Breathing, Buzzing and Hair Live Hangout where Sarah Willis is joined by Jesper Busk Sørensen & Stefan Schulz, trombone stars of the Berlin Philharmonic Orchestra. They share their experiences, give some advice on breathing and buzzing and their hairstyles- and are surprised by Michael Mulcahy! 09.01.2015 in Berlin
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
[Music] that’s enough buzzing for one day hi everybody sorry we were a bit late but we’re here and it’s the very first horn hangout of 2015 horn hangout okay usually our horn Hangouts have been French horns but we’ve we’ve strayed a little bit at horn in America and it it’s can be a trumpet a French horn or a trombone and today my very first horn hangout of 2015
I’m so happy to welcome my friends and colleagues yes yesus senson is that right yes B Sanson almost almost and Stefan schz well welcome you guys big round of applause going from all over the world you are watching from everywhere I what do we got we got Moscow Wales Greece Australia Las Vegas Syria New York leig Keith in
Chicago just wrote in ambo in Munich and my mom in London it’s amazing isn’t it keep the questions coming and Stefan’s looking a little bit worried um because Stefan’s not quite sure what this is all about yesper is a hangout professional aren’t you already because of the live L live Lounge from B ban so you know and also you’ve watched some
Hangouts haven’t you you joined in which ones have you seen I saw Mel M and I saw gabo and the one who did with Gail yeah you yeah yeah no I remember you always ready and Stefan doesn’t know what the heck’s going on have you got a computer right but I don’t use it so much so what happens is that you you sit there and
I ask you whatever I want okay and the people out in the hangout land they are going to ask you all sorts of questions as well so um I think we start with a question that yens Vin your friend yen um Y is that right yens Vint from Denmark he wrote he can’t be watching live but he said please ask the boys what brand of hair gel they use
I mean yeah but it’s quite different isn’t it you know sorry my daughter is preparing my hair every morning really how old is your daughter she’s three years old three years old she’s very sweet and what does she do she runs her hands full of butter yeah well be fine the rest on the table when we after our bre and then she goes yes’s hair doesn’t look like that no it’s
Mor it’s Mor yeah but uh does it take a lot of work in the mornings no it’s very easy takes two minutes not even okay all right well I we all the trombone players are sitting there think Sarah ask some trombone questions don’t talk about the hair um there’s a nice coincidence here because you’ve been in the
Berlin philarmonic since 2002 I guess 2002 and yeser you joined in 20 and you are Stefan’s successor I am did you guys know this did you know that yesper came a second trombone and Stefan was actually you joined the berin fonic as second trombone why you were based trombone before that uh yeah I played in the state
Roba we played together in the state Roba for 10 years speaking of which we played together yakob do you have the photo we have known each other a very long time Stefan and I since oh I don’t know have you showed the photo one second no we met in 93 93 when we were like 12 well you were 21 years ago stop no that’s terrible um you showing this yeah okay tell is it out yeah all these groans i w we weren’t it was going to be a bit
Snapchat this one because I don’t want this photo to go around the world we were very beautiful weren’t we well so we’ve known each other a long time and you were playing bass trumo in the yeah right and then um I was third over the 30s and I was thinking some something I have to to try again and there was this audition for the second
Trum one and it was a very spontane idea and um after yeah I did this audition quite spontane and you didn’t you didn’t really I had didn’t had I was playing the bass on all the time I was searching the tenno in the I think the friend of mine gave me his ten and then I did the first edition it wasn’t successful
I was in the last round with some other guys but I thought okay let’s let’s continue and let’s try the next addition and then I was practicing very hard and got the job maybe you just wanted to be in this Orchestra it didn’t matter what instrument I want to follow you a you really came like what you came to the
St you I was alone there I had to do something well I’m very happy you did so you came in second trombone and then when when Herman boa left no when else somebody else oh yeah somebody else yeah you’ll see we have a surprise planned um when that somebody else left uh you I did another audition my my trial was maybe over one or two months and
I was I decided to do the next audition for the Bas Dr B right well I’m glad you did because when you got that then we got yes and you know why I did this why just to come closer to you of course cuz four for face Trum trumbone players are really Charming I’m learning they’re never This
Charming to me during the rehearsal but live online yeah they are um well we have actually yeser when did you join you you you you came 2008 n and um you were taking over the position from the great stuff on shorts was this was this a dream that you had always always to take the position no it was a dream to come here actually um
