Multi-instrumentalist Paul Saunders talks about "Discover The Sound of the Future"
On the 19th and 20th February multi-instrumentalists Paul Saunders and Chris Hatton are holding a workshop for woodwind students from the University of Chichester Conservatoire at Graylingwell Chapel, sponsored by the Chichester Music Society. This culminates with a showcase performance on 20 February from 4.30 to 5.30pm.
Paul Saunders is in conversation with Simon O'Hea of Music in Portsmouth.
What are you looking forward to when coming to Chichester, and what might people expect?
This is the second time we've put on this event, and it's aimed primarily at woodwind students who are playing flute, clarinet and saxophone.
The reason for putting them on harks back to my own graduation from the Royal College of Music (back in the Bronze Age) where I remember that there was only one career path represented. Namely, that of being a classical musician with the focus being on in an orchestra.
Times have changed and the simple fact is there is just not that much work around anymore. One woodwind job in an orchestra in the UK is advertised approximately every two years and there are too many people doing it. According to the Musicians' Union, the only area of growth in the music industry now is musical theatre.
Woodwind players are utilised extensively in this genre, but they are used not so much as a specialist on one instrument, but expected to play flute, clarinet and saxophone, sometimes oboe and rarely bassoon.
The demands on players have got increasingly complex in line with orchestrators being used to writing for such players and finally, conservatoires around the country are beginning to recognise this fact.
For example, I've designed a course for the Royal Birmingham Conservatoire where students can study multi- instrumentalism or as it's more commonly known, woodwind doubling.
Against the backdrop of education cuts at Chichester University and beyond, we are offering opportunities for the students to play in small ensembles to develop different styles that they will have to be familiar with if and when they join the profession.
Chichester Music Society is funding the days and thanks go to Meg Hamilton, who administers it, and Holly Cushion, a student who came to me on a consultancy basis via Chichester Uni, where she suggested that I might visit the University to take some professional development classes.
Can you tell me a bit more about the ticketed showcase performance on Friday 20 February?
We don't exactly know how things will develop over the course of the two days of workshops and talks, but there will be a showcase to demo what we have attempted to achieve.
It's not going to be particularly high pressure: for example, the last time we did this, we had a clarinet player playing the flute for the very first time in public!
One of the aims is to give people the experience of doing this very thing, as its extremely nerve wracking.
One may be particularly good at one instrument, but when someone asks you to play another one, then obviously that's quite difficult.
It's great fun having a supportive audience there too, so we all feel the same way and support the poor person having to go through this!
The ultimate aim of the days is to have fun but make people as employable as possible, to overcome any kind of fears they have, and to realise that woodwind doubling although difficult, is possible.
We will work with the students on some rep, some of which we will perform at that concert and due to the varying abilities of the students in various instruments (!), it promised to be an exciting mixture of aural treats!
During this interview I've attempted to explain why people should consider playing more than one instrument but can perhaps sum it up best as follows.
It is all to do with employability. The arts have suffered over the past decade since Brexit. And dare I mention government? There's not been a lot of support from them, but I do think that's changing.
I heard theres been a big grant just announced, £1.5 billion for the arts, (which will go down terribly with the right-wing press, I'm sure).
Whatever one's views, the UK arts industry is on its knees, and I believe that any young person wanting to get into the arts needs to give themselves as much a chance as possible.
Specialising on one instrument is fine, but specialising on doing many instruments in many styles is ALSO fine. If you specialise too much and you're only ever going to play the bassoon, then you are potentially cutting your nose off to spite your face.
About Paul
Paul has performed with many of the country's top orchestras including RPO, RLPO and WNO and studio work includes various cast albums and exam syllabi but career wise, by successfully adding saxophones and flutes to his portfolio, Paul has become one of the most versatile woodwind players in the West End.
West End productions he has performed include Billy Elliot, Guys and Dolls, Les Misérables, The Producers, Mary Poppins, Chitty Chitty Bang Bang, The Full Monty, My Fair Lady, Ghost, Top Hat, Top Hat, Chicago, Young Frankenstein and many more.
Paul's current post is playing the Reed 3 Clarinet, E flat, Bass Clarinet and Soprano Sax on the West End production of Wicked: he is the clarinet chair holder, a post he has held since the show opened in 2006.
As an educator, with several publications to his name from Clifton Edition and Forton Music, Paul has established himself as one of the UK's leading figures in woodwind multi-instrumental studies. He has been the multi-instrumental consultant at the Royal Birmingham Conservatoire for around a decade and is pleased to offer woodwind doubling consultant days to any interested music departments of Universities and Conservatoires.
From woodwind teaching posts to the current demands expected from professional woodwind doublers in the West End, Paul remains keen to be a part of training the next generation and give them the best chance possible of gaining employment.
Alongside regular teaching, Paul is a popular adjudicator at music competitions and Conservatoires.
Charity work includes being a Mental Health First Aider and an award-winning professional mentor for Birmingham University.
Finally, Paul is and experienced Orchestral Manager and continues to offer these services. Previous clients include the London Musical Theatre Orchestra, Refugee Orchestra Project and The Central School of Speech and Drama.
www.paulsaundersclarinet.co.uk
About Chris
Chris Hatton is an award-winning London-based freelance woodwind specialist renowned for his versatility across orchestral, chamber, and theatre settings. A graduate of the Guildhall School of Music & Drama, he is highly regarded for his artistry on clarinet, saxophone, and flute, and maintains a prominent presence in Londons West End, alongside touring engagements throughout the UK, Europe, and the Far East.
Following the recent completion of the UK tour of Chicago, Chris continues to perform extensively throughout the West End and as an orchestral freelancer, while maintaining a strong commitment to education through teaching at conservatoire level and in various independent schools.
Images © Andy Worsfold
Article reproduced by courtesy of Music in Portsmouth
