Concertos, Composers and Cow Horns! Trumpet Soloist Håkan Hardenberger returns for a second Horn Hangout live from Berlin. With a cameo appearance by Christian Lindberg! April 21st, 2015
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Hi everybody welcome sorry for the short delay there’s always something going on out there on internet land but welcome back to the horn Hangouts it’s so great to see so many of you here we’ve been reading the chat there’s people really from all over the place watching and my mom in London always have to say hello to my mom in
London I’m really really happy to welcome back hawen Harden begger to the horn Hangouts it’s your you’re the first person to do a second one a full proper second one really really so welcome back thank you so much we’ll get back to what you’re doing here in Berlin in a moment and I wanted to let all you know that today’s an even more special hangout not only because hawkin’s here but because we’re filming this this hangout for
Sarah’s music we’re featuring hawen in the next episode of Sarah’s music on deut Chella and look the team the room is full of cameras and sound people and my makeup Lady John and um look there they all are yakob my wonderful video mixer everybody wave The Hangout world is waving Tim Kelly in Melbourne running at from live stream from five stream
Tim welcome and it’s 5 a.m. there so thank you for getting up thanks a lot so hawen back to you welcome back to Berlin thank you and you’re here for it’s strange you’ve been playing for so long but you have a big Premiere this week I do it’s the first time I play with a Berlin philonic I can’t believe it yeah it’s it’s nice it really feels very very nice well it’s about time it’s about time but it wasn’t sure you know
I um I had a student about I think maybe 15 years ago you know I had already been going and I’d done all my recordings and and he was asking you know what what what else is there would and I said well I want to bring the trumpets right up there you know to the to the best orchestras to the you know the major conductors and play play real real music real pieces and and
I remember him saying it’s not going to happen and uh and then it is you know and here you are it’s really incredible you’re playing a piece you know very well you’ve played it over 60 times HK grba’s uh aiel yes and uh and he he wrote it for you he did and he I heard an interview today um uh that he he’d given about the piece and not only did you blow a cow horn onto his answer phone um he you showed him all the little tricks of taking out slides and all sorts of
Trum things I did because I I knew he would he would take it and use it in a very poetic manner which he he definitely is it’s it’s a masterpiece if you if you want to know anything about this piece we have the part here we have the cow horn we have the trumpets you use for the piece so we’ll we’ll get to the technical things um all these people around the world
World saying hello that’s what I love about the horn Hangouts is that they’re Glo it’s Global but a very special friend of yours um you will see we have a little video of a very special friend of yours who’s who’s been on the same Journey as you from all those years ago have a quick look at this little film a little hello from hawan from a very special friend greetings hawan from north of the
Arctic Circle uh actually did you know that we performed the same night you and I in mik for and Bin Fon yesterday who would have thought that 30 years ago when we were doing this uh Cafe arton talking about how people said that you blow the trombone and trumpet uh I hope you have a fantastic time in
Berlin I’m just now on the way to my concert uh Hall in Norway storman to record josi for have a nice evening take care bye also CHR Lindberg yay you two have been you’ve been friends forever oh very very long time you know long time before there was this possibility of getting to we met the very first time in monre there was organized a
International Conference for brass musicians so it was International trumpet Guild and trombone Association and Horn I don’t know what that’s called and nerds unit yes all and everybody came you know and do do shiter came out of the Soviet Union and very rarely and he came and everybody was there and I remember traveling down and there I met
Christian you know another another nerd you two are total and utter brass nerds you practiced all hours that God gave yeah and we had this we had this idea that that the solo possibility there were no real soloists in your branch making their living at least oh well we had we because we had moris Andre of course you had and do shitzer and
Edward trone trombone not many not really and you two were so cute in the days when when Christiana had a lot of hair and you had even more hair we have another little video just to show you what the two boys used to get up [Music] to aren’t they cute all that hair what of all that 1990 probably but that was actually you were quite uh unique in