I just took a chance you know I was in Denmark with my lovely colleagues in in orus or Symphony Orchestra I was there from 2002 until 2009 and then I did uh one audition in 2006 here and I I didn’t even uh succeed to the second round that was when Stefan got the job right no hang on and then um dates
I did another Edition in 2008 and then another Edition in 2009 and I succeeded there um I’ve just been reading on the text thank you Tom for saying it sounded apparently there was something wrong with the audio and I sounded like I was on helium I hope that’s better now cuz we there’s no helium in this room is there apparently there um yeser we have a little surprise for you um yacob do you have that ready to [Music] go [Music] hi yes m explain explain to the hangout viewers what that what that was well uh that was my that was my old brass band from
Denmark and uh that that was where I started playing at the age of nine there’s some really young kids in that and and some of the people are still there actually but um yeah they just gave me you know my ground you know I’m and yeah they are in here they gave you the love of the and you know
Peter how do I pronounce p Peter past Peter past P he thank you Peter if you’re watching because the band came in specially on Sunday to record that for you thank you thank you very the um and the the little clip was from Danish the Danish national TV yes when you got the job yes so I was on the national news because we a small country and it was very big
Denmark was very proud I am very proud well thank you for that thank you T T and T um so you went from you studied in in in uh in Denmark in Copenhagen no I studied in in in orus you didn’t get that from Google and Chicago and then you went to Chicago that’s something you two have in common you both studied in
Chicago with Mick I started with M okay and yeah few lessons with M with Michael and and with Charlie and all the other um that was a really important time for you both the Chicago because it changed it changed everything with you you you came back from Chicago and you started going yeah well it was a very nice time and um
I I like and love very very much to see back and remembering the nice time I had there and all the good lessons Charlie is phenomenal I mean um and when you are in Chicago it’s it’s um um I had my teacher m m which he’s my hero and my mentor and everything but you still take lessons you know with with with you know
Charlie and Randy and Jay and Rex and um and John henis and that was that was amazing I have another little surprise for you boys and as soon as we’ve done this this surprise then we’re going to get on to all your questions cuz I see them all coming in but I just have prepared these surprises and
I really want the boys to see them there is somebody who’s on holiday at the moment with no Wi-Fi and no 3G and has had to send this via text message so the quality is really quite terrible Tim thanks Tim who’s awake at midnight in Melbourne um Tim has has done the best he could with this and
I just wanted you guys to see it zusa Australian hi Stefan hi yeser this is a little surprise from Down Under we’re having a summer storm here on Lake L Maggie this is where I swim in the summer I want to say to you congratulations on your careers as members of the illustrious Berlin ponic anyone that wants to know anything about drone playing just need to listen to
Stefan beautiful sounds singing that’s really nice huh so for any of you that didn’t recognize him that is one of our all of us he’s just one of our absolute mentors and it was quite an act to get that sent from wherever he was somewhere in the middle of Australia but he meant a real lot to you yes for me well uh
I spent uh a whole year with Michael at the at Northwestern un Northwestern University and um he’s the reason I’m here today in this Orchestra yeah wow I don’t think you’ll be watching but when you watch it on the archive make we love you um the the should we get to some questions because the thing is the questions go really crazy and they’re very random um theyand and um
I’ve promised to translate some things in in German for um for Stefan because it’s a little bit difficult Carol John is watching Carol is watching hi Carol and she said she was sad not to see you at at the lych lch how do you pronounce it Lynch LED F ledge festival and hope you’re feeling better thank you very much yeah it was too bad that
I couldn’t come but um as far as I know I get the second chance to go there yay I think we should get Carol on a hangout too what do you think yeah how about a live one with her here we’d like that um so Chris from Texas has asked while studying in Chicago did you hear or feel a huge difference between players in the
US and Europe well um many many players think that Chicago is all about sound and loud but for me Chicago is all about uh Simplicity um and for me Chicago that was the place for me to go to find the Simplicity in my playing so that’s why I came for yeah well when I was um a very young trone student in the east side of
