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Christopher Redgate at Howarth of London - Redgate-Howarth Oboe 03-05-12

Leading 21st Century Oboist - Christopher Redgate discusses his first impressions of the second instrument made to the Redgate-Howarth Oboe design! The Redgate-Howarth Oboe has been custom made by Howarth of London, built with the 21st Century musician in mind, featuring multiphonic switch and the flexibility needed this contemporary repertoire. Howarth of London are internationally known as makers of the finest oboes, oboes d'amore, English horns and clarinets.

Chris Redgate describes the nuances of the Howarth-Redgate Oboe

Some Notes on Some New Notes

The re-design of the key-work on the oboe has been stimulated by changes in the use of some of the keys and in the demands being made upon the performer. As part of my performance practice during the last 35 years I have rethought the function of some of the key-work; altering the primary function of specific keys from their traditional use to a new uses (the traditional uses then becoming secondary). On some occasions reverting to practices more common in baroque and classical period performance. The octave keys, the holes in the touch plates, the function of a number of the side keys and the trill keys all, to a greater or lesser extent, have taken on multiple functions; in some case the original function of the keys has been superseded by the new function. Some of the keys on the traditional oboe however are poorly placed for their new activities, creating a range of physical and technical problems.

The ‘hamburger key’ (situated where the trill keys are normally found) has enabled me to answer some of these challenges while, at the same time, expanding the potential of the instrument. It has enabled us to effectively add an extra hole in an area of the instrument which is particularly responsive to the production of the extreme high range, (it is very close to both the second and the third octave keys): an area which also enables many microtones and multiphonics. Because we have placed the touch pieces at the side of the 2nd octave key (and in the process redesigned this key to accommodate ease of execution of these keys) we have increased the facility with which the high range can be played. The three new touch pieces are used extensively for the high range (B, C, C#, and D), a considerable number of microtones and, in addition, have added a substantial number of new multiphonics to the instrument. They have also enabled a number of short glissandi.

The top plate (left-hand first finger) has undergone two significant changes. A very small hole has been placed at the side of the main hole as an extra vent and a new switch has been added which enables a very high-speed change to the distance this key moves from the tone hole. As a result there are now four potential height positions for this key: closed, rolled, lifted finger and open (depending upon how you like this key set up the switch can be used in either direction). This enables a much wider range of multiphonics than is possible on the standard oboe without recourse to unscrewing the regulating screw in performance! In addition, because of the way the switch is activated it is possible to create a number of multiphonic slides by moving it slowly. This is the second design we have developed for a switch in this area. The first prototype oboe we produced included a screw system which, while enabling the changes, proved too slow in performance; the new switch is very fast.

There are two additional side keys for the right hand. We have removed the G# - A trill key and instead added a side Bb key (a key which existed on many older thumb-plate instruments). This key, as well as offering an A-Bb and high F-F# trill also enables a wide range of extra multiphonics and microtones.

Above this key is a B ¼# key (this is not available on the conservatoire model but B ¼# can be produced in several different ways on the instrument).

The microtonal work has been improved by drilling the holes on the A, G and E touch pieces precisely to ¼ sharp. In addition we have modified the F# key (top finger right hand) by adding a split plate. The reason for this rather more complex addition is that this key is used extensively for a range of double trills that I did not want to lose. Therefore we created a split plate whereby if the lower part is fingered the standard F# is produced but if the finger is placed only on the upper plate then F ¾# is played.  This also enables a range of other microtonal fingerings in the upper register and a variety of multiphonics.

An extra bean has been added to the little key below the F# touch piece – this enables some micro tunings to a number of pitches.

  We have also de-linked the Bb and B at the bottom of the instrument (left hand little finger). This removal of the enforced linkage has freed up the two keys so that they can be used independently of each other. As a result a wide range of multiphonics are available that were not possible on the standard oboe and it has generated a number of microtonal options. On some oboes there is also a B-C link but this has not been included on the new instrument as it also limits some possibilities.

Though available on some oboes we have added a long C# as standard and removed the banana C# trill key (played with 3rd finger right hand). The long C# is very useful not only as a trill key but also for a number of multiphonics and microtones.

On the thumb-plate version of the instrument we have re-sited the third octave key, placing it on the right-hand side of the first octave key. This enables the performer to roll the thumb on to the key rather than having to pinch backwards: a much more ergonomic position for the key. The octave keys are often used in fine microtonal tunings and so ease of execution for this key was very important.

