s rehearsal and concert tomorrow.

Fiona Stunden & Joanna Wesling (violas)

I am currently about half way to London, enjoying ‘Virgin’s’ hospitality. Most of the train carriage is occupied by members of the Royal Liverpool Philharmonic Orchestra. Some listening to music, some eating, sleeping, reading etc. I have a table seat, with electric sockets, so am able to spread out and avail myself of the rather expensive wi-fi: £6 for the two hour journey. This ‘gig’ was booked late by Classic fm, so we are to be ‘housed’ overnight in the Travelodge opposite Euston Station, rather than the four or five star hotels we are more familiar with. We will not have the time to check in on arrival in London at midday, as Travelodge can not have the rooms ready until three o’clock, and will not provide a left luggage facility. It also seems that they do not have a cafe/bar facility, so we will have to find entertainment elsewhere, after the performance. At least the hotel will be handy for the return journey tomorrow morning.

Simon Griffiths (Horn) & Nigel Dufty (Bass)

The orchestra will therefore have to traipse right across London with all the luggage, clothing and instruments etc and come back to the ‘lodge’ in between the rehearsal and concert, or after the show. What a pain, as many have arranged to meet people in the area around the concert, and will have to hope that the ‘hostel’ will check us in late at night. What a pain!

The Royal Albert Hall

The Royal Albert Hall is the impressive Victorian arena in the heart of London’s grand South Kensington Borough. I always enjoy the RLPO trips there as the adjoining building is my Alma Mater, The Royal College of Music. This area is beautiful, the buildings are impressive and nearby Hyde Park is always a pleasure. The imposing Albert Memorial looks down majestically on proceedings.

The Albert Memorial

The Albert Hall is the annual host for the famous BBC Proms. The Promenade concerts take place each summer and feature the world’s great orchestras, conductors and soloists. It is the biggest classical music festival in the world. This series of concerts, founded by Henry Wood, regularly features the RLPO. This year we did not feature as we had to fit in our contracted five week continuous holiday. We are entitled to this every two years; giving members valuable school holiday time with their families. Next year we will return to The Proms to perform the world premiere of Sir Peter Maxwell Davies’ ninth symphony.

The prom season has finished now. It always concludes with the world wide televised event, ‘The Last Night of the Proms’ featuring Land of Hope & Glory etc played by the BBC Symphony Orchestra. We are here to work for a different employer, on this occasion. Classic fm has become our nation’s favourite classical music radio station and one of the world’s most successful brands in this genre. It is actually one of the most popular and most listened to stations in the UK outright. There is also a popular television channel owned by the company.The relationship with the RLPO goes back about ten years when we were the first orchestra to enter into a branding association with Classic fm. The partnership has proved to be enormously successful, mutually and has resulted in our annual visit to perform to a packed Albert Hall.

Rehearsal for RAH classical spectacular 4/10/2011 RLPO

The association with Classic fm has resulted in our twice weekly ‘Classic fm series’ in Liverpool. These are more popular classics and attract a lighter audience than our regular concert season programming. I enjoy seeing the marketing dotted all over Liverpool City Centre on hoardings, taxis etc. For example, Joanna Wesling’s face (viola section) was going round town on the back of bus for a year or two, advertising our branding with Classic fm.

RLPO musicians back stage in the RAH - 4/10/2011

On arrival at Euston, it was up to all to make their own way to the venue across London’s sprawling transport network. I still had my ‘Oyster card’ from previous visits and some remaining credit so I decided to get the tube down to Victoria, catch the 52 bus to Willedsden,  outside the Apollo Victoria, head past Buckingham Palace, past Hyde Park Corner, through Knightsbridge along Hyde Park and hop off at The Royal Albert Hall. Precisely my route to college, all those years ago. I find bus travel, where one can see a bit of London, much more preferable to travel underground.

