Sir Colin Davis (2007)

Sir Colin Rex Davis, CH, CBE (born 25 September 1927) is an English conductor. His repertoire is broad, but among the composers with whom he is particularly associated are Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.

He studied as a clarinettist, but was intent on becoming a conductor. After struggles as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He has been associated with the London Symphony Orchestra for over 50 years, including over ten years as its principal conductor. He has also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships include the Boston Symphony Orchestra, the New York Philharmonic Orchestra, and the Dresden Staatskapelle, among many others.

As a teacher, Davis holds posts at the Royal Academy of Music, London, and the Carl Maria von Weber High School of Music in Dresden. He made his first gramophone recordings in 1958, and his discography built up in the succeeding five decades is extensive, with a large number of studio recordings for Philips Records and a growing catalogue of live recordings for the London Symphony Orchestra's own label.

Biography[link]

Early years[link]

Davis was born in Weybridge, Surrey, the youngest of three sons among seven siblings, to Reginald George and Lillian Davis.^[1][2] The family was musical, and Davis was exposed to music from his early years. He recalled, "I can still see Sargent conducting the first concert I ever attended. I can still hear Melchior in the final scene of Siegfried – an old 78 playing on my father's gramophone. … I can also remember the moment I decided to make music my life. I was 13 or 14 at the time and the performance was of Beethoven's Eighth. Doors were suddenly opened. I became totally involved, even obsessed by music, although I was frightfully enclosed by my likes and dislikes. Today I'm game for anything."^[3]

The Royal College of Music, where Davis studied

Davis was educated at Christ's Hospital and then won a scholarship to the Royal College of Music in London, where he studied the clarinet with Frederick Thurston.^[4] As a clarinettist he was overshadowed by his fellow-student Gervase de Peyer, but he had in any case already set his mind to conducting. He was, however, not eligible for the conducting class at the college, because he could not play the piano.^[5]

His ambitions to conduct were further disrupted by compulsory military service, which was in force in Britain at that time. After leaving the college, Davis served as a clarinettist in the band of the Household Cavalry. Stationed at Windsor he had continual opportunities to attend concerts in London under conductors including Sir Thomas Beecham and Bruno Walter. After completing his military service, he launched himself in 1949 into what he later described as the "freelance wilderness", where he remained until 1957.^[2] His first conducting work was with the Kalmar Orchestra, which he co-founded with other former students of the Royal College. He made a good impression and was invited to conduct the recently founded Chelsea Opera Group in Don Giovanni. In the early years of his career he also took some engagements as an orchestral clarinettist.^[6] What seemed at first to be a full-time conducting appointment, for the Original Ballet Russe in 1952, came to an abrupt end after three months, when the company collapsed. In between sparse conducting engagements, Davis worked as a coach and lecturer, including spells at the Cambridge University Musical Society and the Bryanston Summer School, where a performance of L'enfance du Christ awakened his love of Berlioz's music.^[7]

BBC and Sadler's Wells[link]

His first breakthrough came in 1957, when at his third attempt he secured the post of assistant conductor of the BBC Scottish Orchestra (now the BBC Scottish Symphony Orchestra). The chief conductor of the orchestra generally chose to conduct the standard repertoire pieces himself, leaving Davis with modern works and non-standard repertoire works including those of Berlioz.^[8] By 1959 he had developed to the extent that, after a concert of Stravinsky and Mozart with the London Mozart Players, the chief music critic of The Observer, Peter Heyworth, wrote, "Mr Davis conducted two works in a manner that showed that he is not only outstanding among our younger conductors, but probably the best we have produced since Sir Thomas Beecham, his senior by forty-eight years."^[9]

