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moment when its pioneering pop music degree was the first of its kind in the UK. “Tere were lots of toys to play
with,” he laughs. And yes, he’s very much a fan of
pop. “I think it’s essential musicians are
open-minded,” Dave says. “You’ve got to listen to things you might not naturally gravitate towards.” It’s a perspective shaped by dec- ades in the industry - and one that feels especially relevant now. Today’s performers need to be
versatile, Dave believes, comfortable moving between classical repertoire, big band and jazz settings, studio work and collaborations with contemporary artists. Many of his former students are making full use of that openness. One recent highlight? Watch-
ing RAYE perform with a full or- chestra – including former students - at the Royal Albert Hall. “Orchestras are still current – so
many contemporary popular artists aspire to working with an orches- tral backdrop and there is so much contemporary orchestral music being created,” he said. “It’s still an instrument of choice through its sheer variety and adaptability.” Eventually, a part-time role
at Chetham’s School of Music - helping students with their practice routines - grew into a full- time career. Over time, Dave became Head
of Brass and Percussion, and later Assistant Principal, working with around 320 students, all selected purely on musical ability through the government-backed Music and Dance Scheme. “It’s an extraordinary and inspir-
ing place,” he says. “Every student is there because of their talent.” For him, the real joy lay in
coaching, conducting and working closely with young musicians as they developed. “We had some phenomenal brass
groups,” he recalls. “Almost profes- sional standard. And seeing where
those students have gone - principal players in major orchestras, solo careers - it’s incredibly rewarding.” Tere were also unforgettable
performances: collaborations with international schools, concerts at major venues like the Bridgewater Hall and Royal Festival Hall, and one particularly monumental occasion – a BBC Radio 3 broadcast of Mahler’s Eighth Symphony. “It’s nicknamed the ‘Symphony of
a Tousand’,” he says. “Te scale of it was just extraordinary.” During his time at the school
Dave coached and conducted hundreds of performances with orchestras, bands and a wide range of ensembles at venues around the UK and abroad. He also worked in similar roles with national groups including the National Youth Chamber Orchestra, National Youth Wind Orchestra and the National Youth Concert Band – who he was due last month to have conducted at the Birmingham Conservatoire and, coincidentally, Chetham’s.
Rosemary to renovate their home, walk along the Avon valley and the nearby scenic coast path. “It’s a great place to be,” he says. Music though, has a way of find-
ing its way back in. Dave now plays with the Torbay Orchestra, returns regularly to Chetham’s to hear per- formances throughout the year, and, of course, conducts the Dartmouth Orchestra. His involvement came about
almost by chance. “I was playing some trumpet
solos for the [Dartmouth-based] Lyric Chamber Orchestra just before Christmas,” he explains. “And I heard the Dartmouth Orchestra was looking for a new conductor.” Aſter a little thought - and some
hesitation about the time commit- ment - he decided to go for it. “I do tend to be away quite a bit
so I was a hesitant about taking it on full time but I’m really pleased I did,” he said. “Laura Parfit is the orchestra’s assistant director and conductor and she takes over if I’m away, which I’m very grateful for.” From the outset, Dave has
been struck by the group’s spirit. “Tey’re incredibly appreciative and responsive,” he says. “Tere’s a real enthusiasm and a great collaborative atmosphere.” “We are doing some really
“As a player, you get this thing, this slight obsession, a
nerdiness where you want to master an instrument as much as you possibly can. And it
always escapes you, to a degree.” Aſter nearly 40 years, Dave
stepped back from full-time work - but not from music. “You’re bound to miss Chets,” he
admits. Te move back to the South Hams
- this time to Bigbury - offered a new rhythm. Time for Dave and his wife
detailed work whilst enjoying ourselves - and seeing results very quickly.” At the heart of Dave’s approach
is a simple idea: orchestral players should think more like chamber musicians. In smaller ensembles, every voice matters. Musicians listen closely, respond instinctively, and take real ownership of the music. Drawing on his experience
with the Northern Chamber Orchestra and coaching Te National Youth Chamber Orchestra – both of which worked without a conductor - Dave encourages players to engage more deeply and rely on their ears as much as his direction. “Not that I’m trying to make
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