Brendan in RAH Dressing room 4/10/2011

Once at the RAH, I had about an hour to have lunch and do a little practice. It was nice of the concert promoter to lay on some fruit and snacks in the dressing room. Tea and coffee was provided also. Often it is little gestures such as these which make these Today’s conductor is a young lady from Portugal who is based in the USA. The demonstrative and flamboyant Joana Carneiro is carving a name for herself on the international stage.

Joana Carneiro in action with the RLPO

On these occasions, there are only 3 hours to rehearse. It is not only the music however, but we have presenters between all the items (Nick Owen and Margherita Taylor on this occasion), lighting effects, amplification and the recording engineers to get the sound etc right for the broadcast over the national airwaves. Needless to say, we ran out of time with still at least a third of the music unplayed!!!

Trumpet & Cornet section - Royal Albert Hall Oct 4th 2011

In the break before the show, the heavy brass decided to head for the student bar and social area for Imperial College for a bit to eat and some refreshment and to chill out. Whilst at the Royal College of Music I, along with many other music students, would make this trip to Imperial college a daily ritual, so it was nice to retrace my footsteps. The RCM building looked as impressive and imposing as ever. I felt a touch of poignancy staring at the ‘crotchet factory’ as I thought about my six years study with David Mason there, who passed away earlier this year. He taught me, and many others, everything I know: not just about trumpet technique but about how to behave in the profession. RIP Professor Mason; sadly missed.

Royal College of Music

Video - Professor David Mason

It was nice to see, despite all the ‘improvements’ to the Imperial College social area, the the famous ‘Old Bar’ has been left untouched. The engraved tankards remain. The yard of ale vessel is still hung above the bar. Students were still enthusiastically playing darts. Iremembered our RCM brass team beating the IC rugby team in a ‘boat race’.  I won the yard of ale contest more than once and seemed to win the fastest time for drinking a pint on an annual basis there. Happy days!

Imperial College 'Old Bar'

Well, back to the hall, get changed, get warmed up and on stage for the concert. It can be fairly distracting trying to concentrate with flashing lights and amplification distorting your sound but you just need to get on with it. Especially when much of the music has not been rehearsed even! The first half was fairly standard fair: Capulets et Montagues, from Prokofiev’s Romeo & Juliette: the finale of Bruch violin concerto no.1, played majestically by Charlie Siem. There was a couple of string pieces, followed by Sibelius’s timeless tone poem Finlandia.

Graham Johns - Principal Percussion

I had delegated the first trumpet part of Rhapsody in Blue to another trumpeter, so I had twenty minutes, plus the interval to kill, before the second half began; so I went outside for a bit of a wander round. I didn’t go far, regular readers will remember Paris! I wandered out of the stage door, down the steps to the Royal College of Music, past Imperial College, over Cromwell Rd to the Queen’s Arms. This pub served us well as students, tucked away amongst the mews cottages of South Kensington. It is known amongst the music students as the ’99′ because the RCM only had 98 rooms in the building at one time. It has become substantially bigger nowadays.

The '99' - The Queen's Arms

I then went back to the Imperial College bar to get some refreshment for the thirsty brass players at half time. Four blackcurrant juices and two lemonades. That should suffice!

Now back to the RAH for the second half. The first piece was Jupiter by Gustav Holst, from his suite The Planets. This started well enough, but I stick encountered the trumpeter’s worst nightmare, a ‘sticky valve!’ Bugger! This is where, no matter how many times the piston is polished and cleaned, it just sticks intermittently, causing annoying errors. There is really nothing to be done about it during performance, but to continue to do one’s best under the circumstances. Sometimes, the end result is not as bad as theperformer assumes. We shall see on the 14th of October when Classic fm broadcast the concert. maybe I won’t listen: I don’t want to hear myself sound bad, particularly, especially when it isn’t my fault. The trumpet in question was damaged in transit on the recent trip to Romania; the bell is bent like a banana and I suspect there is also a little remedial work required on the valve block. I shall just have to put up with it until I have the space in the busy RLPO schedule to rectify matters.

