Chicago Symphony, Maestros and Critics - Sarah interviews Dale Clevenger live in Indiana with special guests Jeff Nelsen and Fergus McWilliam 29.11.2012
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Hi everybody out there whom is loads and loads of you watching last night we had record views from Michael McKay and today I’m sure we’re going to hit the roof because look who’s sitting opposite me I don’t think we need any introduction Dale Clemens our welcome welcome thank you very much as Sara it’s nice to see you who you are in
Indiana with I am teaching this week and we have to get you get used to the once a month yeah to teach who your students who they’re I teach I have technically five of my own and then then anybody else in the whole class of 50 who signs up for lessons can get a lesson and they are they are just journalists and students are they that’s where he teaches that he’s just behind the camera he’s working the camera today for you as my
Spanish friend furgus changes an accent if he’s just come back from holiday in Canada who speaks like an Indian becomes act for Scotland you don’t understand a word and you don’t wanna go near nice to see you let’s get the nitty-gritty thank you so much people say hello to you on the chat I location okay you guys maybe
I started it good see I did forget I crime on focus will be on on his own very very soon talking about his new book okay okay damn it’s you and me and hundreds of horn players out there we have all sorts of questions that they are asking on the chat but first of all if I can ask you just sort of general stuff because we haven’t seen each other for a while and a lot has happened since
I last week may I congratulate you to your to your wedding you certainly May Jovana drasi from Brescia Italy and I got married and I hope I think she’s trying to watch this he’s trying to get on we were married August 6th in in my hometown now our hometown in Chicago Winnetka and then we had a big
Italian party which might as well has been another wedding because there were a hundred and twenty people there in the Mundy khyati Italy I think I saw pictures of it on Facebook good old Facebook you know that’s why I saw even a very dapper white suit do he’s dancing it was a clue look Dwight on the photos it was a fantastic wedding and a fantastic party and excuse me she and
I have been yeah I’m getting over a cold but I’m nearly over she and I have been crossing back and forth in B between September the second and now is just to be together okay and she was here last week and went home and I’m going to Italy on December the 12th I be there we don’t very happy that you found happiness again because you’ve had a bit of a rough ride recently yes
I have I have but it’s the grief is subsiding considerably the memories will always be there and Yvonne and I are starting a new chapter a new book new you know a new life together and she’s wonderful and she agreed to marry me and I’m very very lucky in many ways congratulations from all of us everyone watching out there people are writing congratulations on the holodeck thank you thank you very much tell me how many years have you been in
Chicago Symphony we have Michael on last night talking about we all we all were just right here about Chicago Symphony history how many years now 47 amazing in February it’ll be 48 I hope this going to be a big party well whenever I retired and of course I know that at my age and this amount of time in the orchestra people all the world all over the world are surmising well when is he gonna retire when is he gonna quit when is he gonna hang it up etc and and sometimes the critics are the worst at that of course they’re very good at keeping score
But I’ll quit when I feel like it but I want to my playing during my brief period which was was not the level that I wanted it to be and that’s that happens during times like that but things are coming back and to what level they come back I don’t know but I’m still having fun I still love to play
I’m not playing as much as I used to my colleagues are filling in for me and and Gingrich is playing fantastic solo horn when I’m not there and and so we’re I’m thinking about the retirement time I’m not exactly sure when so you know tell the world stop asking leave me alone let me decide myself on the internet live on this hangout lead a little and stop talking learn to play right there we go we go it could be it could be in three months it could be in three years but it probably won’t be longer than that well
I have a new life and I want to enjoy my new life to its fullest in every way possible both in America and in Italy which will be the case a lot sure so you weren’t traveling apart from your CSO job you’re traveling the world doing all this teaching a master classes last time we met was in
Italy in the past week no I think the last time we met was one year ago in Japan he was in the bar by French cheo cheo brought me over to the hotel we you and I and to really go Eric we spent George we spent 30 minutes together but it was it was very nice very quick meet but this is the way it is sometimes well it’s better to be the person because then
