Brass Bulletin 5, II / 1973 (page 5–10) · 2 min. read
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The soaring development of international music competitions during the last few years tempts me to ask the reader's attention for the following letter:

To the International Olympic Committee.

Dear Sirs,

It will no doubt be known to you that brass instruments, more than any others, require substantial physical and psychical training.

In the course of the last centuries and with immense personal effort, our instrumentalists succeeded in producing phenomenal performances. Owing to severe educational supervision, our musicians are able to cover the musical course (also called « pieces » or « works ») and its intricate obstacles (carefully set up by the composers) without a stumble. Thousands of our brass players are trained daily by their severe masters to increase their technical skill in order to set up records.

Since almost two centuries we, i.e. the International Association of Sporting Brass Players, carry out our own musical competitions with the most amazing results, much to the joy of an ever increasing audience. The most striking disciplines are: Height, Length, Intensity (in decibels) and Endurance. Style figures (ad lib. and obbl.) are particularly estimated, whereas the most passionate competitions are fought with the aim to increase even more the number of notes per second (especially since the introduction of the electronic counter).

Therefore, dear Sirs, we beg you to acknowledge our candidature for the International Olympic Games. We are convinced that the introduction of the above disciplines into the Olympic Games will not only stimulate our musicians to even higher records, but will also bring an entirely new note into the Games and no doubt enthuse the audience.

Hoping that the International Olympic Committee will regard our request with a benevolent mind, we remain, dear Sirs,

Sportingly yours,
The International Association
Sporting Brass Players.

The above would be just an enjoyable jest, were it not for the sad truth behind it: the strong inclination for competitions with continuously higher demands in the technical and virtuoso field leads our musicians forever more away from their original motivation. Competitions imply ambitions and spectacular results; they arouse the thirst for glory and money.

Yet what we really need nowadays is artistic expression coming from that source of music where every tone is the expression of new hope.

What we need is a Renaissance of Music. We should try to liberate it from all that in the course of the centuries was added to it, from all that is superfluous, artificial, untrue.

Music of to-day is best compared with an enormous cake: too big, too high, too colourful, too much decorated, too much « make-up », in short inedible, because the « decoration » has become more important than the good old taste of the cake.

I would like to rescue music from all those to whom it is merely a means to acquire fame, and I would like to lead it back to its origin, i.e. to the spot where a man may dream his dreams and where music, freed of its ballast, may touch us directly again.

Our educational system is of course not based entirely on the competitive idea. Many musicians introduce their pupils into a world of higher values, preferring musical expression and personal interpretation to pure technical training and endless exercises. By doing so, however, they risk acting against the rather severe and often antiquated rules and regulations of the public institutions, which to a certain extent cause the « suffocation » of music to-day.

Attending music competitions or examinations one gets the impression every now and then that the music professors have a certain resemblance to coaches and that the jury preferably allots its laurels to the super-models! Our world of to-day seems to have a suspicious craving for Super-humans, Super-products, Super-stars, whereas simplicity and spiritual values have been sadly pushed into the background.

The question is: Must we really continue to teach, learn and make music on the competition level?

Jean-Pierre Mathez.

 

The amount of our subscribers (in 25 countries!) increases steadily, yet we need more to secure our financial position and our future: DO HELP US TO FIND NEW SUBSCRIBERS!

And please do not forget to renew your subscription for 1974 yourself — make your remittance of Sfrs. 30.– today. Thank you!

BRASS BULLETIN.

Who of our 1000 readers and colleagues would be kind enough to help us out when we are overloaded, by translating some articles every now and then from German or French into English? (Cannot offer you payment, alas — just sincere gratitude!)

Ed. BRASS BULLETIN, P.O. Box 12, CH-1510 Moudon (Switzerland).

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