Pioneers because you talked to the audience and you included them and they were sitting in a cool area you know yeah I was in the Academy of Arts in London and it was kind of kidy concerts and and we I don’t even think it was our own idea to do this compilation of Opera things and there was a documentary being made about me and and this was like a side product of that and it became quite a hit and we
I think we could have still been doing that if wanted you could have really done the round both of you have not only made it as soloists in the brasswood you’re both conductors well Christian more than I I would say I I I conduct a little bit a little a little bit come on you do you do three projects a year no
I maybe six six maybe maybe but but I mean depending on uh you know I really I really like it uh but I also realize you know my old teacher Pier tibo he used to say for the trumpet one lifetime is not enough he said and he was right you know and I think I think it’s the same for conducting
I don’t I don’t I don’t believe that you know just because I like it I suddenly when I finished playing trumpet can be a great conductor but I I do my best because I like it and whatever it whatever it becomes it becomes that’s great we have a lot of people a lot of friends watching Mark Julian is watching the whole studio in
Acron you know you did a fantastic interview for him he did it yeah that’s that’s that’s my my research so hi Mark thanks for watching hi to all your your studio and um he’s already asked we’re starting with some questions you know because we have all the history we did the hangout the last time yes and we went through your enti life about you getting a trumpet age of about you studying in
Paris about making it as a soloist so I’m going to ask many questions that are coming in online today they might be a little bit random but it’s okay keeps it keeps it fresh and because Mark is had done such a great job on the interview which helped me a lot I’m going to start with his question okay
Mark he is asked please could you ask Hulen how important s was to his training and if you use it now when you learn new works it was is hugely important the Sol I mean I came from from Sweden and had only had private teaching by brw Nelson on the trumpet and then only one year in the academy where we did our version of ear training and then
I I got to Paris and tibo said here you have to do s FR and he went and bought it was like 16 volumes of something and I was completely overwhelmed I thought I you didn’t speak French either no I didn’t no no and i’ never seen this stuff and and uh and then I did get into the school and
I we had I think we had something like nine hours a week of sfish and to be able to to make the exam I even took some extra I wish I could do that we we didn’t have that and and it’s for the trumpet especially or brass instruments I would say it’s it’s vital because it saves you from from guessing yeah too much
I mean I don’t have perfect pitch so with the modern with these modern works that you that you premere I do you use it use sit at home and you I do yeah I mean I’m I’m not as good at the S part as I was then but I mean the what is the essence of it I
I still use very much wow yeah well I mean I think it should be on everybody’s curriculum I I wish I could do we had Ricardo Muti last last week and he’s he’s like also one of the last experts in this it’s it’s incredible it’s just and we had a fantastic teacher in Paris Madame Giro de B who who would she was a sham smoker and she but she was she would take us by the arm and hand and she would go through this and we would do wonderful things you know we would sing for songs on
SOL without the text and and uh with with you know it really taught you where a note belongs in the in the cord and things like that very very good I wish in my next life I will learn this um we have uh Jean Luke says hi hwen and Sarah I come from Britany to listen to you and
Gabor or tamash it’s tamash on Saturday looking forward to hearing the the conero um fhornpatrick says greetings from Canada um I would just like to know how your techniques on how to stay stay in the game mentally do you stay in the game mentally stay in the game mentally yeah uh big question very big question um how do you prepare well
I I worked very very hard still many hours a day I um I think to stay in it mentally you have have to have the technical tools ready you have to know where they are uh they have to be accessible you to know what tools to use you don’t need always the same thing every day no and and then to to listen to yourself to to the body to your mind where where where you’re at um and then to dare to open the doors uh it’s it’s a it’s a very big question do you have a do you have a a routine before concert before
Do you have a meditation do you have a a focus do you have a mantra not really I think it’s very much again a kind of balance act you try to see it as much as a normal day as possible yet you know that it’s not Thursday will be a normal day because you’re just doing a Premiere with the
Berlin film but you know that I honestly very very honestly I really see as a bonus you know in April April 81 I played in this Hall the first time April 1981 yeah incred hien conter in the r Ste for program after the rid U competition and I played the hien and there was something about you know playing it in such a hall where you get you get the second instrument a new instrument and
