Gail Williams performs and talks about the Brahms Horn Trio live from the Bienen School of Music in Evanston, Illinois. This special mini Horn Hangout was streamed live on Facebook and viewers from all over the world joined in to ask Gail questions.
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
[Music] we want more we want more can I can I click this on you thank you you guys are amazing thank you hi everyone who’s watching not only are all your students here but we’ve got people from Chile France England America they’re up I know I know I was impressed with a tour there are are there up late can
I just keep this on you and then you got a pocket you can put that in it’s quite heavy can you introduce us to your wonderful yes you are violinist today is Joseph Jenny Walde who is the professor of violin at UMKC and cake in with pianist collaborator we know take him because she played for your peak performance that’s where we met and you guys played together do you play together often we’ve been playing that
Brahms Mario together since night that’s right August of 83 Oh before you were born thank you I thought it was on a vacation I went to this beautiful music festival and I sat down and I’m on vacation and he opens up with this phrase I went oh I’m not on vacation Wow where were you there’s been skinny
Attalus Seattle New York I want to live there that’s on one of the Finger Lakes in New York State and it’s a beautiful festival for weekends and it’s still continuing today so it’s I think we were like one of the first years we were there you were there at the first year I think and you have a memory like
I remember that because I remember how old my daughter was see that’s how you I remember so we have quite a lot of people watching apparently if you guys been sharing it with everyone and everything yes they’ve been very good they they’ve been briefed we have live porn hangout errs and we also have lots online and there’s a lot of questions coming ok and what
I basically thought we do this is all completely spontaneous because Tim and I are a little bit horn horn hangout a doubt after back-to-back hangouts yesterday but we couldn’t restart this opportunity so you guys so maybe we could sit down and see some of the questions what’s going on would would you guys would probably like a coffee break at this point before you go
I don’t know about your hand position but actually you know what it’s called the bronze horn trio but I sometimes think we have the easiest part because because the violin puppet also the piano part they’re incredibly difficult I mean it’s a horn and easy instrument to balance - he called it the trio fiavio valina and Vartann that’s true so for piano violin so it’s an order of difficulty that’s very good it’s actually very good he’s the first person to actually point that out we horn players did not think of that no it’s our trio we’re just so happy to have a nice piece
Owen look Schubert Schumann with the publisher Georg Schumann but don’t you think the the balance back then was very different because the piano was very much smaller and lighter and quieter yeah and you would have all got strings in the natural horn yeah so the balance probably he was written he was writing at for those instruments because when
I mean when the piano gets going the last movement you know we have to come up with the goods to even be heard and you’re right up there in the high right in the high register and yeah it’s quite it’s very different it’s very different but I like playing I have you played it on the natural arm
I practice it on the natural horn but I have not brought it out to public no I am I’m definitely not doing that either it’s I understand there’s a lot of phrasing that it can be different because of what would have happen but it is it is do we know for sure that he wanted the natural horn yes we do because he wrote letters to
Clara Schumann no better man published the he was not actually playing it with the Louis Brothers like she was playing this piece with the Louie Brothers and her letters back to him and that they refused to play natural horn where he played piano and had a natural horn player play and they preferred that gate is that true you have a picture of
Brahms playing the horn can we find that I will find it I will find it for you yes Dave chemita from Minnesota sent it to me many years ago he’s sitting in the middle with other horn players that’s so he knew I mean it’s too bad that I think in in modern day we don’t see vault horn written up more often and
I’m Horning in German means forest horns right and we still say in German I say we I feel like an honorary German sometimes as well I dream in German now that’s a sign that you’ve been there a long time nine nine nine volts horn is the german word for a horn yes you know and you have a yak horn which is a hunting hundred you’ve all torn is our french horn right so that’s a horn horn
French horn horn yes so um it there has been there are arrangements of it from for cello and viola yes as well I’ve heard it with viola yeah and what you think no I actually I did not like it in the fact that didn’t have the colours this goes to a very serious problem that was for house music because people actually play chamber music at home it was one of
I was a very popular lots of families did it so and it also was good good marketing that oh this could also be played on your viola or your chill and many many pieces were published that way and I don’t think it usually means that the composer thought that he’s suggesting that’s how it should be done in the concert yeah but it was so much about really intimate you know non-commercial situations and sure you could still play this piece you don’t have to have a horn player but it’s a lot nicer
