An American trumpet player's impressions of european brass performances

Europe has always held a special fascination for American musicians. The goal of «studying in Europe» is still a significant item in a performer’s long-range objectives. The professional circles of American music making thrive on the prestige of employing foreign conductors and, to a lesser degree, performers. With this magical aura leading me on, I approached my 8-month sabbatical leave in Europe with a great deal of anticipation.

After slowly getting the family housed and settled, I set out to see if the brass world of Europe was really such a «Utopia», and if so, what makes it so much more so than America.

There were three areas that I most wanted to observe: brass music in the church, brass music for the amateur, and finally the world of the professional brass performer. Each area has its counterpart in America. My problem now was to make as objective a comparison concerning the success or failure of each.

First, brass music in the church. At the outset I will have to admit that I was a little disappointed. Not in the concept embodying church music, but in the state of the performers’ abilities within the group. In all fairness I should also say that I did hear groups on both extremes of the performance spectrum. The performance level of the groups in Stuttgart and Worms is indeed exceptionally good. However, the level of most small church groups was very poor. This again was very surprising because of the high esteem that is afforded the Posaunenchor in America.