For so many reasons, Bach’s 2nd Brandenburg Concerto is the ultimate piece of music. It’s utterly unique in its use of the trumpet – even the fact that it is a solo instrument is shocking, let alone some of the things Mr. Bach asks it to play. As high notes are the obsession of literally every trumpet player ever (fact), there’s another reason for the piece’s significance – it has them in buckets. The concerto is a real undertaking for any trumpet player, given both its range and the sheer number of notes to get through in such a small space of time.

But the main thing is the limelight. Keen readers will know that I grew up on the theatre stage, so being the centre of attention as a trumpet player is a glorious thing for me. Yes, yes, there are three other soloists in the piece but we all know that the trumpet is the one everyone’s interested in, mainly because it’s place is usually at the back of the orchestra – if it’s there at all. Audiences seem to be truly enthralled by the instrument’s appearance at any performance of this wonderful piece.

And one such performance is coming right up, in the beautiful city of Madrid (I hope it’s beautiful anyway, this will be my first visit). Yours truly will be playing Brandenburg Concerto No. 2 with early music group La Capilla Real de Madrid, under the musical direction of Oscar Gershensohn. Oscar is known for putting on engaging concerts, where he talks to the audience about every piece and draws them in, fascinated, before the music even begins. The concert, featuring the 1st, 2nd and 4th Brandenburg Concertos and Cantata BWV 65, is the second of two concerts this year, in which the group will have performed all six concertos. These two concerts in turn form part of a larger series called Bach Madrid, which was created by La Capilla Real.

Integral Conciertos de Brandemburgo II
Auditorio Caja de Música
Palacio de Cibeles
Saturday 12 May, 7:30pm
Tickets 12-15€

Early music is such a passion of mine, and next week I join with two fellow Guildhall alumni for a performance-demonstration of medieval and folk music. My colleagues are experts on recorders and fiddles – just the ticket for a medieval concert. But what did trumpets get to play in the medieval times other than a crude blast here and there? Not much! That’s why I’ll be bringing out a little more than just a trumpet for this one. Naturally, lots of singing will take place, but I also promise the special surprise of my re-learned cornett – wish me all the luck!

A Story of Early Music
Winterbourne Medieval Barn
25 June 2017
Tickets: £10, £5

​My degree is over. My final recital, a month ago today, really was the highlight of my four years at the Guildhall School, as it was everything I had planned it to be – a showcase of who I am as a musician. It had some natural trumpet, in Bach's second Brandenburg Concerto (without a doubt the best piece of baroque trumpet music in existence); I got to play the flugelhorn and exercise my choral roots in a rendition of Gammal Fäbodpsalm från Dalarna for flugelhorn and choir (though I did give up on the arranging side of things and persuaded a dear friend to do that bit for me); and I managed to fit a substantial bit of musical theatre in too – 76 songs in total – with my new invention of the musical theatre trumpet concerto!

Eternal thanks to my composer, Sam, my arranger, Charlie, the 30 musicians who played in the recital (it was meant to be 28, but following a very-last-minute illness, I had to replace a reed tripler with three separate musicians – I prefer a round number anyway), and of course, everyone who came to watch! The rest of you, check out the video which is now up on YouTube for your unlimited enjoyment.

Christmas is the busiest time of year for any musician, especially a brass player. Pantomimes and Christmas shows are in abundance, creating an enticing environment for those light music players, a group of which Tom most certainly is; brass quintets and other such ensembles are overwhelmed with parties and ceremonies. Christmas is a time at which Tom's second love, historical performance, thrives more than ever. Messiahs and Christmas Oratorios are a very regular occurrence in these months – some of the greatest natural trumpet repertoire.

There is a special pick-of-the-year for Tom on 23rd December, however. An unprecedented reworking of Handel's much-loved Messiah is the baby of Solistes de Musique Ancient this Christmas, going by the name of 'Brassiah'. This is G. F. Handel's famous classic with the standard string orchestra completely replaced with a brass quintet. Those of you who are familiar with the timbrical depth available from such an ensemble (displayed in, for instance, Canadian Brass' extraordinary performance of Beethoven 5) can imagine the success of this project. The ensemble will be accompanying eight stunning singers alongside organ, the music interspersed throughout the evening with readings, drama and poetry.

The Brassiah Project
23 December, 6pm
All Saints' Church, Putney Common
​Tickets: £12, £0

Vocal Futures’ new production with The English Concert is a rarely performed gem in Handel’s repertoire, The Choice of Hercules. The evening will also centre around a new work by Toby Young (twice winner of the BBC Proms Young Composer of the Year), specially commissioned for this production to reflect on Handel’s legacy. With a selection of rousing choruses and a sumptuous duet from Solomon, this promises to be an evening of decadence set amongst revellers at Hercules’ 21st birthday party. It will enthral and tantalise the senses ending with Hercules’ choice between Pleasure and Virtue!

Pleasure Sophie Junker
Virtue Rachel Kelly
Hercules Christopher Lowry
Attendant on Pleasure Nick Pritchard

14 - 15 October, 7pm
Britten Theatre, Royal College of Music, Prince Consort Road, London SW7 2BS

Tickets: £5 (students), £15, £25, £35