I give you a hug you can’t really do that by a Google web site okay would you mind if I start the office talk about the good old days in the Chicago city because we were also fascinated from this hurt that person Jake times when you guys start it was a real pack wasn’t it a brass player pack you guys created this
Chicago Symphony Orchestra brass lead jeans we was always so good or how did you build it up well a little prefaced when I was in high school my band director used to play recordings of the Chicago Symphony during lunch period that’s what we listened to it I was listening to her Sethe and Jacobson and and all the rest of the brass players their client hammer and so forth and this was nineteen fifty six seven and eight when when they had just in the very beginnings of the of of their tenure not the total beginnings but but then seven years later
I was lucky enough to get in the orchestra and join them and it’s been a fantastic while ride ever since I can’t I still can’t believe it that I that I have done it and I’m still doing it but play playing with those fellows is really almost undescribable when when when people play I know the world of ice brass playing is in an unfortunate state of they don’t want nobody wants to hear any missed notes well that means that you’re perfect and nobody is perfect no not it not even in the
Berlin Philharmonic thank goodness you left that little bit on your ear record to show that you guys also make mistakes that’s why we did it because the mistakes were the funniest part of the recording that’s why I know but you know I actually heard Jacob miss a note in her sit miss a note a note but not just the perfect near near perfect playing accuracy wise it was nearly perfect the way they played all the time always is the right style you know always trying for for the best possible quality no matter who’s conducting no no matter what piece we play our where we were
You know and the level of inspiration went up proportionally to the concert the great concert halls are the tours that we play and it was sometimes simply unbelievable have you ever participated in an encore that was 20 minutes long no 20 20 minutes the New York audience in the Carnegie Hall clapped when we finished mollified I mean what we were we were timing our clocks when are they gonna stop because they do get
I would like to go home nobody move and this was 1971 we knew with with shoul team that we had something very very special going because of that and and then we did it so many times I played modified over a hundred times and and you know things happen I don’t ever play anything perfect in my life his world listening to that never a rehearsal or a concert it was totally perfect
I mean and and look what the world thinks is no perfect perfect it’s not about getting the notes it’s about getting the music isn’t it it’s about it’s about the style a beautiful slur a the bloom of a sound the the it’s not just about accuracy you know I played many concerts where it was we’ve know very very accurate but if
I don’t make a slur or an entrance ensemble may not be quite together you know we know that but most of the world never knows that they don’t hear that most of them refused to hear even if anything is not quite right but the fact is that perfection is right up here all the time here on the horn maybe 99 maybe 98 or whatever with her said it was pretty much it almost 100 all the time the rest the rascal just almost never do anything wrong he was
John Jacobs called him referred to him as the greatest living brass player and that’s our don’t take of soup inion I have a do agree with it and I hope that maybe her sisters watching this he’s that he’s very much missed as a musician as a trumpet player and as a person ah and that’s what the Chicago
Symphony that’s what it was when I came into it a whole group of personas of people who played extraordinarily beautiful all the time perfect no but extraordinarily beautiful and it makes the level of of my plane just keep rising and keep coming up and my my my own personal standards just kept going up and up and up and up because of the people around me
I’m getting over a comb in my and I hope I don’t lose my voice here if I keep it calm thank you okay disadvantage of this much better to be in the same room you were you were this is this whole Chicago breathing thing we touched on it yesterday what do you think it’s a natural way of breathing or not it became a cult for all of us because you guys are famous for really being able to use your air so well did you do that actually or did you pick some stuff up
Jay or was it just yes yes and yes I have to assume that that certain things that I did were instinctively good and instinctively right but it was all confirmed and helped daily on a daily basis by Jacobs by and we talked hours backstage on buses on tours you know about the process of breathing and and you know with him it was basically very simple song and wind very simple now you can take it each of those and you can take them apart and discuss it and nausea method over and over and over and so many people came to