The instruments are made of cocobolo wood that is less dense than the traditional Grenadilla wood (meaning that this oboe with its extra keys comes in at about the same weight as the standard Howarth XL) but also is particularly responsive to the demands of contemporary music.

A few statistics: There are now good quartertone and eighthtone scales from bottom D to the very top C ¼ #; I am also now developing a third/sixthtone scale.

On my standard instrument I have a catalogue of 833 multiphonics; on the new instrument I have currently 2548 multiphonics.

There are now fingerings up to top C that can be used without recourse to the teeth. There is also a C# and D fingering which require teeth.

   The read more about Christopher Redgate, visit his website www.christopherredgate.co.uk

Visit the Howarth of London Website

www.howarth.uk.com

Howarth of London Workshop

19 Buckingham Road

Worthing, UK

BN11 1TH

01903 239219

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HOWARTH AT THE SUSSEX COUNTY SHOW IN PARHAM

A new departure for Howarth of London’s Manufacturing Division – we set up stall at the Sussex County Show in Parham over the weekend of 16th – 17th June. The rain stayed away, and we had a  gorgeous warm sunny day on the Sunday especially. As ever people are fascinated to know about the mysteries of making a musical instrument. Mike Dadson, one of our top professional finishers, brought his bench and tools, and we set up a photo display with assorted components for people to handle.

  As so often, many people quietly admit they wish they had never given up playing an instrument, so these occasions always provide good opportunity to demonstrate that it’s not that hard, even for a complete beginner to play an easy tune on a wind instrument with careful instruction. Laura King from our Worthing showrooms spent much of her time giving people the chance to try an instrument for themselves, and watching the astonished faces as they realised they could play an easy tune quite quickly! Others didn’t know we had the workshops and showroom in Worthing, so it’s good just to get our name out to the as yet uninitiated!

And one lucky person, P. Meed, was the winner of our Chiltern Sax Prize Draw….. Photographs of the winner receiving their prize to follow!

 Picking the winner!

  Mrs Pat Meed, the winner of the Chiltern Sax from the Sussex County Show Prize Draw, collecting her prize!

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Live Music Horizons in association with Howarth of London

  The LMH programming, in association with Howarth of London begins in July 2012 with a series of

SUMMER HOLIDAY MUSIC COURSES in Essex and London.

The woodwind and brass courses are for young people and adults, offering a vibrant and accessible approach to a wide variety of music styles. The courses will work with a range of stimulating scores to nurture an increased understanding of notation, and improve aural awareness through improvisation.

-----------------------------------

In September 2012 LIVE MUSIC HORIZONS will be touring Primary Schools in London and Essex with their CONCERT PARTY project.

CONCERT PARTY are four professional musicians who bring LIVE music performances to schools, aiming to encourage a lifelong interest in music making and listening. The concerts educate and entertain students in a lively accessible atmosphere, introducing a wide variety of instruments and musical styles.

  SUMMER HOLIDAY MUSIC COURSES 2012

 The LMH summer holiday music courses are programmed for the last week in July 2012. Venues are in Essex (near Chelmsford) and London (near Camden Town). The courses are in association with the woodwind specialist shop Howarth of London.

For dates and prices click here

The courses will work with a range of stimulating scores, nurturing an increased understanding of notation, alongside aural awareness through improvisation.

LMH courses include:

Wind orchestra

Dance band

Street band

Small classical and jazz ensembles

Solo opportunities

LMH course content includes:

Rhythm

Melody

Harmony

Ensemble work

Improvisation

Performance

Aural skills

Each course will culminate in an informal presentation to family and friends. There are opportunities for all ages and abilities, with a specific day in London designated for adult learners.

