B. B. — What about the negative aspects of a position as yours ?
J. D. — Collectivity pressure., one has to live with it. For good balance I have the chance to produce myself as a soloist, which enables me to put a more precise goal ahead my daily work. Also there is the Chamber Music, which I play with great enthusiasm in Trombone quartets and Brass quintets. I feel very happy about it, as my colleagues from the Quintette de cuivres of the Orchestre national de France have the kind of spirit wich particularly favors this form of playing. And not to forget the teaching...
B. B. — Let’s talk about it. You have many students, in Paris as well as at the Institute for Advanced Musical Studies (IHEM-Institut de Hautes Etudes Musicales) in Montreux. What are in your opinion the most difficult points to pass on to your students ?
J. D. — It is not really possible to frame it in this way. All depends on the intelligence, the degree of receptivity, the personality and character of the student.
B. B. — How important are for you the teaching works and which ones are you using ?
J. D. — Well, now on this particular point, I am extremely large. I adapt myself to the degree, mastership and knowledge of each student, as everyone represents always an individual case. I help my students to find their own way, rather than showing it to them and I think that’s the right way to do it, at least I am successful and get them at the end where I want them to be. I often use the methods by Muller and Kopprasch, which are very complete, but I always agree with my students’ choice especially regarding the concerti of which in France we have a wonderful repertory. And here is a point to be mentioned, a fact rather absurd, but important. The Conservatoire de Paris in establishing the order for their exams, limits the composers to a maximum duration of about 7 minutes for each piece, in order to keep within the timetable. From the artistic point of view it is a real pity, because often very fine pieces are just too short and only few composers can continue their initial inspiration later on to add further movements.
B. B. — How do you make the selection of future professional musicians ?
J. D. — Life itself makes its choice. There are cross-roads in musical life you have to be able to recognize, because they can be fatal for those who miss the right road.
B. B. — What is the mentality of today's young trombonists ?
J. D. — This is rather difficult to define. Young Americans, e.g., work with such a courage and will to succeed which you cannot do otherwise than admire ; on the other hand many of the young French musicians choose the easy way with regard to real demands of their profession. Some twenty years ago students had to work well and fast in order to earn their living as soon as possible. My feeling is that the present high standard of living strangely lengthened the time of studies.
B. B. — In your opinion what do they hope to find in music ?
J. D. — Music is a great seducer... Apart from the emotion it gives they see the orchestras, travelling, the kind of aura of the artists. Shortly, they envy us for all sorts of reasons, they want to live this kind of life themselves and I understand them.
B. B. — What chances do they have, what are the perspectives ?
J. D. — Oh ! their future musical life seems right now rather dark ! E.g., in reorganizing the ORTF, five orchestras, as well as numerous positions do not exist any more and the situation is dramatic. In France something terrible is happening, a real crime. On one hand new schools and conservatories are created, in Paris e.g. very remarkable virtuosi are formed, but absolutely nobody thinks of warning that this leads to strictly nothing ! Young musicians will go through very hard times, unless the situation changes suddenly. That's why I urge my students to complete their musical education to eventually be able to find para-musical positions.
B. B. — What could be done by trombonists to assure and improve their artistic and professional future ?
J. D. — There are two aspects, the aspect of the person itself and that of the instrumentalist. Trombonists have never been considered as intellectuals, many were even considered somewhat uncouth and this did us some harm. Now there are many that have studied, and are able to hold a discussion. Which means, intelligence plays its part and this is very important, as it helps to rise our level in the instrumental hierarchy. Next is also the complete evolution of teaching methods, their development continues, but I think the most important step has been done. There is still space for research on the technical side and in the execution, things will continue to develop but we are approaching the maximum utilisation of the possibilities of the instrument. Young musicians seem to understand the importance of this phenomena (Remember : the extraordinary high level of the candidates of the Concours internationaux in Geneva in 1973). It will have a tremendous effect on the coming generation. Trombone has reached maturity. Let us all hope that a better and clearer professional future will reward these efforts.
B. B. — Thanks a lot, Jean Douay.