AN INTERVIEW WITH THE CONDUCTOR: GAVIN SUTHERLAND

RB: What was your family background?

Gavin Sutherland: I was born in Chester-le-Street, County Durham. Father was a factory inspector, mother a secretary for the local Council. In the North East arts were considered inappropriate as a profession – you were essentially bred as factory fodder – light engineering and so forth – and I couldn’t face that.

Were your parents or family at all musical?

Well, I think it’s fair to say that we were a family that appreciated music, and the house was certainly full of music, but the only direct musical contact was my mother. She played organ at our local church but stopped before I was born (and actually stopped playing completely as a result). My father liked to sing around the house, and at many of the "go-as-you-pleases" – a forerunner to karaoke in many a working men’s club! My sister liked to sing (though used to regularly slide down in pitch from the key in which she started!!) and learned to dance, and so was a regular in several operatic societies.

Your education ...

I started to play our piano, unbidden, by ear, at the age of three. This slowly developed through the years, although I was still branded as self taught. It’s almost right to say I could read music before I could read, although I think my musical interests needed harnessing. Thus it was that I was given lessons on the trombone (we had no piano teacher in our education authority) from the age of seven. This got me into the county youth bands, and I found this wholly to my liking. I did all of my grades on trombone (all distinction, I’m embarrassed to confess!) but just let the piano wend its way of its own accord. My real early musical education was practical – sitting in the bands and orchestras – watching, remembering, absorbing. To this end I wish to pay tribute to two of my mentors from this time – Derek Scollard, my first trombone teacher, who arranged and conducted one of the bands I worked with. He gave me the impetus to start dabbling with arrangement, although my first few efforts (the first dates from the age of 7!) were lamentable…but I stuck at it and that’s where my love of writing and arranging music was born. The other leading light at the time was the late Jack Stobbs – a rather eccentric and totally fascinating teacher. I think he knew my interests and focused on them – plus his love of English music opened up my ears to the music of Walton, Elgar, Warlock, Finzi, Arnold, and so on. Added to that his encouragement and energy got me "to the next stage" as it were – a stage that is often difficult in a musician’s life, where one battles with the soul and, as Dave Allen famously put it, "the braincells become haemorrhoids" and Neanderthal tendencies creep in!! To this end, I didn’t really have time to notice that, as my quest for more experience led me to local amateur operatic societies and choral societies, first as accompanist then as conductor (I musically directed my first show at the age of 11, and, whilst the participants can’t take you seriously at that stage, at least it got me moving in the direction of conducting.). On the amateur operatic front I think I worked on over fifty productions until I went to university, and all the while it got me working with people. The music business doesn’t just stop with the total grip on thorough knowledge of your craft – social and people skills are profoundly important too, and I’m glad to say I made most of my mistakes and received most of my knocks when I was young enough for it not to hurt!

I do have to say my other school studies possibly suffered a little but I was apparently oblivious to that. I did get a lot of jealous stick from my peers at school, and found solace in being able to lock myself away in a music practice room and simply play. It’s still a comfort blanket to this day!

Have literary sources influenced your style or approach?

You mean musical books? I had lots of them – Frederick Prausnitz’s "Score and Podium", William Lovelock’s "The Elements of Orchestral Arrangement", Piston’s famous orchestration tome, Adkins’ "Treatise on the Military Band", and so on. I have to be honest and say that although I tried to devour them, thinking it would be a bigger help than it subsequently was (!), I found the real way to learn for me was simply to practise and absorb other conductors. As for arranging and composition, scores were the great textbooks to me. Anything currently in our repertoire in the bands, full scores of classical and contemporary works, all of these came hurtling through our local library at a rate of knots!

What direction did your musical studies take?

Well, I tried for Durham University for my mother (who was determined I should get a job as a music teacher – something I think I could never ever have done!) but, as I only had qualifications as a trombonist on paper they couldn’t possibly consider me. I even offered to go and play for them, but that wouldn’t work! Newcastle said they didn’t really want to take many local students, as they were going more for foreign applicants (charming!). So it was that I headed south to see what was on offer. I was offered unconditionals by several of the main music colleges, but actually settled on Huddersfield University (Polytechnic for my first two years there) as it seemed to offer the most adaptable course and also pleased my mother as being "not London".

Can you tell us more about your musical training?