Germany there was a big master class with a very famous trumpet uh teacher and he was saying in Chicago is the best brass in the world at this time I couldn’t go but when the wall was down it was one of my uh first wishes to yeah to go there question yeah and um and uh and I finally
I did it I um I I had the opportunity to stay there over 6 years every year for one two months when I get off in the Opera I remember you disappearing to Chicago I was so jealous and um and I I can I absolutely agree with yes was saying I was very impressed by the by uh to to find to to understand more and more this way and um it’s right it’s the
Simplicity yeah I just thought what you you started actually I don’t know if all you guys know this Stefan started his life as a French horn player this is probably why you’re so good today um because well you started your life as a French horn player you quickly changed to trombone when you were you were behind the wall you know so who were you how what were your influences could you get hold of um of
Western trombone players M Oh you mean yeah it was very very difficult yeah you got the for instance you got my first uh CD I got on this music cassette you know it’s years ago you you know who remembers cassettes probably yes but can’t remember I do remember and there was a copy of a copy of a copy of chrisan lindberg’s romantic uh
CD and uh and and finally you could hear something yeah but there was a lot of noise yeah it was difficult as well to get music was a different time yeah that must have been when it came down your first thought was just to just to get over here who who were your first TR Western trombones that you listen to my first lesson yeah
I had in with the famous Hans storms who was over many many years here the first Trump bone player and I had my very first lesson with him in in just few days after the war was done yeah Freedom yeah amazing yeah there’s a good question here um from Kendall Kendall is always a good uh Kendall gry
Texas hello Kendall um he asked how would you describe the way the trombone sound should fit with a German BR section or a German Orchestra what is the ideal I guess the ideal is playing on a German trombone cuz you all do yeah well I I yeah for me I I think um there is a nice sound and when we have our influence and we met years ago it was from the very first beginning simple to play and
I guess even if you would play another horn it would be the same so I don’t have I I can’t not spe specify specify specify this ger is much better it’s really good I I remember the when we met it was just like hello that was it that’s enough I think if Stefan says hello that really is enough all the female pop all the female viewers are agreeing with me here
I just want to answer as well because uh today I brought my my B because I I both play German horn and I play my B so I play my ger ger horn in the orchestra because that’s that’s a part of the um sound tradition but the the German horns we have nowadays are not you know real
German horns um so okay but in the orchestra you’re still expected to play uh German trombones and they even brought that into Chicago didn’t they I remember the the guys not only but they they started playing they change and I like very very much this idea to to to choose the right instrument for tonight we play Brookner
I think to play on the German horn is probably a good idea but for chovsky I would love to change and I sometimes do this as well uhhuh oh sorry guys we just heard there’s still some audio problems I really do apologize about that but uh we’ll keep going and I’m sure Tim and Jack and Jakob because their
Geniuses are going to work it out but bear with us um there’s a lot of good stuff to get here um Richard in Melbourne uh who’s also a very loyal hang-out friend wants to know do you play on the Charle trombones at all uh no no no your sponsor is I pronounce it kotwa kotwa K yeah that’s your sponsor but that’s not the instrument that you not the instrument
I used tonight no but I I used the the CRA Bas Bor and we tried to um make the new model and um I I think this is a very very fine instrument which I choose sometimes I’ve played few programs here in the past and I for my solo stuff I I use the good french trombone trombone nerd stuff which is by the way built now in
Germany a German from the Germans are taking over the world there’s some true nerd questions which I just love there’s always a mouthpiece question always and this one comes from David Munos who’s a tuba player both of you how many hours a day do you practice your mouthpiece apparently the mouth pieces sounded like they were on helium as well at the beginning of the hangout but uh well um
I always begin my day with with uh playing my mouthpiece for 5 minutes or something and then during the day during my practice I if if if I find a passage very hard to play I always play mouthpiece you you practice the passage on the mouthpiece to slowly and just just to make why is that good uh just to to make um my brain understand how my lips um function and how it should be you know how uh how