Jacob needing help with the way they played with it with their the physical part of their playing their breathing and I don’t know okay it’s impossible to know how many careers he saved just by them being there in him showing them sometimes simple things sometimes complicated things do to to breathe more efficiently I mean we don’t have time on this show to this show we don’t have time to talk about lots and lots of details about about breathing but there’s an awful lot of misinformation out there there has been from the beginning we can do
I mean it’s so easy next time you’re back with jasmine we can get you really do a day you know show about reading because there are a lot of myths out there and I didn’t actually I was way way off course until I came to play with you guys and and I went to breathe for Charlie and
Charlie said take the deepest breath you can and I kept so I was doing something wrong somewhere i sat behind Philip with her it was just incredible you know very special to the way you guys played well obviously everybody has a different amount of fuel available in your lungs an interesting fact that it’s come with age with me is that
I started out in the Chicago Symphony and Harlem Jacobs measured me I had in excess of 6 liters of air sixth and XS now it’s barely five Wow so I have three point four that means I’m gonna have like one you know you just have to make sure that you take the maximum nearly every breath and that’s what that’s what you do and you couldn’t play the way you do
I have to function with four and a half to five liters as best I possibly can well it means I have to breathe more often yeah and I’m doing a little diagnostic test with all my students now it’s rather interesting and since we have this you know I’ll tell you briefly what it is all right you take a note below the staff any note concert see written written
G and you play it as soft as humanly possible as long as possible and hold it like like it’s like your life depends on it as soft as pianissimo as possible most people can go somewhere between 30 and 45 seconds a few of my students have gone up to a minute I heard when I was young I heard that
Denis brain can hold an oath for 90 seconds I know I seriously doubt that because I have some very big people around me Jeff and my son and some very tall you know and they cannot do it and brain was not that tall but 60 seconds maybe 70 seconds that’s fine this is interesting information this is not criteria then you take the same note and you play
Metso Forte and you hold it as long as you can the time goes way down to somewhere between 12 and 20 seconds okay then you take the same note and you hold it you play it as loud as you possibly can period beauty is not the criteria loudness is the criteria I haven’t had anybody nobody who’s played it longer than seven seconds
Wow I can only do four or five seconds do you think you can expand what you just have what you have you have what you have basically you can exercise your lungs you can you can do things too I don’t think you get increase what you actually have you can maybe increase how you use it if if you do it most people don’t take a full lungs load of air when they take a breath they don’t know what that’s like but the next step is you go in the middle register an octave higher and you do exactly the same thing triple pianist mo holding a
Note as long as you can if if it cuts out after 10 seconds you started again the idea is to see how long you can go then you do Metso 40 then fortissimo and the fortissimo is still only five seconds it’s very interesting to me now Jeff here might be able to do longer than that but he’s the
Freak anyway he has seven plus leaders my momma my mom thinks he’s pretty gorgeous 7.89 he just told me boy oh sorry sorry sorry we also are human beings anyway then you do an octave higher concert a yeah something like that concert b-flat and you do the same thing usually the long note gets longer the pianist mo note the the mezzo forte note is about the same the fortissimo note is a still only about five seconds and you figure it when we play milers third or something like that you check out key fourth you only hold those notes for two or three seconds before you
Can take a breath yeah and everybody does take a breath no no nobody tries to play do long otherwise you’re you can’t maintain a fortissimo I found this an interesting little study interesting information it is not criteria it is just for let people know what they can actually do because one of the major things that we do in music on any instrument is sustain sound yeah no matter what instrument when you do it with a brass
S or the wind instrument it’s different than on a stringed instrument but we sustained sounds the next the other big thing that we do is try to figure out how much to exaggerate everything dynamics of articulation tone color different tone colors etc etc so if you’re constantly working on these things and thinking about them probably your standards are gonna keep going up if you’re listening to excellence singing cello other instruments
I just heard Shellenberger yesterday with some flute player maybe was followed playing duets it was spectacular artistically sound wise everything I was driving down here I heard it only on the on the radio so wherever we learn it it helps our standards and builds our confidence and that’s what that’s what actually a super us was all about