For course bookings and further information click here

CONCERT PARTY

CONCERT PARTY are four professional freelance musicians who bring LIVE music to Junior Schools

CONCERT PARTY focus on creating a joyful musical experience, encouraging a lifelong interest in music making and listening

CONCERT PARTY offer programmes to meet the specific need of each school, including children with special needs and English as a second language

CONCERT PARTY educate AND entertain students in a lively, accessible atmosphere

CONCERT PARTY can interest and enthrall an age range from 5 to 11 years old

Concerts introduce a wide variety of acoustic instruments and musical styles

Saxophones----- Piano-----Contemporary

Clarinets-----Percussion-----Classical

Flutes-----Voice-----World music

Recorders-----Whistles-----Jazz

Concerts explore

Rhythm                                                 Tonic Solfa

Melody                                                 Aural Skills

Harmony                                 Performing

Musical Games                       Ensemble Work

Improvisation             Composition

                         PERFORMERS IN THE CONCERT PARTY are:

Catherine Shrubshall - clarinets/saxophones/recorders

Fiona Hill - clarinets/saxophones/recorders/piano

Peter Shrubshall - flutes/saxophones/recorders/piano

Fiona Baines - voice/piano/recorders/percussion

These four musicians are all experienced and talented performers as well as being committed and enthusiastic teachers. They all research, arrange and compose for the CONCERT PARTY projects.

CONCERT PARTY FEES

For booking the group and further information

email

info@livemusichorizons.org

or phone

Catherine: 07930 112245 Fiona: 07753 505475

If you would like to get involved follow this link!

www.livemusichorizons.org

"LIVE MUSIC HORIZONS", a new education company, dedicated to providing inspirational rehearsal and performance opportunities for all ages, with sponsorship from the woodwind specialist shop Howarth of London – Woodwind Specialists

      ‘Howarth of London’ in association with Live Music Horizons are providing opportunities to facilitate the events provided, offering special offers, specialist advice/guidance for event attendees. Howarth of London shall be supplying instruments for attendees to try, including their own range of ‘Chiltern Saxophones’, offering a 10% discount on accessories and selected instruments*

  Find out more about Chiltern Saxophones

http://www.howarth.uk.com/chilternsax.html

   Howarth of London are internationally known as makers of the finest oboes, oboes d'amore, English horns and clarinets. Alongside their role as makers, they are one of the world's leading suppliers of oboes, bassoons, clarinets and saxophones. The London showrooms are a bustling meeting point for players, and offer a comprehensive range of accessories and woodwind sheet music.

  The staff are all players, and can help you however long you have been playing - or even if you haven't started yet! Experienced technicians in the workshops on the premises can undertake repairs and custom modifications to customers' instruments.

  Howarth of London offers a varied selection of services:

Instrument/Mouthpiece Approval Scheme:

With the 'Howarth of London' Approval Scheme you have the chance to trial products before you commit to purchase.

Instruments & mouthpieces - One Week Trial Period

With our ‘Approval Scheme’ you can be sure you have selected the instrument most suitable for you. This is a great way of getting to know what's avaliable!

All new instruments purchased through Howarth of London come with a one year warranty.

  Howarth Rental Scheme:

The Howarth rental scheme helps you try an instrument at low cost. Pay for the first 3 months in advance, then monthly by direct debit. To finish renting, simply return the instrument at any time and pay nothing further. If you then wish to purchase an instrument, we take the initial 3 month introductory payment off the price of an instrument.

http://www.howarth.uk.com/rental.aspx

Assisted Purchase Scheme:

Assisted Instrument Purchase Scheme allows students of state schools to buy instruments without having to pay V.A.T. (20%). Having chosen the instrument you wish to buy from our large range and with the benefit of expert advice, you can ask your child’s LEA (Local Education Authority), school or Music Centre to order it on your behalf

Take it Away Scheme:

You can use Take it away to borrow between £100 and £5,000 towards the costs of your chosen instrument, and you can also include music stands, sheet music and other accessories within the loan.

You will need to pay a minimum 10% of the loan amount at the point of The rest is then paid back over 9 months (for goods of £100 - £2,000) or 18 months (for goods of £800 - £5,000) in equal installments by direct debit. There is no administrative charge or handling fee when you take out the loan, so you will never be paying more for your purchase than the ticket price.

Applicants must be:

EITHER over 18 years of age and buying an instrument for a child under the age of 18.

OR aged 18-25 years and applying in their own right.

Nigel Clark, Howarth of London sales director says: "This is a great opportunity for players who didn’t think they could afford it to choose the instrument they really want and ‘Take it away’."

For more information

http://www.howarth.uk.com/takeitaway.aspx

  For more information about Howarth of London please find us at

      --------------------------------------------------------------------------------------------------------------------------

Leading these exciting courses are two versatile musicians, Catherine Shrubshall and Fiona Baines. Catherine and Fiona have worked as professional musicians and educators for over 30 years, including outreach work for the Academy of St Martin in the Fields, Glyndebourne Opera, and the Guildhall School of Music.