Glyndebourne, scene of one of Davis's early breakthroughs

Davis first found wide acclaim when he stood in for an ill Otto Klemperer in a performance of Don Giovanni, at the Royal Festival Hall in 1959. A year later, Beecham invited him to collaborate with him in preparing The Magic Flute at Glyndebourne. Beecham was taken ill, and Davis conducted the opera. After the Don Giovanni, The Times wrote, "A superb conductor of Mozart declared himself last night at the Festival Hall…. Mr Davis emerged as a conductor ripe for greatness."^[10] Neville Cardus in The Guardian was less enthusiastic but nevertheless considered that Davis "had his triumphs" in the performance.^[11] After The Magic Flute, The Times called Davis "master of Mozart's idiom, style and significance",^[12] although Heyworth in The Observer was disappointed by his tempi, judging them to be too slow.^[13]

In 1960 Davis made his début at the Proms in a programme of Britten, Schumann, Mozart and Berlioz.^[14] In the same year, he was appointed chief conductor of Sadler's Wells Opera, and in 1961 he was made musical director of the company, with whom he built up a large repertoire of operas, conducting in London and on tour.^[15] Grove's Dictionary of Music and Musicians wrote of this period, "He excelled in Idomeneo, The Rake's Progress and Oedipus rex, and Fidelio; his Wagner, Verdi and Puccini were less successful. He introduced Weill's Mahagonny, and Pizzetti's Assassinio nella cattedrale to the British public and conducted the première of Bennett's The Mines of Sulphur (1965)."^[16] Together with the stage director Glen Byam Shaw, he worked to present operas in a way that gave due weight to the drama as well as the music.^[17] In his early years, Davis was known as something of a firebrand with a short fuse in rehearsals, and his departure from Sadler's Wells in 1965 was not without acrimony.^[18]

After he left Sadler's Wells it was widely expected that he would be offered the chief conductorship of the London Symphony Orchestra, but the post went to István Kertész. Soon afterwards Davis was offered the post of chief conductor of the BBC Symphony Orchestra, though the appointment was not effective until September 1967.^[19] At first, so far as the public was concerned, his tenure was overshadowed, at least during the orchestra's most conspicuous concert seasons, the Proms, by the memory of Sir Malcolm Sargent, who had been an immensely popular figure as chief conductor of the Proms until 1966. Sargent had been "a suave father figure"^[20] to the promenaders, and it took some time for the much younger Davis to be accepted.^[19] The BBC's official historian of the Proms later wrote, "Davis never really identified himself with the Proms in the way that Sargent had done.^[20] Davis was uncomfortable with the traditional hullabaloo of the Last Night of the Proms and attempted, unsuccessfully, to modernise it.^[21] The BBC's Controller of Music, William Glock, was a long-standing admirer of Davis, and encouraged him to put on adventurous programmes, with a new emphasis on modern music, both at the Proms and throughout the rest of the orchestra's annual schedule.^[22]

Covent Garden[link]

In 1970, Sir David Webster, who ran the Royal Opera and the Royal Ballet companies at Covent Garden, invited Davis to succeed Georg Solti as principal conductor of the opera.^[23] At about the same time, the Boston Symphony Orchestra invited him to become its musical director, but Davis felt that if Covent Garden needed him, it was his duty to take on the post.^[17] Webster's vision was that Davis and the stage director Peter Hall, formerly of the Royal Shakespeare Company, would work in equal partnership as musical director and director of productions. After early successes together, including the première of Michael Tippett's The Knot Garden in December 1970, Hall left to succeed Laurence Olivier as director of the National Theatre. Webster had retired by that time, leaving Davis, together with Webster's successor as General Administrator, John Tooley, to run the Royal Opera.^[23]

The Royal Opera House, Covent Garden, where Davis was musical director, 1970–86

Davis's early months in charge at Covent Garden were marked by dissatisfaction among some of the audience, and booing was heard at a "disastrous" Nabucco in 1971, and his conducting of Wagner's Ring was at first compared unfavourably with that of his predecessor.^[24] Among his successes were Berlioz's massive Les Troyens and Benvenuto Cellini, Verdi's Falstaff, the major Mozart operas, and, as one critic put it, he "confirmed his preeminence as a Britten and Stravinsky interpreter" with productions of Peter Grimes and The Rake's Progress.^[24] Davis conducted more than 30 operas during his fifteen-year tenure,^[16] but "since people like Maazel, Abbado and Muti would only come for new productions", Davis yielded the baton to these foreign conductors, giving up the chance to conduct several major operas, including Der Rosenkavalier, Rigoletto and Aida.^[24]