I mean it was really business that you guys were making you are amazing musicians but it was this it was this ability to place them naturally with your air that I found so impressive and that’s probably a secret to why all you guys can go on for so long because so many people that don’t use their air as well as you do you know
Crampton and then they rely on their chops and then the choice give up right and they just they have to retire somewhere between 45 and 50 and this is this has been going on since I’ve been in since I have known anything about anybody in the music business when they do not function efficiently their retirement age gets lower and lower and lower yeah it’s going to happen and that’s butBut it’s because of this misinformation that’s out there you know you know you need to support and there’s not a not a correct definition of what that means you cannot push out your gut while you’re actually
Trying to blow air it’s two different muscle groups working against each other you do support your body should be in a position that is like an athlete there’s what we do is very athletic and when I’m when I’m playing now I’m more conscious of this being you know I do sit-ups every morning really if T of them every morning every morning
I do 30 40 push-ups and nothing well you may not have to on four thorn I would advise getting your body your abdomen in in better shape mine is in better shape than it’s been in years no one doesn’t everyone who has back pains all they told us that’s the topic for another show though I think this what my back pains have disappeared fantastic
I’ve also lost 15 pounds yeah I know congratulations I thought that was really otherwise everybody will whistle together but it’s helped my breathing it’s helped my back it’s helped me to be more more poised when I play and it’s helped my play you know critic critics haven’t heard it yet but that’s their problem we love you so you would sit on the tour bus and talk to
Jake about all this other people talk about girls yeah but you would talk about supports and breathing and sit-ups correct he would sometimes tell me who he’s working with and sometimes say to me there I cannot tell you who I’m working with there - there - well-known it’s and they have asked anonymity yeah but I could I could tell you some people who came to spend and spending they spent two weeks with him and very very famous people who are trying to save the tail end of their careers and someone someone’s written in that
Julius from from this Republic he wants to know if you were influenced by for the podcast at all yes when I was in when I started Horne the only I could not hear live concerts because in in my hometown Chattanooga that there weren’t very many and so I listened directors constantly of every orchestra that recorded and I listened to broadcasts the
Metropolitan Opera was broadcasting every Saturday and so I knew all of the solo horns of all these orchestras and I made a decision right now I am I am a colleague and working with one of those that I listen to and I was in high school Mike bloom he’s right here on campus empty so III knew you know when
Gunther Schuller was still playing in the Opera I was listening to him every Saturday it was before he stopped now they have on their screen it’s amazing what’s what’s available today and Jeff is at the forefront of this technology and it just it blows my mind what I’m able to do I’m able to talk with my wife three different ways on my cell phone for free so you know it’s collectively over over the years
I realized what I was getting hearing this sound of the trumpet right behind my head all the time and to my left Arnold Jacobs and the trombones and you know the rest of the brass trying to maintain a standard which was set very early on even before hearses but when her Sethe came in the orchestra it was like okay this is the beginning of a long era a very fine brass plane it still is
I mean the Caesar process still absolutely amazing you you you you how do you train them you guys do you know about I mean our auditions are behind the screen not like yours until the very end yeah but so we hear people and we have a sound in our heads that we want and those that really sound very close to us they’re the ones who make it to the finals and then it gets very particular there’s a question from
Paxman MSO who I think I know who that is and no but that I stole he wants to know how do you approach repeating performances of the big repertoire because you’d like plays mollify a hundred right and five hundred times right five all the big stuff how does it report six recordings of Chevak five g’s recordings of all six have you approached it how do you do something different every time well
I realize that it is inevitable that it’s going to be a little bit different every time I have this philosophy Sarah and it’s it’s been a very good philosophy for me I make everybody happy everybody for those who really like me however many that is and make them happy most of the time what I do for those who are my enemies if
I have any who don’t like me who are waiting waiting anxiously for me to make a mistake and I make a mistake I make them happy I can’t lose okay I cannot lose they’re delighted when I when I splatter a note now I say that sort of in jest as a joke but it’s true I am lucky enough we you have died and
