Tradition, Tales and Tiffin Sarah Willis is joined by Tim Jones, Hugh Seenan, Angela Barnes, Alex Edmundson and Jonathan Lipton in a live Horn Hangout from Paxman’s in London. We hear about Tim Jones’ early playing career, LSO Horn History and what it is like to play in today’s section! London, May 18th 2016
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Hi everyone welcome back to the horn Hangouts live from paxman’s in London today and um we had a great time with Tony howad yesterday and we’re going to have a fabulous time today with Tim Jones and his London syph orchester horn section thanks so much you’re already joining in I can see you all in the chat and did you know in 194 the lso was founded by three horn players and a trumpet player that is quite incredible that means that right from the very beginning the
London Symphony Orchestra has heavily relied on their horns and I am so happy and proud to welcome Tim Jones to the horn Hangouts well welcome pleasure to be here did you know that I did know that in fact yeah I I was I was amazed founded by three on players yeah it was um at that time there was the or was founded because actually people
Lo loads of musicians love and playing and and they wanted have their own Orchestra to actually do the commercial work which actually just started at that point it’s still going on today still going today obviously Tim you have been principal horn you were the longest serving principal hor in the lso 29 years you don’t did you start when you were 12 well well it be 13
I joined in ’ 86 June 86 was just coming up 30 although I’ve had a little subjoin in the middle I eight month had one year well it’s 8 and a half months where I left and went to the cbso tooa for eight months and then came back so it’s um 29 years but 30 with an interruption in the middle does it get any easier over 29 years playing first one some of it gets easier
I think I mean obviously physically it doesn’t get easier you know the experience and you know the repertoire um it’s still a challenge but there are things that are easier which are well just knowing the repertoire knowing the little Corners that you’ve got to look at and you look at the yearly schedule think I’m going to have to do this amount of practice for that so you can organize yourself a lot lot better when when you’ve got experience and that’s the thing but physically it’s hard working it does get harder does that mean you practice more now than you used to the saying is you
Know you do twice as much practice for half the results as soon as you get past 40 it just you know I’m past 50 now so but it I do have to do a lot more practice and physically look after myself I mean the the pace I live my life now is completely different I mean it’s still fast but it’s so different from what it used to be you’re a runner as well whenever there’s a break uh there’s a break between rehearsals during the day
Tim puts on his shoes his tennis shoes and goes off into the London traffic to do a run that’s just just to counter you know we we we’re sitting down all day and and we are you know we’re working sometimes we’re working seven days a week so you you are sitting down on all of the time and it’s just it’s just part of my regime to you know for some resemblance of
Health but nothing more matter so Tim Jones this is your life Tada there’s a br TV program used to be called This is Your Life where all sorts of skeletons were a we we ar airing any skeletons today but but we can tell everyone that you started Life as a euphonium player Y at school that’s how so
I was 12 and that came about just in our state system here one day a teacher stood up at the assembly in the morning and said who would like to learn to play an instrument St my hand up and that’s how it started I was 12 um and did you did you know what it was no it just seemed like a good thing to do you know it was it seemed like an interesting thing to do the orra the school had a couple of bands and
Orchestra so I thought I’ll give that I go and and from that moment I’ve just I’ve Loved music it’s been whatever I’ve done it’s just been a thrill to be involved in music so how did you get to the horn sitting in this wonderful place there’s a great story well there is a story yeah so I played the
Eon until I was and then the teacher at the school at the time said you know if i’ I’d done quite well on your phone but he he said to me you know if you really want to go do music you’d be better off playing um the French hor I didn’t know so he just present got a
French horn for me and I started the French horn at 15 um and that led on to actually go full circle pman have had huge part to play in my life cuz when I was 60 coming up 17 um I decided to leave school and was offered a job being being the tea boy you were the tea boy
I was the tea boy Martin made us the tea today did thank you Mar thank you Martin and that’s how that’s how my real musical life kicked off I I I came to work for Patman when I was 16 nearly 17 um I was offered a job by a dear friend chck with Willie Watson who was the sales manager at the time um and
I worked at Patman for just over a year and a half no that’s just under a year and a half you made tea for a year and a half well actually I really didn’t do much I I just did a lot of practice and at that time P was a slightly different business to is today um we had a huge shop and
Patman was the like a Mecca everybody who came to London came came to PS and that was a real education for me because coming through the door on a regular basis was some of the greatest horn players in the world and I will remember for example G Cipher who’s your ex for first horns coming in and he play tried virtually everyone in the shop for two hours just played and you listen to these people you know and that was when
Paxman was at in C Garden we were in C Garden at that time that was legendary to just sort of that’s the first thing everybody did when they got to London go to come and go and that’s and it was and so I all sorts of people came through the door and all the Great Horn players in the world and
I heard them all in in a year and a half it was amazing and um and then after that so I was 17 coming up 18 I went to a European horn Symposium with Paxman actually which was in tring in Germany and there I met um Bob Ross from the Munich for the money the famous or inFAMOUS inFAMOUS or famous he’s famous for and through him he was the first person who sort of gave me an insight to or gave me the inclination to think actually
I could become a professional home player although I’d never had any any study never had never been to any had any formal music education at all and he he heard me play and you weren’t having lessons or you just listening you literally listening to these plays in the shop no through the people that came through you know some of the professional people yes some of the
Sal stuff say you want to hear this young lad we got working here he’s a great old play and they hear me and they give me a few tips so I know I didn’t had any formal music home training or music training at all and then Bob heard me and suggested that you you could really do something with your
Ro play and that was in the summer and then in the October he wrote to me it was before the days of mobile phones he wrote to me and suggested that there was a a job in um a little Orchestra in hinar pardon in hilar near Zan east of um cologne they were looking for a second gr player and he facilitated all that me got me and show me how to write and apply for this job and off
I went I was yeah so I was 17 coming up 8 October was 18 in the November and I went off there audition then I got the job I came back and told everybody I’m off to start my life as a professional home player in Germany and that and that started so um and I had four months there and then funny enough joined the
Munich for the morning yeah there’s a there’s a nice story about Bob Ross um inviting you to the Munich Beer Festival underage I hasten to add underage and you got there and both of you thought it would be quite a laugh if you auditioned for second horn in the munic film that was it that was it that that that’s got a lot to thank
God for and and I then spent four years in the munic philonic which was amazing I turn up and I couldn’t believe it is that the same time Fergus was it the BIOS room Fergus came about a year later to the BIOS room for and we shared a house together for for about for a year or so that’s um and um and that’s really where my my my own education started so you actually started the munic fill with practically no i’ had four months so you you didn’t did you know how to count in an orchestra did you know how transpose