  Catherine Shrubshall

 Catherine is an experienced performer and educationalist working in a wide variety of styles. Her performing credits include: The Royal National Theatre, Rambert dance Company and Shobana Jeyasingh Dance Company, as well as numerous recording credits for: BBC, ITV, Radio 4, Classic FM, Decca and Acid Jazz.

Steven Dagg, Director of London's Centre for Young Musicians describes Catherine as "one of the most talented teachers I have had the privilege to work with and a wonderful musician in her own right. Catherine has contributed hugely to CYM's outreach programme featuring the CYM saxophone ensemble in prestigious venues all over the capital".

In recognition of her contribution to the music profession Catherine was awarded funding for professional development from the Musicians Benevolent Fund in 2011.

    Fiona Hill BA (hons) LGSM.LTCL.ATCL

 Fiona is a highly respected and accomplished freelance musician who enjoys a varied career, equally at home conducting or coaching, teaching or performing. She is highly committed to training younger musicians and has worked for Essex Music Service for over 30 years. Fiona has broadcast with her saxophone quartet Saxology on Radio 3 and Classic fm. She is described by her students as "amazingly effective, organised, motivated and enthusiastic".  

Other team members include...

  Fiona Baines

 At the age of ten, Fiona Baines discovered the joy of singing after joining her local parish choir at All Saints Church in Nottingham.  Six years later, she took up formal vocal training with Lynne Wayman whilst studying music at Clarendon College in Nottingham. In 1984, Fiona graduated with a degree in Performing Arts from Middlesex University.  While at university, she discovered her talent for interpreting contemporary classical music.  She was very fortunate to have been able to work with some of the emerging composers of the time (Howard Haigh, Ian Wilcock, Errolyn Wallen) with whom she premiered their work.  Remaining in London, she continued to have a varied and eclectic career with live composers focusing mainly on performing contemporary music as a member of various groups and as a soloist.

www.fionabaines.co.uk

  Peter Shrubshall

Peter has worked as a professional musician in and around London for over 25 years, performing in the West End and on numerous recordings. As a teacher he is currently working for Camden Music Services and at the Centre of Young Musicians, where he conducts the CYM Dance Band. He regularly takes the advanced flute classes at the City Literary Institute and leads sectionals for the London Youth Wind Band.  As a composer he has co-written music theatre for adults and children (book, lyrics and music) incl. ‘Around the Pond in 80 Days’ (published by Samuel French.

  Denis Hill  G.Mus LGSM LTCL

 After graduating from Colchester Institute, further study led to licentiate diplomas in saxophone performance and teaching from Trinity College of Music and the Guildhall School of Music and Drama respectively. 

A freelance musician, Denis has enjoyed a varied musical career to date  as an educationalist and performer.  He has worked on projects with the National Youth Music Theatre and the Academy of St. Martin-in-the-Fields as well as numerous summer schools.

Denis is a founder member of the ‘Saxology’ saxophone quartet and has performed extensively in the UK and abroad with the ensemble, recordings undertaken with ASV and Meridian Records.

A busy woodwind teacher, he is the local representative for the Trinity Guildhall exam board and has been an examiner panel member since 2005, recent training also leading to qualification as an assessor for the new Trinity Rock and Pop exams.

[howarthoflondon-blog]

Howarth of London - *Exclusive UK dealers for Moennig and Ludwig Frank Oboes and Bassoons*

Howarth are delighted to announce that they are now the exclusive UK dealers for Moennig and Ludwig Frank Oboes and Bassoons. This range of professional instruments perfectly complements what is already the largest choice of Double Reed instruments in the UK.

 Our Oboe shop has stocked the Frank ‘Brilliant’ Model Oboe for a couple of years, and we are pleased to broaden our range of German Oboes with the Moennig 150 AM. This instrument has been developed with the close involvement of Albrecht Mayer.

  We will also be increasing our stock of the ever popular 180 Diamant Cor Anglais, and offering the Moennig Oboe D’amore to special order. If that wasn’t enough, we hope to very soon have a stock example of the new model 190 Bass Oboe!

  For bassoonists, we will shortly have the Diamant version of the 214 Bassoon available alongside the existing Topas model. This is Moennig’s flagship professional bassoon, and comes with everything the professional player needs, as well as being supplied with a Heckel crook.

