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Consulta gli articoli di Brass Bulletin pubblicati dal 1971. Cerca per tema, soggetto, strumento, autore, serie o numero, con nuovi contenuti aggiunti man mano che cresce l’edizione digitale.
Le traduzioni originali in italiano sono state introdotte nell’edizione cartacea di Brass Bulletin a partire dal n. 60. Man mano che la digitalizzazione raggiungerà questi numeri, gli articoli saranno disponibili anche in italiano.
Eric Aubier, unveiling of a great talent
Di Jean-Pierre Mathez
Passau, a competition out of the ordinary
Di Jean-Pierre Mathez
Membro
Parte 1
Music in an American Frontier Communal Society
Aurora Colony
In a German communal settlement on the Oregon frontier, bands, choirs and original compositions shaped daily life as strongly as faith, work and education.
Di Deborah M. Olsen
Gratuito
Editorial
Do musicians really need associations? Jean-Pierre Mathez questions whether collective structures empower individuals—or simply recreate the same passivity they seek to escape.
Di Jean-Pierre Mathez
The Village Musician [Cooper-plate, ca 1850]]
Di Ed. Ratti
André Lafosse (1890-1975)
Master of Trombone
Di Jean Douay
Membro
On hunting horns and other similar instruments
Aus Pierre Trichets Traité des Instruments de Musique (um 1640)
I admit that hunting horns, horns, buccines, trumpets and bugles have no holes in their outline, no more than do trumpets and sackbuts. This does not prevent them from being polyphonic, however, and changing the sounds. Yet some consider that all these names are synonymous and mean almost the same thing among Frenchmen, as did cornu, lituus and buccina among the Romans, as some have thought. It is true that Festus believed the lituus to be a kind of small buccina and that Lipsius¹ (de mil. Ro., book 4) said that people did not at first distinguish between buccina and cornett, but that later they did so distinguish, as larger and more curved brass cornett were made. The buccina, according to the same author, was at first nothing other than an ox horn: et a bene nomen sumpsit, ut instrumentum quod bubus canit. Isidore draws the etymology from buccina a voce quasi vocinam dicas. Varro, however, believes it is so called because, when sounded, it sings “booboo”. Panciroll, explaining the shape of the buccina, also mentions the reason for its name in these words: usurpabant buccinas circa orificium, per quod vox immittebatur, angustas: in ima vero parte, ex qua sonus egreditur latas: erantque oblongae ad similitudinem buccini, quod purpurae genus est, unde et causa nomini.One of our French writers says that the huntsmen’s horn is not that which is used today but one of ivory or of horn; for the huntsmen of antiquity used only horns while the modern instruments are all of bronze. I readily grant that horns were formerly made but of horn and ivory, yet there is no doubt but that today they are made of other materials. Julio della Scala² (l. l. poët. c. 20 p. 78) gives evidence of it and says the Germans make them from boxwood but they are different from those used in the hunt: Nunc cornua germani e busco efficta multis foraminibus inflant magno spiritu non sine gratia et decore, praesertim in nocturnis festivitatibus. Vocem namque humanam imprimis imitantur, eamque vehementer contentam. Varro says that cornu a curvore dictum fuit. But Fungerus derives this word from the Greek kéras, or from the Hebrew, which is written almost the same.The first origin of the hunting horn lies in the fact that shepherds used to call their flocks by means of its sound; in this connection Columella wrote that the beasts must be accustomed to return to their pen at the sound of the buccina. Huntsmen then used it to call their dogs and their falcons, from whence it is called huchet [from the French hucher, “to call” — Ed.] as well as cornet. La Boderie gives us a charming description of the use of this in his poem:The more his horn the huntsman sounds,The more do run and call his hounds;It imitates the trumpet shrill,Sounds now the quarry, now the kill.Sometimes one finds huntsmen so skilful that they can play on their horns as many different sounds as on a trumpet; Le Fouilloux has discussed this so fully in his book on hunting that there is no need to speak further of it.
Di Pierre Trichet
The weirdest summer story
A strange cult
Di Jean-Pierre Mathez
Rudolf Kelterborn
Portrait + Esquisse (1981) for 4 horns
Di Jean-Pierre Mathez
Gratuito
Editorial
Beyond technique and instruction, musical growth depends on trusted relationships, where friendship becomes both a measure of progress and a safeguard against isolation.
Di Jean-Pierre Mathez
Parte 2
School of trumpet in Liège
Di Rosario Macaluso
1796-1908: the long sleep of the Haydn trumpet concerto...
Di Hans-Joachim Krumpfer
Parte 1
Homage to Dizzy Gillespie (1917-1992)
Crazy, but not that crasy
Di Michel Laplace
Brasses in Sicily
Di Salvatore Distefano
Carnival of Venice at the age of more than 125!
Di Emil Hermann
Piston Instrument Care
Di David Holloway
Dutch Horn Society 1982-1992
Special Holland
Di Louise Schepel
Gratuito
Tower-watchmen and night-watchmen in Bohemia
From Hussite suspicion of musicians to tower signals over Bohemian towns, horns and trumpets shaped civic life, danger warnings and ritual memory.
Di Vaclav Hoza
Parte 2
Stage fright and instrumental technique (1)
Di Michel Ricquier
Gratuito
Horn and Harp
Virtuoso showpieces once filled concert halls, yet today the rare pairing of horn and harp preserves a forgotten musical world shaped by performers themselves.
Di Ch. Bernsdorff-Engelbrecht
Parte 1
Sampling?
Di Thomas Stevens
Porcia 1994
International Trombone Competition
Di Benny Sluchin
Membro
Aimé Barelli
Trumpet crooner
French jazz, wartime Paris and changing styles shaped a trumpeter whose playing balanced virtuosity, melody and expression across several musical worlds.
Di Michel Laplace
Parte 1
Tubes - Tritones - Theses
Di Patrice Sciortino