SPNM to commission new trumpet quartet for Cheltenham

SPNM, Bella Tromba and the Cheltenham Music Festival are launching a competition to find a talented composer from the SPNM short list to write a piece to be premiered by Bella Tromba at the Cheltenham Music Festival 2007.

Over the last few years we have given many premieres and thoroughly enjoyed working with composers. Our work with new composers is also vital in generating a varied and full repertoire list for our group. Paul Max Edlin was commissioned by the Park Lane Group in 2006 to write for us. His work ‘The First Four Trumpets’ was premiered in the Purcell Room in January 2007.

Paul, I know that you studied as a trumpet player at the Royal College of Music what was it that made you switch to being a composer?

“Well it was entirely health related. I had to have a massive kidney operation in my first year at college. I’d really wanted to be a high note ‘geezer’, specialising in the ‘nat’ and piccolo trumpets, but I had to have six months off. In that time, I found a new love (or equal) – composing. I had always wanted to be a composer, but had never taken it so seriously. Now I had to. I was so lucky to have John Wallace as my trumpet teacher. He said “Paul, you can either be a composer or a trumpeter, but not both”. So I chose composition. And I never regret it. (He’s such a wise man!)”

Can you give us an outline or a few examples of the diversity of your career, the kind of ensembles you have written for and the types of commissions you get?

“I’ve written for virtually every genre: instrumental, chamber, ensemble, massive orchestra (a favourite!), ballet and opera (my passion). Oh, and electronics too. But, you never know what the next day brings! When I was in my second year at the RCM, I received a letter asking me if I could teach the trumpet to a very talented guy in Canterbury. The whole story is quite funny really. My oldest friend was a student at Canterbury Christ Church (then ‘College’ and now ‘University’) and they needed a good trumpet teacher. He said he knew a good teacher at the RCM. That was me. They thought I was a real ‘professor’, so I got the job. Since then I’ve never stopped teaching, composing (or playing!). Now I am a full time lecturer (at Canterbury) as well as being the Artistic Director of the Deal Festival, and being a member of (and currently chairing) the Artistic Group of Sounds New. I’m also a trustee of Kent Music (a truly ‘fab’ organisation) that deserves every ounce of support. But I have never stopped composing. My cello concerto is being premiered next month – and it’s SO hard, but I am so lucky to have Gabriella Swallow and the Southbank Sinfonia playing it! Now I’m writing something for an ensemble to take to the USA. Most of all, I adore opera, and, foolishly, have written four very impractical (and massive) operas to date. But I love it all!”

How did you feel about writing for trumpet quartet when the PLG approached you? How did you approach writing for this ensemble?

“I always wanted to be a trumpeter. You never stop loving what the trumpet can do – it is so much more than people think! People think it’s only up to fanfares and bugle calls. But it is a deeply expressive instrument. Very much like the voice. It can play so softly, so rapidly and with such vigour. There is no other instrument that can command such authority. I was so lucky to be asked to write something as a student for John Wallace – not once, but twice. Since then, I have only written for the trumpet as part of a group or an orchestra. When I was asked to write for Bella Tromba I was over the moon. This is my instrument! And I know how fantastic the new younger players are. And, my goodness, they (you) are! I knew I could do and write anything. A few short questions (such as ‘do you have this instrument or that?’ and ‘can you play these pedal notes?’) and I was away!”

I am interested to know how the other side feels. What is it like working with performers, I know that ‘artistic license’ as well as composers making ‘last minute alterations’ can lead to nerves on both sides?

The standard of performance these days is incredible. The world is very lucky. But no musician should be expected to play everything a composer writes first time round, or second, etc. We composers demand too much. But we always thrilled that anyone is prepared to learn what we do write, and we are always delighted by the results of the amazing commitment and standard! These days, musicians can bring virtually everything off, and any changes don’t matter. (Have you heard the recording of the first performance of Walton ‘1’? It’s not what we know these days! Anything and everything needs time to ‘settle in’.)”

I have always wondered how composers must feel when they hear their piece performed for the first time, is it similar to the pressure of performance?

“You always feel nervous. Composing is an integral part of your life, and the biggest part (apart from your beloved family!). But when you write for your own instrument, you feel even more nervous. You imagine yourself playing the piece. The trumpet is an instrument you can never hide behind. Every note is heard loud and clear. And the athleticism required to play any brass instrument is not understood by others. But playing is far more demanding that composing. I chose the soft option, and will stick with it!”