Michael Healy

Duncan had the opportunity to go to Cambridge University, but decided to return to the BBC Radio where he was in his element as a sound and balance engineer working with many light orchestras. His passion for music not only embraces the technique of the composer, but also the means by which musical sounds are carried via radio or recordings to today’s listeners. It is Duncan’s belief that a good composer must have an awareness of the physics of music and the geometry of composition.

His post-war years at the BBC allowed him to experiment with microphone placings, often to the annoyance of producers, but the musicians appreciated that he was merely trying to ensure that their music was heard to the best advantage, and composer-conductors willingly answered his frequent questions on aspects of scoring. Together with studying the scores of Rimsky- Korsakov, Duncan learned at first hand what certain combinations of instruments could or could not successfully achieve; if a certain passage of music sounded particularly effective in the sound control room, he would dash into the studio to study the relevant manuscripts - perfect self tuition.

Trevor Duncan credits the late Ray Martin for giving him the necessary encouragement to explore his talent in orchestration. For some while he had been balancing Martin’s Melody-From-The-Sky programmes, and he eventually plucked up courage to show him the piano score of Vision in Velvet. Seeing a favourable reaction from the maestro, Duncan asked that Martin might consider orchestrating it for a subsequent broadcast performance with his orchestra. The refusal was instant: "No, you do it, it’s all there already in your piano part." A few weeks later a complete score was duly delivered to Ray Martin, and for the first time Duncan heard one of his works performed by a large orchestra. Martin suggested the title Morning Star for the broadcast, and this was also to be the first occasion that ‘Trevor Duncan’ became a recognised composer.