Jeff we were lucky enough when we perform that people want usually want to hear us play they want to hear us play well they want to hear this tradition of whatever Orchestra were in carried on they want to hear us play beautifully played excitingly to lift them out of their chair to make them for two hours to put them in another life and
I can tell you something about that other life and I highly recommend a book for you and for everybody else the name of the book is called proof of heaven from heaven it is written by Amon EB en Alexander he’s a scientist he’s a neurologist operates on brains and he describes from the very beginning how his feeling about these things he had a near-death experience and what he experienced what he saw what he experienced when he was near death is worth knowing whether you believe it or not that’s your issue or your problem
I happen to believe it it simply confirmed what I believed all my life but what we do in music on earth in a concert is a near heaven experience for most of those people in the audience they are uplifted they are absolutely transported out of this world in a live performance and I who stressed the live performance records are wonderful but in a way they’re phony because everybody’s tweaking and fixing and making it perfect and so forth and we know that nothing is perfect but it’s the best we have that’s what
I had to listen to when I was young his records and radio now I if I’m in Chicago and a visiting Orchestra comes in I go in here I want them I want them to play well I want to hear what’s going on in the rest of the world do you find it hard sometimes to sit and relax in a concert and have these near heaven experiences because we listen with professional ears you know it
I find it very hard to switch off that’s why I love to listen to my holster because then the technical side is really so beautiful that you don’t have to worry about you know mistakes here and there and relax but I’m running my artistry talking the concept of my goodness that’s true but I I managed to do it
I turn a little mental thing and say okay I’m listening to the Vienna Philharmonic now and what I know I know before I sit down that’s going to be good and it’s going to be good - very good - great different levels that you depending on and when they’re in Chicago or in New York or in Berlin everybody wants to play as wonderful as possible but
I try to play that way when I’m playing in Essen or anyway because they love music - do you have this proof of heaven experience while you’re playing on stage or you too much in your can you just like totally abandon everything and just be lifted by the music or do you feel like you we’re more in control of what you’re doing
I have to do you have to do both you have to be able to focus in readily focus on a myriad of musical details and technical details and at my age I can’t just I cannot function on magic on automatic pilot I simply I am NOT going to do that it’s going to be what do I want to do in this phrase not can
I do it better than I did 30 years ago I probably can’t I don’t know but my all my experience and my love of music and my my desire to give a wonderful experience to everybody that comes together and and I try to to plant as beautiful as I possibly can for the moment ask an opera singer when they sing the same role 50 times what are they the one are they thinking about really
Aniki somebody ask him mr.yun aqui what he was he was so low on the New York Philharmonic in 1920 in the 20s and 30s this is mr. Yannick a when you’re playing so beautiful what what are you thinking about he said madam invariably the next note so I mean there is magic in all of this but there is very real tangible things that we have to concentrate on is anything where are you talk and what do you mean work onstage for in life
I always want to live up to my own standards and the standards which have been set for a hundred years in my orchestra and to be and to deserve to be where I am to continue to deserve to be where I am I that is a very high priority I don’t want to embarrass myself or embarrass my colleagues or whatever and so but
I’ve never wanted to do that it always I always wondered in my mind what is her to think about what I’m doing what does Jacobs think sometimes they would actually tell me sometimes not we would only play what I would I would deliberately ask Jacob sometimes Jake you haven’t said very much about my playing in a long time
I want you to listen very specifically to me in this rehearsal and tell me if you think there is any problem which is brewing which is which may happen are something that I should I should be concerned about and most of the time he would say Dayo you know you’re fine it’s wonderful you keep it up because
I have these wonderful musicians or how many to imitate and emulate and and then I have my own ideas of what to do then if a great conductor comes up and he he’s worth worth really trying to do what they wanted if if the conductor really makes a difference many of them don’t we play better than they can duck and
