Brass Bulletin No. 44

Jean-Pierre Mathez

Music teaching depends on more than routine: in 1984, Jean-Pierre Mathez argues that living contact with artists keeps transmission open to new generations.

Spotlight

Jean-Pierre Mathez

Before international fame, Guy Touvron’s path ran through village bands, Maurice André’s class, competitions and a stubborn refusal to behave like a star.

Benny Sluchin

At the 1983 Paris acoustics congress, brass research moved between factory consistency, vibrating bells, mutes and the elusive mechanics of multiphonics.

Hamburg 1982

Michael Höltzel

A 1982 Hamburg exhibition brought 150 horns out of collections and into players’ hands, collapsing centuries of hunting, signalling and concert traditions into one room.

Christian Blümel, Gerd Radeke

Between Bach, historical instruments and modern virtuosity, Ludwig Güttler argues for a trumpet tradition shaped by declamation, research and a refusal of musical purism.

Louis Davidson

A tiny shift in tongue movement changes speed, endurance and clarity, turning articulation from a mechanical attack into one of the trumpet player’s subtlest tools.

Deliberate divisions

Peter Damm

Improvisation, articulation and ornament were once inseparable: Peter Damm recovers an 18th-century horn practice later narrowed by increasingly precise notation.

The pluralism of the so-called “modern” forms (1945 to the present)

Michel Laplace

Bebop, Miles Davis and the rise of the flugelhorn mark a postwar jazz landscape in which trumpet playing splintered into competing sounds and ideals.