Dr Michael Leonce Thomas Pace-Sigge. Otherwise known as 'German Michael!'. RLPO platform operative

The rest of the concert passed off well. In fact, I had a few more numbers off in the middle of the second half and was able to leave the stage for a short while to completely clean the valves out again! I returned to the stage in time for Nimrod and the 1812 Overture; all fine and dandy. The 5000 or so packed auditorium erupted and gave Miss Carneiro and the RLPO a standing ovation. Apart from the sticking valve block, seemingly another resounding success.

RLPO brass - RAH 4/10/2011

I was meeting an old college friend after the show and noticed we had run over by about  20 minutes. I was already going to have precious little time, as it was. Damn, I wasn’t going to get out before about twenty five past ten! We met up and most of the brass got themselves over to the hotel to check in and meet up at a remarkable little pub by Euston station called the Bree Louise, regularly a CAMRA award winning pub. This award winning pub still draws the beers from gravity, has amazing real ciders and award winning pies too. Champion!

The Bree Louise

Tomorrow, Back on the train to Liverpool, afternoon rehearsal and evening concert on La Mer etc with Libor Pesek.

The RLPO’s Chairman Chris Morley at Classic FM – Live Video

A tired orchestra travelling back to Liverpool - Dave Pigott: Associate Principal Horn

Scooby likes to accompany his master, each morning, during the trumpet warm-up! I’ve had to put up with this for years. You’ll have to excuse me laughing as I try to play and film at the same time!

Video – Scooby the singing dog! 

Note how he changes key when I do. I’ve been goaded into posting this on here. Quite a lot of friends seem to like this…

Scooby is currently recuperating from a rather serious operation to re-attach his cruciate ligaments to his rear left knee. He had the operation in May but it was not successful and has had to be repeated on the 15th September. He is still limping around, and feeling sorry for himself, but I am assured that he will make a full recovery after several months of rehabilitation.

Scooby & Brendan in The Bevedere

]]> http://brendanball.com/2011/09/23/scooby-the-singing-dog/feed/ 2 brendanball IMG_0443 IMG_2779 IMG_2789 http://brendanball.com/2011/09/22/6-rlpo-romaniaczech-tour-2011-last-day-in-prague-and-the-return-home/ http://brendanball.com/2011/09/22/6-rlpo-romaniaczech-tour-2011-last-day-in-prague-and-the-return-home/#comments Thu, 22 Sep 2011 17:21:18 +0000 brendanball http://brendanball.com/?p=1769 Continue reading →]]> Several of us decided to breakfast fairly early today; we had the day free until the rehearsal in the Rudolfinum at 4pm. An opportunity to explore Prague was not to be missed! We went down to the dining hall in the hotel only to find ourselves sharing the hall with a few hundred delegates from  a Defence & Security conference. This was a nightmare; it was impossible to get to any of the food, never mind enjoy a nice tranquil start to the day. The noise was too much. Therefore, Chris Morley, Steve Nicholls, Simon Griffiths (all three from the French Horn section) and myself elected to catch the Metro into Prague’s, beautiful Old Town to enjoy a morning meal there.

The metro in Prague: new, fast, reliable and cheap trains

The metro station was right under the hotel and called Vyscocanska. I can’t place type the unusual Czech accents due to my lack of skills on the keyboard and anyway, the difficulty of the Czech language will probably always leave me completely bewildered! We travelled the ten minute journey to Namesti Republiky and deciced to breakfast at the spectacular Obecni Dum.

Powder Tower and Obecni Dum

The Obecni Dum is the most prominent Art Nouveau building in Prague. It is located in the heart of the Old town and adjoins the famous Powder Tower. Apart from one of the most beautiful restaurants in the world the Obecni houses the famous Smetana Hall; the other famous concert hall in Prague.

The art nouveau splendour of the dining room in the Obecni Dum

It houses the Czech National Orchestra and an audience of 1200. We chose a variety of options from the menu and marvelled at the splendour and style of this great city.