I sort of got the hang of transposition but if it hadn’t been for they had Eric toig good was the first on those dear friend and if it hadn’t been for him I it wouldn’t have gone very far he helped me in fact all of my home playing is is is has been based on what he I learned from
Eric is fantastic he was a marvelous colleague did you see his hang out he a fantastic hangout except for making me lie on the floor some of I enjoyed that enjoy that I L it yes well he was saying now just relax and all I was thinking is I’ve got a short skirt on but he was fantastic and and still is a fantastic horn player and he he had had such great training that he just passed on not not not teaching but just listening to him and he we we spent a lot of time together and and if it hadn’t been for him
I’ve got a lot to thank him for yeah oh that’s a lovely story so after four years four years in the munic fil then you went back to London came back to London um lpo it was the London philonic yeah I auditioned for third horn and I had two happy years there that was another learning C well we had a marvelous first
T man called Nick Bush who who was very supportive I had two short years there and then in ’ 86 joined the lso and never looked back looked back you were associate principal to hang on who was principal at the time Jess in Theo yeah no Hugh you seen being there about a year so so we had we had two they it principal horn co-principal so there was two of us there was
Hugh and I but Hugh was the establish first T okay we’re going to get onto the get on to the history of the of the lso later can I just go through this is really incredible where everything is is everyone is watching from I mean it’s just we’ve got people from Robert Bentley Tasmania Australia Louis from Valencia
Ola Lis um and Alaska we’ve got someone watching from I can’t even scroll back as far Greg in Alaska Bren some of my friends from Australia yes we got any of Tim’s Australian friends up lat T night we’d like to know um if anyone’s over there in Australia oh there’s someone called Aussie horn so I guess some he says
I really admire your succulent robust tone so there you go is that my voice or my we’ll see um Morgan from Princeton in New Jersey says what recordings horn or otherwise inspired you as a student or continue to inspire you today well I think the fact that you heard them all live in the shop that well that that was my main expir hearing them live
I mean and there wasn’t that I mean like today there’s so much available for people to listen to there were that many recordings of people then so I was lucky I mean Barry Tua I mean obviously been princip with the lso for a long time he he’s been a huge inspiration for a lot of us in in the
UK and his recordings were were were very much available on cassette embarrassing to ad was C so he he was and and also um can’t go about saying you the icon of all of our Us in Britain Dennis B was his birthday yesterday yes 95 yeah gosh he he really was there’s Great Brain stories about the um in the lso connection brain and lso connection that they’re coming up a bit later um we’ve got really it’s incredible
David and Qatar is watching hi David um Alex Edmonson your third horn is hiding backstage here in the paxman’s uh workshop I’ll kill him um yeah and we we’ve got Steve flower hiding in the back here we’re going to bring them all on to say hi um at the end I think because there’s just so many great people here we’re going to it’s going to be nice and cozy but uh thanks to
P thanks to Paxman that we could we could do this here because we’ve been basically uh clearing everything yeah there paintings taken off that all put here yeah um Kendall gray Great Horn hangout supporter asks about the eliso horn sound he says there are so many players through the London orchestras on so many instruments is there a character
ISC lso sound and if so what do you think of the ingredients now we’ll get on to the horns everybody played a bit later but I’d like to hear your your take sound um of the current LS sound I mean we have a lot again Barry T established you know a quite heroic sound um big we we try to to as much as possible
Veer away from to much Edge in the sound you know um and that’s that’s also primar influenced by the the fact that here in London you know we we do we called a lot of the the um uh film scores you know the big film scores and and you know with the main Center being in La lot of composers want a similar sound there’s a question from
M saying Tim did you play on any film soundtracks we will get right to that in just to moment winter haven’t you played on and we’ve got some we’ve got kuang from Mongolia watching incredible you’re watching from today we love it sorry I interrupted you oh no so so yeah we are influenced by the by the um what the film composers want because that is a big part of our portfolio what we do an lso portfolio or a
London War sample for probably both mm both I mean there is a big record for people that don’t know you know most of the the big films that you see there got obviously music and and I’d say probably 2third of it recorded in Hollywood but the other third of it recorded in London you know we’ve and we load of the big movies
Batman six of the Star War movies not the last one that Andrew Bane Andrew Bane you stole that one stole that from us you know all these one of these big movies that recorded here in London as well so it has a big influence we had dra on the Hangouts and dra played on the original Star Wars and when you hear hear the
Darth Vaders theme at the end that that St incredible slur but does how does that work with the um with the orchestras is the orchestra how does the lso work is the lso hired to do these films or is it an extra studio audience Studio Orchestra well the lso per se we are we are hired at you know somebody will contract us a film company will contract we called a film score um so we do quite a bit of that but there but outside of that there’s a whole another group of sort of of of players that will just do the film the film scene
Stuff um and there’s enough really to support can you do just that or is it or there are there are some players who just do that um but a lot of a lot of that pool of players is from from the lso horns or the filmonia hores or the RPO Lon fonic so there’s a group of us that are regularly coming together to do it um but not not
I I think there’s probably about three or four maybe five people do exclusively names top of the tree would have to be Richard Botkins who’s who’s the sort of main film guy in London and will we all he’s bulletproof we love we love working with Richard because we go turn up and fight for the chairs down the line cuz we know that we just put
Richard on there and that’s fine we don’t going to need to worry about so so he he he’s become the main the main um the first home really and every the rest of us you know we will play first home when he’s not there but Richard does most of that and there’s Richard Mike Mike Thompson there not
Berry um actually that’s probably about it at the moment that mainly do the film scene and then there’s the it’s basically all the other first horns in London I mean sadly plays fourth horn sadly there’s not many low horn players what happens if there’s a really juicy fat lwh horn solo do you practice your low range raes not me no how does it work you turn up you don’t know what’s coming cuz
I remember when we were talking to um to JY thater and and in the summer and exactly the same you don’t know what’s coming you just turn up very occasionally they you know a composer or the or the the contractor will give you a call and and say I want to send you a PDF of a part because the film companies sent me this part you need to look at it but that’s that’s
Mo and you turn up and it could be anything could be anything and it often is well happens if you do a uh you do like a morning dress rehearsal with the other s then you have an afternoon film session and then you have an evening concert if the afternoon film session turns out to be Indiana Jones 25 and you’re just playing the whole time fortunately
I don’t do that anymore okay that that used to be a bit like that but I don’t do that anymore too old for that oh c um Tracy wants to know what’s your favorite soundtrack that you’ve recorded my favorite soundrack is is not one that I’m actually playing first horn on it was years ago we recorded the music for
Braveheart with Mel Gibson in it and fact huy played first on on that and that’s just lovely yeah I don’t have to listen to that really lovely fantastic some of the hor films were great too um actually to be honest you know they just it does bit of a blur bit of a blur but all the John anything
