Out of print
Brass Bulletin No. 27
III / 1979
Contents
Editorial
Jean-Pierre Mathez
Virtuosity is framed less as method than perception, opposing formula-driven teaching and pointing to attentive listening as the ground for technical clarity and artistic control
The Trumpet in the USA
Part 1Thomas Stevens
Across competitions, teaching and equipment in the U.S., trumpet practice exposes clashing ideas of musicality, raising the question of shared standards beyond national styles
Anton Hansen (1877-1947)
Part 1Father of trombone playing in Scandinavia
Per Gade
From Nørrebro cafés to the Royal Orchestra, Anton Hansen’s early years reveal the shift from valve to slide trombone in Scandinavian orchestras.
John Fletcher
Interview
Jean-Pierre Mathez
From brass bands to chamber ensembles, John Fletcher reflects on the rapid rise of young British tubists and the changing role of the instrument.
The Leningrad School of Horn Playing
Frøydis Ree Wekre
From St. Petersburg to the Soviet era, generations of horn players shaped a distinctive approach to sound, interpretation, and orchestral playing.
On the early history of valves and valve instruments in Germany (1814-1833)
Part 4 – EndHerbert Heyde
Poverty, patents and workshop rivalries shaped the first German valve instruments, from Blühmel and Stoelzel to the Vienna and Mainz systems.
Zen and the Art of Horn playing
Part 3Jeffrey Agrell
Between breath, reflex, and attention, Jeffrey Agrell links Zen practice with the physical and mental habits that shape brass playing.
Barry Tuckwell
Interview
Jean-Pierre Mathez
Between the London Symphony Orchestra, international solo tours and Mozart or Strauss concertos, Barry Tuckwell reflects on sound, risk and musical instinct.
Philip Jones
Interview
Jean-Pierre Mathez
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.