I think of course and it needs that darkness needs that it needs the the yak toe and the hunting horn at the end it needs in the slow movement that wonderful dark color yeah I think it’s a shame I’ve heard it on a cello it was actually quite nice but it wasn’t at all Brahms Ian I’m standing this close to you so that my microphone oh
I got you so we’ve only just met but I just wanted them to hear you that’s fantastic no that’s really what are the challenges for what would you say as a violinist to the horn player when you’re rehearsing it because you were very well behaved here and you didn’t you know you just played for us but what what are your wishes as a violinist for this piece what can we horn players do to make your job easier it’s a good question
I just thought of it just now because of this woman in particular so I just don’t even know what I would do for instance if the horn player was too loud I’ve never had that problem because you’re playing with one of the greatest chamber musicians of all yeah of course you could really hear that in the rehearsal just not touch your ears remember we’re going to go to the compliments the balance is really incredible
Gail is phenomenal I know she can play like 20 times louder than that but she keeps it all in the in the in the proper proper setting and it’s and it seems to you guys seem to know instinctively that sort of coasts the other way sometimes she says couldn’t you play that a little softer that’s a big compliment
I guess so yeah but it’s it’s a it’s a tough piece for you violence which is the most difficult movement for the violent is it the last movement with all that I don’t know because I really played it a lot yeah so mostly it’s just a great pleasure do you breathe with the horn player I try to
I’ve learned a lot about that from Gail yeah absolutely and my breath is because of his bow your breath is because your breasts have a tongue-twister breast because of the bow yes so you follow absolutely absolutely it’s helped my horn playing immensely because of following his boat because he has a wonderful bar and to take a breath and release he does so tonight will rehearse a little bit tonight and make sure our articulations are exactly together without the piano so we can really hear when’s the concert
Friday Friday I wish you were here we stream it Friday can you make it I’m not just ignoring you but you you wanted it you wanted to sit in the there are can I just ask there are a lot of notes I’m coming this side of you that’s okay a lot of notes and and does it make if would you advise us horn players to play this piece with it with the with the lid up or halfway what would you advise inner voices that they need to hear and with pianist actually sometimes
Kenneth or people think the pianists actually get more sound only with the lid up but it’s from the hearing so with the lid up and being able to hear everything clearly you can actually balance better what do you think yeah Stanley cuz you were you were Hurst and sitting down when we came in and we you asked us what we thought and we were terrified to say but we did we said that we thought the sound was no no and especially here in this hall
I’ve never played in here but in many halls we’ve stood and the pianist is always much happier cuz you can hear the horn better here and it depends on the hall it really does and I think you have to play the hall have you ever played it other way around never know but I’ve almost always had the lid up okay because you know you have to hear the left hand okay let’s get onto the mouthpiece crash thank you so much you too thank you so much
I’m sure they’re people I don’t know then you are watching did you guys look really oh my goodness well that’s wonderful so let’s keep sharing that and before we get kicked out before we get kicked out of here exactly so thank you very much for that view - oh that’s my - thanks big round of applause right can we just show these lovely students once again these are
Gail you’re tell me about your students oh these are a few of them and a trumpet and a trumpet player few of them in a trumpet player high trumpet player on TV Ellis of our Brahms we have one freshmen to sophomore and the rest grad students probably the Russell Mars to be in class aha well that’s Martin you’ve been learning a lot more here some are some of them are watching in class
John Dickson says good morning from LA Wendy Liberty in Toronto says hi what about the tempo of the last movement can you give us what’s your tempo of the last movement I leave it up to the pianist and the violinist hard for the horn yeah it’s day there they have notes lots of them - what’s your favorite what’s your what’s your preferred tempos sing it for us
I think the main thing is the second movement cannot be really fast because the last movement is con brio yeah and I think that’s that’s something that I try very hard to make sure there’s a contrast between that movement yeah that’s a hard one yes because they wanna they want to get so excited and it does want to move and it’s hard for the others as the last movement right except there’s a couple of really hard piano leaps in there there look there we are yeah nice yeah this is a bit so we’ve got people are watching this someone’s watching on mute during a class
