Brass Bulletin No. 27

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

Thomas 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

Father 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.

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.

Frøydis Ree Wekre

From St. Petersburg to the Soviet era, generations of horn players shaped a distinctive approach to sound, interpretation, and orchestral playing.

Herbert Heyde

Poverty, patents and workshop rivalries shaped the first German valve instruments, from Blühmel and Stoelzel to the Vienna and Mainz systems.

Jeffrey Agrell

Between breath, reflex, and attention, Jeffrey Agrell links Zen practice with the physical and mental habits that shape brass playing.

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.

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.