Elgar Howarth was in many ways a model musician, the conduct of whose career would be worthwhile emulating. A truly brilliant trumpeter and conductor, he devoted a lot of his time to new music, helping a wide range of composers achieve their aims.
He played the first notes in Michael Tippett’s opera King Priam at its premiere in the festival celebrating the opening of Coventry Cathedral in 1962. This was the turning point in the reputation of a composer often treated with disdain by other British conductors and players. Howarth became one of Tippett’s most ardent champions.
Nonetheless, he was in fact quite humble and rejected honours. He believed composers were of front-rank importance and their work should be taken seriously. I worked with him on the creation of Tippett’s Shires Suite and Praeludium for brass, bells and percussion. He aimed for perfection and achieved it, without fuss or showiness.