  Again, we hope to shortly have an example of the Moennig Model 300 Contrabassoon in store to try. This is the first realistic new professional contra model to come onto the market in years, and is well worth a try if you are looking for a top spec contra.

  As a bonus, we are now able to offer some exclusive models of the Adler 1357 only available through Howarth in the UK, as well as the 1350 Children’s Bassoon at some fantastic prices!

www.howarth.uk.com

 Gebrüder Mönnig - Oscar Adler & Co.

 Call 020 7935 2407

for more details

bassoon@howarth.uk.com

Follow Us on Twitter!

@howarthoflondon

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The life of an oboe begins 200 years before a Howarth craftsman starts their work.  Read about the journey that is made to manufacture what is accepted as one of the finest oboes in the world. 

                                                                                       - Howarth of London

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Click on the title for the main article!

10 Things Schools Should Know About Learning Music.pdf

Music can say a lot about your school. Today, many more schools are benefiting from the transformational power that music brings to pupils, parents and whole schools.

This booklet highlights ten important musical facts that every school leader should know.

Music should be an entitlement for every child, an integral part of school life and never side-lined as just a ‘nice to have’ subject.

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Taken by freejay3

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British Double Reed Society 2012 - Annual Convention - Howarth of London

Howarth of London shall be at the BDRS Annual Conference 2012 on 6th May in Cardiff, Wales

 We shall have a large amount of new stock for the exhibition including:

 A Loree Royal 125 model oboe

A Ludwig Frank “Brilliant” model oboe

A Monnig Albrecht Meyer model oboe

A Rigoutat Cor Anglais

and the brand new

Buffet Orfeo Oboe

 And of course our full selection of

Howarth

Marigaux

Loree

Rigoutat

Buffet

We will have our full range of Bassoons,including the Mini Bassoon, Tenoroon and a Fagonello. 

We will also have an amazing 8000 series Heckel on our stand.

We also have some new accessories for you to see, including our new

Chiarugi Adjustable Oboe Staple Set

and

a new range of oboe cane.

We will have a skilled oboe and bassoon technician on our stand who is available to carry out minor repairs and advice on the day.

FREE ENTRY for school and college students

John Anderson - Oboe Lyndon Watts - Bassoon

Karl Jenkins shall be conducting some of his pieces for double reed orchestra at the Mass Play-in. This promises to be an amazing experience It is important to book your place by completing an application form, please visit the BDRS website for ticket prices! Places are limited for oboe and bassoon masterclasses and an early response is advised.

Email: oboe@howarth.uk.com

Tel: 02079352407

Web: www.howarth.uk.com

BDRS Web: www.bdrs.org.uk

FB: Howarth of London Facebook

Twitter: @howarthoflondon

                         View Larger Map

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Double Reed News 17th April 2012 - Howarth of London

Click on each artical for more details:

New sheet music in stock:

The new edition of Ferling’s 48 studies Op.31 (urtext edition) edited by Howarth Artist and IDRS president Martin Schuring is now in stock and available to buy! This edition is clearly laid out and after close referral to the original work, many errors that appeared in other editions have been corrected.

The Essential Oboist by John Williams. ‘A concise approach to daily practice’ Has been a popular book amongst teachers and student since its creation in 1985. Sadly the book is now out of print, but Howarth have secured the entire remaining stock, available in our London store and online.

World of Warcraft - You’ve played the game, now play the music. All the popular themes from the game arranged for flute (suitable for Oboe) and trombone (suitable for bassoon) accompanied by CD backing tracks. Ideal for intermediate standard players

Coming soon

‘The Bassoon’ by James Kopp. The latest in the Yale University Music Series, the bassoon gets its turn in this highly anticipated book covering the history and a wealth of other information about the instrument. Due to be £30 when released in June, pre-order now to get the book for £25.

Instrument news

We have a gorgeous new Fox 660D just arrived, as well as a

Fantastic Puchner 23 gentleman’s model. Contact Ben for details and to try.

Also in the Second Hand List we have 3 Heckel Bassoons, a 9000, an 8000 and the best example of a 5000 series Ben, our Bassoon Specialist, has ever seen.

Look out for details in the next couple of weeks of our special spring offers on ex demo bassoons.

www.howarth.uk.com

020 7935 2407

oboe@howarth.uk.com

Follow Us on Twitter!

