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An Interview with James Holland

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An Interview with James Holland An Interview with James Holland BY ANDREW P. SIMCO AMES HOLLAND WAS PRINCIPAL PER- There was an amateur orchestra at have had a magnificent sound! cussionist of the London Symphony home, and the conductor lived just Holland: That’s right. I mean, Jimmy JOrchestra from 1962 until 1971, be- down the road from us. Absolutely on Bradshaw’s sound on all those fore moving to the same position with the the spur of the moment one afternoon, I Philharmonia recordings in the 1950s BBC Symphony Orchestra, a position saw his wife on the street and I asked was absolutely fabulous, as was Peter from which he has recently retired. In ad- her if there was anyone there who could Allen’s sound. dition, he has been for many years per- teach me. That was how I started. cussionist with the London Sinfonietta, Simco: You stated in your clinic yesterday where he is still engaged, and has Simco: You mentioned in your clinic that your original intention was not to worked with such eminent composers as that when you started, there were only be a professional musician, but to be a Karlheinz Stockhausen, Pierre Boulez, about eighteen percussion instru- teacher. Oliver Knussen, Krystof Penderecki and ments listed in the Grove’s Dictionary Holland: Right, but I very quickly real- Hans Werner Henze, just to name a few. of Music. ized that teaching wasn’t for me. I He is the author of the book Percussion, Holland: Sixteen, and that was the Ox- was doing more and more playing and, published by Kahn and Averill as part of ford Dictionary of Music! of course, one had to do National Ser- the Menuhin Music Guide Series. vice, so I took the audition for the The Scandinavian Percussion Sympo- Simco: You also mentioned your first pro- Central Band in the RAF, and ended sium was held at the Norwegian State fessional teacher, who was timpanist of up there for about three years, which Music Academy in Oslo, November 10– the London Philharmonic at the time. meant that I could still take lessons, 12, 1995. Holland gave an informative Holland: That was Peter Allen, and he so I used to do my xylophone solos! and interesting two-hour presentation on played on four hand-tuned drums. His Looking back, the RAF band was all Saturday, November 11, and on the fol- skill and facility over those four hand- good experience. But all these years lowing afternoon, the two of us sat down tuned drums always had my utmost later, I can remember going down to and taped the following interview. admiration. I can remember later on, the audition, and being terribly disap- having to take over an Elgar sym- pointed by the instruments. I expected Andrew Simco: Jim, you might want to phony, it took all my time to read the them to be new and gleaming, and it start off with telling us a little bit piece and play it properly on pedal- wasn’t at all like that. about your background. tuned timpani. I remember thinking, James Holland: I started percussion “But Peter played this on four hand- Simco: You mentioned the instruments in when I was about thirteen, I suppose. I tuned timpani!” I was amazed by this, the London Philharmonic during the was very friendly with a boy whose fa- but then again, all the London players period you studied with Peter Allen. He ther had a dance band in the South at the time used hand-tuned drums. showed you what they had, and you End. They used to do the odd radio Jimmy Bradshaw, who was the timpa- stated that you were horrified to dis- show, and there was always a trumpet nist of the Philharmonia and an in- cover what they actually used. lying about, and I could never even get credible player, had a set of pre-war Holland: I just could not believe my eyes! a “raspberry” out of the thing. When Leedy pedal timpani, but he de-acti- They had four hand-tuned timpani of we were about thirteen, we joined the vated the pedals by strapping them the Parsons-type, a single-headed bass Army cadets at school, so we thought into place, and he used them as hand- drum of about forty inches in diameter we’d have a go for the band. tuned drums! and the pair of cymbals was a fifteen- inch and a sixteen-inch—not your Simco: You come from London? Simco: As I understand it, the players in matched pair of today. There were two Holland: That’s right. I thought it was no Britain at the time felt that the me- deep snare drums, which only sat on good me taking up the bugle, so I took chanics of the pedal timpani tended to trestles, so they could only be played at the drum. Then I think I was a little dampen the sound of the instrument. an angle of forty-five degrees and there jealous of my friend, because he was They would rather have hand-tuned was no adjustment for height, a tam- learning violin, and although I was drums with a full, bell-like tone qual- bourine with half the jingles missing, a learning the piano and was much fur- ity, rather than pedal-tuned drums three-octave xylophone, and a glocken- ther on, he was in the orchestra! I with slightly less tone quality. Having spiel with all raised screws, so if you wanted to be in the orchestra, so I had a chance to look at some of the in- weren’t totally accurate, you’d wind up watched the lad play timps for two struments of that period, it seems as if hitting the screws instead of the bars. weeks, and then he left and went on to the players of that period preferred a There were some triangles and a tam university. At the time I didn’t know hand-tuned instrument with a very tam maybe twenty-six inches in diam- one end of the stick from the other. deep kettle. If tuned properly, they must eter, which always reminded me of PERCUSSIVE NOTES 68 APRIL 1997 turning up with just one bass drum, esting. Obviously a very good band.” and as it turned out, the single-headed They reached the last movement, and bass drum, slightly damped, was just there were proper bells, but I didn’t what they wanted. really like the sound of them. Then it got to the bass drum, and I remember Simco: I imagine that it would work very thinking, “Oh! I don’t like that! It well in the Verdi Requiem as well. sounds like an overgrown tom-tom.” I Holland: Yes, sometimes. Perhaps in the thought “Which orchestra is this?” It solo in the “Dies Irae.” However, there turned out to be the Berlin Philhar- are even larger single-headed bass monic and Karajan! drums in London that would be more suited to that particular piece. In the Simco: I guess that it must have been re- Rite of Spring I would use the normal, corded a bit on the “dry” side. or double-headed bass drum, and the Holland: It’s always a bit of an educa- single-headed bass drum flat, and tion when you’re listening to some- slightly muffled for the end of Part One. thing, and you have no idea who is Speaking of the Rite of Spring, we actually playing! kicking a dustbin lid. It was an abso- did the 50th anniversary performance lutely appalling sound! of the Rite of Spring under Pierre Simco: To get back to your studies, once Monteux, and we were rehearsing at you began to study with Peter Allen, Simco: In terms of instrument quality, when the Royal Academy of Music. This was you changed the focus of your educa- did things begin to change for the better? a three-hour rehearsal, and Monteux, tion from teaching to performance. Was Holland: In the late 1950s there was a who was about eighty-five or eighty-six this at the Royal Academy? very good recording firm that began to at the time, said to the orchestra, “We Holland: No, Trinity College. I was only make records in London. I believe it play now the whole piece.” A voice with Peter Allen for a short time there, was the Everest label. Then, of course, called out from the back of the hall, before I left, because as I said yester- as some of our players went abroad to “Oh no you won’t,” and up ran his wife, day, it took them all of fifteen months shop, we began to get Avedis Zildjian who proceeded in no uncertain terms to find a suitable instructor. I had a cymbals and Paiste tam tams. Compos- to tell him off. He sort of waved her few kit (drumset) lessons with Max ers and conductors were traveling away, and then turned ’round to the or- Abrams at the same time, although much more over the world, and they chestra and said, “Part Two.” these were “under the table,” so to would see these ethnic instruments. speak. If Peter Allen found out I was The composers would write for them, Simco: When did you switch over to using studying kit, I would have been thrown and of course the film world and pop the double-headed bass drum? out on my ear! world all contributed to the influx of Holland: We started getting the double- Also, I learned a tremendous new instruments.
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