I just felt at that moment I remember moment just after the cence I remember this is what I want to do W this is exactly what I want to do and then of course I had dreamed well maybe one day I will play with even with the B and philarmonic and I’ve played with I would say I played with
Vienna all the London orchestras all the American orchestras so it is nice that and I see it as a bonus you know and it’s a piece you know incredibly well well it’s great piece and and we just we don’t know it very well yet and to have it you know together with maler five where you then see suddenly all the vienes colors of grber come out even more clearly when it’s
Jos oh it’s it’s going to be an amazing concert and it’s going to be live on the digital Concert Hall which means everybody all your fans can tune in and and watch it live Fantastic live Hangouts Live digital Concert Hall I tell you this world is getting fantastic um there’s a very nice question from where did it go oh they they come in and they
Tony breakfasting in New Zealand says what what kind of routine do you suggest for a keen amateur with about 20 minutes to practice every day good question ah well um there are little like like the little choitz uh Vincent chitz warmup that doesn’t take much more than than 10 12 minutes and then some scales and then a tune that you like playing yeah absolutely and preferably also find a moment to make music with other people oh
Richard ilomaki says is there a piece in the repertoire off for Sarah on horn and hawen on trumpet that would be a great project oh we’ll have to get someone to write us a nice of duet anybody out there that would like to write us a duet we happy to play it maybe not tonight but uh um
Gunter G from Austria has an interesting question does hawan play any style of jazz music or do have you ever thought of playing jazz music well I always say that you cannot be a trumpet player and not have some sort of relation to jazz music especially in in in Ariel in Ariel there’s very much influence you know con like the burnt simmerman even more this this always and and it’s so much part of our history you know how the ja musicians taught us you know how to the
Blue Notes you know and and uh I would say I I admire Jazz and I I’m very influenced by it and sometimes I work with jazz musicians I would find it pretentious to say that I play jazz when I do that I I I get can you improvise I can improvise in some way I’m not very good improviser on you know in cords
I can a little bit doodle around yeah but but you know it’s that’s that’s a that’s an art of its own uh but we can very much draw inspiration as I think they do from us they do from us but I remember I remember the winter Marsalis band jazz at Lincoln Center when they came to play with us and uh and we were in total all of them and their trumpet section are just unbelievable
I remember Marcus printers one of the trumpet players said man it’s scary what you guys do you only get one chance to pay one note we can miss it five times and call it improvisation yeah yeah but it’s both has its Challenge and we can certainly get inspired by each other and as I said I sometimes work very near but
I wouldn’t call it Jaz you don’t mind me just firing these questions you get them in there cuz there’s so many great ones coming in um eform Patrick said thank you for the words of wisdom H in Vancouver is watching at the music college with all the brass section hello to Vancouver thanks for watching Sam wants to know what is your favorite piece in the solo repertoire is it it’s hard to say it’s like what’s your favorite that’s very hard yes and you know
I’ve premiered all these pieces and of course the music that’s been written for me feels that’s very close that’s kind of like musical children you know and and uh but definitely Ariel that I’m playing this week is is one of the the big favorites it’s such a wide spectrum of of of emotions and and and possibilities incredibly difficult everybody no very difficult yeah but it to a purpose you know he he is one of those composers he doesn’t write difficult because he’s trying to be clever
I mean he he sits down and he he says I listen to the music and and then I write it down and then it takes the life that it it does does and it’s it happens to be in a way complicated but at the same time quite accessible so it’s I’m really looking forward to it a great question just came in from
Venezuela so from from Vancouver to Venezuela isn’t it amazing it’s I just like to add yes please because there’s also others you know I mean the my favorite I I it’s hard to say that one is your favorite you know but it’s probably a daily thing maybe today this is your course the one you play has to be the one you play has to be the favorite right now and uh but you know bir whistle from 86 was that the first thing you commissioned or one of the big the first big commission and it was great