Huddersfield was a real eye-opener. Amongst many fine musicians, all of whom like me had applied and got in on their merits, I felt suddenly rather nervous. From the safe and cosy atmosphere of regular fun work in the North East it now all took on a more serious feel. As it turned out, I think I matured considerably at Huddersfield, both musically and personally. Some teachers became good close friends, one got me my first regular professional job (I had had a bit of freelance playing, conducting and arranging just before I got to Huddersfield, but not on a regular basis).

I suppose I was counted as "a funny ‘un" since some of my teachers did not want to undo what I’d achieved musically and technically so far in my life. As a result I was taught more about interpretation as a pianist (with the marvellous Bernard Robertson), pushing out the boundaries of composition (with Peter J.Lawson – a real hero) and performance development as a conductor (first with John Gulley and then with another of my key influences in life – John Longstaff).

But what of the trombone? Well, I’d had enough – I’d got a new instrument but it wasn’t making any difference at all – I really knew I wasn’t good enough, so it went back in its case just after I turned 19.

I must have done something right, for I ended up getting a first, two prizes (the Krucynski Prize for Piano and the Davidson Prize for Distinction brought to the Institution) and, through John Longstaff, regular work as a pianist with Northern Ballet Theatre. To end up playing a piano concerto in my last end-of-year concert (Gershwin in F, of course!) must have angered many of the fine pianists in my year, for which I apologise, but I had left Huddersfield with a much better idea of my future, thanks to an assured and energetic training.

As a conductor are you associated with a particular orchestra?

This is actually a follow on from the question about training, since one of Northern Ballet Theatre’s then staff conductors was about to leave (this was about 1994/5) and, thanks to both John Longstaff (their Head of Music at the time) and John Pryce-Jones (their Music Director), I began to conduct more and more for the company (I had started playing piano for them during my second year at university), finally being appointed as a full-time staff conductor in 1995. My introduction to the world of ballet had occurred much earlier, playing for a ballet school for five years during my teens. Funny thing, fate…

I did a very large share of the conducting with the company during this time, eager to develop and full of enthusiasm. After three and a half more years I decided to move on, and thought of London as the place to base myself, it being the epicentre of arts in the country. During my last season with NBT I had made my first CD – "Brian Kay’s British Light Music Discoveries" for ASV, with the Royal Ballet Sinfonia. I seemed to hit it off with them, and, on learning I had conducted for ballet, they offered me performances of "The Nutcracker" with Birmingham Royal Ballet at the end of that year. This then led to a current association with this fine orchestra, in the ballet pit, occasionally on the concert platform, but mainly in the recording studio.

The funny thing is I form associations with many orchestras (the joke being "Gavin is always invited to conduct the orchestra at least twice – the second time to apologise!") – a recent one being with the Australian Pops Philharmonic Orchestra, for whom I’ve arranged and conducted a lot. I also became associated with the Royal New Zealand Ballet, and have conducted significantly for them. My associations are always truly meant, and strong bonds are often important to maintain a stability in a hectic life such as mine.

Given a free hand which ten works .. previously unrecorded would you want to record. and why in each case?