@howarthoflondon

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Chris Redgate-Multiphonia 

Chris Redgate writes:

The Redgate-Howarth system oboe has over 2500 multiphonic sounds available (the standard oboe has about 830). Included in this list are a number of ‘beat’ multiphonics. David Gorton expressed an interest in the beat sounds and so, as part of our research on the exchange programme, we set about exploring their potential.

Read More

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Learn To Play Day 2012 - Howarth of London

Saturday 31st March was the first annual ‘National Learn To Play Day’

supported by Music for All

“There are 15 million people in the UK that either want to play an instrument or used to play one. The Day is designed to welcome people into music shops and to inspire them to get playing. People are often surprised to discover that they ARE musical and simply need a musical “experience” to get them inspired to start playing”

Howarth of London was one of the nationwide hosting venues, providing  free lessons on oboe, bassoon, saxophone and clarinet. We were supported by London based music teachers, allowing the staff to give additional guidance on getting started learning to play music.

The Teachers

Geoff Coates 

 Oboe

Geoff Coates studied at the Guildhall School of Music and has been described as "an excellent soloist that has a warm and flexible tone with a lovely burnished quality" www.theclassicalshop.net

Matt Telfer

Saxophone

Matt Telfer started playing sax in his teenage years. Since living in London Matt has studied with and had Guidance form some of the worlds leading jazz musicians including Tim Garland, Bob Mintzer, Toni Kofi, Dave O'Higgins, Courtney Pine and Phil Woods.  www.matttelfer.com

Catherine Shrubshall

Saxophone

A leading jazz saxophonist based in London. Catherine can be found with - ''The Powdered Rhino Horns' . As a brother and sister team, the Shrubshall's make an entire horn section between them; with Pete playing Tenor and Soprano sax as well as a variety of flutes, and Cathy playing Alto and Bari sax, clarinet, harmonica and recorder. They create their massive section sound by doing overdubs, which are repetitive recordings that are later mixed together by engineers. The Shrubshall's horn section was the backbone of Izit, a band that they formed with rhythm help and vocalists. www.epinions.com

Richard Russell

Clarinet

Richard Russell (clarinet) is from Linlithgow, near Edinburgh, and studied at the Royal Northern College of Music where he won the Muriel Berry Award and prizes for chamber music, graduating with first class honours and the prestigious PPRNCM recital diploma. He was then a postgraduate scholar, followed by a year as woodwind fellow, at the Guildhall School of Music and Drama.

As an orchestral player, Richard trained with the London Philharmonic Orchestra through their "Future Firsts" apprenticeship scheme and spent a year as co-principal clarinet with Southbank Sinfonia. Since then he has performed with many of the U.K.'s leading orchestras, most recently the Scottish Chamber Orchestra, Northern Sinfonia, London Symphony Orchestra and the London Philharmonic Orchestra. www.richardrussellclarinet.com

Howard Dann

Bassoon

Howard began learning the bassoon at the age of 10 with his father, from whom he inherited a love of the French bassoon. He spent his early years growing up in Suffolk, where he was an active participant with Suffolk Youth Music, enjoying 4 years as principal bassoon with the Suffolk Youth Orchestra. Howard did his undergraduate studying at the Royal Welsh College of Music and Drama, where his bassoon teachers were Robert Codd and Steve Marsden. Whilst living in Cardiff, Howard played regularly with Sinfonia Cymru, Swansea City Opera and Emerald Ensemble. He also enjoyed giving the odd drum lesson here and there!

In 2006 came a move to London and the full time post of bassoon specialist for 'Howarth of London,' which helped him grow a much wider knowledge of his instrument and the music profession. In 2008/09 he studied for a post graduate diploma at the Royal College of Music, with Martin Gatt, where he won the June Emerson 'Launchpad Prize' for chamber music. http://www.reverbnation.com/howarddann

  The day was a great success, everyone who participated said it was a great day and had a lot of fun. We had quite a number of participants which lead to new rentals on instruments, a sale of a bassoon to a lady who is studying for her PGCE and needed second study instrument!

It was also exciting to meet a few of our @howarthoflondon twitter followers who made an appearance to experience new instruments and to say hello! It was lovely to speak the people we have been interacting with over the past few months.

We have some lovely photographs from the day that our photographer Adrian Snood took to document the day.

Most of the excitement was generated from the chance to win a saxophone in the Howarth Competition! The proud winner of the Trevor James Alto Saxophone is a lady called Gill Denniss who had a great afternoon last week coming in to collect it and have a second lesson!

