| Hello again and sorry about the delay in replying.
I have been considering how to respond to this question but the more I thought about it, the more questions I raised about all my teachers and indeed my own teaching.
What did Maurice teach me or, more importantly, what did I learn from him? I realised that what a teacher feels he is passing on is not necessarily the same as what the student takes away. What did I gain from each of my teachers and what do my own students learn from their time with me?
When I am teaching I am sharing pearls of wisdom and some deep felt concepts about playing that have come from a myriad of sources: my trumpet teachers, books I have read, comments and observations from my colleagues and things I have picked up without realising it from 20 years of professional experience.
I wondered if, by thinking back to the lessons I have taken over the years I might be able to gain some insights, an overview of where my playing is today and where I might want to take it in the future. At least it ought to bring some clarity and focus to my teaching. Perhaps in doing this I might be reminded of some advice or instruction that I had either forgotten or neglected along the way. Also I thought that taking the time to acknowledge the sources of the collage of influences that inform my trumpet playing would be a start at expressing my thanks for all the help I have received. I feel that I owe such a debt of gratitude to all my mentors and those who have passed their knowledge on to me that it is my duty to do the same and share what I know with others.
As you can see, this little question you put has been very thought provoking indeed and I have a feeling that this might eventually lead to me writing some kind of book about my musical journey. That is a statement which just a few months ago I wouldn’t have dreamed of making and is said in all humility. But I think I will just have to find the courage to put pen to paper and do it anyway in spite of my fears. ‘We only get to keep what we have by giving it away’.
I started by listing my teachers and asking myself the question, “How would I sum up the essence of what I learned from X in one sentence?” I will post the answers to those questions in another forum but returning to my lessons with Maurice, this is what I wrote.
K.I.S.S. - Keep It Simple Stupid.
I don’t think he would mind me saying that Maurice seemed to be a somewhat reluctant teacher. At that time (early 1980s) he was extremely busy with the LSO and in the recording studios. It was an unbelievable thrill for me just to be sitting in the same room with the man who had played 1st trumpet on the sound tracks of Star Wars, Indiana Jones, Superman and the solo part on theme to Dynasty. At the same time I was a very nervous, socially inept, hormonally challenged, poverty stricken teenager with a tendency to over complicate everything to do with playing the trumpet. I would bombard Maurice with dozens of vague and intangible questions about every phrase and all aspects of style and technique. At the same time, to be honest, I was hardly putting in the hours in the practice room - in my defence I had only recently discovered beer, curry and girls (not a winning combination by the way).
After about 18 months Maurice decided to quit teaching for personal reasons. I think he felt that he couldn’t justify the time commitment involved at the Guildhall when he was hardly ever at home anyway.
To be honest, Maurice’s time was in such short supply that lessons were few and far between. They would often be cancelled or else take place in the relaxed atmosphere of the St Pauls pub. Maurice would hold court over an informal gathering of his Guildhall students and assorted admiring friends - a kind of analogue version of a TM forum - and share his experience (and a lot of Guiness) with us.
Maurice is possessed of a calm quiet confidence born out of his immense natural talent. He was often perplexed and bewildered by my confusion and seemingly never ending hang-ups. I don’t think he could see what my problems were, not that he didn’t have the answers. Maurice has a massive musical intelligence, an instinct for the most simple solution and seemingly effortless technique. Recently I discussed Maurice’s teaching with another ex-pupil of his and we agreed that we had taken a common approach to gleaning information from him. When I was alone in the practice studio I would ask if he wouldn’t mind playing through the etude, orchestral excerpt or solo passage in question, to show me his interpretation. He had a way of making things so obvious and clear, getting right to the heart of the music and every time I would find myself saying, “Of course! That’s how it should sound”. It was like sitting listening to the oracle - pure gospel.
I don’t know if you are familiar with the advertising slogan for Ronseal Quick Drying Varnish - “Does exactly what it says on the tin!” but that could be adapted to express what Maurice conveyed to me by his playing. Do exactly what it says on the page. The answers are all there in the music in front of you.
Maurice had a way of making everything he played sound like the best melody you had ever heard. He encouraged me to make things easy for myself. Never try to play too loud, to make too big a sound, to play too long phrases. Breath where necessary, let the musical line dictate the dynamics, articulate and phrase as if singing, double tongue whenever possible, play with grace and attention to detail.
In those days, whilst I always left the lessons elated and inspired I had a problem in reconciling my own performance with the sound and style coming from his trumpet. I didn’t feel that I was playing the same instrument or even on the same planet. However, as I have matured and developed as a player, both technically and emotionally I find I am able to draw on the memories of those lessons. If I am puzzled or challenged by a musical situation I will sometimes ask myself, “How would this sound if Maurice was playing it?” - and then I remember all the times he played for me in the practice room and I find the confidence to breath deeply and let the music flow.
I was told recently by a member of the LSO section that the main reason he had stayed in the job for so long was to sit next to and experience the thrill of hearing Maurice. My own musical path and his do not cross that often but, although Maurice has the grace to treat me as an equal in the recording studio, I still sit there with ears wide open soaking it all in just like before.
In the year 2000 I was privileged to be invited by Rod Franks to take part in a gala concert given by the LSO called Tribute to a Legend, which was to mark Maurice’s official retirement from the orchestra. I played in the LSO + guests Big Band, led by Derek Watkins - including a featured duet with Tony Fisher. It was one very special night which I will never forget - imagine playing in front of your hero to an audience of over 2000 mainly trumpet players! Derek was awesome that night but my abiding memory is of leading the section, sitting next to Maurice who was grinning from ear to ear. Of course I am pleased to say that Maurice is far from retired - he is probably as busy as ever and long may it remain so.
Finally, I know that I am not alone amongst his ex-students in drawing inspiration from Mr Murphy at times of need. When I asked the principal of one of London's leading orchestras how they dealt with nerves at the beginning of Mahler 5, this is the reply I got. “I just close my eyes, think of Maurice and press like f***!”
I hope that was of some interest - if anyone's still reading. I must go and do some practice now.
All the best. Noel.
__________________ Noel Langley - Eclipse Artist noel@eclipsetrumpets.com
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