The trumpets shall not sound!

Few orchestras survive a season without a disaster or two and the RTO is no exception (in this and this alone). At rehearsal last Wednesday it was revealed that joint third trumpet Ninian will not be present at the Fingask event in the summer, which means that out of the current four RTO trumpets, four will be absent.
Compounding the catastrophe is the fact that among the cry-offs is Pippa Lockhart, first trumpet and new RTO Chairman (watch this space for further explanation). To say that Pippa is irreplaceable is underestimating the seriousness of the situation. If anyone reading this can a) play the trumpet, b) make themselves available on June 21, and c) bring a friend who plays the trumpet, please contact the RTO via its website as a matter of urgency.
Another issue last week was the violas (when aren’t they?), who outnumbered the first violins by three to one. Only an orchestra of the RTO’s calibre would put up with this and though no one said anything, everyone agreed that the balance was wrong. A motion to move a couple of violas into first violins was unanimously defeated.
Otherwise, the mood, if not the music, was upbeat. Since New York the RTO has been inundated with requests to perform on the international circuit, but while it considers both of these offers (from the Jamaican plantation owner and Zandra’s relatives in NZ), quiet reflection is its chosen course of action.
And what better way to reflect than to run through Fucik’s Entry of the Gladiators, Berlioz’ March to the Scaffold and the Grand March from Aida - all compositions that would challenge the world’s finest bands but were effortlessly executed by the RTO.
Sir Richard, having returned to form, in body and mind, extracted several surprises from the musicians, many of whom seemed emboldened by their American adventure. It has never been RTO etiquette to play in a manner that is noticeable to other RTOers, thus solos - and show-offs - are rarely condoned. But on Wednesday, members of the orchestra heard from Richard D on the horn (in the Berlioz – well done, Richard, it won’t happen again), Gerry on first clarinet (unforgettable), something that sounded like Hugh’s trumpet attacking the Verdi, and Sandy and Winnie in tandem (almost) on bassoon.
It is very encouraging that elements within the orchestra not noted for their exhibitionism are growing in confidence, but it should be stressed that there has been no accompanying growth in ability; the RTO’s reputation is quite safe.
Although the whole New York experience was obviously motivational in the musical sense for some players – Peter, in particular, was keen to share his practice tips – for most it wasn’t in any way improving and the RTO assures its fans that global expansion has done nothing to raise standards.
Rehearsal night did much to expose those standards. When, for example, Sir Richard said ‘play an orchestral C, now play a D, now give me an E, put it all together and what have you got?’ he expected a recognisable ‘Happy Birthday’. But of course there was little recognisable in what followed, and Alison, whose birthday it was (her 31st, making her the youngest by nearly 20 years in the entire orchestra), had to remain standing for several excruciating minutes while the second strings searched for their Es.
On a happier note, a trombone has been found at last to fill the (not terribly big) boots of Quinton Stewart, who retired recently. Step forward the RTO’s very own Pilot King, Blythe Crawford. Blythe is actually a better singer than trombonist and an even better RAF Squadron Leader, but it was agreed (especially by the ladies in wind) that he was eminently suitable. Welcome on board, Blythe!