I wanted to be so I make a connection okay Stefan we have the same oh so you let him answer the questions yeah um yeah no I agree we we don’t do that much mouthpiece work on well at least my section doesn’t sort of get the air going and then but you’ve got great B buckets and anyway you guys practice many more hours than we do
I mean old Stefan here if you’ve got the room I had the room next to Stefan when we were on a six- week tour of Japan yeah that was fun hours and hours you practice Yeah but you know the problem is that you when you have a Orchestra rehearsal you play you play like the string section they play you practice and we are sitting there for hours play maybe 3 minutes if we have luck and and and so we this is our job that we have to stay in shape strong and stay in shape okay all right so you just need to practice more hey
By the way way you guys I’ve seen some tweets coming and it’s great so if you tweet and hash horn Hangouts it’ll appear in the feed and also it means yeser and Stefan and I will get to see them afterwards where you’re watching from um we’ll also give them uh yes BR Stan a copy of the chat so they can see all your questions so write whatever you want even if
I don’t get a chance to get to them now you got they’ll still get to see them so ask away um Gavin thornberg has want to know from California want to know what your practice schedules are now that’s a difficult one for Stefan yours is probably a bit less complicated but Stefan practices all hours that he can well
I think again from my from my point of view in my life I if we if we have a rehearsal at at um at 10 I start practicing at 9:00 with my warm-up routines and um and my Basics and uh if I’m not teaching a private student or something I I I try to do some practicing after rehearsals and um yeah just just try to fit in as much as
I can yeah Stefan well um I love because you’re you’re you’re know well known in our Orchestra for being a yeah Mr practicer you you love it yeah you practice for hours but when I see my colleagues gabo Tas all those guys Stefan anyway yeah I I yes I have to practice um and I I let’s say to have the perfect shape
I need let’s say 2 and a half to 3 hours a day when we have a brokar eight like this week perfect for me because then we play so much in the rehearsal this is is what I love or V when we play V at the Oprah L green all these things then of course I feel much better but the problem is bram’s second bram’s first sitting there for hours and don’t play any not so
I try as well like yesper to get the main uh practicing time before the rehearsal and then when I teach my students mostly between the rehearsals um there’s not so much time so um it’s tough to to find the time but um I try my best there’s a couple of hellos coming in Keith DEA in Chicago hello
Keith fun memories appear hey Keith um Wesley uh from Brazil says when you come into Brazil I don’t know when I come to Brazil invite them Wy if you pay their airfare I’m sure they and bring their wives I’m sure they they’ll be happy to come um uh yeah Wesley also asked a question we always stay on the on the
Lighter Side of Life usually um on the horn hangers but wesy wanted to know if you had any any omish show problems during your career no but I did I for many years I had this stupid problem which many brass players have this a yeah so an except like um like um yeah well I can actually play it the the except from bram’s second the um the solo bit from the second bone and the principal flu they have this uh difficult entrance it’s not difficult at all but if you have the problem it sounded like this so
I just also with help from from Michael and all teachers in Chicago they just made me take in a full breath and just breathe all the way to the not begins so it’s no problem [Music] so you breathe you’re still taking air when you’re you until the very second where you start the note so it’s actually only one movement not no there’s no stop it’s just one movement great either the air is going in or going out great advice
Stan I’m your problems yes when I was 18 or 19 when I started to study no before before I had a a big uh problem I I and I had to change the whole thing uh every when I started to study I did something wrong and then I I took a vacation from the school and changed everything it was a yeah not not such a nice experience but in a way maybe helpful for sure
I I think so I think I mean you you both teach a lot you teach at the the your professor here at the car the University Music University and you have a lot of private students I think it’s it’s actually I think some of the best teachers are the ones that have had the problems themselves because how can you help the students otherwise so um you have a lot of students and you have people come from all over you’ve got some
Danish students coming today and are they watching a Norwegian a Norwegian all all coming to Brookner tonight yeah yeah and you how many um teach how many students do you have at the W car I have we have I share the class with my colleagues Andreas Klein and Rana F we have in total 13 students in my group
I have seven so how do you manage that together with the solo playing the orchestra well U yeah since I’m a father it everything is uh much more difficult yeah but she’s worth it she’s so gorgeous I I met his daughter at the first time at the the the Christmas party the kids Christmas party this year and it was a big love love at first sight um so
