Our committee members are introduced below. For contact details please see the Contact page.
CHAIRMAN – Geoffrey Bridge
Geoffrey Bridge was born in Accrington, Lancashire, the son of professional musicians.
After a period of medical training at St Andrew’s University he studied the oboe at the Royal College of Music with Peter Graeme, continuing with Léon Goossens, Jock Sutcliffe, later taking classes with Heinz Holliger and Maurice Bourgue. He studied conducting with Sir Adrian Boult. Following his professional recital début in the Manchester Midday Concert series of 1962, Geoffrey became a solo artist for the Arts Council of Great Britain. He has broadcast solo and chamber music recitals on BBC radio and made solo appearances on both independent television and radio.
Geoffrey has worked as a freelance player with many orchestras, including the BBC Welsh Orchestra, BBC Symphony Orchestra and Southern Pro Musica, and has given recitals throughout the UK. He is principal oboe with the Aberdeen Sinfonietta, The City of Perth Sinfonia, the Heisenberg Ensemble, and for the Britten Chamber Opera Series for Byre Opera in St Andrews and on tour.
Teaching has always been an integral part of his work and after teaching in Aberdeenshire in the sixties he moved to England, became Head of Woodwind Teaching for Hampshire County Council and eventually Deputy Head of the Hampshire Music Service. Before returning to Scotland in September 2003 he taught the oboe at Winchester College. He continues to play professionally, conduct and coach at Summer Schools. Presently he is Director of the annual Winchester Summer Music course.
SECRETARY – Paul Hubbard
“I came late to the double-reed family, having only taken up the bassoon in my late 40s. As a child I learnt the violin and piano, but never felt secure with either of these, and eventually discovered a passion for the recorder and for music of the baroque period.
“I studied music at Cambridge where I seized the opportunity to perform with some talented fellow students. Needing a steady income I then joined the civil service, and it was only when my children started to grow up that my thoughts turned to a different sound and a wider repertoire. It had to be another wind instrument; I had always liked the sound of the bassoon, and the notion of playing a less common instrument — which also offered a chance to experience orchestral texture from the inside — was appealing. Learning a new and rather difficult instrument, with limited time in mid-life to practise, has been a challenge and I owe a considerable debt to two patient and supportive teachers! I now play mostly chamber music in various combinations, especially French music of the last century.
“Along the way I have benefitted from attending Society events and enjoyed reading Double Reed News. As incoming Secretary I am keen to help to maintain and develop the Society as a strong and relevant body with something to offer to all double-reed players. ”
TREASURER – Stephen Fuller
“Writing this I realise that the bassoon has been an important part of my life for over 50 years. I began with lessons at secondary school and went on to study at music college and while music did not become my career (I had what musicians’ sometimes I think wrongly refer to as “a proper job”), it has provided me with some of the most memorable and pleasurable experiences and friendships of my life. I was fortunate from early days with the bassoon to have opportunities to play in orchestras and chamber groups, to perform in innumerable concerts in wonderful, sometimes famous, and occasionally bizarre venues. I’ve also been privileged on a number of occasions to perform concertos and concertante works. Throughout I’ve been fortunate to have fascinating and inspiring teachers and colleagues.
“I joined BDRS at its inception and when I stopped working joined the committee. As newly-elected Treasurer I hope to help the society develop and thrive so it can continue to help, encourage, link, and acclaim oboists and bassoonists in the UK and with the wider double reed community.”
MEMBERSHIP SECRETARY – Donal Flynn
“I came to the oboe having tried, at various stages, the piano, violin, tuba, tenor horn, French horn, and finally guitar. My dream about the oboe, as a teenager, was inspired by a Trinity College oboe student coming to play wonderfully in our local orchestra who always wore a suit, which struck me as odd even then!
“I have been with the oboe for about thirty years now and play in a North London orchestra, as well as chamber groups with friends, and am a member of the Oxford and Cambridge Music Club, taking the ATCL Trinity Diploma a few years ago. I have recently started to ‘translate’ pieces for wind groups, sometimes including piano, and quite enjoy the resulting struggle with Sibelius!
“I was secretary and chair of a wind orchestra for many years and feel confident that this experience can serve me well with the BDRS. I am very interested in understanding members’ wishes for the future of our Society and in looking at ways to expand our membership. Commissioning articles to appear in DRN, particularly for the amateur oboist, is also one of my aims.”
EVENTS ORGANISER – Laurence Perkins
“It has been one of my main life ambitions to put the bassoon more firmly on the musical map than it has been up to now – there are still many people out there who have never heard of the instrument! My solo recordings for the Hyperion label have been a huge help in this respect – they range from concertos by Mozart and Weber (which received a five-star rating in the BBC Music Magazine and a top recommendation on BBC Radio 3’s Record Review programme) to lighter solos with the New London Orchestra, and a CD with the Royal Scottish National Orchestra which reached No.4 in the UK Classical Charts in August 2018. My latest recording, Voyage of a Sea-god, is a two-CD Hyperion project featuring bassoon music through the 20th century, including seven world première recordings, to be released in March 2021. Live performances on BBC Radio 3 and Classic FM reach a very wide audience, and my educational work has included major national and international projects promoting the bassoon to young musicians through live events, videos, and social media.”