I was not so long ago I was in Basel in the Saka archives you know seven floors down into the mountain and there was the original score of Sak de and a lot of other things that Saka collected and he of course commissioned bir Wizzle so in drawer not far away from right of spring was endless parade with all the sketches all the all the you know attempts and it was so moving to see that fantastic oh wow next to the writ of spring yeah goodness sorry for no no no that’s really
I mean the thing is is that that what what you’ve done for the trumpet world you have extended the repertoire beyond belief um and that that’s what you really actually set set out to do you’ve had people write things for you ever since the beginning you know but this is like when did Harrison write his piece that was in ’ 86 ’ 86 and and and it’s it’s still carrying on
I mean you played you played Brett Dean’s piece dramatis person I that that’s was the most recent one that was written for you and next week you’re off to Perth yes to to Premiere another one yeah yeah no but you know if we’re going to say that the trumpet has a possibility of being a solo instrument on in the classical scene then that need to be um subst
IAL repertoire you something that that is really can compete with a great violin concer or a great Pian concer or singer you know the choices that the conductor has or a program committee are endless you know is there a danger though because today I had a very nice phone call with Mark Anthony Turnage who has written the piece for your premiering next week in
Perth and it’s got a really fantastic name hawen the piece is called hawen and he said he’s a little bit worried that maybe no one else is going to play it because it’s got your it’s called by your name and no one will dare to I didn’t ask I didn’t ask him to call it that just to be clear it’s a lot more cheerful than the last piece the name is a lot more cheerful um out of the wreckage from the
W from the wreckage that was it well how do you know that hokan is more Chief I assume but some of these pieces you’ve had commissioned are so fishlyn play them I wish more people to play them but that it’s normal it takes you know the the the siman conter that I played last week was written in 1954 of course not for me uh and it was sleeping for 30 years because it was considered unplayable and then suddenly it isn’t unplayable anymore and now
I see younger people taking up aerial and busing and all these pieces it just takes a little time you feel very proud oh very and you know it was was a journey that was necessary and and I really hope that that people will benefit from it well there’ll be hawen piece out there it’s wonderful how how is it
I heard he said it’s in three movements it’s quite a classical it’s classical in its form uh it’s got influences from different kind of ethnic flavors to parts of it and there’s a coral variation he uses many different things that uh no it looks to be you know that that’s I’m that’s in a about 10 days two weeks and that’s
I don’t know what it is it really is like a like a baby you know it will be something and you you’re practicing all these notes and things and you’re guessing what it will be and even if you can read the score there’s no way you’re going to know exactly what it feels like do you guys want a bit of
Insider information there’s a little bit of Insider information here for hawkin’s next Premiere in Perth Mark Anthony Turner said to me today that when hawen got the music um you didn’t answer for quite a while and then on the day that the deadline Wass to send in the parts you said ah it’s too easy I could sight read that and he’s he’s changed the whole thing he changed about 70% of the part and now it’s fishlyn you just needed it to be but but there is the element of of when
I get a new piece I do like it to to move me me in another Direction well I want to be able to hear it can you live stream it from Perth for us I don’t know maybe the that Orchestra has that maybe or we’ll send him over from Melbourne and get him to live stream it um okay a few more questions because they’re coming in
Fast and Furious um Trump from Venezuela says thank you for this does hawan ever wish he played horn good question it is a good question I mean all the repertoire you have you know Strauss Browns beov Mozart doesn’t end but maybe if I was maybe I wouldn’t have gone this route you know uh then I would have just taken the
Next Great Piece of repertoire and studied that when I when I felt I needed to move on the trumpet was for you from the very beginning absolutely your dad got you an old beat up trumpet for Christmas your parents aren’t musicians no not at all so why did he he just picked it up and thought maybe well he had heard a he had heard a concert with
Louis Armstrong many years before and it was just a fun thing to do to buy for Christmas I mean cost nothing and it was really beaten up but it I got hooked you loved it yeah and also your first uh first teacher was very very inspiring that’s that’s the most important thing absolutely buil son uh and you know from the word go long long lessons and very tends and
