Brass Bulletin No. 31

Kurt Janetzky

An unsigned portrait from the Dresden court links the rise of Bohemian horn playing to the ceremonial world of Baroque hunting culture.

1680-1980, an attempted survey

Peter Damm

From Versailles to Bohemia, hunting horns enter orchestral life through makers, players, early works and the Austro-Bohemian tradition.

Timofey Dokschidser

Trumpet articulation becomes a full performing language, from détaché and staccato to legato, glissando, dynamics and score interpretation.

Ralf Sauer

Between Bach fugues and Mozart concertos, Ralph Sauer questions where brass transcription renews a work — and where it merely imitates.

Auguste Léonard de la Tuilerie

Benny Sluchin

A Paris apothecary turned trombone evangelist challenges 19th-century musical habits, imagining the slide trombone as the future voice of harmony.

Ronald T. Bishop

George Szell’s demanding 1966 audition process unfolds through orchestral excerpts, dynamic extremes and the search for absolute ensemble precision.

a modern copy

Richard Lister

A reconstructed 17th-century contrabass sackbut revives forgotten low brass practice, from Venetian polychoral music to modern performance challenges.

James Stamp

A simplified preparation method adapted from Herbert L. Clarke links transposition, tempo variation and repetition to technical fluency and mental anticipation.

Barbara Stone, Betty Anderson, Kate Kaminga

Markus S. Bach

Three British and Dutch conductors moved from brass band performance to leadership roles, confronting a scene still largely shaped by male traditions.

Portrait in brief

Jean-Pierre Mathez

From Bach’s Brandenburg Concerto to Czech contemporary music, the Prague trumpeter combined Baroque precision with orchestral versatility across Europe.