In addition to the standard operatic repertoire, Davis conducted a number of atonal and other modern operas, including Alban Berg's Lulu and Wozzeck, Tippett's The Knot Garden and The Ice Break (of which he is the dedicatee),^[16] and Alexander Zemlinsky's The Dwarf and Eine Florentinische Tragödie.^[25] With later stage directors at Covent Garden, Davis preferred to work with those who respected the libretto: "I have a hankering for producers who don't feel jealous of composers for being better than they are, and want to impose their, often admittedly clever, ideas on the work in hand."^[26] Davis hoped that Goetz Friedrich, with whom he worked on Wagner's Ring cycle, would take on the role of principal producer vacated by Hall, "but it seemed that nobody wanted to commit themselves."^[24]

During his Covent Garden tenure, Davis was also principal guest conductor of the BBC Symphony Orchestra from 1971 to 1975 and of the Boston Symphony Orchestra from 1972 to 1984.^[2] Another guest conducting engagement was in 1977, when he became the first English conductor to appear at Bayreuth, where he conducted the opening opera of the festival, Tannhäuser. Despite the Bayreuth habitués' suspicion of newcomers,^[27] Davis's Tannhäuser was "highly successful".^[28] He debuted at the Metropolitan Opera, New York City, in 1969, the Vienna State Opera in 1986 and the Bavarian State Opera in 1994.^[2]

Bavarian Radio Symphony and London Symphony Orchestras[link]

From 1983 to 1993, Davis was chief conductor of the Bavarian Radio Symphony Orchestra, with whom he developed his concert hall repertoire, including symphonies by Bruckner and Mahler.^[18] He was offered but declined the chief conductorships of the Cleveland Orchestra in succession to Maazel and the New York Philharmonic in succession to Zubin Mehta.^[29] As a principal guest conductor he was associated with the Dresden Staatskapelle, which appointed him honorary conductor (Ehrendirigent) in 1990, the first in the orchestra's 460-year-history.^[30] From 1998–2003, he was principal guest conductor of the New York Philharmonic.^[2]

In 1995, Davis was appointed principal conductor of the London Symphony Orchestra. It was the culmination of a long association with the orchestra. He had first conducted the LSO in 1959, and in 1964 he headed the orchestra's first world tour. He became principal guest conductor in 1975 and was at the helm in the LSO's first major series at its new home, the Barbican Centre, in a Berlioz/Tippett festival in 1983.^[30] In 1997 he conducted the LSO's first residency at Lincoln Center in New York City.^[30] Davis was the longest-serving principal conductor in the history of the LSO holding the post from 1995 until 2006, after which the orchestra appointed him President of the LSO, an honour previously held only by Arthur Bliss, William Walton, Karl Böhm and Leonard Bernstein.^[31] On 21 June 2009, 50 years to the day after his first LSO performance, a special concert was given at the Barbican, at which present-day players were joined by many past members of the orchestra.^[30] Davis's programme for the concert was Mozart's Symphony No 40 in G minor, and Brahms's Piano Concerto No 2, with Nelson Freire as soloist.^[32]

During his time with the LSO, both as principal conductor and later as president, Davis has conducted series and cycles of the music of Sibelius, Berlioz, Bruckner, Mozart, Elgar, Beethoven, and Brahms,^[30] and in 2009 began presenting a cycle of the symphonies of Carl Nielsen.^[33] Grove's Dictionary of Music and Musicians wrote, "He conducted a Sibelius cycle in 1992 and a concert performance of Les Troyens the following year, both of which have become the stuff of legend. More recently he has added grand performances of Bruckner, Richard Strauss and Elgar, the première of Tippett's last major work, The Rose Lake (1995), and a Berlioz cycle begun with Benvenuto Cellini in 1999 and crowned by an incandescent Les Troyens in December 2000, all confirming his partnership with the LSO as one of the most important of its time."^[16]