Smetana Hall Prague

Well fed now, we wandered through the romantic old streets and headed to Prague’s Old Town Square. We had watched the Astronomical Clock the previous evening, but wanted to see it in the light of day. There was a substantial crowd assembled there already but we managed to grab a space amongst the tourists for the display.

Horse drawn tours of the Old Town, Prague

The Astronomical Clock and Tower are one of the city’s great attractions. Built, initially, about 1410 the features have been added to over the centuries. The legend has it that Hanus, the builder had created somethiing so special, they poked out his eyes to stop him making another clock tower elsewhere. The crowds gather on the hour to see the spectacular display of the animated figures of: Vanity looking in a mirror; Avarice; Death and a Turk who symbolises Pleasure, Entertainment and Lust! Two doors open above the astronomical clock and we see the ‘Walk of the Twelve Apostles.’

Anatomical Clock Display – Video

They are accompanied by a trumpet fanfare, played by a lone trumpeter in costume from the top of the tower. His fanfare is then replicated by another trumpeter on the top of the Tyn Church over the other side of the square.

The inside of the anatomical clock tower

Trumpeter plays on the Anatomical Tower – Video

A nearby member of the public informed us that we could go up to the top of the tower, where the trumpeter had played, and see some of the best views of the city. Off we went!

A view from the tower of the Anatomical Clock

Old Town, Prague from the top of the Anatomical Clock Tower

View from the Anatomical Clock Tower - Church of Our Lady before Tyn

We then made our way across the bustling Old Town Square, past the busy cafes , bars and horse drawn carriage tours to the aforementioned Church of Our Lady Before Tyn. This Gothic church, built around 1365, boasts one of the most spectacular interiors I have ever seen.

The interior of the Church of Our Lady Before Tyn

The outside of the church is no less amazing and the roof can be seen spiralling upwards magnificently on the Prague skyline. This, in a place known as the ‘City of a thousand spires,’ too.

It was now getting on towards lunchtime so we thought we had better drop off our instruments etc at the nearby Rudolfinum, before exploring further. We did not need to be carrying all this baggage around Prague with us. The Rudolfinum houses the magnificent Dvorak Hall; where the RLPO would be playing later that evening. It is situated down by the famous Moldau/Vltava river that Smetana composed that wonderfully evocative music about. There are spectacular views from the Rudolfinum; not only of the water, but of the Castle, St. Vitus’s Cathedral and the Charles Bridge.

The Charles Bridge

The Castle and St. Vitus's Cathedral

Dvorak, outside the Rudolfinum

Once everything had been dropped of, we decided to head for lunch near Wenceslas Square. Off we set, once more, down the winding streets; steeped with history and tradition. They are so well preserved in this modern world. It is a joy to walk around and experience. It is at times like these that I really love my job. One member of the RLPO amusingly remarked that ‘shows really spoil the holiday!’

The Old Market, Prague

At first glance, Wenceslas Square always strikes me as a comparitively unremarkable place in Prague, when there are so many treasures to witness eveywhere else. Of course there is the imposing Museum at one end and the statue of Good King Wenceslas sitting proudly on his horse etc.

Wenceslas Square

The modernity is also a little disappointing. There are shops like Tesco, Vodafone, Marks & Spencer etc. Then one remembers the significance of this place for the Czechs. The Nazis, Russian tanks, revolutions etc. How things change. Here are the RLPO, one of the headline concerts in the Prague Dvorak Festival with a young Russian Maestro. I wonder how well we will be received…

The Yamaha 'trumpet' shop just by Wenceslas Square

Lunchtime! We decided to eat at a famous Prague institution called U Medvidku.

U Medvidku - a cracking old pub/restaurant in Prague

This old establishment brews it’s own beers on the premises and serves good hearty traditional Czech national dishes. It has been a particular favourite haunt of RLPO members for as long as I’ve been coming to Prague, and before. True to form, there were many othe orchestra members tucking into various dishes, amongst the packed rooms full of locals.

U Medvika

I decided on a half of roast duck, on pickled vegetables with a selection of about five different types of dumplings. I will start the diet again as soon as we get back home!