EDITOR, DOUBLE REED NEWS – Clive Fairbairn
“When editing the BDRS magazine I often conjure the wry smile on the face of my English teacher, expending much red ink on my latest essay – he was only too aware that most of my time was dedicated to one or other of the many aspects of music-making that absorbed me then, as they do now. He would doubtless have entertained little idea that I might one day be wielding a red pen of my own.
“The Royal Academy of Music was curiously short of bassoon players the year they let me in, ensuring this late-starter had to catch up extremely fast. But already I had been bitten by the conducting bug. I now see another wry face, that of my piano professor, Alan Richardson; nevertheless his wife, Janet Craxton, proved a great help as co-conspirator when, some years later, I formed the New Mozart Orchestra, and she became its Principal Oboe.
“Although most of my career has been driven by orchestral conducting — including the LSO and LPO — promoting music education has always featured deeply, whether as lecturer, examiner, teacher, or youth orchestra conductor.
“I have held the editorship of DRN continuously since 1996 and produced around 80 editions.”
ADVERTISING MANAGER – Alison Wathey
“I began learning the bassoon aged twelve, being taught at school in Plymouth by visiting Royal Marine bassoonists. I soon joined Plymouth Youth Orchestra, through which I became a pupil of Kerry Camden at Exeter University Music Department, up until I left school. I then read for a BA in Mathematics and Music, followed by an MSc in Operational Research at the University of Birmingham. While an undergraduate I also studied at the Birmingham School of Music with David Robinson and Andrew Barnell.
“Since 1984 I have lived in the Portsmouth area where, for several years, I worked as a software and systems engineer on naval computer systems, initally for Ferranti Computer Systems Limited and finally for BAE Systems. From 1993 to 1999 I resumed my bassoon studies by becoming a part-time student at the Guildhall School of Music & Drama with Ian Cuthill, alongside my full-time job.
“Since leaving the defence industry I have gained an LRSM in bassoon performance and am currently a self-employed bassoon- and contra-player and private teacher. I play regularly with the Havant Symphony and Chamber Orchestras, the City of Southampton Orchestra, and with professional chamber orchestra Southern Pro Musica. I also freelance for other orchestras and societies across the south.”
WEBMASTER & SOCIAL MEDIA MANAGER – Louisa Denby
“I’ve been a member of the BDRS for around fifteen years. I read Music at Selwyn College, Cambridge, and went on to a Masters in Conducting, before undertaking a degree in Theology & Religious Studies to enable me to pursue a PhD in Music and Theology. My research has now strayed into evolutionary biology and cognitive psychology; I teach and lecture at the University of Cambridge in these areas as well as the practical musicianship side of things, and am occasionally persuaded to teach Jazz and improvisation at Cambridge and the GSMD. Outside of academia I am CEO & Artistic Director of the National Youth Wind Orchestra of Great Britain, alongside my work as a conductor and organist in the UK and abroad, as well as bassoon-playing (of course!). When not making music of one form or another I enjoy boxing, swimming, and long-distance cycling, and take great delight in learning new languages.”
COMMITTEE MEMBER – Sarah Francis
“I have worked with the BDRS for many years, initially as Chairman and subsequently as Committee member and events organiser.
“My career has centred on the Royal College of Music, as a Foundation Scholar, prizewinner, professor in both Senior and Junior Departments, and Fellow. As performer, my first post was as principal oboe in the former BBC Welsh Orchestra, and I continued as a freelance orchestral player while bringing up my family.
“I concentrated increasingly on solo and chamber music, both with the London Harpsichord Ensemble and with groups such as the Allegri, Alberni and Medici String Quartets and the Cummings and Tagore String Trios. Pianists I worked with include Peter Dickinson and Michael Dussek. Benjamin Britten invited me to play his Metamorphoses (which I have recorded three times) at Aldeburgh, and composers who wrote works for me include Gordon Crosse, Stephen Dodgson, Anthony Payne and Phyllis Tate. I played Crosse’s Ariadne at the Proms and gave the long-delayed première of the Howells oboe sonata at Cheltenham and the European première of Corigliano’s Oboe Concerto on BBC Radio. I also performed Lutoslawski’s Concerto for Oboe and Harp under his direction at Dartington.
“My recordings include the complete Albinoni, Handel, and Telemann oboe concertos, the Krommer and Mozart concertos, Rutland Boughton’s concerto, and Crosse’s Ariadne.”