Práctica orquestal
49 artículos disponibles en línea
Miembro
Barry Tuckwell
Interview
Between the London Symphony Orchestra, international solo tours and Mozart or Strauss concertos, Barry Tuckwell reflects on sound, risk and musical instinct.
Por Jean-Pierre Mathez
Gratuito
The Newcomer
After 25 years as an undisputed orchestral authority, a German trombonist faces a new generation whose virtuosity unsettles the familiar hierarchy of his section.
Por Jean-Pierre Mathez
Miembro
Brass in the Operas of Berlioz
Berlioz turned a changing brass section into a dramatic force, using horns, trombones, cornets and saxhorns to shape colour, distance, ceremony and fear.
Por Benjamin Perl
Gratuito
Brass Players in Rome
Behind Rome’s musical prestige, RAI brass players describe shrinking salaries, insecure orchestral careers and the compromises required simply to remain musicians.
Por Jean-Pierre Mathez
Miembro
A New Job¹
A professional horn player faces a late chance to change course, as routine, ambition and the unnerving reality of an orchestral audition collide.
Por Jean-Pierre Mathez
Gratuito
Vitaly Bujanowsky
The world's Golden Horn
Called one of the Soviet school’s finest performers by Shostakovich, Vitaliy Buyanovskiy shaped horn playing through performance, teaching and composition.
Por Anatoly Barantsev
Miembro
The Wrong Brass?
Between blind fidelity and reckless modernisation, instrument substitutions force performers to decide when the score’s wording serves—or betrays—the music.
Por Rudolf Lewy
Miembro
An American trumpet player's impressions of european brass performances
An American trumpet player reflects on European brass traditions, comparing education, amateur practice and professional performance across both continents.
Por Harold E. Krueger
Miembro
Individuality and Uniformity in Brass Players
As international standards reshape brass playing, musical individuality risks giving way to imitation, leaving tradition, ensemble work and personal conviction at stake.
Por Hans-Joachim Drechsler
Miembro
The untimely demise of the ophicleide
Once central to French orchestras, the ophicleide lost its place to the tuba—a disappearance shaped as much by institutions and repertoire as by sound.
Por Stephen J. Weston
Gratuito
The Brass Sections of the New Zealand Symphony Orchestra
An international brass section takes shape in post-war New Zealand, where orchestral careers mingle with touring bands, immigration and some remarkably unconventional detours.
Por Thomas Aitken
On the French School of horn playing
Por Lucien Thevet
Miembro
Henri Renart (1887-1979)
Interview
Henri Renart looks back on a remarkable musical life, from the wind bands of northern France to Paris’s leading orchestras, performing under renowned conductors while witnessing decades of change in performance, recording, teaching, and brass playing.
Por Robert Coutet
Symphonic tuba playing
A warning from the orchestra: Lewis Waldeck challenges modern tuba playing—calling for a return from solo brilliance to the dark, blended power of true symphonic sound.
Por Lewis Waldeck
Miembro
Parte 1
Arnold Jacobs
Interview
Two tuba giants meet in 1979 Chicago, where Arnold Jacobs turns technique, sound, orchestral life and pedagogy into a lasting musical ethic.
Por Roger Bobo
Miembro
Parte 5
How and why I became a musician
In wartime Switzerland, a military assignment, a conductor's confusion and an abandoned instrument unexpectedly changed the course of Edouard Gros's musical career.
Por Edouard Gros
Gratuito
Viktor Venglowski
Musician and Teacher
From the Leningrad Philharmonic to the Conservatoire, one trombonist shaped repertoire, ensembles and generations of players across the Soviet Union.
Por Sergej Gorovoj
Miembro
Parte 4
How and why I became a musician
In Geneva on the eve of war, Edouard Gros navigates Ansermet’s demanding orchestra, summer trumpet engagements and the sudden upheaval of military mobilisation.
Por Edouard Gros
Miembro
Philip Jones
Interview
From South London bands to the Philharmonia, Philip Jones recalls his musical upbringing, orchestral life and the rise of brass ensembles in post-war Britain.
Por Jean-Pierre Mathez
Gratuito
A woman trombonist, Yvelise Girard
Women and Brass
From Paris conservatories to police bands, a young trombonist confronts isolation, scrutiny and ambition as women slowly enter the brass world.
Por Jean Douay
Miembro
Parte 1
The trombone in Maurice Ravel's Bolero
How should Boléro’s trombone solo be played? After 100 performances, Jean Douay challenges conventions and argues for a more supple, controlled approach.
Por Jean Douay
Miembro
Brass and Strings
A note on personality types among musicians
Behind the formal discipline of the symphony orchestra, contrasting views of brass and string players reveal enduring questions about personality, class and musical culture.
Por John Davies
Miembro
Pyotr Naumovich Volkov (1877-1933)
First trombone professor at St. Petersburg Conservatory
From imperial St. Petersburg to Soviet Leningrad, Volkov shaped a distinctive Russian trombone tradition through performance, teaching and generations of pupils.
Por Viktor Sumerkin
Gratuito
Women and Brass
Statements
Female brass players in British orchestras describe auditions, section dynamics and the pressure of proving themselves beyond musical ability.
Por Jean-Pierre Mathez