Very good we like that we like that hello from Brazil Annie Basler is watching hi Annie my Annie my Annie so lovely to see you thank you for joining us oh I love Anna seeing this person everyone needs it any in their lives do ya nice to see you so the last movement I find also that once it starts it gets faster and faster concerts yeah what’s the best way to hold that back
I you know I think it’s part of the horn players duty when you have the repeated eights I thought that just to give a little nudge yeah make sure we stay there where can we pull it back because when it gets back to the bottom well when it goes to the soft area there ladies Meade says lots of
I see hi Steve before you go back to the recap yeah you have a and diminuendo and of course you get slower when you get softer right yeah yep and you get faster when you get louder so you have to make sure if our natural Orchestra life but I think that’s where the temple can really reset yeah there and
I think it’s important to do that there’s a quick question from Wendy limber T you know Wendy from Toronto and she says she’s approaching 60 and are there any how different does the embouchure and the lips get you nowhere near 60 years yeah we’ll stay 34 yeah it’s quite a good question no especially with the Brahms it’s very tiring at least though
I find the first movement tiring once I’ve got that done I’m okay but um I just I mean you you don’t age Gail well you know but you what happens is is I think you have to find out and my students should be listening they you actually have to do more basics and I got that concept from from but her set about herself as he aged he said you have to do more basics yeah then you did when you were younger if you don’t do them you notice them one day and the second day everybody thanking her said exactly the same he said he’s no
Think yesterday on that one less car horn hangout we all waved at you we had some lovely pictures I tried to you know I tried to get up but I was yes he in my studio as you are always busy yeah but no but watch it after because there was a shout out and and there was a nice picture of you in the section
Northern Ireland Lane Steve Kimmons great to see Gayle on the horn hangouts she worked with he worked with you on with on your teacher Jack coverts retirement which is absolutely lovely so there’s a lot of people out there the problem with doing these things live on Facebook is that I can only literally see three questions at a time so on our chat on the on our live page we have the whole list so
I can scroll backwards a horrid so I I’m not ignoring you all if you if you have some questions about the will focusing on the Brahms horn true we don’t know when we’re gonna be thrown out of this room it could be in two minutes it could be in ten minutes so make the most of it send in our questions send in high highs there’s a lot of people in here in the chat
I can scroll back that’s already something mate people are basically just saying hi Brianna Danielle are one of our she our horn hangout so he says the room looks familiar hi Sarah Gail and Tim handsome Tim is of course buying the camera can you show him your hand that areas he’s still awake he’s very excited because because there’s snow well you could come over and shovel any time
I was out there this morning oh my goodness oh okay hugs from Steve meet I said that’s so greetings from London hello yes / are you going to attend the upcoming IHS I am NOT I am NOT either I’m very sorry I’m sorry I can’t member what what are the dates do you remember no I don’t know the dates
Luis Garcia is watching in Brazil is like a family party here it’s fantastic we’re not getting too much Brahms but everyone’s saying hi but it’s I think it it’s right when I’m supposed to be in Jackson Hole or in London hopefully with you I hope that’s gonna work hope so too we are hoping we’re allowed to even say it yet probably not okay we’re not saying anything but we might be in
London together this summer for a very important event - Johannesburg Salina griefers watching in Norway as they got oh where are you watching from says how can you play everyday at the top level how do you get to Carnegie Hall practice 10,000 hours at least he was probably closer to 25,000 oh yeah I mean it’s just it’s just something and you know
I’m lucky because I have all these really wonderful students and I have to warm up with them every day it was not too bad do you have a group warmup well no we did for a while but and then I got a puppy and I couldn’t do it but I do I do this student puppy puppy yeah you guys understand that don’t you rugs holes no you stay home and take care of your puppy no
I do this certain book everyday that my teacher made us do the shuttle scale book and so I assign scales with him so I play the root at the scale or play it with them so I’m you’re kind of always kind of in it you still do that yeah every day good everybody’s nodding everybody I need to get this book there’s a question that came in
Dylan sky hearts watching as well hi Dylan Marian a quick ler says have you either of you ever expected on the experiment with the Brahms or natural horn now we just answered that a few minutes ago you can scroll back and hear at Gale playing some of the Brahms I’ve experimented at home but I would not bring that out into
I was supposed to play it last year live and I chickened out it was just not enough time to do both and those of you really you really have to spend time I used to do a lot of natural horn playing yeah and so I’ve done all the Mozart’s and Mozart horn quintet and then piano one quintet but you really have to spend a lot of time and every key is a different hand position yeah so