John Williams writes is amazing for for horn it’s just I don’t know why he has it in his blood um Alexandra says the lso inspired me to play as a girl of 15 I love love the soundtracks of your soundtracks and Mara that’s nice Daniel Moretti ask what’s the role of a principal player of a section in such a big
Orchestra he’s the boss Daniel it’s a big responsibility it is a big responsibility I mean you know we have to Le a with the conductors a lot and and Lead leading the section I think leading by example is the biggest thing you lead by example you don’t in the really if you’ve got a good section around you don’t have to talk that much there’s not a lot of talk that goes on it’s just leading by example um and
I found the biggest thing for me is leasing with the you know we’re playing a lot with the winds and we sit very near the principal winds and we like you know we they are pradon some of those princi winds but um I love way out to but I love them too but yeah that the Aging thing and leading by example is the biggest thing yeah is the biggest thing no
I think um oh and David has asked from Qatar when you’re having a bad playing period what do you do to change or fix these problems espe especially when you have a solo we all have we all go through bad bad periods I think it’s just them being clever I think that’s just general practice I mean we all have bad periods but what
I’m I’m telling to practice most of the time is just to keep what we we talk I talk in these terms as like batting average batting average you’ve got to explain what batting average is a cricket it’s a cricketing analogy where you know your your overall lowest level is at a high enough standard to play pretty well even on a bad day and that’s what you’re really practicing for just to keep that knowing that even if it’s a really bad day you’re going to actually get near it and that’s thing
I mean we have this saying anybody could play anything on a good lip but the chances is you know I think in the year there’s probably four concerts I’ll do with a good lip yeah the rest of it is just managing it Eric said exactly the same he said what I’ve learned over my career is how a play fing with terrible chops it is
I think that’s absolutely true that really is that’s that’s the experience bit get you through it do you remember old hor player called Tony gray he was my first uh teacher at the Royal College of Music Junior Department he’s a really old he would come in a suit and on a Saturday he used to play with the brain so he was very really old but he used to say sah my dear any fool can play with a good set of on a good lip it was exactly what you said and and
I never understood what he meant until when still I got a bad lip yeah well that is true that is true I mean the the pressures that get to you I think some of the the pressures are just mental it’s just having a game the game plan to get through it mentally as well yeah there’s a good question here um
Josh Johnson try to say that one Jos Josh Johnson um ask as you got your start in the Paxman shop is there one specific horn that’s your been your favorite throughout the years seeing as Alexander likes to sponsor the horn Hangouts thank you very much for that Alexander but we have their blessing for a paxman’s or well we are the so the
Paxman are the so agent and I said we because that I mean I’ve Been A Patman artist All My Life um and I’m also now one of the owners of the business and have been for 20 20 odd years so pman has been my life and I’ve always played a pman any particular as a special brand just the basic model 20 double one medium one or or large ball one that’s been my own choice um
I find them very reliable uh and and and and in England it’s one of the main engs of choice for a lot of people so it fits in yeah it’s Jasper ree is watching our friend Jasper hello Jasper and Jasper I think it’s your your responsibility to explain batting average please it’s not baseball batting average it’s Cricket batting average please explain that on the chat thank you very much um
Don ker ask if you found any foods or liquids that change your performance uh none that I can say in public no I don’t how to answer that bananas Power Bars actually only bananas that’s the only thing that’s the only thing if I’m low on energy I’ll eat bananas we have Mick M on the hangout in the summer and he said he eats on a on a day of a um of a a solo recycle or something he’ll eat like up to seven bananas and
I just thought he said no he mashes them I think everything in moderation is really well oh Brendan Thomas is watching too isn’t that nice H Brendon all these people watching gosh um so that was a good one and uh Lis Monte SOS from Spain how is your daily routine when you’ve got a important participation in a concept an important solo
I think we call that my routine of form playing is just based around having a very um solid warm up I’ve done the same warm up more variations Upon a warm up since as she’s given me from Eric and that’s been the foundation of my plan can you do this yeah oh no not his signature no no it’s variations upon the farcus the
Philip farcus W and I’ve added and taken away bits from it but that warm up I am one of these players unfortunately who has to warm up I mean not huge but it’s a good 15 minute warmup and then leave it alone and play but that whole warmup thing is a major part of of how I play so chance we can get hold of the
Tim Jones warmup sometime no no well no if anybody asked me for a warmup you know I have been a great believer in the farus book me too that that’s one of one of the big things and that was given me ter So and I’ve stuck with it and it served me well yeah it’s really it’s like a
Bible for me I just think it weird photos of everybody yeah um uh I asked this James asked this yesterday actually he thought he should save it the triple desk count horn was invented at paxman’s and um what role if any does it play in Tim’s experience with the lso do you play is it true is the trip was the tri the triple
I’m not I don’t actually I don’t somebody asked me that the other day we didn’t actually Patman didn’t actually do the first one but we certainly were the first people to to offer triple horns commercially mhm um and triple horns or Des horns I mean most first horns will have a have have one somewhere yeah and what role do they play well they often save your job on occasions you know that’s quot of the week
I think I think job you know they’re they’re a great tool they’re a great tool we’ve got so many questions people we’re going to have to do another we’re going to have to do another hangout just you because we’ve got so much planned for the hang no we’re going to do another hangout with you Sarah I’ll do another hangout with you with pleasure you’re going to be interviewed ah everybody online has got to reply to my request to have
Sarah doing a hangout who is going to be interviewed by yes but they’re my which means I get interv out there now so on the chat that’s got to come back and cuz people want to hear your story I want to hear your story today that’s today can we take that well that’s very sweet of you would you do the interview
I’d love to gosh really we’ll even put an Alexander horn on the table really we wouldn’t have a have a paxman’s horn on the table okay right okay and I’d get the hammer out did you see the photo on Facebook we were playing M 6 this morning and um and Tim put my beautiful hand hammered 103 on the
Block which that the guy playing the hammer was about to mash it yeah they’re heavy those hammers aren’t they yeah um yes anyway everyone’s writing that they agree there you go right thank you Matthew and and David and Tracy and um Jasper and everybody um one maybe a couple of things um who are your horn Heroes growing up or maybe even still from nink
Dean um Towell uh renberger um orchestrally then solar wise I did I did enjoy an Bowman’s you know his whole thing of performance he really did perform yeah and they were the people that were around when I was growing up and then I’ve had other exposure to some great players people they don’t haven’t heard of these today um ioto from from
Sweden was a huge influence on me and his father I had had some contact with his father billam they was wonderful wonderful play and that was thanks lot that thanks from being in Patman and and and been Associated and owning this business all this time I’ve heard some amazing players and you’ve played with some amazing players and one of them
I’d like to invite um onto the horn Hangouts now we have a special guest for you today ladies and gentlemen here we go H welcome thank you for inv ladies and gentlemen which camera am I looking at now Tim am I I in that one ladies and gentlemen may I in come a bit closer to us uie um huan principal horn ex principal horn the lon