  "I bought a clarinet 30 years before I retired but it sat in a cupboard. After I retired I went with my friend for lessons at City Lit. When I play music it feels as if I'm in another place. The sound feels like you are flying away from all the other stresses in life. What motivation to learn the saxophone!" Gill Denniss

Maddie & Olivia, our specialists decided they would go out on the nearby Baker Street for a while to see if they could persuade some more people to come and have a go! They had success! They managed to get one lady, a family of three and another gentleman to come along and have a few lessons on all the instruments!

                      Over all I think it was a great day, great atmosphere and we had a wide range people, of all ages came along. We found that despite lots of children wanting to try new instruments, it was the adults that made the biggest contribution! There were lots of stories about people starting as a child and never carried on or how some had always been too scared to try!

We hope that the Learn to Play Day went some way to breaking down those barriers that prevent people from getting involved in music!

If you are thinking about taking up an instrument or would like to give an instrument a go to see if it right for you then please do not hesitate to get in contact on any day! All our staff are specialists on their own instruments and are able to give advice and tutoring to customers on a daily basis outside of national events! We also keep a teachers list to give out to our teacher seeking customers!

Howarth of London would like to thank the teachers, photographers, staff, MFA and participants for making the National Learn to Play Day a success.

www.howarth.uk.com

020 7935 2407

news@howarth.uk.com

Follow Us on Twitter!

@howarthoflondon

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Audio Solutions at Howarth of London

As musicians we take opportunities for work in a great variety of situations. Although we will be familiar with the majority of the ensembles with which we play there will always be an occasion where the logistics of our performance will mean we can’t hear ourselves or be heard by others. This leads us perhaps reluctantly but inevitably to the world of microphones and amplification!

Having studied Music Production myself and recorded extensively in and outside of the studio these are things which are natural to me but for the vast majority of musicians, applying these concepts comfortably is difficult.

The first step to tackling these difficulties is to have an understanding of the equipment with a view to its application. We might not for example want a very sensitive microphone placed at a distance in an ensemble of very loud instruments! A very powerful monitor placed incorrectly may also be inadvisable if it were to interfere with other musicians on stage! It is helpful therefore to consider the whole picture or possible scenarios before making the decision to buy any such equipment.

Here at Howarth of London we stock a range of microphone systems to suit each player’s application with a range to cater for each budget. We also have a small PA system and rooms to simulate and test given scenarios on your instrument in private. Perhaps more importantly before you consider any purchasing or testing you could have a chat with me about your particular requirements and (you never know) I may be able to help, without having to spend a penny!

By means of an introduction to the science of sound amplification there follows a brief insight to some of the more popular types of microphone:

Wireless Microphones:

The ultimate in freedom is the wireless microphone, enabling the player to move freely about the stage without being encumbered by cable or microphone proximity effects.

Historically the microphone would be connected to a belt pack transmitter which would send the audio signals wirelessly to a receiver box. An engineer would then connect the box to his mixer and distribute the signal to the PA systems and any on stage monitors.

Pictured here is the revolutionary AMT Wi5 microphone. AMT were one of the first companies to incorporate a microphone transmitter into the arm of the microphone, negating the use of a belt pack. By doing so they have made it possible to quickly switch the microphone between instruments during performance.

Duel Microphone Systems:

In some instruments with long straight bodies, sound is produced through the tone holes and the vibration of the body itself.  A popular misconception with these types of instrument is that sound is produced only at the flared or bell end!

One of the most effective ways to capture the sound of such an instrument is with two microphones. As sound is produced over such a long area, two microphones capture the sound quality more accurately than one alone.

Pictured here is the AMT WS microphone, the two microphone signals are mixed together internally but most of the signal (in fact 70%) is provided by the body microphone.

Omni Directional Microphones:

The microphone pictured here is actually about 8mm in diameter!

  The nature of omni-directional microphones mean that they pick up sound from all directions with minimal sound loss or colouration! The proximity effect will ensure that only sounds within a certain radius will be heard. In this way the microphone is less susceptible to feedback.

This unique quality allows omni-directional microphones to be used where traditional ‘on-axis’ placement is problematic. In particular we have used these as a solution on double and single reed instruments where a large microphone assembly was unfeasible.

Dutch microphone company DPA successfully pioneered this design which is now widely used on stage and extensively in the broadcast industry.