My 'duck' is bottom left!

The time had come for the rehearsal, so off we went, back to the Rudolfinum. The Liszt concerto no. 2 for piano and orchestra, was scheduled to be dealt with first. As in Liverpool, Lukas Vondracek was to be the soloist. Vondracek is an exciting talent, and hails from Prague. Could the choice of this virtuoso be a masterstroke alongside presenting Petrenko, from St Petersburg, to the fiercely nationalistic Czech audience tonight?

Rudolfinum

This being the Dvorak Festival, it would be remiss of us not to perform a work by the man himself. We had chosen Dvorak’s ‘The Wild Dove’, also known as ‘The Wood Dove’. This curiosity was written at the end of Dvorak’s life and is a programmatic ‘Symphonic Poem.

Careful, Simon Griffiths ( horn) - if you light up there you might blow up the shop behind you!

From one of Dvorak’s letters it is clear that he intended the synopsis of The Wild Dove to be understood, in the music, by the listener. He printed the following on the first page of the score itself:-

1) Andante, Marcia funebre. Lamenting, the young woman follows the coffin of her deceased husband

2) Allegro – Andante. A jovial, handsome young man meets the beautiful widow; he comforts her and persuades her to forget her grief and accept him as her husband.

3) Molto vivace – She fulfils his desire for marriage; a joyful wedding.

4) Andante. From the branches of a fresh green oak, which overshadows the grave of her first husband, whom she had poisoned, the mournful cooing of the wood dove is heard. The melancholic sounds pierce to the heart of the criminal woman, who, tormented by pangs of conscience, becomes insane and drowns herself in the waves.

5) Andante. Tempo 1. Epilogue

Dvorak was well known to be a pigeon fancier and maybe this fact, with a very judgemental ‘pigeon’ gave him a good deal of pleasure!

Neil Hitt - RLPO Principal Timpanist

The rehearsal ended with a brief run through some of the parts of Rachmaninov’s Symphony no. 3, which needed a little balancing to the new accoustic.

After the rehearsal, I decided to go for a preconcert dinner with the trumpets, trombones and tuba. We each chose a different main course and tucked in. There were various other contingents from the orchestra in this place, including the first violins and the woodwind. All were chatting enthusiastically about the upcoming concert and the happy times enjoyed on this trip so far. I chose a wholesome pork steak with vegetables as my last hearty meal of the tour.

The last supper, in Prague.

A pre – concert drink followed. We chose a bar just adjacent to the restaurant. The senior management were in there entertaining some ambassadors or such. It is difficult to find disappointing places to eat and drink in Prague and this place was no exception.

Back at the Rudolfinum, the place was buzzing with activity. It was nice to see that the Czechs still dress up in their finery for an evening out at a concert. Another full concert hall too. It was a real pleasure to see former RLPO Chief Conductor, Petr Altrichter and his wife arriving to hear the concert. Petr was already in Prague that week to conduct the Czech Philharmonic in a concert at the same festival as us. I was appointed to my position in the orchestra during Petr’s tenure and have consequently always had a soft spot for him. He gave me a massive bear hug and went off to take his seat.

Another full house awaits Petrenko and the RLPO

Dvorak’s ‘The Wild Dove’ was greeted with a typically enthusiastic response. As I have already mentioned, the Czechs are a fiercely nationalistic people and they take particular pride in any music they feel entitled to call their own. Dvorak is one of their favourite composers. Vondracek powered through the Liszt piano concerto with gusto and panache. The audience loved him. he performed a solo encore of Schubert after the ‘roaring’ crowd brought him back to the stage several times.

After the interval, Petrenko was greeted with encouragingly enthusiastic applause. You could then have heard a pin drop before the extremely quiet beginning of Rachmaninov’s third symphony. There was something special about this performance. I think all the meticulous pre-tour preparation, the wonderful time everyone had enjoyed plus the fact that this was the last opportunity for performance, meant that everyone, including Petrenko, was really trying there utmost. The piece was going unbelievably well. At the finish of the last chord, the audience erupted. Success! Petrenko and the Royal Liverpool Philharmonic Orchestra had certainly won the Czech concert-goers over. They insisted on an encore. What better than ‘their own’ Slavonic Dance no.1 by Dvorak. The applause surpassed even that offered for the Rachmaninov!