I I do a lot of home work but now in public Dylan us and it’s a good question what other books would you suggest for fundamentals who yeah um one of my Bibles yeah that and I use the I use a lot of exercises out of the Torah book out of the brophy book out of the yon church book the
Farkas book and then you can just go on forever have you brought out your your warm-ups no because I would be sued because you stole them from a guy steal them from everybody because in this one book that Daniel Coyle wrote that Picasso said to be a very good artist you must steal not borrow okay so I’m not gonna no no
III hear ya I hear you I Madsen who I thought asked fantastic questions yesterday in the Chicago horn hangout so thank you for that she said do you have a mantra for daily life live every day like it’s your last do you manage that I try it’s not not easy but I at the end of the day yes you have a lot of young things around you now
I do I must keep you on your toes that keeps me on my toes and sorry there’s a student a supposed to have a lesson oh right there this is much better than a lesson this is much better this is much better than a lesson right I think it’s really important to have a balanced life yeah and whorin can’t be everything but it it can give you a lot of joy yeah it can we are so lucky to be able to because how we play is how we are some days yeah but you know on the bad days those are the days that really test
You if you’ve got to get out there on stage yeah you know I tell my students the minute you put one foot on that stage Maria Callas yeah I said the audience doesn’t pay to hear you try that’s rare to do do and not sometimes hard if you’re not having a great day but today is a great day so
I’d have to play the horn Oh Tim Penn ask is there anything you could comment on about the third movement of the Brahms it’s probably a long well I think there’s a new addition that hog would put out did you see that one it has a lot of information in the foreword okay of this I don’t have the score here with me today but he has a lot of the folksongs this is this related to the third movement and you know it describes his mother’s home there in the wood is a little house you know as part of the words that she’s just sing this
Song and I think it’s really important that you you say that that those words as you’re playing it because it makes the emphasis of the phrase work it I find this movement just really gets me oh absolutely something I played this one time with a pianist who was also a very good violist he teaches Beaufort he has in the past at
San Francisco Conservatory and he he said at the end of the third movement there’s no diminuendo it just stops yeah because of the heartbeat stops and it’s it’s really stuck with me all these years yes you didn’t get very soft but it doesn’t go to an ENT or he would have said it yeah it just stops and then to get into the mood for the so that it’s almost like like how much time do you leave between the end of the third movement and the and the farm the movement yeah come to the concert on
Friday there’s always someone just wrote it said they’re looking forward to the to the to the concert on Friday you would hear it but how much time how do you judge that I’ll leave it up to Joe you know he usually has a good timing sense for that he’s great it’s it’s important that you unwind but it’s also important to keep that going in the audience you can’t let them it might be you know an infirmary ward sometimes but it’s important to keep to keep that energy attention and it’s a tension though is keeps going a positive one
Kim McGill de said could you tell us the name of the scale book again the Joseph Chantal theoretical scale study can somebody put a link to that or write it down in the time you guys it is published by wind SiC that mr. Yan Chooch put out in many years ago aleksander ask you never forget your resonance sound can you show us your mouthpiece the mouthpiece question always comes in the whole thing and munched and can you do a little bit of a zoom in there
Portuguese used to having assistants and three at least three cameras and today yes the doors on so tell us about your mouthpiece you always got to have a mouthpiece well I think the main thing is it’s the free air the free air and and I got this concept from the first time I was ever playing extra with the
Chicago Symphony these students have heard the story but I was walking down the hall thinking oh my what am I doing here you know and I heard this behind me and add blue Tim’s ears oh sorry Jenna and I was like whoa who’s that and I turned on of those her set oh wow coming down the hall buzzing his mouthpiece and
I thought hmm who has the most resonant sound of the Chicago Symphony so I had many opportunities to ask him and he said it you have to have this resonance there because you’re putting it into them already and the buzz kept it free buzzing no no mouthpiece buzzing mouthpiece pass nothing no he wouldn’t walk down the hall golf club nobody has fee ha ha ha ha and he is doing he and
I can mr. Jacobs would then yell at me yeah he said no no no no free buzzing he did too much attention yeah he would he would give a master class in a room here and he would say and no one should free bus and he look up it at the audience and say except I know someone here that does yeah