I’ve got a couple more questions uh there’s a question for for you yesper from um Laurence in the H and denh uh yeser do you still play the alra trombone and if you do how do you stay in shape when uh you’re playing the tone in the orchestra all the time um I do I still practice uh and right now
I’m practicing a lot alra because I’m playing a piece by a Swedish composer for alto and organ it’s really really difficult so I have to practice a lot but um when I’m practicing Alto a lot I can’t um I’m not really in Alto shape all the time so I have to take out you know this month I practice
Alto and this month I don’t practice Alto yeah so I have yeah I try to squeeze it how about your first love the euphonium uh the euphonium will always be in my heart and but you don’t have to play it very often no unfortunately but I like to in the BR ensemble sometimes sometimes I do yeah um what is your
Helena hats what is your first and last exercise of every day coffee and then sleep no what’s the first exercise day must be buzzing um I like very much to to get a connection to my body and that means I do some breathing exercise which now after all the years is more something to relax to find my balance that’s the first thing you do this is the first thing
I do you show us ah this is so simple yeah um we like we like these things well this is um something as well what I got in Chicago from um rra Rocco he was a student by Jacobs we’re going to do this with you it’s a very everybody very simple you too you really yes we’re going to do this with you the important thing is that you get the concentration on the sound that you always make the same sound in the same um length and um that you get more and more to get how
I explain it one more time it’s after all the years no breathing exercise more it’s for me really something where I come down like a meditation but you you suck you suck in the air against your fingers yes I remember Charlie Vernon saying to me suck dark air dark air I found that very useful suck and then and and you fill up like like this yeah but all those things
I don’t I’m not concentrating I really just go for the for the sound and in the same way when I blow out I I want to have a very spec specific specific um concentration or efficient efficient yeah yeah this is something where I start with and the last note is what I play I don’t have really a special exercise where
I say okay now I well when I’m don’t want to play anymore I stop after8 hours or something no no no no no yes what’s your um I don’t also warm down it’s just the last note of of the PMA 8 is my life yeah well it’s certainly enough yeah but I I do try to start if
I’m in my car to the field Harmony I already there try to start to think about my sound to to to to switch on my brain yeah I do breathing exercise sometime in my car if I think okay I haven’t got haven’t got a long time time to to to warm up then if I think if you get the air moving then that’s often half the warmup yeah okay loving the breathing tips
Tim says in Melbourne oh Tim you’re still awake hello um olle in the UK has asked what exercises would you recommend for the to build to bulk out the low register I mean you you you play in the low register all the time I guess you have to do extra extra for me again uh Michael MTI once once again he introduced me to a guy called
ER clay ER Clay is the former Bas bone in Melbourne Symphony Orchestra and he did this wonderful book called daily exercises and then you are forced to to play Down In the low register and going all the way up to the high register and you can only play these exercises if you’re completely relaxed so that really helped me to build my lower register so daily exercises by erl and you
Stefan it’s just part of your routine I guess um well I’m I like to when I warm up I like very much to play high notes okay and when I get there the sound I want then I know now I’m able to play as well the L just done I think for me everything has to find if
I let’s say if I find the sound I want to I find a very relaxed natural um instrument here and then I’m able to play the low notes so I’m not don’t have specific uh exercises but I will organize this book for myself you know it may sound Stefan’s new to the Hangouts and it it’s probably for him he’s probably been shocked by all these technical things but there are a lot of people that watch the
Hangouts for example I know George in Damascus who’s a trumpet player but um he’s told me that a lot of the teachers have have left because of the war and that sometimes watching horn Hangouts and YouTube videos are sometimes the only lessons that they have so that’s why we really appreciate all the tips you give us thank you very very much um uh cine says great to listen to you it makes work on a
Friday afternoon bearable yes um and uh Simon in London wants to know Stefan how do you prepare for your recitals while balancing your Orchestra work U well I’m um I love to play recital and it helps me a lot as well for the orchestra yeah when you so I I not really have to um to think there in so many different ways