I know that happens in Berlin for money many times you play better than they conduct and sometimes yeah but I don’t really worry I want to keep my health as good as possible I want to be I worry about other things I want to be a good husband I want to be a good father I reunited with to my older children and then talked about heaven when every time
I get together with him it’s absolutely mind-blowing I know so many colleagues who have nothing to do with their children hmm and and all of this effects effect you play everything is tied together everything is connected how you live how you think how you how you eat the shape that your body is in how you practice we are as good as our habits that’s what my
I’m trying to develop to redevelop to rediscover new and better habits and anywhere I can learn those it’s fine with me I want it on my epitaph that I was open minded to the very end um dill Kendal is just lost about earlier on some of your early one you were invited to leave CSO for a major
Orchestra back east you turn to Bob and Jake and office and they plan to stay and play for the long term in Chicago so they were really or Mentos the guy who writes a lot so they’re mentors for you absolutely I the Boston Symphony called me and and Sanji said she said to me says why would you leave
Chicago and he was conducting there but I went immediately to both separately to Jacobs and her sit and I said do you plan to play in Chicago as long as you humanly possible as long as you can and he said and both of them said absolutely I said I’m not going to Boston I’m staying here now I could have maybe had a wonderful career in
Boston I don’t know it right now it’s a moot point yeah Dan it’s credible we have at least people asking you questions I will get to a few of them I promise you guys sorry think you own these things myself over glass there a couple of things we’ll get to right now what was shorty like to play for us mark so from the very first rehearsal so he was ultra prepared always always knew exactly what he wanted showed we knew that he was a good musician but you know when we found out how great a musician he was later later on in his career he
Started practicing piano again his he hadn’t played for 30 years and he started practicing again and he played for us Mozart I couldn’t believe my ears it was on the level of a baron boy or under a ship and he plated those guys are are really several other wonderful Mozart players Michiko Uchida you know he was in that level of playing and we thought wow he’s been our music director for 20 years and here he is now he’s playing piano again is fantastic we had we had to get used to his movements which were rather angular but he was an angular man that was he
You know Hungarian and very visceral in his approach to conducting he was a rhythmic conductor politically correct for me to ask you if you have a favorite because you’re been done to yourself of course ah but IRA who’s listening to this I can I can tell you to meet probably Ellen your favorites to me some of the there’s so many great experiences that
I had with with so many different conductors it’s just almost impossible to rate one over the other it’s just impossible nearly impossible but I have never played with a musician who was more amazing in every way musically and Daniel Barenboim birthday if you’re listening to this some French when the orchestra went over there I’m sorry I couldn’t was a dick cause he’s he’s on another planet yeah musically if some orchestras don’t get that that’s their problem you know that’s that’s okay
III played chamber music with him Mozart piano concertos Beethoven piano concertos Bramalea just about the one trio yeah the the our performance of Tristan Azolla in Chicago and New York I will never forget it is his mind boggling and the same thing with Elektra and dozens of other pieces were they better than scholtes not necessarily it’s not a matter of better they were different
I mean you when we were sitting in the audience after we finished Mullen five in New York Carnegie Hall and the clapping for 20 minutes how much better does he get no I was only 31 did that happen but but there’s no we play some phenomenal concerts with Carlos climber we’re the only artist in America that he that he came to all about music yeah he wasn’t he wasn’t a great technical conductor but my gracious you felt this his life playing with
Bernstein this this heavenly experience of making music we’re so damn lucky we do that we do very few people in the world yet to do something that makes us happy and makes the world happy to enjoy we are just incredible incredibly lucky fortunate and there’s a question that that I asked myself when my father when I started piano at seven and my father took me to symphony and opera concerts why did music grab me what was it about it and
I don’t know the answer because it doesn’t grab everybody the same it grabbed me I grabbed back and I’ve been living a life which I I almost can’t believe no I don’t want it to end I don’t want to retire in one form but on the other hand you know somebody else needs to come along and carry nothing so you know music
I certainly will my maestro has indicated to me that he would help me in that button and yeah so if it happens it happens wherever I conduct I try to conduct in a level that I play whatever they damn boy unbelievable unbelievable when I was I was conducting him as one as one of the lists beyond observance we did both of them and