I know kind of duck but I think it’s all it’s all about yeah you know I think sometimes there is too much tension in the fre buzzing but you could do it an octave lower to get these same idea and what do you buzz you do you have split gene I think you have to be able to play the higher range on the mouthpiece see the beginning of the brought forth movement on the mouthpiece so maybe a little would be but
I think you have to be able to play the range and in the I think it’s a brophy book there’s a exercise you play you can play with the piano so you’re really playing in tuning fourths and I like that one a bit very much yeah what about the first movement I find my biggest challenge coming from a low horn position when
I have to play the Branson trio is getting the chops for the end of the first movement I find you probably it’s never probably even occurred to Gale that it might be tiring but at the end of the first movement what do you guys think it’s tiring though these da da da and big big and O’s I know you the only solution
I found is just blowing the air and keeping the air moving after the big fortissimo thing you’re not waste not saving any air while you’re doing no right because you just got to go for it and even if you’re worried about the end I I really think you get your your endurance by good air lack of tension and you watch the violin though and you just go go they’re moving so you move your air with them and that that changes everything it’s so much easier to play it with the violinist than practicing on your own that is such a fantastic tip that you gave
I’m gonna use that just really playing with the bow oh yeah that and you can always imagine I mean if you don’t have a violence with you go watch somebody online and play along with that I mean it’s important you are such an inspiration Gail says I learn from Montreal I was just a Montreal though horn players they’re fantastic bunch of people so yeah that’s really really what about finding the tempo at the beginning can you do well you know
I I just go back to what his letters and Brahms was walking taking a hike in the Black Forest something you can understand and it was a very big hiker and I think of that often because you know he wasn’t a tiny wire a person so you can’t go too fast and you can’t go too slow cool you’ll stumble yeah so
I do think about that and I think everybody should there’s variety and it’s okay I think the hardest tempo and the whole piece is picking out the the poke appear on a model with the triplets that’s always do you go Tom or is it just a little how much and and every time I’ve done it it’s like a little different it’s just you kind of go with the flow and
I think it’s it’s beautiful wouldn’t it’s not too fast yes it’s something that’s very very close to my heart and that is saying that you know that she’s read the letters and thinks about that it’s so important for me and obviously for you to to know the background behind the pieces that were playing because only then can you really
I mean if you if you don’t know that he’s written the third movement for his mother who is very passed on you can’t play it you just can’t but it’s quite shocking to have people come and just play it and not know the history so it’s sorry it sounds like a preaching but I I’m just so happy you said that because
I thought there are letters there just like there are multi letters yeah yeah we should be reading those yeah and we don’t tend to what’s the best way to find the Brahms ones I have a book yeah but what a proper bookmark that opens up with pages yeah I do haha how wonderfully old-fashioned I wish we had more about one of the best concerts
I ever played was when we had a couple people read letters Brian littles watching oh hi Ryan read letters of clara schumann she wrote two Brahms and Browns Beckett yeah when you played some of the exactly ROM so Clark who played with who played the premier of the Bronx Warren tree I don’t know anybody knows right stem but
Clara Schumann played it a lot oh yes yes and she wrote a letter back to Brahms saying the horn players won’t play natural horn they want to play their bout yeah because he was very insistent on playing it with her you know natural horn yeah yeah well if he don’t about our horns then he probably would have well
I mean it’s a challenge for us just to play it on the F horn isn’t it oh yes but I heard a performance of it played on the white one of the Vienna at the end vienna guys gorgeous oh absolutely but they’re brave you know if a note goes over on a Vienna horn there’s no stopping at it it resounds four minutes afterwards but when it weren’t what a beautiful sound theme most gorgeous sound really
I’m just not brave enough to try it good eye okay what about you guys what would you what would you you have it every day you’re swinging around to you so quick sit up and look good and what do you play the Brahms horn for you you have a question about the Brahms thorn tree anybody if anyone has a clue what would you what would you ask you can ask girls recorded it
I’ve recorded it it’s a piece that we just love to play are you just gonna sit they are so lucky to have this piece of music and I’m so sorry Joe that you don’t have something like this there’s a there’s a trumpet player here you good you could play your hands up the only trumpet player at the back there there you go he’s left you already about there yeah it’s it’s it’s a very it’s just a fantastic piece to have another epitome what would you program with it that
I told that question come back and this is the reason why I’m playing the Brahms I was gonna do the Dana Wilson trio Greg Russa hi Greg Greg hi to LA I was gonna do the Dana Wilson trio that he wrote for Joe and myself and I’d love to see that yeah I’ll get a copy for you okay great