Whatever the situation It’s worth dropping by to discuss your particular requirements even if you’re just starting to consider sound reinforcement or recording options, I’ll be more than happy to chat!

To speak to Philip Evans - Audio Specialist then please call 020 7935 2407

or email sax@howarth.uk.com

You can find our microphone listings on our website here

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Leon Goossens *A Five Part Interview - Circa 1965

Léon (Leon) Goossens (1897-1988) was one of the most significant figures in the history of the oboe. He was an orchestral player, teacher and concert artist with a career which spanned more than half a century. It was Goossens' talents and efforts which helped broaden the literature of his chosen instrument. Goossens' professional career, begun at the age of ten, had a remarkable span of over sixty five years. It included not only orchestral playing, but also teaching and performing as a concert soloist.

In June of 1921 Léon was part of the "Goossens Orchestra," conducted by his brother, which gave the historic first concert performance of The Rite of Spring in England. The concert, attended by Diaghilev, Massine and Stravinsky, was a tremendous success and was repeated several days later. The orchestra gave four more performances of important new twentieth century works by Debussy, Ravel, Honegger and Schoenberg, before it was disbanded due to lack of funds.Goossens, as the leading oboist of his day, was also influential as a teacher and the major proponent of the British school of oboe playing. It has been suggested that Goossens was personally responsible for the development of vibrato among English oboists. While most of Léon Goossens' solo career took place after World War II, it began much earlier. In 1928 he made his American debut, in New York at the Guild Theater. The program included the Mozart and Arthur Bliss oboe quartets, and a new sonata by Harvard music professor David Stanley Smith. In January of 1929 Léon returned to New York for several more concerts, concluding with a concert at Jordan Hall in Boston where he performed his brother's new oboe concerto. Goossens next returned to the United States in June of 1939 to play in two concerts sponsored by the British Council for the World's Fair. Adrian Boult conducted the New York Philharmonic Orchestra in Carnegie Hall. The audience was enthusiastic and Goossens received multiple curtain calls. Léon Goossens' solo career took him all over the globe.

In the summer of 1954 he and Eugene III gave a series of concerts in Sydney and Adelaide, Australia. Léon also performed in New Zealand and Singapore, and he toured Yugoslavia the same year. The following year he visited Turkey and Austria. In 1956, Goossens toured the Soviet Union with a British music delegation headed by the Master of the Queen's Musick. The group consisted of many other notable musicians, such as Sir Arthur Bliss, David Oistrakh and Gerald Moore. Goossens' subsequent tours included a "coast-to-coast" tour of Canada in 1957, and performances in Scandinavia and Portugal in 1959."

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Chiarugi Adjustable Oboe Staple at Howarth of London

Fantastic new design by Chiarugi. This set has five tips and adjustable bases in 45mm, 46mm, 47mm and 48mm. Designed for players who work internationally, the base of the staple can be changed to accommodate the need to play at different pitches. The bore of the staple is the 2+, so it is the same as Howarth and Rigoutat branded staples. These staples are a quality product well worth the investment.

Find them on our website here

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The Creative Music Training Summer School offers a unique opportunity for musicians and educators to develop and study collaborative workshop-leading skills and creative ways of communicating through music in diverse participatory contexts.

Further information: www.gsmd.ac.uk/creativemusictraining

email: shortcourses@gsmd.ac.uk or call 020 7382 2310

[howarthoflondon-blog]

Heckels are back!

Howarth’s bassoon department are delighted to announce that they will soon have a select range of Heckel’s bassoon crooks in stock and available to try. The name Heckel and bassoons go side by side, and with the continued interest in second hand crooks stronger than ever, we are pleased to once again be able to offer new Heckel crooks alongside the huge variety we already have on offer from other bassoon manufacturers.

You don’t have to have a Heckel instrument to benefit from the potential tone and intonation enhancements the correct crook can give you.  A finely crafted crook can transform your bassoon, making it even more of a pleasure to play and listen to.

We will have a selection of CC (thick walled) and CD (thin walled) crooks in lengths 1 & 2 made from soft German Silver.  We will also have a few CDs made from gold brass. All are finished in silver plate for that warm Heckel sound.

Give our bassoon staff in London a call to arrange to try them out, as well as the largest selection of bassoon crooks in the UK.

bassoon@howarth.uk.com

+44 (0)20 7935 2407