1. Three Rivers Fantasy by Arthur Wilkinson – as a child I adored this piece, played as it was at the start of the day’s transmission on Tyne-Tees Television. A bright and joyous celebration of North Eastern folksongs and tunes, the printed music is sadly lost (like so many works). I have reconstructed it, along with TV startup pieces from the other ITV regions, for an ongoing project to record all of them on CD. They really do reflect a cross-section of the biggest names in British Music.
2. The Mansell Concerto by Kenneth Leslie Smith – I came upon this piece during my early years as a radio listener (we had Radio 2 on until about 3 then the television was turned on – what better musical upbringing could a person have?) with the late Bob Docker and the BBC Concert Orchestra, and found it really fascinating, with some lovely harmonic shifts.
3. Symphony by Eric Rogers – I found this score amongst Eric’s papers whilst researching "The Carry On Album" and it looks a most impressive piece. I must say that we are actually going to record this in September, so slowly but surely the ambition gets there!
4. Westward Ho! by Hastings Mann – Similar reasoning to (1), but used for the (then) Westward TV area during the 1960s.
5. Devonshire Dances by Paul Lewis – I don’t think these have been properly recorded (they’ve certainly been performed a lot) but I am an enormous fan of Paul’s music (and we remain close friends) and these sparkling pieces for harp and chamber orchestra are really beautifully worked. Paul’s gift for melody must come from the need in library music to establish the mood, right from bar one. A rare talent.
6. The Phoenix Tree by Philip Lane – Philip has been, without a doubt, the single most important person in my career thus far. His production skills are fantastic, and we’ve developed a real rapport in the studio and away from work too. I am a very big fan of his music, since it always screams optimism! His choral and orchestral writing has been long acknowledged as excellent, and this piece, written for performance by Aled Jones in 1990, is exemplary.
7. Fantasia on "Auld Lang Syne" by Ernest Tomlinson – It was Ernest that brought Philip and I together in the first place, and for that I’m eternally grateful. Added to that I’ve always enjoyed Ernest’s music and the generosity and warmth of his spirit. I first heard this piece in a concert conducted by my old friend John Wilson at the Royal College of Music, and was captivated by just how many tunes fit with the New Year anthem, and each other! There is also a version for two pianos (and, most importantly, two turner-overs!) but I’d dearly love to commit this piece to disc as it is a work of contrapuntal genius!
8. Pastorale Montage by Gideon Fagan – This piece is actually recorded on an old Chappell music library disc, but was used as music for one of the old BBC TV Interlude films, depicting a slowly turning windmill. A gorgeous miniature which fitted the pictures so well.
9. London Medley by Arthur Wilkinson – written for the interval of the 1968 Eurovision Song Contest from the Albert Hall, and conducted by Norrie Paramor, this piece is delightful and very approachable. It also continues with my interest in Arthur Wilkinson and was in fact composed in the last year of his life – a warning to workaholic musicians everywhere.
10. Selection from "Over She Goes" (Billy Mayerl, arr. George Zalva (Cruikshank)). I had known Billy Mayerl’s music for many years as a pianist, but had little idea that he had written songs and musicals also. This musical starred the wonderful Stanley Lupino, a comedian whose work I was introduced to by one of my best friends, Martin Fenton. Typical of show selections, it actually does heighten a lot of fine tunes with exquisite nuance of orchestration – something lost in some arrangements these days.

What would be your advice to a person considering conducting as a career?

Go for it. The business is so diverse now that there are so many different avenues to pursue. Alongside the problem of gaining experience comes the fact that orchestral musicians can come over as the biggest cynics in the world. The only way to handle them is to be yourself and be clear. Technique can be taught, but people skills only come with trial and error.

You have touched on this a little already but what qualities are necessary in a great conductor?

This ties in with the previous question – being down to earth, energetic and enthusiastic, being able to breathe with the orchestra (Henry Wood often said that the best conductors would be string players – I rather disagree, as breathing in phrasing comes far more naturally with the techniques of a wind player). Along with this comes all the stick technique you can muster in back up to keeping things calm and easy to follow – all the greats had this gift.

What is your attitude to the recording studio?

One of my favourite working environments. The focus of concentration every time the light goes on is a feeling I adore. To know that at the end of a session your thumbprint is on every piece on that disc (or soundtrack, or whatever). The other thing is consistency. The preferred method of working for the discs I’ve done is to try and get down two complete takes, then go back and cover any "patches" that may need tightening. To do this one must feel the music since if a patch is to be dropped in to a track the tempi must match, as must the feel. The many discs I’ve done with the Royal Ballet Sinfonia in particular are blessed by such fine playing and a really comfortable atmosphere in the studio that rehearsal can be kept on the economical side. When things start running against the clock, though, and we are pushed for time, the whole attitude shifts to sorting things out immediately in the most time-saving way possible, whilst trying to keep calm.

How did you become involved with ASV and other record companies?

It started with Ernest Tomlinson bringing Philip Lane and I together in late 1996. I possessed the scores to the "Carry On" films and Philip, already well respected as a record producer, told me he was keen to record a disc of them. We met for the first time at his house in Cheltenham, and further discussions took place in London, Bath and even in a hotel in Batley! The record companies he had tried thought the idea too parochial and so the idea was shelved for a while. Meanwhile Philip had began work on a series of British Light Music discs for ASV. I think Kenneth Alwyn wasn’t available, and Philip, having seen my work on the ballet podium and knowing my love of light music, asked me if I was available. Thus it was that I took two days off work at NBT (the first I had taken off in three years) to go to London and record the disc (this was April 1998). One disc led to another, which led to another, and so on…"The Carry On Album" finally got made in February 1999!

What are your recording plans?

