Ed entered the profession as Opera North’s Principal Oboe, in 1982, following success at international competitions in Paris and Geneva. He trained at the Royal Northern College of Music (with Peter Graeme) – and in London (with David Theodore) – and, over the years, has built a reputation as a brilliant teacher himself, with students following him into the profession. Admired throughout the industry, he has performed on occasion as guest principal with the London Symphony, London Philharmonic, and Royal Philharmonic orchestras. His final appearance in the role takes place in late February, alongside Chief Conductor Mark Wigglesworth, pianist Sir Stephen Hough, and actor Walter van Dyk.
Rehearsing alongside Holly Randall (Sub-Principal Oboe/Cor Anglais) at Lighthouse, Poole
You’ve picked a special programme to finish with?
Yes, I have – and it’s worked quite nicely, as these concerts align with both the anniversary of my arrival at the Orchestra and my birthday. It’ll be lovely to conclude my BSO journey performing Brahms Symphony No 3 and the ever-popular Enigma Variations with Mark and I’m especially interested to hear my RNCM fellow alumni Sir Stephen’s new work, I’m looking forward to that.
Do you remember your first day with the Orchestra?
Well, it was a memorable event. I’d performed with Opera North the night before – in Leeds – and then travelled the five-hour journey to the South Coast. We were due to rehearse West Side Story with Kees Bakels at a local school hall in the morning, and, unfortunately, I couldn’t find it and arrived late – kicking stands all over the place as I stumbled into the centre of the orchestra to take my seat! I’ll never forget it – what an entrance!
Socially distanced at Lighthouse Poole (c)Mark Allan
Tell us about your highlights from over the years…
There have been so many, and the international tours were among my favourites. I have lots of happy memories from BSO performances along the East Coast of America for two tours with Andrew Litton and Yakov Kreizberg, and in Spain, Germany, France and Hong Kong. We’ve played in some brilliant venues – with Vienna’s Musikverein, New York’s Carnegie Hall and Amsterdam’s Concertgebouw halls right at the top of the list. One very special tour saw the Orchestra travel to Paris, where we performed Verdi’s Falstaff across a fortnight, that was a memorable trip.
I’ve appeared as soloist with the Orchestra playing concertos by Mozart, Vaughan Williams, Strauss, the Lutoslawski Double with Eluned, the Bach Double with Amyn and joined colleagues to perform the Mozart Sinfonia Concertante for four winds. It’s always nice to step out to the front of the orchestra and feel closer to the audience and suddenly be able to hear yourself play!
We are blessed with a hugely supportive audience of all ages and musical tastes, and it is so rewarding to perform to a full house and share the experience of live music together, there’s very little else that can match that and I shall miss that weekly buzz that performing great works can bring, and particularly my musical family that is the BSO.
I’ve enjoyed the recordings that we’ve made over the years, particularly Tchaikovsky and Walton with Andrew Litton, Vaughan Williams with Kees Bakels, and our various recordings with Richard Hickox. We have worked with some fine conductors and soloists over the years and Brahms’ Violin Concerto with Paavo Berglund and Kyung Wha Chung is one such memory. Mstislav Rostropovich, Paul Tortelier, Leonidas Kavakos, Maxim Vengerov, Hilary Hahn and Lynn Harrel’s visits all add to a long list of great musicians who regularly visited and raised the bar for all of us. Performing at the Grange Festival each summer has also been very special: it’s been a real boost, and I’ve been personally grateful to have those events to look forward to each year. Così fan tutte with Kirill Karabits was a real highlight.
We hear you perform solos week in and week out. Tell us about some of your favourite repertoire from over the years?
We performed Mahler’s Das Lied von der Erde with our then Principal Conductor, Marin Alsop, Sarah Connolly (mezzo), and Paul Nilon (tenor) in 2010 – that was wonderful to play. I’ve also enjoyed Bartók’s The Miraculous Mandarin, Richard Strauss‘ Alpine Symphony and Mahler’s Second Symphony. Exploring American music with Andrew Litton at the keyboard – and discovering new works at the beginning of my tenure was so exciting.
The role of Principal Oboe is a significant one, from tuning the whole orchestra to performing as one of its most prominent voices. What was your journey into the role?
I was encouraged to take part in the competition circuit [ed. the route for the world’s leading soloists and chamber musicians] beyond my conservatoire studies, which meant visiting cities throughout Europe to compete. It was wonderful – hearing and meeting the world’s finest players, with Heinz Holliger and Pierre Pierlôt among them. I was proud to receive Third Prize at the Concours International Competition, in Paris – having competed against 90 players, some of whom were Pierlôt’s students at the Paris Conservatoire: receiving high praise directly from such a famous player and teacher was unforgettable.
I was delighted to achieve the Principal Oboe role at Opera North, early in my career – and I’ve been able to enjoy performing as a chamber musician throughout (and alongside) my orchestral roles. Performing in an opera pit is exciting – there’s nothing quite like the thrill of the curtain going up at the top of the show. I really enjoyed collaborating with my Bournemouth Sinfonietta colleagues back in the 90s, we shared some great moments – a tour to Aberdeen and Perth sticks in my memory. It’s fair to say I’ve been able to experience a broad range of repertoire!
Ed Kay, popular with musicians and audiences alike
Tell us about some of your most significant partnerships with colleagues over the years?
Looking back, I’ve been lucky to share the stage with so many lovely colleagues. When I arrived in the late-80s, most of the wind section had remained in place since Silvestri’s time – it’s extraordinary to think of it, so many stories and traditions could fill a book! I sat for a short while alongside people like Raymond Carpenter (Principal Clarinet), Eric Butt (Principal Bassoon), Laurie Beers (Principal Flute), wonderful people like Norman Hallam (Second Clarinet) and Kevin Banks (Principal Clarinet), who also came from Opera North, arriving on the South Coast a few months later than me. I’m still in touch with Peter Rendle (Sub-Principal Oboe), who retired in 2012 – we still go birdwatching together, it’s a great way to spend time. Birdwatching followed by a trip to the pub, it’s always a lovely day out around the harbour.
What’s next?
I’ll still be doing a lot of teaching. I have a role at Winchester College, and teach pupils at Parkstone Grammar, Bournemouth School for Girls, and local prep schools – and I won’t stop playing, so you may still see me around.
Beyond spending time with my family, I’m looking forward to more birdwatching. Peter Rendle’s recently travelled to some exotic places, and he is keen for me to join him on his next trip to Guatemala perhaps, or Cambodia. We shall see…
Ed relaxing backstage at Meyrick Park (c)Corin Messer
Show your support for Ed in his final performances in the role – at Lighthouse, Poole (26 Feb) and Bristol Beacon (27 Feb). See bsolive.com for details.