Don Turnbull, a member of the first violins since 1966, retires after playing his last concert as a member of the RLPO

Once the orchestra was on the coach back to the hotel, eveyone was ready for a good end of tour celebration. This started on the coach, the RLPO then took over the hotel bar; the party spread out to the couple of bars by the hotel before finishing up in the hotel bar again! I was now ready for bed. There would be an alarm call at 5.30am for the airport run. I didn’t want to miss the plane… again!

David Whitehead, first violin, in party mood!

On the coach to the airport in the morning, many were still dozing. Touring is hard work; it is certainly no holiday, despite much of my writing apparently alluding otherwise. Most people appeared to sleep on the plane to Paris and then again on the connecting flight to Manchester Airport. I reflected that this had been  a very successful and enjoyable tour. I would remember it on so many levels.

Simon Cowen and Simon Chappell (Trombones) catching up on a little sleep!

However, home is definitely home and it was with some relief when the coach dropped me back at Liverpool Philharmonic Hall. I was delighted to find that my son, Jonathan (18 years old), had left the house in a perfect state of tidiness for my return. He had moved in to live in my house, with me, whilst I was in Romania. We both went to collect Scooby, who seemed much better after his leg operation (also in my absence). The three of us and his dog minder for the week then went for a good night out. A day off now then Tchaikovsky’s ‘Swan Lake’ in Liverpool on Friday!

Brendan on the steps of the Rudolfinum

One of our members seems to have changed this poster in the hotel in Bucharest!

The hotel is in an unusual situation to say the least. It is built into a huge shopping mall, conference centre and fast food complex. It boasts one of our very own ‘Marks and Spencers’ outlets too.

The entrance to the hotel, through the shopping mall.

I had to charge my phone and make some calls back home earlier on this evening, so I missed the excursion with all the brass lads. I wanted to check if my son, Jonathan (18) had move into my house and started college okay whilst I’ve been away: I also wanted to check if my dog, Scooby, was recovering from his operation okay. Therefore, I decided to eat close to the hotel and go for a wander into town later.

Violin shop in Prague

I went to a nice little restaurant by the hotel called Ukakpitana. I was joined by Dave Pigott (horn), Ruth Davis (oboe), Jim Clark (leader), John Hebbron (1st violin) and Ian Doran ( the platform manager and van driver). Ian had flown to Prague as he would have exceeded his hours on the lorry;leaving the other three to get fro Bucharest to Prague, by road in time for our rehearsal.

Brendan waiting on the underground platform

After this I decided to wander into Prague. I couldn’t find the ‘heavy brass’ night out, so went for a quiet wander instead, for a couple of hours. Soon after getting off the metro I encountered the French Horns wandering with harpist, Kate Wilson. It was nice to just wander and remind ourselves of past trips.

The Rudolfinum

We strolled through a few beautiful squares, meandered through the winding streets, wandered down to the castle, St Vitus’s Cathedral, the Charles Bridge and the famous Vltava/Moldau river. We also stood outside the magnificent Rudolfinum, which houses the Dvorak Hall, our concert Hall for this trip. The Rudolfinum is also the home of the Czech Philharmonic Orchestra.

After this it was back to the hotel, a quick drink in the bar and in bed before midnight!

Chris Morley, Horn

The hard working RLPO First violin section

 Well, after the most substantial breakfast of the RLPO tour so far, Dave Pigott (Associate Principal French Horn and recording engineer for the orchestra’s own, in house recording company) and I, have decided to see Ceaucescu’s Folly today. This extra-ordinary building is reputedly the second largest building in the world; only The Pentagon is said to be bigger! This was one of the recommended ‘must sees’ on every tourist website and tour guidebook of Bucharest. The ‘Parliament Palace’ as it is now known. This enormous house was to be Ceaucescu’s house!!!

