Following the release of Black Dyke's new CD, 'Arabian Nights', Neil Brownless talks to Stephen Roberts, the featured composer on the disc.

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'Arabian Nights — The Music of Stephen Roberts' is now available from World of Brass: http://bit.ly/1S3MKXv

It is also available for download: http://bit.ly/1mZJorx

Neil Brownless:When did you start composing?

Stephen Roberts: I think I first started when I was about nine or ten. My music teacher was Harrison Birtwistle and he taught me the trumpet. We had no printed music to start with (other than a book of bugle calls), so he used to write me short pieces to play.

I think watching him inspired me to do the same and I used to write for my school colleagues and we would play the pieces at school concerts. I can't remember what they were, though.

NB: Why did you decide to start composing?

SR: I actually started composing professionally quite late.

My first career was as a French horn player and after holding a few jobs I decided I wanted to write as well as play. I have always felt a compulsion to write music. Both my parents were artists, so maybe there is something in my genes.

I went back to university to study and then won a few competitions, which encouraged me to continue. I had always done a lot of arranging, either for commercial sessions or ensembles and bands. The jump to composing was largely a matter of self-confidence. I had always been interested in modern music and used to play in contemporary ensembles.

I have always worn two hats, I suppose, one commercial and one 'avant-garde'. It would be true to say that most of my music for bands has leant more to the commercial side, whereas for orchestra and chamber music I have worn my other hat.

NB: When you were asked to compose Arabian Nights and Reflections on Swan Lake for the British Open why did you choose to focus on the music of the Russian greats?

SR: These two pieces were commissions from Karyn and Martin Mortimer. They had an idea of what they wanted and I did my best to fulfil their brief.

They chose the composers and it was my job to craft test pieces that didn't stray too far away from the original, but had a life of their own, if I can put it that way. I was very conscious of the function of these pieces.

They had to be testing, but musically rewarding and attractive to the audience.

NB: The new CD of your music, 'Arabian Nights', recorded by Black Dyke Band, is now available, have you enjoyed working with the band?

SR: They are a delight to work with. They are so friendly and responsive, but at the same time really professional, adaptable and musical in their approach.

The band is overflowing with talent and I believe Nick has moulded a genuine sense of camaraderie, which the players relish. This comes over in the way they play too.

NB: Two of your solos are featured on this disc, The Lark in the Clear Air and The Water is Wide, were these written for specific players?

SR: Katrina Marzella asked me to arrange 'The Lark in the Clear Air' for her. I originally did it for flugel horn for the Yeovil Entertainment contest and I was then asked to adapt it for tenor horn for Brass in Concert. Katrina heard it there and liked it, so I reworked it once more.

'The Water Is Wide' was commissioned by Pat Stuckemeyer and I thought it would suit Gary Curtin.

Both Katrina and Gary play these wonderfully on the disc — they have such phenomenal techniques, but above all such lyrical musicianship.

The band is overflowing with talent and I believe Nick has moulded a genuine sense of camaraderie, which the players relish. This comes over in the way they play tooStephen Roberts

NB: Which of your compositions are you most proud of?

SR: That's a tricky one. I usually respond to questions about favourite this or that by saying that the piece I am currently working on is the one. I guess the answer is that I always want to write something better and that is what compels me to write more.

I enjoy the process, even though it is hard work, but once it is finished I am already thinking of the next piece. In a sense, once a piece is finished it is no longer your own, but belongs to others, the performers. Forgive me for dodging this one!

NB: Are there any of your pieces that you would go back and write differently if you had the opportunity?

SR: I occasionally revisit pieces and make changes. In the past I have often written music very quickly and now I have more time I can see how I could have gone this way or that.

But life is too short to dwell on the past, so I prefer to just start something new.

NB: Who are your musical idols?

SR: My musical idols are Mozart, Berg, Beethoven, Guillaume de Machaut, Mahler, Stravinsky, Webern, Josquin de Prez, J. S. Bach, Richard Strauss, Palestrina, Jimi Hendrix and Boulez — among many others!

I like music of all genres as long as it is of good quality and, like many composers, am always listening out for something interesting. If I had to narrow it down to one, I would say Mozart. He seems to encapsulate the human spirit in the most beautiful ways imaginable.

NB: What are your next projects?

SR: I am conducting the première of my 'Sonatina for Bras's in March, with the Birmingham Symphonic Brass. That is a ten-piece ensemble which I direct, based at the University of Birmingham.

I am just engaged on some pieces for an orchestra in the USA and I am trying to find the time to write a larger scale serious piece for brass band, which I hope to finish sometime this year.