Brass at the RCM
(Published in The Brass Herald)

The Royal College of Music has seen some major changes over the last 18 months, and with further developments ahead this seems like the perfect opportunity to discover the history of this prestigious institution, what life there is like and, most importantly, what's planned for the future.

The RCM was founded in 1882 by Edward VII and moved to its current South Kensington location in 1894. The College's influence on the development of music over the last 123 years is extensive. Through its doors have passed some of the most distinguished and influential figures in British music history; Gustav Holst, Benjamin Britten, Lord Lloyd-Webber, Sir Colin Davis and Sir James Galway to name but a few.

So what made me choose the RCM? Having had a musical upbringing, which revolved mostly around the brass band heritage from my home in Yorkshire, I felt that I wanted to move to a place which opened my eyes to the music profession in its entirety, enabling me to broaden my musical horizons.

Most aspiring musicians choose London as a place to study simply because it is the centre of the music industry. Birmingham, Cardiff, Liverpool, Manchester and Glasgow have only one major concert hall (however impressive it may be) with only one or two symphony orchestras to play in it. London has three major concert halls, six symphony orchestras (including the BBC Concert Orchestra), two opera houses and fourteen musicals running in West End theatres. London is also where the vast majority of recording takes place. All this activity provides a great deal of employment for a large number of brass players.

In my opinion the most important aspect of choosing the right conservatoire is finding the teacher to which you are best suited. It is they whom you spend the most time with whilst at college. They oversee your development as a musician (and often as a person!), point you in the right directions and, most importantly, pave the way into the profession.

The location of the RCM is incomparable. Imperial College, The Royal Albert Hall, The Royal College of Art and the Science, Natural History and Victoria and Albert Museums are all within a five-minute walk. However it's not just the location; the College has significant connections with each of these institutions including performance opportunities, use of facilities and social functions.

2004 was a year of change for the Brass Faculty at the RCM. Former Head of Brass, Peter Bassano, retired after over a decade in the position to pursue other musical endeavours including his conducting career. This ended a long-standing relationship with the RCM, from his days here as a student to becoming a Professor of Trombone at the College in 1975. The RCM was delighted to welcome Nigel Black as Peter's successor and he commenced his position in September last year. Nigel is no stranger to the establishment. He is a former student himself and is also one of a number of distinguished horn professors currently teaching at the RCM. He is regarded as one of the country's leading horn players and possesses an impressive CV: Nigel has been a member of both the Royal Philharmonic and London Philharmonic Orchestras and was appointed principal horn of the Philharmonia Orchestra in 1991.

I asked the Director of the RCM, Dame Janet Ritterman, why Nigel is the right person for the job. "Nigel's contact with the profession is important, it's great to have such an eminent figure in the role. He's very well respected but also very approachable."

I went to see Nigel and asked him about his overall objectives. "My vision for the Brass faculty is simply to create and maintain an environment which truly enables every student to realise their full potential. All brass students must receive a challenging but carefully structured programme of study and performance with particular emphasis on the identifying and unlocking of individual potential. When a student understands their own capability they can begin to make realistic plans for a life in the demanding and highly competitive world of music. Unlike twenty-five years ago, when relatively few students left the RCM with a degree, attaining a BMus is now fundamental to academic life at the College. Today's constantly changing musical environment underlines the value of any good degree as a statement of ability and application. Even the most gifted students should pursue the best possible degree - its all about eggs and baskets!"

"The RCM Brass faculty's teaching list includes many of this country's leading players covering every style from baroque to jazz and beyond. Eleven professors are Principal players in major London orchestras and ensembles; seven are members of London Brass, this country's leading brass group and Ensemble in Residence at the RCM. It is these frontline players who are often able to give their more advanced students those crucial breaks into the music profession."

The Philharmonia Orchestra has a higher number of RCM alumni amongst its members than any other British orchestra. I asked Nigel what it was about the training at the RCM that prepares brass players for today's orchestral profession. "The RCM has a wonderful tradition in orchestral playing. The orchestral programme at the RCM is second to none and a major attraction for any aspiring orchestral musician. In the autumn of this year Bernard Haitink returns to conduct Bruckner's Ninth Symphony and Te Deum - testament to the quality of orchestral playing at the RCM."