Ceaucescu's Palace - a Monument to Megalomania!

Anyway, Dave went off to shower etc, but I stayed talking to the guys and having a couple of cups of tea etc. I noticed a guy with a baseball cap drawn down over his face on the next table. He had a little white dog with him and a couple of lively people seeming to look after him. I recognised him straight away! He seems very shy, I thought. I went over and attracted his attention and said, “… Excuse me, I’m sorry to bother you Mr. Van Damme. I wonder if it would be too much trouble to have me take a photograph of you to include on my blog about Bucharest?” Wow! Jean-Claude Van Damme, “The Muscles from Brussels!” Hollywood megastar! In my hotel; just near my table… Fantastic! He tipped the peak of his cap up, and said, very politely, “… Of course!” He took my iPhone 4, and passed it to the lady on his table, stood up and came round the table to speak to me. He held out his hand, I took it and he gave me what can only be described as a ‘man’s handshake!’ He introduced himself and I introduced myself. He started the conversation by asking what I was doing here. I explained that I played the trumpet and was on tour, in Europe with the Royal Liverpool Philharmonic Orchestra. He was very interested and asked lots of questions about trumpet playing and the orchestra. He enquired about the schedule, recording, free time in Bucharest etc. I managed to get a word in and asked him what brought him to Bucharest, vacation or was he working on a new blockbuster, Hollywood film. He replied to the latter, and proceeded to tell me about a new martial arts film he was filming, which he called “Rheinhold gets butchered!” I think this must be the pre-release name used on the set, unless the title conjours up something more evocative in Chinese or Korean. He duly posed for the picture with me. With hindsight, I wished I had breathed in and made my shoulders look wider somehow. Perhaps I could have stood on tiptoe even! He wished me good luck with the concert and the rest of the tour and I wished him all the success in the world with his latest film. What a nice guy. He was so friendly, obliging and down to earth. I have many of his films at home and my boys are martial arts fans too; wait ’til I tell them!

Jean-Claude Van Damme meets Brendan Ball. This time it's personal!

A little while later, Dave and I were walking through the Old Town down to Ceaucescu’s Palace. I had read up about this monument to megalomania. The centre piece of Ceausescu’s new Romania was built on the rubble of Bucharest’s old quarter; 26 churches, and over 7000 homes were destroyed to make way for the Civic centre known as the Ceausima. At its centre looms the Palatul Parliamentului, the Palace of Parliament, reputedly the second biggest building on earth after the Pentagon. Over 20,000 labourers and 600 architects toiled to build the Palace to Ceausescu’s exacting standards. as we rounded the corner to the palace, we had to stop and draw breath at the sight of it. The sheer scale is breathtaking; unbelievable almost. This dictator intended all this expanse and expense as his personal residence, with the government of his nation also to be housed within, where it would be convenient for him to have everything at his fingertips.

Ceucescu's Palace of the People!

This trip proved to be something of a disaster apart from Dave and I seeing the outside of the building. We could not gain entry without booking. We could not gain entry without a passport. We could not enter without taking an official tour. The shortest tour appeared to be three hours long. We marvelled at the extent of Ceaucescu’s arrogance and the sheer audacity of the monument and decided to go back towards the hotel for lunch. We had a nice meal outside a very nice restaurant, called the Ateneul Mama, by the Ateneul Roman. Dave chose a goulash and I had fried chicken livers. Lovely.

Alexei Volodin rehearses Prokofiev Piano concerto no.3 with the RLPO in Bucharest

It was now time for the rehearsal at the Sala Palatui. We commenced with Prokofiev Piano Concerto no. 3 with Alexei Volodin as soloist. I was not doing the concerto today so I availed myself of the free backstage coffee and chatted to the two girls appointed as stewards for the RLPO at the hall during our stay. We put the world to rights and  I learned a lot about this country from Cercel Diana and Andreea Negoita. Two very pleasant and helpful girls.