I just thought this is this is it this is and your parents never had to tell you to practice never had to send you to your room to practice no no and I still like practicing I know your wife probably has to get you out of the room from practicing instead of sending you to your room to practive oky dokie here we go lots more um
Hans maybe uh going on from from that the last question from Venezuela um are there any transferable articulation exercise that someone can use who has recently transferred from horn to Horn from trumpet I mean it’s hard to to to pick out specific things but what could someone is it so different what what we horn players I don’t think so
I wouldn’t think so I think my idea about it is that that the body will have the answer if you if you ask it you know if you in your speech in your language you will have the sounds or the beginning of sounds that you are looking for as as long as you can identify what you’re looking for it has to start with the idea has to start up here that you hear something and
I and you think that’s what I want then you can start looking in your language that there’s going to be that sound somehow and then you can maybe find exercises that go along that line but but usually usually the body has some sort of answer and I think sound is everything if it’s sounding right you’re doing it right if it’s not sounding good then we have to change something it sounds so simple but a lot of students forget sometimes to listen to themselves exactly it’s the it’s the this is the our most important tool and and listening real listening is what you do before not
Not after to see if if was that good or bad or criticizing listening is inside before so that you really determine what it is you want to come out also helps us not split notes it does we still split them but we try our best not to split them someone said recently yeah the violinist they have 500 different ways of starting out you know ly roundly this and that we brass players we either get it or we don’t exactly but we love it anyway um there’s a nice question uh that came in uh where is it oh yeah
James from Canada says do you have any funny anecdotes that happened to you while performing oh my God I like these sort of questions Thanks James good question God uh many they will all come out in a book in the book no but I I always find it difficult to think of of you know special anecdotes because um now now is now is more important you’re right you’re right but everybody always loves the stories about the mutes falling down during the performance or someone falling asleep in the front row or yeah well
I I can think of one when you talk about the first row I that was in Australia actually and I was going to play this big coner which one the Michael Blake Watkins con and you know I I walk in and I’m I’m All concentrated and and there’s a little lady sitting straight in front of me and as soon as
I take the trumpet up she [Laughter] goes and did she stay like that she stayed like this the whole time and I as soon as I had a I I wanted to go and say that maybe it’s better you go home but but she she paid her money yeah yeah but she didn’t want to listen no oh dear oh dear well thanks for that question
I like I like I like those stories um Sven has a question which actually I I like he’s written it a few times so I’m happy if you if you if we don’t answer your question do send them in again because they go past so fast I I miss them a lot of the times Mr hardenberger why are some players more gifted for the high register than others does this have have a lot to do with mouth cavity and teeth and what is your golden tip for the high registers greeting from
Amsterdam good questions well um I didn’t have a natural high register for instance um I can hear all the trumpet players all around the world going yeah yeah yeah no it’s true it’s it’s true but again you have to identify and then work to towards and it can have a little bit to do with cavity and things but
I don’t think very much I mean we are we are similar enough I I I don’t much believe in that a physical thing um but I do believe in in in aimed practice and the right setup I mean maybe I don’t know the same with trumpets if horns if your mouth pie is too big then it’s hard to play in the high range absolutely and and uh and if you produce the notes in the low register inefficiently you will it will be even more inefficient when when you play
I have a great question from the Sarah’s music team that’s Magda sitting there in the corner so we are going to answer the Sarah’s music team question what was the most difficult piece that you’ve ever played well this one that I’m playing this week will to and then and then he he can can we just show people how difficult this piece is well
M the cow horn okay here we go so maybe if you take okay that’s just a little right which one are we holding this into George here we go that is a lot of notes and that’s just page one two and three right yeah but there are beautiful notes and but I would say when also when first time
I got the bir whistle piece I stared at it for a long time and didn’t understand anything you said something great in the interview you said ber whistle would send you a page at a time and every time you got a paid you wanted to go back to bed yes absolutely uh so this Ariel oh my AR and but then he wrote the little brother busing and in what some ways uh as difficult