Sor how many years were you principal horn 12 years 12 years and you you got you gave Tim the job yes yes I joined in 1984 and Jim Jo Tim joined in 1986 so um you and I I asked hon not only because he is a a legend in our hor world but also because when I called you up and said you tell me a little bit about the lso history
I’ve never met anyone that knows so much about the horns you do it’s really incredible and um and I really thought and T I called out Tim and I said Tim how about it and he said let’s invite him so it wouldn’t have been complete without you we have to now sort of move the cameras around a little bit are you all still out there everybody yes we’re all still out there
Hugh um would you mind starting at the for us because you told me some fascinating things about well you were the one that said that the the lso was was founded by three horn players in a trumpet player well everyone thinks about British home playing has been about Dennis brain of course probably the filmonia uh and den would have been 95 us to you know that um but actually the brain dasty had a huge impact on
London syy Orchestra we know it was started by three home players and trumpet player but the fourth home Alfred Edwin brain uh he had three sons um Alfred auy and Arthur two of which became principal homes of the London Symphony Orchestra Alfred who was the eldest son um he was supposed to be the best best of the three uh he was in the lso from 1919 to 1923 it’s incredible how do you know all this but due to marage problems
I understand he was invited he he he tried to run away from his marriage problems uh he was invited from the New York Symphony not the fil to go to New York but he eventually ended up in Los Angeles and eventually to the new to the studios so he was before Vince Roosa and Jim tajer anyway that gave in
London Aubrey brain the chance to take his place and he became P born 1924 to 1929 now the thing that links all these players together I said they all played the round sing at their French home which was prevalent in the country the round the single F French what was it called it was r a o u x got it
French manufactur and oh you have someone Le is swooning about your accent understand Jasper is calling you an anara horn Anor par excellance I’m [Laughter] proud but the old played this ra pissing H as everyone did in the UK and can I tell my brain story now please um a great fren home player OB brain he he got on the bus at
Victoria Station and he was traveling to the Royal arber Hall to do a concert he got on the bus and the bus conductor said to him what have you gotten that case G and Aubrey BR said there a French home and he said have you got a concert tonight and said yes I’m playing at the Royal aloh
Hol and he said what music you playing gav and he said I’m playing V ja you were simply number nine so that’s why I G him his ticket got to got to the bus stop Au walked off the bus and the bus contactor showed to him good luck with the top b sir no no gosh so they were all
R players and of course his son Obby R son Dennis bin continued the J of playing right up until 1940s when he was in the fil more in Ario Tim what do you think if the lso had continued with the r which this like the for minut do you think we’re rid of C no I mean I think with the work the variety of the work that we do precludes playing preclude playing an fhorn
I mean the VES do an amazing job on playing those e but the rep the repertoire they’re playing appears to me to be you know very narrow and we like all sorts of stuff you just couldn’t cope with it I mean we know the the concert stuff but what the lso is doing we do do light music stores we just you know just couldn’t do it
I’m have huge admiration for the be field guys that do I don’t know how they do these buty of do all those things on on the no our equipment is dictated sometimes by just so many different styles of reason you got to commodate yeah yeah so I know you would have you would have actually quite you would have loved to have this tradition of the horn the horns all playing the same but
I probably he’s right it probably wouldn’t have been feasible well I think the situation in London with the matter of what we do and the pressure on us I think that put pressure on the home players in London in the 1930s another principal hor Allen Hy was the first person to bring the Alex 103 from to to
Britain for the first time and the lpo was for lond for the Monica that time and Thomas be insisted that his home section played the new German instruments so the two Styles sort of started drifting apart and and of course eventually the the ger to me for a long while for a long time before just before the war and then after during the war and after the war you know the
Alex 103 like it’s in Germany that was that was perceived to be the quality instrument A lot of people played them and it was only the paxman’s got modern paxman’s got going after the war in the early 50s because of the the the the sheer difficulty of actually getting German made instruments in the UK and that’s how
Patman started started to manufacture um french horns Bob Patman and Richard merwether so okay we design a good french horn made in the UK and that’s how it started just because you couldn’t after the war you couldn’t get German manufactured instruments so what what where did this sort of big American sound come from well um probably our most famous
La is Barry Towell of course uh and he he joined in 1955 uh he came over uh from Australia when he was 19 and fire the BMA Symphony scoring National and the H EV pris um I asked him where he got the style from he plays in and he said he went to a concert of the vilic conducted by
Bruno valter and they played Bram simp one tragic over and he just fell in love with the home playing of got freed V fireberg uh the sound quality they said that’s what I want to sound like but he was also great fan of the flare and the bril and the technical expertise of Dennis B and he he he decided to try and combine the two a perfect example of how he did that was
The Strokes all sheres with KES yeah um you know everyone was used to Dennis been recording you know it’s a bright sound F musical fantastic tny suddenly this guy appeared who also had an incredible technique B he played a chis full double and uh that’s when he St started although it’s put pressure on all of us ever since trying to con you know trying to keep up with the standard talk
I think there was a lot pressure on us I think he’d agree with that and he played these great big holes the American thing was came from his coprs were became cville Ian David gr he studied with Mason Jones in Philadelphia brought American approach and also the fact that in the in the late 60s 60s and 70s you know
London did start to become a film Hub already yeah already then so you know what they were doing in California influenced us so because it’s part of our work so that that also brought in and we and some people say Sad sadly we don’t do that so much these days go crazy everyone’s trying to call house there and he played
Aon even Jeff B he came princi when he play Chris he Jeff played a Chris when he well he Chris conversator okay but he uh they were all trying to live up to the reputation of B too and they got a little bit extreme you know with Bell on right there’s a great story of Jeet R they playing mots for can share to on prev on prev music night and uh he sat down to play the
Hy shelter next day a colleague in the O said to him um je play why did you say that because everyone else stands up says it’s not obvious you can’t put the Bell on the leg if stand and that’s how extreme it could have got gosh I think but I think after that David Crips and next principal was that was the
John Williams era and it sayic exactly said because we had slight American tradition in the sound I think John Williams and James H we worked with a lot can I like the sound it was a bit similar to what they were doing so they they would write their their parts with your sound in mine I think we we took advantage of that situation the last thing about about this was comes with
Tim pman comes into play because Paxman came into in the late 60s early’ 70s Paxman decided to try and make a horn for the American Market didn’t they that’s right we made a um what we called an extra large bill you know trying to replicate k8d huge bill umig the Big Mac um and a lot of other people in the played them for a while
David played them Tony chel it’s been huge heavy we all played them that was yeah there’s a great picture out there isn’t Tim have you got a picture of the other so horn section with the with the Tower of London in the background if you can find it otherwise we’ll we’ll edit it in later that’s and that that one if you show that picture that’s we are playing extra large
