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Our Conductor
Sam Newgarth has been an orchestral conductor for forty years, and has toured the world following his profession. He has conducted everything ranging from shows and light orchestras through to symphony orchestras. He has conducted shows on tour in this country, in America, in Italy and in London's West End. Much time was devoted to radio and television, and some of the orchestras that Sam has been involved with are: The New Philharmonic Orchestra (Principal Conductor), The Capetown Radio Orchestra (Guest Conductor) and The Soirée Musicale Ensemble (Principal Conductor).

He is currently Principal Conductor of The Bournemouth Philharmonic Society, which hefounded in 1976 and which has been raising many thousands of pounds for deserving causes, and giving young talented soloists the opportunity to perform concertos with an orchestra.
He studied at The Royal Academy of Music, where his principal instrument was the violin with second study piano and he also took the composition and conductors' courses. In the 1997 New Years Honours Sam was made M.B.E. for services to music and charity.

As well as striving to devise concert programmes to please audiences, Sam is always mindful of giving the players interesting - and at times challenging - music to get their teeth into.

 

Jean Budd, secretary of the Westbourne Orchestra, which was also conducted by Sam for many years, has immortalised his rehearsal techniques in a witty poetic tribute. You can read it if you click here.

Or, if you prefer, just read on --

HOW CAN WE GO WRONG?

Our conductor is full of helpful advice,
"If we all play in time it should sound very nice",
"Try counting" he says, "and watch the beat, -
If we finish together it will be quite a feat.
And when we have trouble in keeping the pace,

"Remember", he says, it isn’t a race", --
"And rather than playing the right note in a rest,
The wrong note in the right place is always the best
And when there's a fast run that makes our eyes pop
"Play the bottom note right and aim for the top,
- What happens between will hopefully be found
By the audience, to be a wonderful sound"

In a difficult part-"We'll play at top speed-
Just start and finish together-please heed -
If we take it fast, it will be all over
Before the fact you can't play it, they discover".
"That's an accelerando-for those who are delaying,
and can't see me or hear what the rest are playing.

When we struggle with a fast tricky bit, he quotes,
"You know your trouble--you're trying to play the notes,
- Play what you like, but watch the stick,
Then go home and practise it --quick ".

When the firsts have a very high note to grope for –
"If they get within an inch of it, it's the best we can hope for,
- Keep on trying, it's up there somewhere, you'll find.
"Turn the page in good time, don't get left behind".

To the seconds, "You have to play well here about,
For you haven't the rest of us to drown you out".
"Now if you must make a mistake, they’ll not be aware,
If you make it as though it's supposed to be there.

To percussion-"Try playing it faster than light,
And you'll probably end up getting it right".
And when the repeat is good and the first time the worst
Pretend you are playing it the second time, first".
"And remember - when the orchestra's finished; stop playing.”

So let’s all take note of what Sam is saying,
Watch and listen for that’s our vision,
To achieve the ultimate precision.
We’ll keep our heads and make practice long,
With advice like this, how can we go wrong?

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