I love this I love these parts that are so well used and also at the very end I don’t know if you can see this George it’s written where where you’ve played it yeah everywhere and on the back as well look at all those performances and there’s room for the Berlin fill right there I’m so happy about that thanks for bringing that that’s that’s great so you you’d say
Ariel was was one of the most difficult in birth well Ariel is is is more all right okay thank you can an Arial is difficult because you have large Orchestra you have to do all these things and then you have a large Orchestra to compete against I was thinking that today when we were rehearsing it we were incredibly loud
I mean everyone was site reading it and and you know how stressful the second movement is for everyone but I was wondering where there’s room for you to be heard in that piece the first movement is okay the the piece is very well composed and and if all Dynamics are observed then then there’s no problem okay right
I’ve got the message okay let’s get back to some trumpet nerd questions trumpet nerds we love you keep them coming keep them coming um right we have uh uh G gerasimos gerasimos sorry tell me how to pronounce your name and tell me where you’re asking from what mouthpiece do you use to play on the piccolo trumpet I’m going to play the
Brandon bentto in 10 days and have a hard hard time with mouthpiece Choice bit late to change your mouthpiece for a brandenberg yes I would say um don’t change too much 10 days before a perform performance uh the mouthpiece my my thinking about it is that I mean these are very old this I’ve been playing this not for the piccolo no but
I’m going to explain um this one Thomas Stevens gave to me in 1984 and I haven’t changed and you haven’t lost it losing a mouthpiece is the most traumatic thing ever it is and then my thinking was that I will have Toshi kamama who made this one make the pic mouthpiece as well can you show them to
Hing here in the camera yeah and then they got your breakfast in them no okay and then the the important uh thing for me was to have a similar Rim the rim so that what touches is the the contact is the same and then and then just a little flatter okay um and then not a deep cup okay but that to have the same contact then the then the changing is not so but as you say it’s really important don’t play around with mouthpieces 10 10 days before
Brandon Bren that’s a little little bit little bit dangerous um but good luck absolutely good luck it’s going to be great um Emanuel finer from Austria has said another question uh question for you did you ever have a period of time during your studies or afterwards as a performer when you had serious erser problems and if you did how did you solve them
I I haven’t the only period I can remember was when I was very very very young I had maybe only played for a year or two and suddenly Buu insisted that I come for lesson every evening that week so something must have been wrong and I I don’t know what it was uh and then what can I think of other because you’re you’re a big practicer
I mean we said in the last hangout this 10,000 hours of practice that a a musician has to do before they make it to a professional you’d already done those 10,000 hours probably in the first couple of years yeah yeah you practice a lot yeah and I don’t think people understand um some of that discipline that’s and and it’s not interesting for the general audience you know
Maria kalas she show she said people are not interested in seeing us try you know the the hard work part and that’s all for us I mean that’s shop talk uh but there is a lot of of discipline involved I mean after a San conto I cannot just go away you know there’s some things I have to do so that the next day
I’m not so you repare your Ure after I will have to do that after each concert this week so you come and hear the M I hope only on the last concert only on the last concert that’s incredible because of because of that uh and I can remember a couple of other times there was one time in
Paris when I was I was sick for such a long time I couldn’t play for about a month and coming back from that uh it was you know the sound was awful just like that so so what do you do to well in fact that’s when I developed what is now big part of my warmup the this very slow bending notes in in the medium range until the sound is pure that because
I was so stubborn I just stood in the corner and played bending notes on on very easy know until the sound was was clear and so out of that trouble I gained something k your best exercise you doing that exercise for years you talked about it in that documentary all those years ago you done bending notes okay trumpet players of the world
Bend notes I I think it’s good for probably well the trombones can bend notes a little bit easier it they are good if you listen to what you do but that’s it you know if you if you’re listening for the center of the sound and then you do them then your F there are so many questions coming in and we we we let’s just let’s just do really quick answers to um quite a few of these