I looked around and he was sitting at the piano and he was just smiling at me that gave me such confidence and such comfort confirmation you know it was just wonderful write down we are going to go they’re going to do short answers to these questions like I’m really bad we have all these people watching you I really grateful for to you watching and they never get around to all your questions
I’m so sorry because now is just too fascinating to stop and some types of questions come in and order which don’t really fit the what we’re talking about but I just go through and we do a few really quick ones and then we’ll sign off with Jeff and all go and have a coffee take my glass ok
Stefan wants to know when are you going to record John Williamson Wonka chapter probably never know good that’s a good outside why because he wrote it I did it the premiere in 2004 and he has tried to talk Sony into recording it ever since and they somehow or not eight years ago and the piece is not getting any easier the second loop nearly impossible to play tell okay next question
Richard in Melbourne Richard you must be I’m very late absolutely the the first time I ever played in the New York Philharmonic was just ago his seventh Symphony with Berenstain conducting you know it has two brass sections I was playing 6th horn I was sitting between Joe singer my friend and one of my teachers and on my right was
Harry Berg the third a third horn of Toscanini author Harry I went out to author’s house one time and met him in in Long Island so I actually met author I never knew Jack and Harry I played with he called him dapper dan he was always in a tie and a blues beautiful suit and very very elegantly dressed but it was a pleasure to play with him and he was always very busy teaching going to
Montreal and so on but it was a fantastic experience yes I am how is it exposed to them by listening to their records and and as I said that’s that’s how I learned a lot of music by listening to records YouTube which is great but the real quality of the year of the listening you can only get from the records your favorite orchestral solo you pin it down oh no no
I didn’t think what I mean I love very much the the Romantic era yeah that’s the reason I play the horn Brahms Tchaikovsky but George jacques von der Bruckner Malheur all of those I really like them and but above that I like Mozart I listen to Mozart and I think my gracious what a darn genius what a genius how did he think to do this so simply so elegantly so fine and he knew every note before
I ever wrote it down I can’t okay I don’t relate to that what he did all I do is enjoy what he did genius you’re sort of geniuses around in this music world yeah I’m not one of them and fortunately or whatever do you I’m gonna send you the chat people are so happy and so honored your students here
Kevin they’re saying will the students here together love having you think love you here you are so inspiring I know when I came to play with you guys and met you for the first time I can’t even begin to tell you how inspiring you are for me you you are just inspiring us all here online thank you so much
I yeah what can I say you’re incredible and who taught as we German chapeau sorry I’m going to give you a big big hug right now it means a lot to us to have I got her weird yeah is he gonna come and save the movement come on Jeff tell me thank you that’s what I wanted No thank you thank you so much really talk to us tell me what you guys have planned for this week oh no just last night we went bowling
Oh our night we’re having a party yeah Santa thing so we’re kicking that off with gifts for each other and keeping the gift-giving you know a secret and all that for the front the last two weeks of classes before exams and I’m playing the piece tonight by Matias teacher ensure that yes he was here conducting this summer our festival orchestras so we spoke about doing it yeah yeah and otherwise just people are flocking to any room the dale’s is in and he all those lessons are open and so he’s got a full room all day every day and he’s just really beautifully holding carton well
The live chat has just been announced that you’re a pretty good folk your will focused folders office e ikemen without fooling with you last night I haven’t bought in 35 years my heart my arm is paying for that right now but fortunate is the right arm I don’t need it to play well you guys um you let you go now because we’ve got to let fortunate abandon
Mount Vernon’s and like you did you’re here quite often so if you wouldn’t mind we would love to have you back on because the horn world is going crazy to see and hear you live so if Jeff can arrange it for us let’s let’s have that breathing our let’s get back and really talk about that there’s just so much we want to talk about storage and everyone who’s questioned if
I have an answer but we will get it we will get down like on my absolute promise thank you nice to see you Sarah nice nice nice to see to lots of love Indiana tea boys thanks Jeff Roma help pleasure thank you sir have a great day bye them I cannot fight everybody see you soon bye
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
