| Versatility
Manny,
One of the things I've been noticing when reading input on these sites, particularly from aspiring orchestral players in the US and particularly from younger high school and college players, is the single-mindedness of their attitude towards types of sounds/styles appropriate for them as players to be exposed to. When I look at trumpet sections from other parts of the world (my experience is specifically in the UK and Australia) I find that although they are all skilled orchestral players generally there doesn't seem to be this same single-midedness about the ways and means of achieving this. This applies probably to both equipment and technique. 2 examples spring to mind Maurice Murphy and John Robertson (late of the Sydney Symphony Orchestra) although I'm sure there are many, many more. Both players were/are more than capable of taking a lead players chair in big bands (in fact I know that John Robertson used to do this on a regular basis) or play cornet in a brass band (MM). I know that Peter Bond at the NY Met came to orchestral playing via an unusual route (believe drum and bugle) and I'm sure there are others but they seem rare. I'm very aware that the concept of sound is different between the two styles, but for a professional the skills are not diametrically opposed
In the US is the generation that you came through into orchestral playing as 'correct' as some of the younger players today appear to want to be or are we looking at a function of specialist schools and huge competition and a desire for those young players not wanting to dilute (corrupt) their skills?
It's really an open question, based on an observation.
Regards,
Trevor |