I really like to get everyone in because there there’s so many people asking great stuff a very quick question from Mia how do you cope with anxiety and Stage right do you even have an anxiety yes oh yeah how do you cope with it well recognizing it and accepting it yes and trying to you know thinking of it as a big vessel or something that you can you can take this power and and turn it and make it go in the direction that you want how uh how um well to try to not it’s that’s it’s a big it’s not to think too much not
Feel sorry first of all for yourself because we are doing something that we really love doing and um to get yourself out of the equation yes a little bit you know and also you know nowadays I’m almost thankful that I get nerv because it means that I I still it means a lot to me so that’s one way how you know to really take it as take it and be thankful for it and and and use it as as fuel that’s that’s really good advice we we’re so we tend to be so scared of being nervous it’s actually can be a good sign and realize
Also that Perfection is only something in our imagination there is no such thing as a perfect performance how however good it is it can always go somewhere else and be something else and it it will change this piece has changed all these times and it’s it’s all it’s all like a journey for for that P with me in it that’s the greatest thing about music and that’s why we should be thankful even if we get a little anxious thank you that’s a great a great great answer um
Kendall gray who’s a horn player um wants to know are there any musicians brass or non brass for whom you draw particular inspiration who are they and what do you admire about them oh my God can we couple of them you said a quick I know I’m choosing all the it always happens at the Hangouts everyone’s very quiet at the beginning and the minute
I say well we’re getting towards the end they all the questions come float floating in yeah but I mean there all the it never ends you know the all the there’s so many pieces of music that one will not even have time to hear in a lifetime but I mean I just answered a question about about my my favorite recording and one of them because you can’t answer that but one of them is an old recording with oy and rra playing brm sonatas for instance um
I like Clifford Brown a lot I like yussi Burling a lot I like hits a lot I Millions it’s like there’s a wonderful letter from T van hog when he asking Vincent no Vincent Vin the other way around Vincent is asking T you know who do you like and I like and he lists this whole bunch and that’s how it should be you know we have
I think it’s very dangerous to only like one and try to copy copy copy it’s it’s it’s really important to select and then make your mind up what it is uh how do you want that to sound it’s also really important I think to for for students to have the experience of of finding out about all these people because sometimes
I meet students they spend all their time in a practice room um and don’t go to jazz concert or to Art Gallery or to exactly you know you need to know everything about art in the world to be a good musician and even though this is all great a live concert is the thing I mean that that is what will really give you inspiration um so that’s what we do it for amen
I mean absolutely absolutely um I’ve got a question you might not like hawan do you feel it from Santiago hwen do you feel it’s more difficult to be accurate with age have you felt have you felt it getting any more difficult you look great by the way thank thank you thank you thank you uh or he meant you
I I’m sure oh maybe he meant I’m sure I’m sure he I think some things get easier you know it’s it’s these muscles here in the phas they they if you give them the right exercises they seem to lock into what they have to do and that that part gets easier routine part the muscular memory muscular memory um it’s like a lock almost and and and you they it’s they remember where the notes are and and you can rely on that while yes while performing and and other things get easier
I mean you hopefully you get a little wiser uh you have certainly more stories to tell these things get easier you know that not to drink so many beers the night before a concert yes uh some things I mean the discipline doesn’t get less you know and and I could some years ago I could take longer time off completely off playing than
I can now now I just have to keep keep it soft keep it going okay couple of little ones uh John wants to know hi hawen is’s wondering how much you teach besides your solarist career uh a little I in Malo I teach uh bu nilson until now and I um have a class A small class and
I do master class every month there’s some on YouTube as well some some and I like to do master classes When I visit especially countries far away it’s a nice thing to do and Jonathan wants to know what valve oil do you use I love these questions it’s always mouthpiece and valve oil questions what valve oil do you use