"Understanding the art of orchestral playing is crucial," Nigel adds, "and having so many leading orchestral players on the brass faculty is of enormous benefit. Students have to learn to develop their own orchestral 'radar'. In a great orchestra you find players with a heightened sense of ensemble awareness, constantly checking the elements of their own input such as sound, intonation and balance - the orchestral radar. It is this awareness combined with musical direction of the highest caliber that produces world class orchestral playing. With the reinstatement of instrument specific brass groups, we now have Horn Ensemble, RCM Trumpets, Trombone Choir and Tuba Quartet up and running, allowing students more opportunity to hone these fundamental ensemble skills whilst focusing on the special requirements of their particular instrument."

It certainly seems that Nigel isn't afraid of change. His enthusiasm is admirable and he has a real determination to achieve 'his vision'. He strongly believes in enabling students to perform in front of their peers on a regular basis. "It's the most critical audience you ever play to," he proclaimed. "As a professional you're on show every time the instrument comes out of the case. Good brass playing is good brass playing," he explains, "we can all learn from each other; breathing, posture, approach, attitude, it's the same for every brass instrument."

Two new professors, who Nigel plans to add to the RCM's already impressive line up are Tim Jones and Dave Stewart (which incidentally means that the London Brass trombone section are all now professors at the RCM). This follows Nigel's previous 'swoop' in appointing John Barclay as Professor of Jazz Trumpet. "It's great to have John as part of the team," he smiled. "Both he and Richard Edwards are phenomenal 'cross-over players' from jazz to straight. They're highly valued in the profession; there is so much to learn from them. The students must have the opportunities to acquire as many 'tools' as possible, the work will always be out there!"

Nigel is certainly keen to support his students and their activities, illustrated by the appointment of Zone One Brass as an Ensemble in Residence at the College. Zone One Brass is a brass band founded in 2002 by students who could no longer commit to their local bands. Now competing in the Championship Section, ZOB recently provided entertainment for 8000 guests at a Garden Party at Buckingham Palace to celebrate the Royal Society of Arts' 250th Anniversary. Both Queen Elizabeth II and the Duke of Edinburgh were in attendance.

The band's musical director is Simon Dobson, an ex-student of the College. In May 2002 Simon won the title of European Brass Band Composer of the Year. His piece, Lydian Pictures, was set as the 4th Section Test piece for the 2003 Regional Championships. Simon is currently Composer in Residence with Brighouse & Rastrick Brass Band and was delighted to learn that ZOB had been invited to perform as part of the RCM's In Aquarius festival celebrating the life and works of another RCM alumni, Sir Michael Tippett. Under Simon's inspired leadership Zone One Brass is rapidly gaining a reputation for both quality and originality.

An association with which the RCM is very proud is with the ten-piece Brass ensemble, Brass10. Brass10 formed in 2001 whilst all its members were studying at the RCM. Since then the group has certainly raised a few eyebrows winning the 2004 Royal Overseas League Ensemble Prize and Miller Trophy. This was complemented by recognition from South East Music Schemes 2003-5 and the Philharmonia Orchestra/Martin Musical Scholarship Fund 2004 Outreach Award. Last year saw the group's association with the RCM strengthen when they were awarded a Junior Fellowship at the College. This is a two-way arrangement which enables the group to work with current RCM students whilst giving them the financial support they need in their 'early years' of post study. This financial security (provided by the Leverhulme Group) has enabled Brass10 to concentrate on making quality music, evident from their first, self-titled CD, which was completed in 2004.

Brass10's RCM work includes running brass chamber repertoire sessions and termly 'Big Blows' involving all brass students and professors on a neutral level (which is due to expand to a London intercollegiate event at the end of the Summer Term 2005). They are also founding a Brass Ensemble Composition Prize and a new group called Project10. This is essentially half RCM students, half Brass10, which this term collaborated in a project with Raymond Gubbay and the RPO at the RCM's neighbour - the Royal Albert Hall. Next term, Project10 is due to embark on a run of school concert workshops, alongside running a seminar on the vital 'ingredients' of running (and sustaining) a brass chamber group. I asked Amy Wetmore, a trombonist with the group, about Brass10's connection with the RCM. "Brass10's role helps to 'bridge the gap' between the much respected professorial staff and the student body. The Chamber Music opportunities at the RCM are excellent," she reports. "Any group can have as much coaching from any professor they want and there are loads of concert opportunities, it's something the College seems really keen on!"