I’ve recorded it on one of these things and one of the very first concerts that I ever heard as a freshman in college and I had not taken any horn lessons till I got to college was my horn teacher and his wife Marianne covert and John Toth who was a wonderful violinist played the donald banks the lennox berkeley and the bronze heart trio all the same concert and
I was sitting there going yeah you know and and Mary Ann is not terribly well so I’m playing a boy oh the Lennox Barclay horn trio is quite a also quite a challenge yes it’s that last movement it’s a long it really is long beautiful I love it yeah it’s gorgeous I’ve never actually dared to put that together
I usually make the violinist in the pianist player a little piece on their own as well because I’m well I’m a I’m a low horn you know we have to save our chops we’ll start with a trio I wanna do who we do I mean I’m happy to even get up on that stage I tell you it’s wide if
I’ve actually played the Harvison and the and the Brahms together and that’s not so bad no it’s not so bad I can’t I actually can’t imagine playing the Brahms and the Ligety which is what’s supposed to be done somebody’s mentioning the Zachary Smith is saying there’s a fainting couch behind us there is painting this is an opera room we just saw that box where are we exactly we’re in we’re in the
Black Box Theatre of the question is Music Building right important question from Amy Sanchez does your puppy Apollo sing along with the Brahms no but he’s getting better at Amy he’s I had him going down half steps the other day you can find it on Facebook yes the Gaels singing dog that’s a we had that on your that was your very first horn hang that was we were right still doing it
O’Reilly blessing but Riley actually could count you actually new one that was arrest and then in power right really good but this one she played I my friend played it for her dog and so she filmed her dog’s head and going back and forth so that’s on Facebook okay got to get that that was a very good question thank you for that
I am I I think we want it you’ve got a lesson and and we know don’t know we don’t want a lesson we don’t know she has a recital so how do things work here just just explain because we had a little we have a little horn hanging out with you and and and John from your peak performance and it wasn’t you know we had we had
Russell on camera and who else did second someone else in the same Cameron we it was all very very basic it was it was great we had no lights yeah microphones i but it turned out really nice anyway so a lot of questions were answers there but how many students do you have here how do people apply we have 21 students a lot of horns and nine is nine here were the others we’re all in
Class A home yeah well I think I think they’re all watching my looks and the dogs have a favorite piece they know they just don’t go I mean I brought him to lessons when when does he start howling when you get to a certain dynamic and then he says oh it starts with them yeah but sorry I hope
Tate’s do you know Jose so he’s not a third horn in the concept cabal and and he needs that he wants a lesson from you you’re his hero hello Jose is a great horn player really great home plane could second by such a wonderful Lord it is beautiful beautiful yeah totally and you’re lucky to play in your home
I know gene wasn’t so happy about the Symphony Symphony or your Symphony Center he said it didn’t get a lot better after the the renovate do they put mothership up there I didn’t think it needed any better I know no sorry we were talking about Northwestern yeah and your horn class I mean John Bowen and I split ice the cloth yeah no we he teaches six each week and
I rotate totally rotate everybody and I do ask the students and they haven’t had that question yet do you like this do you want to continue it this way and every year since I’ve been doing it mmm since 98 when I came here I was doing I was teaching with Bill Barna with’s and all the students said no keep it this way yeah with the rotation yeah and it helps me because we communicate
I run down the hall and knock knock knock when he’s here can you come here you know so we can compare notes or I’m doing this for the student what do you think and stuff like that I wanted to come up to you because I want to knock on mix door I’m okay is one of our favorite
Horne hangout us of all time the last one we did was in the Sydney Botanical Gardens um Tim Tim came over all his life streaming stuff it was really bad it was Saturday he brought his class down and only afterwards that someone say you could have been arrested for that yes for no permission we have live streaming we just sat there and
Mick had his his his Australian you know his sort of Sun Hat what’s it called the Cooper yeah just is his hat a Sun Hat on and his sunblock all over his nose and yes and we did the horn hang out there so if you haven’t seen that that that’s it’s a good one so we’re here today yes you got it so we’re gonna go
I have to work with him today yeah oh what a hardship Jonathan Hamels turned our Jonathan Hamill from from Tokyo yes it’s it’s it’s really literally a family hangout today so it was totally spontaneous thank you for letting us know we have to come if you’re so close and it’s just lovely to see you nice to see to see handsome tonight can you just can we see you in front of can you just that’s dangerous
