'Tips from The Top' - Interview with John Starkes

One of the key parts of my original blog were interviews with top euphonium players from around the world. So continuing with this theme I would like to reintroduce my blog with the very first interview I did with Boscombe Salvation Army Principle Euphonium and a very dear friend of mine John Starkes.

When did you start to play the euphonium?

Although I started playing the cornet when I was 4, a music teacher at School, who was to become a huge influence on my early banding called John Lacy, met up with me when introducing brass instruments to our School and told me I had the wrong embouchure for cornet, and gave me a Euphonium and it all started there. I was about 7 then.

How would you describe the sound of the euphonium to somebody who never heard it before?

How do I describe the sound of the euphonium is a very interesting question, because like everything it all is dependent on who is playing it. I personally describe it as a full bodied rich warm tone through the whole register with a light vibrato were appropriate.

Which players did you inspire to be like when you were younger?

When I was younger the player I most aspired to be like was Derick Kane. Being brought up in the Salvation Army and of course in Scotland I was a huge admirer of Derick’s achievements and still am. Yes you could say I wanted to be like him as a player, but not just that as a Salvation Army Bandsman. I was then very fortunate on moving to Bournemouth to be put under the guidance of another Salvation Army legend, Peter Wise. This was a great help together with regular sessions with Steven Mead when he came home - I was very lucky. You must also remember I did 15 years banding next to Graham Lawrence, one of the Army’s most lyrical Euphonium players, so I owe a lot to him.

How long do you usually practice? And what is your favourite part about practicing? And what do you not like about it?

I am very much a believer that it is not so much how long you practice but what you practice that is important. It is just as good to have half an hour proper practice than an hour messing around that is wasted practice. I normally would practice between one and a half hours daily which I would increase with a concert or contest approaching. I guess the part I like about practicing is when I have finally mastered a particular piece of music to my satisfaction or a solo that I have been preparing. There is a certain amount of satisfaction in this which makes it all worthwhile. There really isn’t anything I don’t like about practicing. It is something I have been routined into doing for nearly all my life. I also find it relaxing.

What was your best experience as a musician so far?

I have been so lucky and had so many I don’t think it is possible to top the opportunities of being able to play alongside and surrounded by some of the World’s finest players, whilst at the time being conducted by Dr's Bob and Nick Childs. Those occasions would have to go down as my best musical experience.

What music touches your heart? And can you say why?

I think the brass band piece that most touches my heart would be The Present Age by Lesley Condon. It depicts a young man’s struggle with life and the world he is in before eventually good triumphs over evil and shows the young man the way to move forward in life. In contesting circles it would have to be Peter Grahams Essence of time with the beautiful melody a Time for Peace - wonderful music both with superb Euphonium parts.

If you had the chance to commission a solo piece by any famous composer? Which one would you choose, and what kind of piece would you ask him for?

This is a very difficult and interesting question. There are so many wonderful composers. I have admired them all but I think at present I would probably choose Karl Jenkins, and all I would probably need to ask someone of his skill would be to do it in his style but as I said I could probably name a dozen.

What are your favourite euphonium solo pieces?

My favourite euphonium solos top of the pile has to be Norman Bearcrofts The Better World. I love the old classic variation solos The Song Of The Brother and Ransomed Host, and of course Ransomed a much unused solo now by the late George Marshall, but up there with the best. Of course I also love to play all the modern fast variation solos. But for me When He Cometh, a beautifully written slow melody by Bandmaster Howard Evans is up there with the finest solos written, and we thank his inspiration for that.

What has been your best concert experience so far?

If I may permitted to mention two for reasons that are obvious playing live on stage with the world famous Black Dyke Band in concert under Dr Nick Childs will always be a massive highlight for me. But being a Salvation Army bandsman I have to say I have never been more proud in concert than taking my part along with the rest of my fellow Boscombe bandsman, at our 125 concert last year ably led by Bandmaster Howard Evans and all the bands previous conductors, yes that one was the most special .

How do you juggle being in a Salvation Army Band with Playing with a Top Championship Section Band?

Juggling being in a top Salvation Army Band and a contesting band is easy. I have set my stall out from the start and Bournemouth Concert Brass respect me for it. My first loyalty will always be to Boscombe SA band. I do not miss a rehearsal at Boscombe for the Bournemouth Concert Brass, they are a fantastic group of players. I think it’s more like a family with them both and that does make it easier.