Teacher[link]

Davis is president of the Landesgymnasium für Musik "Carl Maria von Weber" in Dresden,^[34] and holds the International Chair of Orchestral Studies at the Royal Academy of Music, London.^[35] Jonathan Freeman-Attwood, principal of the academy, wrote of Davis, "As the Academy's International Chair of Conducting over 25 years, Sir Colin has helmed six opera productions and over sixty concerts, classes and chamber music projects. Such extraordinary generosity from a major international conductor is surely unique. He has inspired a whole generation here, as did Henry Wood and John Barbirolli before him."^[30]

Recordings[link]

Davis's discography is extensive. He made his first records in 1958 for the World Record Club: three Mozart symphonies and the Oboe Concerto with Leon Goossens. He made several records for the small independent label L'Oiseau Lyre, including a 1960 L'enfance du Christ and a 1962 Béatrice et Bénédict which, at January 2010, were both still available on CD. For EMI he made both operatic and orchestral recordings, the former with Sadler's Wells forces, including excerpts from Carmen and a complete Oedipus Rex, and the latter including Harold in Italy with Yehudi Menuhin, and what remains one of his best-known recordings, a 1961 Beethoven Seventh Symphony.^[36][37]

Philips and RCA[link]

In the 1960s, Davis signed as an exclusive artist for Philips Records, with whom he made an extensive range of recordings in the symphonic repertoire and a large number of operatic recordings, including the major Mozart operas; operas by Tippett, Britten, Verdi and Puccini; and a comprehensive survey of the operas of Berlioz, culminating in an award-winning first recording of the complete Les Troyens issued in May 1970.^[18][38]

Davis's 1966 Philips recording of Handel's Messiah was regarded as revelatory at the time of its issue for its departure from the large-scale Victorian-style performances that had been customary before then.^[39] Other Philips recordings included a 1982 set of Haydn's twelve London Symphonies with the Concertgebouw Orchestra "distinguished by performances of tremendous style and authority, and a sense of rhythmic impetus that is most exhilarating";^[40] and a 1995 Beethoven symphony cycle with the Dresden Staatskapelle, of which The Gramophone wrote, "There has not been a Beethoven cycle like this since Klemperer's heyday."^[41]

Davis made a number of records with the Boston Symphony Orchestra for Philips, including the first of his three Sibelius cycles, which remains in the CD catalogues. They also recorded works by Debussy, Grieg, Schubert, Schumann, and Tchaikovsky.

For RCA, Davis recorded complete symphony cycles of Sibelius (with the LSO), Brahms (Bavarian Radio Symphony Orchestra, 1989–98), and Schubert (Dresden Staatskapelle, 1996).

LSO Live[link]

Davis's terms as chief conductor, and latterly president, of the LSO have coincided with the orchestra's decision to launch its own record label, issuing live recordings (patched where necessary with takes from rehearsals) at budget prices. Davis's recordings on the LSO Live label include Beethoven's opera Fidelio (2006), a wide range of Berlioz works, including a second recording of Les Troyens (2000), La Damnation de Faust (2000), Roméo et Juliette (2000), Béatrice et Bénédict (2000), Harold en Italie (2003), and the Symphonie Fantastique (2000); Britten's Peter Grimes (2004); Dvořák's Symphonies Nos. 6–9 (1999–2004); five Elgar sets: the Enigma Variations (2007) and the Introduction and Allegro for Strings (2005), the three symphonies (2001), and The Dream of Gerontius (2005); Handel's Messiah (2006); Haydn's Die Schöpfung (2007); Holst's The Planets (2002); James MacMillan's St John Passion, (2008) The World's Ransoming and The Confession of Isobel Gowdie (2007); Mozart's Requiem (2007); Nielsen's Symphonies Nos. 4-5 (2011); a third Sibelius symphony cycle (2002–2008); Smetana's Má vlast (2005); Tippett's A Child of our Time (2007), Verdi's Falstaff (2004), Requiem (2009), and Otello (2010); and Walton's First Symphony (2005).^[42]