I know because when he leaves the camera it also but can’t just come can you can we turn it turn it around to the students again it yeah you turned around to the students and then you could panic here we go keep panning right on your brass band logo there is if that horse we have this beautiful view out here yes see
Lake Michigan I didn’t frozen see that he’s so excited about the snow we’re going outside for a walk in a minute because it’s just it’s just really we’ve got what we’ve got it is a little bit I must say I do prefer that other live streams on my page because I don’t have to watch it while I’m off you know because
I’m thinking okay you can you could see you could see right up my skirt a few minutes ago so I so but at least I could adjust the hatch Gail thank you yeah we will hopefully see each other in the summer I hope so I really do I guess so pretty pretty and criminal I I think so too we’re not saying anything but keep keep an eye out and we will be announcing it as soon as you can and lovely to see all your lovely students thank you you guys they’re coming down and experiencing a mini live horn hangout and yeah we didn’t do that
Much of the bras were basically basic stuff and and you’ve recorded it so people can hear you it’s a recording with Larry Larry - mother brownness clarinet quintet but it’s when did you do that mm sometimes I don’t remember but it’s out there a long time ago yeah but do the Mozart horn quintet and clarinet trio also if there’s a yeah
I asked you if you can’t you get live on Friday you can buy the CD that’s also quite old-fashioned these days people that kind of sad it might even be on YouTube but someone stole it well my stuff seems to been stolen and put on YouTube but but I love your bronze but I think really love this this
Mason bait Mason bass piece it’s such a cool piece that’s what I put out but I haven’t played it in the same concert because the pianist would have probably throttled me it’s we’ve played it on its own with some also a few of the little pieces the velvet valve pieces just to Mason piece we played it at at a nightclub when we’re asked to come and explain about the horn and
Blackpool went down perfectly Oh it’d be perfect perfect because it’s called Watergate and it’s usually open from from 11:00 at night till 6:00 in the morning yeah all right that’s probably why it’s called that good one good one and and there were people that sitting there you know with their drinks and like literally right after you feet and they adored it it maybe have a couple places like that there’s one in
Evanston called space then go and play the minute that would be perfect for it because Mason Bates was a complete computer and electronic music guy he’d still be I mean still is he needs to write some more stuff for horn Mason and it’s it’s quite it was quite an experimental piece where it came out now it’s probably normal that the pianist you know sort of fiddles around in the under the hood for for all the over all these all these what do you call it all those what what do they do they pick the spheres and prepare prepared pianos yeah we had oh we had
Long talks with Mason about that because that wasn’t easy to get that you couldn’t know we couldn’t get one of the harmonics right either we did I wasn’t quite sure he never got back to us about the recording so either he hated it and didn’t want to listen to it or yeah anyway so Wilson from Hong Kong what short do you have a favorite
Helder wants to say what is your favorite movement can you even say that at the bronze horn true depending on the day if it’s gray skies sometimes that it is the third yeah if it’s bright blue and had just has to be the third one yeah the fourth fourth move second or fourth before yeah yeah I agree
I said it’s like for me it’s it’s sort of seasonal seasonal problem zone yeah that’s nice you can feel like the opening movement it’s kind of spring in US and the snow is kind of going along and then you get a little bit more the flower movement is spring and summer yeah winter though isn’t it always depends if you like to steer now an
English summer yeah there we go thank you for that okay I will leave all those lovely people there thank you for joining us everybody it was a totally impromptu you horn hangout but with handsome Tim holding the reins we can do these this horn hangout magic and thank you so much for joining us see you guys see you all back here day after tomorrow on the 8th for a horn hanging out with
Julie Julie Lancers give my best I will and the horn section of the met or interpretive girls oh yeah it’s incredible to have all your students in your horn section yeah so we’re celebrating them and playing some opera excerpts and then anyone in New York watching or nearby come on down bring your horn you have to RSVP to
Julliard so message me or Julianne we’ll work it all out but we want people to come back on and the day after we have Chris Martin oh great so really he’s just been on on holiday I hadn’t heard anything from him for days and I was thinking oh Noah says he’s canceled he’s been on a Caribbean island oh that’s just so he’s gonna be really tanned and relaxed and ready for his horn hang out but that’s
New York so we’re busy busy and I invited the entire horn section of the Chicago Symphony Orchestra Julie’s party after the horn hangout because they’re very Pro dance right there so it’s going to be quite an occasion right but thank you so much though and the round of applause to you and to you [Applause] you
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