I don’t even no I do know but I I got a another one the other day cuz yeah okay no we’ll we’ll answer that one later we don’t know about that um and Jess has a question hi hawen in my experience trumpet players are usually the tricksters in the band did you ever play jokes on your Musical colle musical colleagues maybe as a student or were you too busy practicing to play jokes
I I’ve played a few jokes I think but um yeah swedes are so serious they don’t play jokes do they never um I a question question um do you ever get the feeling when you take out your trumpet that you’re starting from scratch again every morning every morning but in a good sense yeah you know I think that’s something to again to embrace and that feeling because um if you do that if you are curious and if you listen to your what
Your Body your lip you know one morning the lip feels this thick and another morning it’s all fine and it’s all answer if you have that flexibility you’re much more likely to have a good day uh and I also remember Elga har saying just take for granted that you are at a certain level I saw this guy
Jordan Speed who won the Masters of golf yeah 21 and he said CU they said you know in golf it’s the same you know one day good the other day disaster it’s just an awful lot more money riding on it you bad day yeah but he said I just I just expect to play well every day and
I do what has to be and then of course we don’t we don’t there is this fluctuation but as a general mindset would you choose the trumpet again in your next life I guess if your dad came with it I’m I’m born as a shrimp haen hardenberg the shrimp that’s an interesting thought I mean you you you it’s it’s part of you it’s it’s part of your body definitely part of you but it’s it’s it’s an impossible question to answer
I think um and I also I have difficulty with people who say if I if I could live my life again I would do exactly the same you know I saw a wonderful interview with Woody Allen and he said exactly this I I I don’t understand people who say that I I regret almost everything uh not that
I do but I think if you if you if you set your mind that you would do exactly the same thing then you again you’re stuck in a corner okay and you’re not open so what What’s um what is there now you’ve got a premiere of of Mark uh Mark Anthony turn’s piece in a week what’s coming after that and then there’s your
Berlin Phil Premiere you’ve made it now no um then there is a piece by Steven Mackey American composer then there’s a piece by tier peku Paris and Betsy jolas Paris so the pieces they they keep coming in they’re flowing in incredible lucky trumpet players really lucky trumpet players of the world and I I hope they’re all going to be played for for many years after because it’s incredible what you’re doing for the repertoire oh well thank you really thank you for all your questions thank you so much um hawen will get a copy of the chat so uh if you want to write any highs
Or anything then do um do Let us know um I have a question for you hawan on Sarah’s music m we always have a horn challenge as you saw you said you’d watch the labec sisters doing the horn Challenge and Placio had to go at the horn challenge you play the trumpet so I’m not quite sure I’d like to do a live online horn challenge but getting you to play the
French horn is not really I think you I think that we should reverse the challenge and then I have to be the trumpet no no no you are a horn player I’m a horn player yeah I thought you brought that just for decoration now let explain what this this is as used in gruber’s aerial the Swedish cow horn as it has been played for thousands of years uh the cow horn the inside taking out a mouthpiece cut with a knife uh three holes um nice little uh the first hole is always placed where the whole horn balances isn’t that nice it’s very nice yeah and
You you you can I put a mouthpiece in there no you cannot put a mouthpiece in there and it’s pitched well it’s kind of a cow and be flat yeah okay a cow and be flat I’ve never played a cow and B flat before so you cover the three holes this was not my plan my plan is for my guests to do so this is the hawen
Harden bger horn challenge I cover the three holes like this yeah and I blow yes you get lipstick on your okay all right ready to go horn challenge live horn hangout challenge I’ve accepted The Challenge from hen Hardenburg to try and make a noise out of this cow horn and be flat ready that’s actually really nice that is very good now try try to open all the
H I never played such a high note on my horn before I’m really proud I’m a low horn player oh thank you for that I’m I am very proud thank you for that horn challenge I really appreciate it um hawan thank you you have so many F friends and fans around around the world and it’s been nice meeting them it’s great to meet them thank you for being out there with you um as a play out we’re going to just play you a little piece of hawan many years ago um playing
Norma variations and and we’ll say goodbye good night and fantastic have a fantastic week in Berlin and I’m really looking forward to to playing Ariel with you tomorrow come back soon yob take it away [Applause] [Music]
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