Awards[link]

Davis was appointed CBE in 1965,^[43] knighted in 1980^[44] and appointed Companion of Honour in 2001.^[45] He was awarded the Royal Philharmonic Society's gold medal in 1995,^[2] the Queen's Medal for Music, 2009,^[46] and has numerous international awards, including Commendatore of the Republic of Italy, 1976; Commander's Cross, Order of Merit (Germany), 1987; Commandeur, l'Ordre des Arts et des Lettres (France), 1990; Commander, Order of the Lion (Finland), 1992; Order of Merit (Bavaria), 1993; Officier, Légion d'Honneur (France), 1999 (Chevalier, 1982); Order of Maximilian (Bavaria), 2000.^[2]

Other awards include Pipe Smoker of the Year in 1996,^[47] Male Artist of the Year in the Classical Brit Awards 2008,^[47] and the Grammy Award in 2006 for Best Opera for his LSO Live recording of Verdi's Falstaff.^[30]

Personal life[link]

In 1949, Davis married the soprano April Cantelo. They had two children, Suzanne and Christopher. Their marriage ended in 1964, and in that same year, Davis married Ashraf Naini, known as Shamsi. To satisfy both the Iranian and British authorities, the couple were married three times, once in Iran and twice in the UK, in the Iranian Embassy as well as in a regular UK civil ceremony; they had five children.^[48] One of their children is the conductor Joseph Wolfe, who chose a different surname, because he wanted to "create some space to grow and develop my own identity as a musician."^[49] Lady Davis died in June 2010.^[50]

Notes[link]

References[link]

• Blyth, Alan (1972). Colin Davis. London: Ian Allan. OCLC 675416. 
• Cox, David (1980). The Henry Wood Proms. London: BBC. ISBN 0-563-17697-0. 
• Haltrecht, Montague (1975). The Quiet Showman: Sir David Webster and the Royal Opera House. London. ISBN 0-00-211163-2. 
• Morrison, Richard (2004). Orchestra – The LSO: A Century of Triumph and Turbulence. London: Faber and Faber. ISBN -571-21584-X. 
• Orga, Ateş (1974). The Proms. Newton Abbot: David and Charles. OCLC 1121308. 

External links[link]

• Morrison, Richard. "Monarch of all he's survived", Profile of Davis at 80 – The Times, 21 September 2007
• Colin Davis at Allmusic

Edward Elgar, circa 1900

Sir Edward William Elgar, 1st Baronet OM, GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.

Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory. The first of his Pomp and Circumstance Marches (1901) is well known in the English-speaking world.

In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music remains more played in Britain than elsewhere.

Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the microphone in 1925 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius. These recordings were reissued on LP record in the 1970s and on CD in the 1990s.

Biography[link]

Elgar's birthplace, Lower Broadheath

Early years[link]

Edward Elgar was born in the small village of Lower Broadheath, outside Worcester, England. His father, William Henry Elgar (1821–1906), was raised in Dover and had been apprenticed to a London music publisher. In 1841 William moved to Worcester, where he worked as a piano tuner and set up a shop selling sheet music and musical instruments.^[1] In 1848 he married Ann Greening (1822–1902), daughter of a farm worker.^[2] Edward was the fourth of their seven children.^{[n 1]} Ann Elgar had converted to Roman Catholicism shortly before Edward's birth, and he was baptised and brought up as a Roman Catholic, to the disapproval of his father.^{[n 2]} William Elgar was a violinist of professional standard and held the post of organist of St. George's Roman Catholic Church, Worcester, from 1846 to 1885. At his instigation, masses by Cherubini and Hummel were first heard at the Three Choirs Festival by the orchestra in which he played the violin.^[5] All the Elgar children received a musical upbringing. By the age of eight, Elgar was taking piano and violin lessons, and his father, who tuned the pianos at many grand houses in Worcestershire, would sometimes take him along, giving him the chance to display his skill to important local figures.^[1]