B horns there but that we find it a little bit by then because the early ones were were in gold brass even as tubby as you could get they were looking for the huge tubbies and their their yellow brass ones and actually slightly the bell’s big at one end but at the other end it’s a little bit smaller to compensate so would we find it a bit
I mean I remember when I when I started at the Guild Hall and and I’d come you know from a sheltered upbringing in in eer and didn’t know much about other horn sections and and because Guild Hall’s right next to the barbarin you know heard you were principal horn I I was literally blown away it was a huge a huge section sound in those days
I mean it still is it still is big but it it was different wasn’t it well well I must say you know I joined the NSO in ’ 86 and as as I’ve said on online here you I’ve heard a lot of players and Huey H over there you know was was a fantastic heric play that was the thing you learned something from everybody you hear and from from
H to to lead one section so I think the difference between Tim and I in her approach was Tim’s incredible at focusing on the jaw 100% And he’s able to switch off and just dis I was like a light bulb was on 24 hours a day you know firing all all cylinders like and I think it’s interesting with first
I think the best for stores are the people that can actually switch off you mean switch off and do Garden or do yeah do something you need something else running well that might be POS of it for me anyway finish off this the additions car David joined his principal David P Crips was in the John Williams era right and interesting enough he was my teacher as
Tony house was my teacher so that’s probably why I it helped me to join there so was my era we don’t need to talk about that and then we will we will we were going to have I think he has to have a double a double extended horn hanger but the good thing is um Angela join the second on she was like you said the first female and uh she’s also a pupil of mine as is
Alex Ang the third one so so there’s a little bit of a continuation handing down and I think we’re quite proud of it really we’ managed to sort of hang on to a sort of tradition although is evolving I mean some home play could come in tomorrow and you know be amazing choose the whole thing it’s we manag to keep some sorts of stuff what about personal highlights to you what it’s probably so difficult cuz it’s like ask you know it’s like asking what flavor ice cream you like
I mean I don’t know what Tim feels about things but you forget most of the things you do it’s very very few things you remember I do remember I’m sure you remember Tim we we we did two performances of Strauss Electra about to say with his hour his hour stage raw festivall raw F and it was h a great of the time and
I remember sitting there and at the end of the concert the whole audience in FAL remember jumped to the feet both performances it was so amazing I remember sitting there thinking that’s why I practice so hard the thrill of putting principal the L piece that just simply there’s one one other situation I think we went remember we went to salsburg with shy and we did
M five and Mala 9 Tim did Mal 9 I did Mala 5 and this I remember that last page of Mala 5 we come into those big CL and then the Halls have been amazing and the brass was fantastic and was Sal Festival I remember that thought what the f so and many other moments but those two particular but you know you you put your heart and soul and all the photos that you can see um on on the website we’ll be putting them up properly
I think I think you’re even going to be using them for your new lso horns Facebook page which we’re getting out angel angel we’ll be getting Angela to arrange um you collected all these photos I mean you were yeah and an Anar excellance really my father was a professional photographer and so it got me into mass and
I think if I had been a home player I would have studied history and been a historian so you combine the two and become well he thank you so much you know more about the history of the isn’t it incredible and especially the dates and stuff um will you stay here though because we’re all the best part of the hangout is that we’re all going to go and have a nice nice a nice dinner which
Pax is going to pay for okay but we need your chair because you we’ve evolved we’ve come all the way through from the from the God’s Own quartet they were called the very first horn section to the modern day to our modern times horn section um two of which are pupils of yours and and they are standing back in the wings here and
I would like to welcome the current section of the London Symphony Hugh thank you very much will you come back and do a hangout of your own guys if you want you to come back and do our a hangout right in now so we are just going to get a uh there you are we’re just going to get
Tim which one are we on we on this one we’re on that one we’re just going to get organized bear with us have a quick drink um watch what’s going on this is all going to be uh move a b we’ve got uh Angel to come come come you move around move you move around you come in here as close as you can so where’s your tea and can you come like right into the
Martin you tell us what’s good for you we got everybody in there but I’m that’s our I’m on I’m on well before we do anything guys can we all can we have a piece of this of course so here’s some some Tiffin that I remember you enjoying on a previous occasion I thought why not indulge on this afternoon this is this is the most amazing thing tiffen why is it called
Tiffin I’ve just been I’ve just been ging this because I wondered if you’d ask me it’s a Scottish cake it’s a fridge cak so it doesn’t involve any baking it involves melting things crushing up biscuits putting them in the fridge from TR in Scotland beginning of the 1900s C Tim isn’t it great to have a girl in the section well it is when you
Med like that in many more ways than one and one of them is is is her incredible baking sko m m so how are we doing we all set up how’s the audio how’s the everybody’s in the picture may I welcome to the horn Hangouts Jonathan Lipton Alex Edmonson Alan Jilla Barnes Tim we already know but you this is the current horn section of the and
Tiffany Orchestra Jonathan is our you’ve been here exactly as long as Tim right one year L7 I heard you’re the longest serving fourth horn player in london’ in London in congratulations in the world maybe maybe um and uh what actually brought you to London Jonathan hi met AO a old story when I was in Sunni purchase pardon
State University of New York College at purchas where I matriculated um I met a girl who was the opair for Sam Sanders pianist we had a blind date and went from there oh and I followed her to England um British humor you went to Island first didn’t you I I first I worked on a building site in molden in
Essex a building site that was your first job so ice cream on the beach in great Y and then I got a job in Belfast in the old store ah okay and what brought you what brought you to London uh these guys yeah that one you were you were were you you you just you and and Hugh was what year was that 1987 that’s right so
Hugh and Tim your first on yes um there’s a nice story about you stud you studied with Howard Howard Howard Howard and a very famous war was your childhood friend uh Miss lansman yes we used to do we used to do hanuka together our our families were very close and it was largely because of her that I play the horn because when
I I was a Trumble player my arm broke I was a high school quarterback and she said why don’t you try the horn the horn the horn and so the rest is it um and there’s going to be I I’m too excited to talk to you all but and I’m totally ignoring oh um there’s a John in
New York says uh he’s just out the road from your Sunni purchase is that what it’s called hi John yeah John is a viola player actually he’s a very loyal he’s a very very loyal horn hangout supporter and he used to play National Youth Orchestra with me and he’s now in Europe um Timothy says another Timothy says
Jonathan love your low B oh sweet thank so there we go and everyone’s saying they want to try the cake good Tom Redmond’s watching in Belfast Tom Tom how are you how are you um so Jonathan uh what fourth horn for all these years and you you never wanted to leave the other s that was just your band where would
I go have you loved it it’s great yeah I mean look at this you know you’ve seen quite a few sections evolve over time it’s first ones have been pretty St um but it’s just wonderful to have these guys a these guys Alex you’re the new boy in town yeah I am yeah how long have you been in the orchestra uh