I’ve just done a disc of Matthew Curtis’s music (my 30^th disc made to date) with the Royal Ballet Sinfonia at Whitfield Street in London (with a man of whom I must make special mention – Mike Ross-Trevor, award-winning and highly respected recording engineer, and above all a very nice guy!) and then I made the cast recording of my musical "Little Women" (which enjoyed a short run at the Bloomsbury Theatre during July). The next projects are a further volume of British String Miniatures (I think it’s Volume 3 or 4!) and an interesting disc of the works of British film composers, but works they wrote for the concert hall. We feature works by Leighton Lucas, Bruce Montgomery, Anthony Collins, Eric Rogers and others. Other discs planned for the future include the music of Montague Phillips, Charles Williams, a tantalising disc known at the minute by the working title "The Denham Concertos" after the famous film studios (pieces written very much with the success of the "Warsaw Concerto" in the film "Dangerous Moonlight" in mind) , a possible disc of the music of Angela Morley, oh, and Carry On volume two!

Have you been steered away from some composers by record companies?

Not really. The record companies listen to people such as Philip, with his thorough research of suitable works for balanced discs, and his astute business skills make their recording viable.

....Or to some composers by record companies

Safest to say "see above"!

What would be your ten desert island CDs and why?

Easy!

1. The Dream of Gerontius conducted by Sir John Barbirolli – simple – my favourite choral piece, my favourite conductor.
2. "The Great British Experience" – an EMI compilation by David Ades that is a real bedrock disc for any light music collector.
3. "The Sound Gallery" – it’s not all 40s and 50s light music that I like, you know!
4. "Brian Kay’s British Light Discoveries" – partly to remind me of that very first session, partly because of the moving nature of some of the pieces we recorded, like Maurice Johnstone’s "Tarn Hows" and the beautiful "Little Suite" of Richard Rodney Bennett
5. "The Carl Stalling Project" – all film and cartoon music fascinates me – the intricacies of it leave me spellbound at times. Stalling was the master, and his witty scores always make me chuckle.
6. That Conifer double-disc set of the music of Robert Farnon – another hero, with such a genial style that any light music lover can only marvel at his gifts.
7. Hoffnung’s Music Festivals – A sense of humour in music, whether in the writing or in the performance, is very important to me. I love to laugh, and I think light music has to "smile" – there was no one more keen to see it do so than cartoonist Gerard Hoffnung.
8. Any disc by Sergio Mendes and Brasil ’66 – I also like Latin music, and the sultry pulse of the bossa nova. Mendes’ arrangements were fantastic and provoke a really exciting reaction in my body.
9. Pet Sounds by the Beach Boys – perfect production values, beautiful songs, excellent performances.
10. ANY CD of Eric Coates – for preference I’d have to say the first of Malcolm Nabarro’s series on ASV, as the performance of the "London Suite" is the best I have ever heard.

Oh, and my luxury would be a bag of crisps! GS

Reviews on MusicWeb

Philip LANE (b. 1950) Orchestral Music London Salute [3.08] Diversions on a Theme of Paganini [13.40] Cotswold Dances [14.53] Divertissement for clarinet, harp and strings* [9.49] Three Christmas Pictures [11.41] A Maritime Overture [7.58]
Three Nautical Miniatures for strings [8.33] Prestbury Park [3.16] *Verity Butler, Clarinet Royal Ballet Sinfonia, conducted by Gavin Sunderland Recorded in the Henry Wood Hall, London, 19 – 21 February, 2001 MARCO POLO 8.225185 [72.57]

Collection: British Light Music Discoveries.
Music by Sir Malcolm Arnold, Philip Lane, William Blezard, Eric Fenby, Raymond Warren, Adrian Cruft, Anthony Hedges, Paul Lewis and Arthur Butterworth
Royal Ballet Sinfonia conducted by Gavin Sutherland
ASV CD WHL 2126 [74:08]

BRITISH LIGHT MUSIC DISCOVERIES 4: John RUTTER: Partita Richard Rodney BENNETT: Suite Française. Malcolm ARNOLD: Padstow Lifeboat March. David FANSHAWE: Fantasy on Dover Castle. William BLEZARD: Battersea Park Suite. Michael HURD: Dance Diversions. Paul LEWIS: A Miniature Symphony Royal Ballet Sinfonia/Gavin Sutherland. ASV CD WHL 2131 [67.00?] Midprice

British Light Overtures William BLEZARD (b.1921) Caramba (1966) Stanley BLACK (b.1913) Overture to a Costume Comedy (1955) James LANGLEY (1927-1994) Overture and Beginners (1965) Thomas DUNHILL (1877-1946) Tantivy Towers Overture (1931) arr P. Lane Herbert CHAPPELL (b.1934) Boy Wizard (2001) Walter CARROLL (1869-1955) Festive Overture Michael HURD (b.1928) Overture to an Unwritten Comedy (1970) Lionel MONCKTON (1861-1924) The Arcadians (1909) arr A. Wood Philip LANE (b.1950) A Spa Overture (1982) Thomas PITFIELD (1903-1999) Concert Overture (1950) Paul LEWIS (b.1943) Sussex Symphony Overture (2000) Royal Ballet Sinfonia/Gavin Sutherland rec 21-23 Feb 2001, Henry Wood Hall, London recorded with financial support from the Ida Carroll Trust ASV CD WHL 2133 [66.27]

