Jean-Pierre Mathez, Editorial, BB 17 (1977)

In their capacity as instrumental musicians, brass players are constrained to support the academic practice of their art, constantly and regularly. It seems that this is a fundamental condition if we wish to maintain our position in professional musical life.

As far as the numerous teachers are concerned who transmit the academic tradition, it seems that they are (or must be) satisfied in the role which has come to them of intermediary.

Despite these obligations and the routine which they produce, the essential thing is to maintain contact with the various movements of contemporary musical thought and execution. These movements often develop in an unforeseen or unforeseeable way, obliging us to remain open and attentive.

In any civilization, musical art is one of the most profound languages of communication among human beings. Part of this language must remain experimental — in action between past evolution and the unknown future — and we must tolerate this kind of openness, even — and especially — if it reveals disquiet to us (either personally or collectively) or if it is disquieting. This is the price of our lucidity.

It is within this perspective that Vinko Globokar’s analysis (page 47) reveals the passionate and vital task that we brass musicians must take up if we wish to continue to assume a place in the instrumentation of the music of future generations.

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