I started in January 2015 so for what about 17 months 18 months months gosh you really and fresh from the guil hall uh I was at guil Hall for four years I moved to London was 18 to study at guil Jeff Bryan and then I was at the college the RO College I watched a bit of your mass pass the other day um
I was there for one year and I got to study with Tim so that was sort of my connection then did you when you when you heard him did you think I want that one in my section he his playing is you know he was fully formed when he came so it was just it just a question
I just pointed me in the right direction so it was easy and was the job free when he started studying with you cuz John Ryan was he left as I moved to London actually when I was 18 I think that’s when that’s when Johnny yeah our previous thir on John Ryan had left to go to the um solo to the
London philonic so we’d had the job open for about 5 years yeah maybe more actually 5 years gosh that’s a long yeah it was diff it was difficult and then and heard Alex at the beginning of the year thought it’s going to be good that’s going to be good and then it sort of all came to fruition and came on
Australian trip went Australia I remember the photos of the party yeah it was good yeah handsome Tim comes from other handsome Tim um so Alex what’s it like because a lot of people don’t know the system um in in in England cuz when when when I got the job officially you’re on trial for two years I mean it can be shorten and yeah was than or in
Germany you do have a long trial period how does a trial work you did the audition and then you well I think the standard procedure with most probably UK based aits is that um job is ad IED in various places usually the place we usually look is a website called musical chairs which is where jobs from around the world are advertised and then one would apply and hopefully get an audition and
I think if you’re successful in the audition there’s probably usually about between I don’t know three and 10 horn players who would then proceed to trial uh for in various amounts of time depending on you just you just give you just decide okay I’ll have that guy in for a few weeks or or yeah we we down
I mean it’s it’s evolving all the time people do have to do an audition at some point yeah um we shortless people off a trial people will have to do at some point and um and the reason for that we have trials I mean could be extended is yeah we are working pretty much 24/7 with each other yeah um one section so we don’t once somebody’s offered the job there that’s it that’s it you know our view is look if we offer you the job we’re inviting you in you want you to be at but there are orchestras that have people on trials for for
For years yeah you know I think everybody would comment look certainly for me you’ve got a pretty good idea within the first 45 minutes of how somebody plays yeah it’s just the little corn you but core of somebody’s playing I’m I’m certainly not a fan of having huge extend Jonathan what was it like for you because I
I know what it’s like on Fourth home when the new people come in you just sit there do your job but your ears are going like was it like this one yeah it was it was pretty well a done deal you know there was very little to um nud them about it was a bit different probably from the usual process because
I had the job had been sort of advertised twice whilst I was studying at the guild Hool I think once and then a couple of years later you didn’t apply I just I didn’t apply yeah well both the previous times of course I’d seen the job adti thought no there’s no way I’m not ready you were a young thing yeah well
I was young and I wasn’t I wasn’t working professionally at all back then so I just wasn’t ready to take on something like that and even when I mean in our last lesson at College Tim said to me you know there’s a few things I want you to do just as we move on forward but one of the things is
I want you to come and trial for third horn in El and I thought no way I’m not ready for that without an audition surprised I did do an audition but I started to work a little bit as third horn and then I ended up doing an audition just before we went to Australia and then at the end of that trip
I was off the job sort of much quicker than I thought I would be so I guess I was quite lucky that I didn’t have to Trav what what have been the challenges of being in such an established section so early I mean there’s a huge advantages of it it must be aming well that’s the thing yeah
Ian it was kind of with lso it was fine because I I knew all three of them before I have been at school very briefly with Angela and also our parents know each other actually quite well so I knew her that way I had studied little bit with Jonathan at Guild and then I studied with t i s and also
I worked one one or two times with the orchestra I was bumping up um previous to the trial so obviously it was the pressure of the trial but it did help that I knew the guys and I’ve been to watch them play loads I respected them I love their playing so in that sense it actually it wasn’t too difficult you know what
I mean well congrats Cuz Alex is an amazing player Tracy ask is Alex third horn yes Alex is thir horn do you have I ever have to play first very occasionally yeah but okay and then Timothy’s asked another Timothy do all of you but Jonathan play Paxman well funny you should ask that no Angela tell us what everybody plays so
Alex and I both play Alex’s Alex Alex has to play in Alex uh and I have to play in Alex cuz I actually have a brother called Alex who was born on Dennis brain’s birthday yesterday right happy birthday Alex that’s the 10 years link there um so we’re both on 1103 is actually uh in the middle of the section you know to give it a nice round right and the boys are on you’re you’re con you’re on a con con 28 didn’t know there are that many of them 288 28d gosh the 8D is the nickel one and the 28 is just yellow and
Jonathan I don’t know if you’ve uh if you’ve ever se you can see this on webcast or something jonan you have this sort of wooden thing on the bottom on your horn am I advertised or just no I’m just interested interested in knowing it’s just so that you can have some sort of sitting up straight cuz if if you do rest it on your leg ever you need to kind of tracheotomy to kind of meet your like playing the vag tubas with you guys the other week kind of have to contort to reach the instrument so this just allows me to to sit up straight
And rest it on my leg but it’s a little bit raised so it’s got quite all the the the leg isn’t taking all the sound no I I don’t think it has any negative effect on that just makes you sit it’s another gadget for him to bring on stage along with his cradle I got a cradle the
Cradle tell us about the Cradle the Kindle there’s a little I worked in Japan for a bit and they they all have this great cradle into which you sit your horn when you’re not required I just and they they all tease me so much about but they all desperately want one themselves Bor you borrow the Cradle Angela
I admire you so much you’ve been in the orchestra you you you also started really young I got my job when I was 21 um in my last year at gilo this job this was your first job this was my first job um and I started in the September of that year so I was 22 and that’s
September 2005 wow wow congratulations but you were quite a well-known young horn player because you won Young music well you won the brass final of young musicians the Year yes I was thinking about you the other day cuz we just had the the the Young musician final and Ben gider um got to the final and he he actually played the same piece you did yes in the same piece in the same
Hall with the same Orchestra gosh so that was I actually I managed to catch the second half of it I I got was slightly late getting home but it definitely brought back some memories must have been terrifying it was actually on that day I woke up with the worst chops of weeks and weeks we were just talking about that and in a way it was a useful distraction because
I did maybe three separate warm-ups of 25 minutes each in a desperate attempt to get something moving get some vibrations going so you walk on stage and rather than going oh I’ve got great chops this could be amazing you’re going oh if I can get through this if I can get most of the notes right then I’ve done myself proud because
I’ve you know given myself a yeah hurdle and so you playing Strauss too you were obviously a train Sol you you were really good at playing solos so why did you decide that second horn in the in the lso was going to be your thing you know I love harmonies and I love whenever I’m listening to some music