Most undergraduate students at the RCM embark on the full-time four-year BMus(Hons) programme. However there is a gap year experience programme and also a BSc(Hons) Physics with Studies in Musical Performance taught jointly with the neighboring Imperial College. For postgraduate study there is an integrated masters programme in performance incorporating a PGDip in Performance and Advanced Performance, and an MMus in Advanced Performance.

It is difficult to describe a typical week at the RCM for the simple reason that by no means is any week 'typical'. Each week has its regular academic elements; history, stylistic studies, seminar, aural, keyboard musicianship. Then there's a professional skills class, covering a wide range of topics from financial, concert and career planning, instrumental teaching and outreach work and business and technology skills to marketing and publicity. In a student's latter years more options are available including conducting, music technology, composition and jazz history. There is a weekly lesson with your Principal Study Professor and also the option of a second or related study should you wish to do one.

The College has a number of ensembles including two symphony orchestras, big band, wind band and period music groups. Placements solely based on an audition at the start of the academic year would be impractical; instead, many other factors are taken into consideration to develop a student's all-round profile. It's doubtful that the first gig a student gets will be playing principal in an orchestra. To that end, the seats are rotated so sometimes a more accomplished player is bumping or on second. This is all discussed with the professorial staff to coincide with a student's particular stage of development. College ensembles don't rehearse on a weekly basis. Instead, it's a fairly intensive rehearsal schedule for the preceding seven to ten days before the concert. I quizzed Simon Channing, Head of Performance, why he prefers this method. "We try to emulate life in the profession as closely as possible," he explained. "It is difficult to remember everything that was done in a rehearsal a week ago. Working this way allows us to work faster, getting through more repertoire and pull in conductors like Bernard Haitink, Roger Norrington and Kurt Masur. We strike a balance which also allows students enough time to practice between rehearsals."

In September, internationally renowned trumpet player and professor at the RCM, Paul Archibald became director of the RCM Brass Ensemble. Next term sees this relationship develop further with an exciting project involving London Brass. This will take the form of a joint concert culminating with a performance as a mixed ensemble. "The College is privileged to have such a significant association with London Brass," Paul told me. "I am very much looking forward to this collaboration." There is also a great relationship with the London Symphony Orchestra in the form of a side-by-side scheme. In a recent performance of Heldenleben given by the LSO under Haitink, two of the trumpet section (Joe Sharp and Ruth Ross) graduated from the RCM within the last two years. Coincidentally, at the same time, Chris Pointon - a present RCM student was playing horn in the pit at the Royal Opera House. "This is testament to the international reputation of the department," Paul adds. "We currently have students from across Europe, America and Australia."

A current postgraduate trombonist, Matt Gee, has recently returned from a trial with Scottish Opera. I asked him to tell me about his view on the social life at the College. "Since starting here last September I've realised that the atmosphere is something very special. It's a very close community where everyone looks out for one another." I decided to ask professor Lindsay Shilling, a former student here if this had always been the same. "Nothing's changed!" he smiled. "The atmosphere here will always be the same. It's full of like-minded people with infectious enthusiasm. As a professor I work hard to keep these values," he continued. "I encourage students to work together and I ensure that no one speaks badly about anyone else." This camaraderie is partly down to the hard work of the Students Association, which President Mike Poyser claims, "is a stronger focal hub than at any other conservatoire!"

Some of the facilities at the RCM are first class. There's an excellent, fully equipped recording studio, a hall of residence, a museum of instruments (internationally renowned for its collection of over 800 instruments dating from as early as the 1400s), the Benjamin Britten International Opera School, one of the biggest music libraries in the country, the largest collection of Steinway pianos in Europe and the Woodhouse Centre. The Woodhouse Centre is unique among UK conservatories. Its main functions are to help you develop the kinds of skills that are required for working life and to help you obtain performance opportunities in a wide range of venues and situations. Basically, they get you the gigs! Between September and December RCM musicians participated in over 270 events - it's an invaluable resource.

The future certainly seems bright for brass playing at the RCM. September sees the arrival of Professor Colin Lawson as the new Director and there is a long-term plan to further improve the practice and rehearsal facilities. A beautiful setting, a constructive atmosphere and a new Head of Brass who is hungry to achieve - surely that's a recipe for success!