JOHN GARDNER
Flute Concerto op.220. Symphony No.3 in E minor op.189. Sinfonia Piccola for Strings op.47. Irish Suite op.231. Half Holiday - Overture op.52. Prelude for Strings op.148a.
Jennifer Stinton (flute) Royal Ballet Sinfonia Gavin Sutherland.
ASV CD WHL 2125. (62' 46'')

Bill WORLAND Orchestral Works RTE Concert Orchestra/Gavin Sutherland
MARCO POLO British Light Music 8.225161

DAVID GOLIGHTLY Symphony No. 1; Three Seascapes. City of Prague Philharmonic OrchestraGavin Sutherland. ASC CD CS 38

Percy WHITLOCK (1903 - 1946)Concert Overture: The Feast of St. Benedict (1934) Ballet of the Wood Creatures ((1939) Wessex Suite (1937) Suite: Music for Orchestra (1941) Come along Marnie (1938) Susan, the Doggie and Me (1938) Holiday Suite (1938/39) Balloon Ballet (1938) March: Dignity and Impudence (1932/33) Malcolm Riley: organ RTE Concert Orchestra; conducted by Gavin Sutherland Rec. 4th & 5th February 2000 at O'Reilly Hall, University College, Dublin MARCO POLO 8.225162 [71.48]


Alfred REYNOLDS (1884-1969) Festival March Suite; Alice through the Looking-Glass Suite; The Toy Cart Overture; The Taming of the Shrew Suite; 1066 and All That Suite of five dances from The Duenna Overture for a Comedy The Sirens of Southend Swiss Lullaby and Ballet from Swiss Family Robinson Suite; Marriage a la Mode Three Pieces for Theatre; (i) Overture to Much Ado about Nothing (ii) Entr’acte from The Critic (iii) Mascarade from The Merchant of Venice Royal Ballet Sinfonietta
Gavin Sutherland Recorded Whitfield Street Studios, London December 2000
MARCO POLO BRITISH LIGHT MUSIC 8.225184 [77’26]

 

ENGLISH BASSOON CONCERTOS Eric FOGG (1903-1939) Bassoon Concerto (1930) Bassoon Concertino (1998) John ADDISON (1920-1998) Peter HOPE (b.1930) Bassoon Concertino (2000) Arthur BUTTERWORTH (b.1923) Summer Music (1985) Graham Salvage (bassoon) Royal Ballet Sinfonia/Gavin Sutherland (Butterworth conducted by composer) Rec 26/27 Feb 2001, Whitfield Street Studios, London ASV CD WHL 2132 [75.21]

English Recorder Music Music by Philip Lane, Sir Malcolm Arnold, Thomas Pitfield,Edward Gregson, David Lyon ,Ian Parrott and Alan Bullard John Turner (recorders) Royal Ballet Sinfonia cond: Edward Gregson/Gavin Sutherland Olympia OCD 667

LORD BERNERS (1883-1950) Le Carrosse du Saint-Sacrement (1923) Fanfare (1931) Caprice Péruvien (1938)Viceroy: Ian Caddy (bar) Martinez: Alexander Oliver (ten) Balthasar: John Winfield (ten) La Périchole: Cynthia Buchan (sop) Thomas d'Esquivel: Thomas Lawlor (bass) Bishop of Lima: Anthony Smith (bass) BBC Scottish SO/Nicholas Cleobury (Carrosse)rec Glasgow 16 Aug 1983Royal Ballet Sinfonia/Gavin Sutherland (Fanfare)rec London 15 Sept 1999RTE Sinfonietta/David Lloyd-Jones (Caprice)rec Dublin 10 Jan 1995 MARCO POLO 8.225155 [79.17]

Bruce MONTGOMERY and Eric ROGERS - THE CARRY ON ALBUM -Music by from the Carry On films 1958-1975 (Camping, Sergeant, Teacher, Nurse, Cabby, Cleo, Jack, Behind, Convenience, Khyber, Doctor, Doctor Again) City of Prague PO/Gavin Sutherland ASV CD-WHL 2119 (51:12)

 

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