Brahms is a personal favorite of mine I’m often singing along to the middle lines the middle parts and I and I love kind of not improving but I love adding to what’s going on so I love the fact that you can have a fabulous first horn but actually in a sense in a section uh on SE section section um a first one is only as good as the collective around them aren’t they you only as good so that’s why
Tim is so good so if you’re only as good as your weakest player so to have you know the strongest players around you can only make you sound better I I I tell you this you might joke about you know this about the first horn but for all those first horns out there well I’m sure most of them agree with me if you’ve ever play in a section when it’s not great you certainly know it you know and you take it for granted
I think firsts do take it for granted that that you section that they’ve got with them and certain I feel that and it’s just great and I have played in around places when it hasn’t been great you think go I’ve got to get back to yeah a a you’re all being so nice to each other today you’re always nice he’s buying us a meal he’s paying so sorry no well and
I love jump I love jumping around you know I love I was always lucky that I had quite a strong low register it wasn’t something that I sort of needed to learn but interestingly once I got the job in the second term of my fourth year I was having lessons with Jonathan at the time I’d had two or three maybe during the trial and it was after
I got the job that I went to him and said you need to teach me how to play low now or you need to give me a a technique to playing low because I sort of I can do it when I don’t have to think about it and as soon as the pressure is on and it’s like you have to get this pedal
F quietly and hold it for 10 minutes and and I’m going what and so yeah I was lucky that that all sort of worked but I had been doing a lot of the the solo stuff so my high register used to be strongish but not strong enough that I felt that comfortable on third or 1 I I could get away with it but
I wasn’t doing it to the level I wanted to this lady in Brookner 8 I mean second horn Brookner 8 the other week that is a huge workout that’s one of the hugest things there is so obviously your Strauss too I have I have to go back into training for those kind of things but I enjoy it
I enjoy the challenge and I enjoy it when it goes well um it doesn’t always go well but you know it’s getting better Jonathan what what were you how how did you answer her when she came to you and said so you have to teach me how to play low now press harder press harder press harder for the low range that’s an interesting concept um you didn’t want to talk about how many percentages of
Lipper in the mouthpiece and stuff like negative negative right um but Angela you I thought you were the first female horn player officially in the lso you may be the first one on contract but there was someone during the second World War huri what was her name I forgot Olia Gia G we met her you met her we met her she and the offic has instigated um concert every year where they invite all the past members and the first one that we did
I think it’s four years ago she came and well none of us knew that knew that she been she wasn’t there and she and we she was introduced as from the spoke to yeah she’d been playing second but she wasn’t a member ever I believe she we were just having discussion about this you know behind the scenes before this started and huy thinks he was engage she was engaged as yes as a temporary sort of extra more than a but in those days that must have been like was she first one of no second or third think had played first one with the
H you think here’s back standing behind the cameras which is why everyone’s looking into the distance had a new female policy till 1980 huie tell us that again we’re just we’re just angling the camera at you saying that the lso had a no female policy until 1980 okay in fact when I joined there were three three females there three there were three no female policy right okay that’s like the philonic pretty much that 198 that’s actually quite late yeah now it’s full of them and of course people are people are saying they love what you’re saying and um that’s it
Angela that’s how I feel about second horn too says Lee Tracy has asked how does it feel to be I get this question all the time how does it feel to be the girl in the section um can I have another piece of please help yourself um I I expected to answer this question by saying oh well they’re always talking about cars or golf or beer or whatever and that’s really not true for these guys um
Tim does read his boxing magazines which don’t compute at all um I would say the common factor is they tend to fart more than they should and they did she really just say that on the line on the if you want if if this makes you stop then wait um and then behave like children which I guess maybe goes hand in hand with the farting um so those are the things
I don’t appreciate and boys um when did we get on to the things that the girls do we have’t got time um and aside from that I don’t know they’re all they’re great guys they’re all different I actually really look forward to having another girl in the section because when we do have girls in as guests and it’s funny
I do immediately sort of have a rapport with them because you do you’re yeah exactly you’re sort of you Goss it don’t you or you there’s just a different way of interacting you have and I don’t uh never mind we won’t go back into that not in public any no no anyway um yes I I was just going to say there which
I actually said in the hangout we did in in Los Angeles that’s that’s been the biggest change in music making in London the lso the lso is just and I think for the better that we have got a lots of women in noria probably half and that’s completely changing I don’t know if they know but it’s not
I’m not sure but that that’s been a huge change and and for the better in my view the the the general opinion is haha Angela wins the horn hangout um there’s a nice question oh someone’s asked it’s a good question why a nooman policy that was ninka danan why why was there a non nooman policy any ideas of the time why did the
VI for the M no fair enough Katie Maine asked you all practice together with members of your horn section um in your downtime to be more united negative no we keep saying we’re going to play du sometimes you never do it Jonathan and his fourth horn have and his and his third horn have had a history of playing du cuz
I suppose if we’re on tour quite often you have two horn first halves and rather than just hanging around killing time that gets boring after a while and also if you want to be keeping your chops in and I Play Duets all the time we hate practicing we play it’s really it’s it’s when do you find time to have gen and tonics if you’re playing
Duets all the time that’s the thing Duets we wouldn’t have time to go and have a your stand yeah it would cause a problem SCH actually that’s that that’s that’s how the lso is so different from a lot of or just people just don’t realize how much we are playing anyway no we don’t do a lot of them playing outside of the job but because we are pretty much working yeah at least 6 days a week really that much the orchestra is we’re on a lot
I mean we are but you know you’re working the orchestra Works six days a week well the orchestra’s working and there’s only one of you three if you know what I mean I mean there’s not there should be two first horns there will be Well we’d have a double section we could certainly support a double section with the amount of work we’re doing and that’s maybe when
Simon comes maybe that change but that that that for the people who don’t know that I mean we are working an awful lot so so our our playing is on the stand yeah yeah no I I remember Fergus telling me that when years and years ago I asked how how much did he practice and he said I do my practice at work in on on the stage and
I thought how does he manage that and and now I know exactly what he means you know you you have long notes and you try and see if you do that you have to cuz um but there’s a very important question coming from Jim and Lee They want to know which brand of Jin Alex oh quite a wide range available these days we we we’ve gone through about 43 different brands we’re just trying to seek out
I’m a I’m a Bombay sappire Bombay Sapphire all three of you no h got vegetables the Cucumber Plymouth Plymouth just because it’s stronger than the rest unless you buy your Bombay abroad do you know there was a memorable occasion it probably was Jonathan with Johnny Ryan we were I think in Bon at the bhalla and it was a two horn first half and from the depths of the stage you hear these