Elgar's mother was interested in the arts and encouraged his musical development.^[2] He inherited from her a discerning taste for literature and a passionate love of the countryside.^[6] His friend and biographer W. H. "Billy" Reed wrote that Elgar's early surroundings had an influence that "permeated all his work and gave to his whole life that subtle but none the less true and sturdy English quality."^{[7][n 3]} He began composing at an early age; for a play written and acted by the Elgar children when he was about ten, he wrote music that forty years later he rearranged with only minor changes and orchestrated as the suites titled The Wand of Youth.^[2]

Until he was fifteen, Elgar received a general education at Littleton (now Lyttleton)^{[n 4]} House school, near Worcester. However, his only formal musical training beyond piano and violin lessons from local teachers was more advanced violin studies with Adolf Pollitzer, during brief visits to London in 1877–78. Elgar said "my first music was learnt in the Cathedral ... from books borrowed from the music library, when I was eight, nine or ten."^[10] He worked through manuals of instruction on organ playing and read every book he could find on the theory of music.^[5] He later said that he had been most helped by Hubert Parry's articles in the Grove Dictionary of Music and Musicians.^[11] Elgar began to learn German, in the hope of going to the Leipzig Conservatory for further musical studies, but his father could not afford to send him. Years later a profile in The Musical Times considered that his failure to get to Leipzig was fortunate for Elgar's musical development: "Thus the budding composer escaped the dogmatism of the schools."^[5] However, it was a disappointment to Elgar that on leaving school in 1872 he went not to Leipzig but to the office of a local solicitor as a clerk. He did not find an office career congenial, and for fulfilment he turned not only to music but to literature, becoming a voracious reader.^{[n 5]} Around this time, he made his first public appearances as a violinist and organist.^[13]

After a few months, Elgar left the solicitor to embark on a musical career, giving piano and violin lessons and working occasionally in his father's shop.^[1] He was an active member of the Worcester Glee Club, along with his father, and he accompanied singers, played the violin, composed and arranged works, and conducted for the first time. Pollitzer believed that, as a violinist, Elgar had the potential to be one of the leading soloists in the country,^[14] but Elgar himself, having heard leading virtuosi at London concerts, felt his own violin playing lacked a full enough tone, and he abandoned his ambitions to be a soloist.^[1] At twenty-two he took up the post of conductor of the attendants' band at the Worcester and County Lunatic Asylum in Powick, three miles (5 km) from Worcester.^[5] The band consisted of: piccolo, flute, clarinet, two cornets, euphonium, three or four first and a similar number of second violins, occasional viola, cello, double bass and piano.^[15] Elgar coached the players and wrote and arranged their music, including quadrilles and polkas, for the unusual combination of instruments. The Musical Times wrote, "This practical experience proved to be of the greatest value to the young musician. ... He acquired a practical knowledge of the capabilities of these different instruments. ... He thereby got to know intimately the tone colour, the ins and outs of these and many other instruments."^[5] He held the post for five years, from 1879, travelling to Powick once a week.^[1] Another post he held in his early days was professor of the violin at the Worcester College for the Blind Sons of Gentlemen.^[5]

Although rather solitary and introspective by nature, Elgar thrived in Worcester's musical circles.^[2] He played in the violins at the Worcester and Birmingham Festivals, and one great experience was to play Dvořák's Symphony No. 6 and Stabat Mater under the composer's baton.^[16] Elgar regularly played the bassoon in a wind quintet, alongside his brother Frank, an oboist (and conductor who ran his own wind band).^[5] Elgar arranged numerous pieces by Mozart, Beethoven, Haydn, and others for the quintet, honing his arranging and compositional skills.^[5]