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Could you tell us about some of the outstanding repertoire you have
conducted during your career? Was there a favorite piece?

Again, there has been a huge amount of repertoire, which was either old or new, orchestral, wind band or
even show band that I have conducted throughout my career. I have already mentioned Simon Dobson’s
film score, but then I have really enjoyed conducting Martin Ellerby’s huge contribution to the wind band
repertoire with my conducting favourites ‘Paris Sketches’, ‘HMS Charity’, ’Amphibiosity’ and his most recent
piece ‘Gallipoli 100 Suite’. In fact Martin’s Gallipoli Suite features on my final CD recording which includes
seven pieces composed by six British composers that have not been recorded previously. These include;
Kit Turnbull’s ‘Between the Lines’ and ‘Far from Home’, the title track to the CD which is Peter Graham’s
‘Metropolis 1927’, Nigel Hess’s ‘Chansons de Normandie’, ‘Dancercies (Set II) by Kenneth Hesketh and Bill
Connor’s revision of his ‘Fictitious Folk’. The CD ‘Metropolis 1927’ is recorded on the Chevron Label and will
be available from October 2017 from the Royal Marines Band website: royalmarinesbands.co.uk
Recently I conducted the massed bands in the Royal Albert Hall performing the extremely challenging
‘Short Ride in a Fast Machine’ by John Adams. But if I had to choose my favourite, it would be Adam Gorb’s
‘Eternal Voices’. With funds from the Royal Marines Charity, I commissioned Adam Gorb and the librettist
Ben Kaye to produce a major work for Symphonic Wind Band and Chorus. It includes a mezzo-soprano
and treble boy voice that demonstrates that wind bands can combine successfully with vocals, as long
as the composition and orchestration are sensitive to the issues. Although it is over 30 minutes long, the
brilliant writing takes the audience and performers on an emotional journey and for me it was perhaps
the most demanding conducting challenge I have had, but also the most rewarding personally. There is a
recording available from the Royal Marines Band website of the live performance that took place in Exeter
Cathedral in 2010. I have subsequently conducted performances in Coventry, Chichester and Salisbury
Cathedrals.

In addition to your wind band work what will you now
do to relax?

I enjoy playing golf and perhaps I might get the opportunity to reduce
my handicap into single figures? Otherwise, it is listening to music and
conducting where hopefully I will now have the time to conduct other wind
bands, orchestras and ensembles passing on my experience and knowledge
that I have gained from my long career in the Royal Marines Band Service
to a wide range of people.

What did you see as the most important role of a
conductor?

For me it is to ensure the ensemble perform together with a clear
idea of my [the conductor’s] interruption of the music and to enjoy
it. Ultimately, it is getting musicians to perform to a standard they
did not think or believe they could attain. Making musicians to
reach their potential in collective performance and for them to
enjoy that experience, musical journey and then convey it to the
audience.

8. What did you find to be the most challenging
part of being a conductor?

Keeping everyone in the ensemble fully engaged throughout
rehearsals. Every day is different and you have to react to what
is going on in a positive manner to get the most from the time
available.

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