Duets going on and and I think I had my my my phone sort of on my stand on sort of airplane mode cuz it was I didn’t have a watch at the time and I think it was it got to a point where I was like having to you know text and being like stop you know you’re filtering whatever well it’s probably better that you heard them cuz if you hadn’t heard them play du it would me would have meant they were drinking gin tonics yeah true um uh
David Patt someone just asked about where’s David David David is not David left the other David sadly left uh to be coming up four years in the summer he’s got to be first home of the um London Phil M London Phil we shared the job for 13 years know 13 years together 13 and a half so da been gone four years there’s a lovely picture of him doing his practice that we have on have up on the website we look we we’re currently looking for another
Festival good did you hear that everybody they lso are looking for first horn applications please to musical chairs you in Berlin so so everybody’s looking for first ons it’s really diff why is it why is it so difficult to find first ons these days do do you have a lot of applications or or do people just don’t want to touch it cuz it’s a hot seat what do you think well it takes a certain type of personality be a first one doesn’t it certain type of
Madness um we do have plenty of applic I mean actually I I don’t know how it would compared to a first home job in you know a Regional Orchestra or something I don’t know if people are put off by the profile of the orchestra or whether I think people I think actually if you have that person as a type you’re going to go for it and and and we hear people and we hear a lot of great people but we just haven’t found the right person yet
Jonathan we don’t get a lot of British people we we’ve had a lot of been great and fascinating get people from all around the world app applying and hearing so many different styles of playing and I guess that’s part of the problem is that the style of the lso traditionally we’re looking for that kind of player but there’s some phenomenal players out there there so many phenomenal players in
England as well truly Alex would you want to be fror I don’t know yeah maybe in the future I don’t know I always imagine that would be really hard starting off in as one job and then moving to another one but but Johnny did that with but that was different yeah well I think that that would probably be the route if
I was to be a first on in the future but I don’t know I I wouldn’t watch the St I wouldn’t want to make any predictions about what would happen because two years ago I wouldn’t have thought i’ I’d be in the lso I just wouldn’t have thought that would ever happened to me I mean certainly not it’s third on so
I don’t know just see what happens but I’m very happy for now being third so it’s great so a um oh good question from Dr Helen when the section or all clearly such good friends how do they maintain the discipline that a musical hierarchy requires Angela great question Angel does everyone just listen to Angela or I do bark down the line really or
I hiss or or or one way to do it is to slightly um take the piss out of something so you hear something that maybe isn’t to your my taste and then and then I’ll follow up with a oh we all have different styles of I’m I’m from the north and I’m quite direct and I like to be quite straightforward most of the time
Jonathan is the absolute opposite where he will ask a question with a sort of double negative in it he’s been in England for too long so and and I look at him in a confused State and I’m like are you telling me to play that shorter or quieter or longer or whatever it is and he’ll have said is it possible that maybe um you want that note to be slightly louder or you know and you just you get so confused by the question um we so we all have different styles but it’s it feels semi quasi
Democratic we all have to get on we do try to to the best of our ability to to operate a democratic inclusive system of of working things out I mean maybe once a year there’ll be a situation where the butt stop somewhere some people will have to say it’s not a democrac that have that that’s you that’s at your peril you exercis that right but
I I would like to think that is as Democratic as we can can make it and inclusive more more more to the point Tim’s taught me to say are we a bit late on that or are we didn’t you know that that’s that’s really important and he has learned to go yes dear Yes dear and so between us no the
P advice I always gave you R and look it it’s not what you say it’s actually what you don’t say it’s just that hasn’t quite got and that’s very important as a low horn player to give the high horn players the feeling that it’s us it’s very important that’s one you know so I think we were a little bit late on that don’t you meaning
I was perfect you weren’t if I was late it’s because I was with you and you know it’s really sad but we we we’ve run out of streaming time we just have time for one we’ve gone way over but everyone’s having such a good time and um we we’ve got to get to our dinner with Tim um there’s a great there’s just
Kendall has gray has asked us that he wants to know just briefly funniest or most tragic lso horn section story starting with you Jonathan zuk um horn section story we we don’t do funny now there’s one I I would like to just point out we have a good one because we have a photo with it Jonathan in his bathing suit that’s just we got that going up yes on
Daytona Beach with the horn section I think Tim is there too there’s there as well in his Richard sort of World’s Strongest Man type Richard speos are my f actually does involve Jonathan and because we were doing a a children’s concert and we rehearsing it at 9:00 in the morning or 8:45 and we started so they came in everybody was a b blurry out says okay well we’ll just run fry shirts over
CH we just do so we play the lovely opening and Jonathan is our specialist ultra low horn player we called him and as you know in the fourth one part finishes on that low G any and um but it’s a beat longer than everybody else I and Jonathan did healthily play that and I was in a bad mood at the time it was early in the morning so
I landed up shouting down the section and my comments were it’s a Bloody Mother not a not a Brit Symphony and his the actually is it too loud so this all went on and cuz I didn’t I got we got we got off after rehears Johnson sted off and and I then I felt absolutely terrible I thought oh no was very harsh there so we’re just about to go back on stage and
I was just about to W up him and said Jonathan I’m so sorry and before I could get the words out he said there’s no point giving me abing in in public and apologizing in private now sod off I might not have said sod off whatever he said so I I I don’t I try okay all in all
I mean do you guys have any anything you could I don’t know probably n that none that are repat why don’t I have a good idea why don’t you tell me all of them now when we go off for dinner that’s a good one um thank you so much for all of your comments and your the they will get a copy of the chat so write in anything you want to write
Hello’s praise requests questions I will send the copy of the chat to this wonderful horn section and um thank you for joining in really they’ve been from all over the place Melbourne is watching Aussie horn I think that’s Saul actually um uh there’s really it’s unbelievable you’ll see where Everyone’s Watching from you guys are an amazing section
I’m so happy to be playing with you this week and also the brook was such a special concert but I just love I love the feeling of this horn section not only do you play great you’re just so much fun to be around and thank you for doing this horn hangout and um and where’s Hugh H come and have a piece of
Tiff and come and say just come and say goodbye got the recipe for you oh oh the recipe this stuff is amazing you have one of these one of those and we look forward to Sarah’s hangout next we’ll we’ll see about that Sarah when we interview you I’ll get some anybody sending some photographs of sah thank you thank you um
I just like you two to come and say hi as well um paxman’s uh Team oh yes bring that all in here that that’s a very good idea this is our paxman’s team Steve and Martin St and we like the look of that it’s going to be a great party here thank you guys thank you for letting us take over um and of course last but absolutely not least
I don’t know if he can leave it even leave his station can you pan around please Martin to to our Tim oh you’re proving a huge round of applause all over the world for our Tim we will see you next time on the horn hanger I think the next live horn hangout is with Andrew Bane in June and um yeah thanks for joining in thanks to you guys and cheers from
London bye tiffen [Music] n la [Music]
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
