Quote:
Originally Posted by brianj  Hi Robin........
The perception of the "British" sound and UK players is the use of a Bb trumpet for most things in the way US players use a C.
This stereotype is, for the large part true, that's how it becomes a stereotype I suppose!
But for many years some UK players have used different kit and I don't know that the sounds of the particular brass sections they play/played in is different to other UK brass sections.
In the 80's Iaan Wilson used a Ganter rotary C as his main horn at the Royal Opera House. In recent times Ian Bamain (principal Royal Opera House) and Bill Houghton (principal BBCSO) use a lot of C trumpet.
Also Mark O'Keefe (principal BBCSSO) uses a 4v Schilke almost exclusively and John Wallace did much of his work when principal at the Philharmonia on a 4v Schilke.
Just a thought as to whether it is the type of horn used or the teaching/tradition etc the player grew up in has the biggest influence.
all the best
Brian Jones |
Brian,
it isn't the gun, it is always the person pulling the trigger.
The tradition of playing in the UK is different than in America or the rest of Europe. Whether or not the horn is is a Smith/Wesson or Smith/Watkins doesn't really determine the STYLE.
An American with his Bach C is going to interface differently with an orchestra than a German with their rotary Bb. The result will surely be musical, but "better"? A specific player and their heritage always puts their stamp on the music regardless of the horn. When I play "german music" I use a Bb rotary, when playing shows, a piston Bb, for other things a picc, G trumpet, cornet or nat. They all still have my American "style".
The original point of the thread was whether the US orchestras OWED foreigners a chance. I say no. They have the option and it may have advantages or disadvantages.
I think each orchestra should seek and develop their own sonic footprint and independently decide how traditional that should be. I do not wish to have universal interchangeability between orchestras. The idea of strengths and weaknesses appeals to me. If an orchestra is especially good with Mahler, that is a reason to check it out. Other ensembles may do better with Vaughan-Williams or Holst, yet others with Stravinsky and Bernstein.
Remember, EVERY developed country is producing more musicians than they can feed. The burden is on the person that decided to study a profession with a low chance of getting hired. That is their own personal risk, not the responsibility of any orchestra.
I studied trumpet too (MA), but got a job in sales to support myself. Family pressures changed my priorities. I still get to play the pro gigs, just not full time (my wife disagrees with my assessment of "part-time"!).