Did you have a special dream, where you want to play one day or what band your want to play with?

Yes, like a lot of Salvation Army bandsmen I too dreamed that I would have taken my place next to Derick in the International Staff Band, but sadly for me I never got that opportunity.

What would be your dream to achieve as a musician?

I have done everything I have set out to achieve as a musician and more. I have been very lucky, yes like I said earlier I never made my ultimate dream, but I am principle euphonium of Boscombe Salvation Army band - one of the Army’s finest Bands. I am very proud of that. I have been very lucky to be a soloist globally which is something I never take for granted and been involved in numerous recordings. I am also currently playing principle with Bournemouth Concert Brass and have been fortunate to play on stage with the finest bands in the world including Black Dyke Band. I can’t complain as long as I remember in all things, the best for the highest.

What does brass banding mean to you? Is there such a thing as a certain spirit about the bands and the people in the bands that makes brass banding so special for you?

Brass banding means everything to me. Sadly I am not much good at much else, but when I pick up my euphonium I feel worthwhile. I think one of the outstanding qualities of the Boscombe SA band is there kindred spirit and family togetherness. This has seen the band through highs and lows but knowing we do this together helps us all. Even with Bournemouth Concert Brass we have a family atmosphere, so for me a kindred spirit is essential in banding. Remember we do spend so much time together.

What do you think is the best part of your playing? And what part do you not like so much?

I have always been known for having a very strong technique. This always stood me in good stead in my younger years. In the last 15 years I have found it more important to have strong rich full lyrical sound, so now I am pretty content with what I am producing, but I do not rest on my laurels. None of us are perfect we just strive for perfection

And what do you think makes a player special? Is it more the technical abilities, or more the personality and musical issues?

For me it is a mixture of all four. It is no good being very technical with no sound like it’s no good having a good sound with no technique. Just as having a personality and a lot of musicality are all equally important that’s why for me the complete player is a combination of the lot .

For many years you have been up there with the greats of euphonium playing. Have you ever had a low period?

Yes, a very low period. Things were not always moonlight and roses for me, when I was young I lived a very difficult life culminating on me being badly attacked in Glasgow, smashing my mouth and embouchure. I was told I would never play to any standard again months of frustration and a restructuring of my mouth.

I was ready to start the longest journey of my life this time. I was not alone! I had God beside me the darkness was gone the Govan band were due to travel to Norwich. I had not soloed since before my ordeal. Bandmaster John Bailie requested Ransomed Host, I was petrified I played it out the week before and collapsed in the meeting. It was awful I was finished, I went to the bandmaster and told him to take me of the Sunday programme. He said okay you are on Saturday night. If you don’t do it now you never will.

I trusted him - I played - the rest is history. I owe a lot to Bandmaster John Baillie, but then also I had to leave Glasgow for a fresh start. I would at this point like to thank all my Bandmaster's from Boscombe for the then guidance they have given me, the late Geoff Otter Roland, Wright Gary Lawrence and currently Howard Evans. We all at some point will face crisis points it’s how we come out the other side determines the player we will be. At this time I would like to add that I enjoy the loving support of my wife Joanne, Daughter Catherine, Son Stephen and the rest of my family.

Is there a playing moment when you have wanted the ground to swallow you up?

No, I don’t think I have faced this yet. But as I said previously - if it happens it’s how you brush yourself down and deal with the situation that determines how you will play in the future.

Do you have playing idol that you have modelled yourself on?

No, I have not tried to model my playing on anyone. I have been very lucky to get lots of advice from the world’s greatest euphonium players, but I have tried to assert my own personality through my playing. I think this is important. Yes, take advice and tips but be myself.

Tell me about your rehearsal schedule?

My rehearsal schedule, be it a long practice or shorter, I think it is important for the correct warm up. For the first few minutes I never play above a middle C and will play down the stave from there. Long notes expanding the diaphragm, hymn tunes to practice the melodic line then scales and arpeggios. Only then am I am ready to rehearse. When practicing a piece of music or solo I practice slow first. If you can’t play slow, you certainly can’t play quick. Speed can be added later. Learn the part first! This is a strict disciple, but one I recommend. On completion of practice remember to warm down. This is equally important!

A final question, what advice would you offer to all young euphonium players?

Advice to young Euphonium players: firstly - Enjoy! It is one of the most beautiful experiences in the world to be.