Diana Cercel (left), Brendan Ball, & Andreea Negoita

Next on the rehearsal schedule was a bit of work on The Symphony In Three Movements by Igor Stravinsky, followed with a sight read through the encore for tonight. That left about twenty minutes to pick out a few bits and pieces out of Symphony no. 3 by Rachmaninov.

We went back to the same area for our pre-concert dinner but chose yet another delightful restaurant, the Ateneul Bistro. Overlooking the Ateneul Roman concert hall, this little gem had adopted something of a musical style.

The Bells & Violins hanging in the Ateneul Bistro were an attractive feature.

I ordered a vegetable soup with bread to start with. The main course was an entrecote steak, with roast potatoes cooked in lard with a cabbage side salad. John Hebbron (1st violins) had the same as me and the horns ordered salads.

A little religious iconaphy next to the Nadia Comaneche Clinic, Bucharest

It was now time to return to the Sala Palatui for the concert. We had to pose for pictures taken of us by our travelling supporters club, ‘The Friends of the Phil’ outside the artists’ entrance. These loyal supporters follow us en masse, all over the world. Next thing was to get changed into our established touring stage wear, an all black suit these days; and then to warm up our instruments prior to performance. I have mentioned the concerts being filmed by French TV and recorded by Romanian radio. The rehearsals are also being filmed for a couple of documentaries, as is the back stage area – we have to be careful where we change and what we say as a result. The hall was packed out again. Word seemed to have got round about the success of last night’s show, as there appeared to be some kind of an expectant buzz going around the audience in the auditorium.

The pre-concert buzz in the atmosphere of the packed Sala Palatui

The concert commenced with Stravinsky’s Symphony in three movements. This anti war statement was written at the end of world war two by a mature Stravinsky in his forties. A wonderful piece and a master composition. The work appeared to be well known to the audience and attracted warm applause. This discerning audience loved Prokofiev’s third piano concerto and the playing of Alexei Volodin. He returned to perform a much appreciated solo encore before the interval. After the interval, Petrenko had the audience eating out of the palm of his hand during Rachmaninov’s Third Symphony. You could have heard a pin drop during the beautiful, sweeping melodies and shameless romanticism. They loved it; another standing ovation. There was no chance of leaving this stage without giving the crowd more; I think they would have lynched us. Vasily had chosen the Danse de Neapolitana from Swan Lake. The audience loved it and clapped along enthusiastically during the fast section before breaking out into tumultuous applause at the end and deafening cheering. This tour is going very well.

'Petrenkomania' in Bucharest - by Catherine Jones

After Petrenko had returned back to the stage several more times we were allowed to exit the stage finally. Tired but satisfied with a job well done!

The 'Bastie Boys!' RLPO Bass Section

There was nothing left for it but to get changed, get everything packed away and let the guys load the lorry and set off immediately for Prague. Now to let our hair down for some after concert fun, for what would be our last night in Bucharest. It was only a couple of hours until Tuba player, Robin Haggart was to celebrate his birthday!

RLPO getting ready to vacate the Sala Palatui concert hall in Bucharest after the final concert thereRLPO lorry about to depart Bucharest for Prague immediately after the concert

A short walk back to the hotel to drop stuff off then down to the bar and the pool area to see what was going on. Most of the orchestra were congregated down there chilling out and relaxing after a couple of days’ hard work before having a wander around the many little bars nearby. Another lie in tomorrow before the check out of the hotel for the airport to travel to Prague, in the Czech Republic. I wandered out and passed a ‘cello and bass party’ in a nearby bar before joining the rest of the brass on the terrace of a nearby bar for a drink in the warm night air. Tomorrow… Prague!

A wild celli and bassi street party!

The Brass - the quiet, sophisticated section of the RLPO!

This evening’s new player profile goes to Tom Verity. Tom has only just joined the RLPO; this is his first tour with the orchestra and he has taken up the previously vacant position of Principal Clarinet. Welcome on board Tom!

Tom Verity - RLPO Principal Second Clainet