I um um choosing a program which I want to play uh looking for good music and um and um it after all the years I I I when I come back to the orchestra I can enjoy the orchestra as well many much more it’s probably much easier and easy of course it’s very easy yes yeah you you do quite a few recitals too you just sometimes yeah yeah
I do and it’s it’s um sometimes it is hard to prepare because sometimes we have to a lot to do here and if we’re playing a b Mala second there’s no you don’t want to waste the chops on PR but you have to be very disciplined to practice after rehearsals and also to to uh not to hurt yourself that’s a very fine line isn’t it that sometimes students aren’t quite sure of um how when to stop and
I never go over the point where it hurts I always try to stay relaxed okay the old um principal horn of the Berlin fonic G ier he used to say the lip and the lip has to heal on the mouthpiece so if it’s hurting then you have to keep pressing but yes I think things have changed since then just a quick question from
Sean Sol bakan I don’t know where he’s writing from I think Norway yeah he just wanted to quickly ask um yeah greetings from Norway hello Seaman um just preparing for your auditions in the Berlin film maybe a couple of tips from you guys about preparing for auditions I was um I was very uh thorough is that the word thorough yeah absolutely and
I uh I remember being in orus and after after rehearsals and uh late at night I did a complete practice schedule for three months in advance so I knew exactly that day I’m I’m practicing first move and David second move and David and this day this hour I practiced these three excepts and I recorded myself and just this phrase record back and listen change and yeah those are the people who get the jobs in this
Orchestra really really I did exactly the same because we were at the Opera and I I had to play the Opera so after the Opera was finished at night I would go into a room and I would record myself and play till midnight it was probably the same with you huh yeah recording is a very very important thing and um
I I had as well a schedule but I wasn’t so organized that I say okay I practice this and this on this day um but what I did is that I when I remember the question from I think it was David from Spain with buzzing that I David is just tweeted a picture of us look okay thanks
DAV carry on that I um that I play the whole program um or part of the program every day on the mouthpiece to to be away from the instrument and to make really make sure that all the intonation things and everything is very very clear here so this is what something what I would recommend that you um play the solo or as well on the mouthpiece and and then
I maybe I can show this too say yeah um what I like very much for trone players is a problem that we start to articulate when we use the air yeah so what I did the famous DAV yeah the whole thing without any um tension when I took a breath I take much more time I try just make sure as well the dynamic
I just play nice sound and and um then finally when I did the whole thing I did it again with the same sound because here you do the movements this is mostly problem that we start as a Trum player to articulate so I want to eliminate this and this is was tough but it that was a motivation for the audition something what
I think learned then because I I thought I I have to do this yeah really good tips thank you but you would agree that this preparation is I mean you can’t just turn up at an audition and hope you’re going to get it you have to put your yeah your heart and your soul into the also mentally you really have to be prepared and this is a very interesting
I had uh together with my plan I did it with my coach I bought myself a coach up to the Edition two times it was amazing just to to get my head in the right spot that helped me a lot also today fantastic well that’s why that’s why you’re here I coach is a coach is a great idea
I’ve we’ve had Dinka vlatkovich here on the Hangouts um talking about the mental preparations I’ve worked with her too it’s just I think it’s you have to find which what suits you because there’s all sorts of advice but yeah yeah but before auditions it’s great and remember uh some at some point I don’t know if it when
Gail was here or she was on the panel for some brass thing and she recommended a very good book called The Talent Code uh 52 the Talent Code yeah the Talent Code and this guy he wrote two books 52 blah blah blah and and the Talent Code and it’s all about slow practic maybe someone if you know what it what it is out there you can put a put a link to it that would be amazing
Mitchell is watching our Mitchell from we were in pmf with him hi Mitchell to Chicago and uh he he put out a link also uh that everyone can watch which is great thank you Mitchell for that and Mitchell has a questions for yes but are you going to release a CD soon I am oh you heard it first on the horn hangout yeah well it’s uh it’s a little it’s a little bit dangerous for me because it’s my own stuff so
I’ve been composing did you know this yeah but uh it takes time because I’m very uh not shy but I I just wanted to be perfect you know and it’s um it’s it’s both for trombone but it’s also for piano which I which I play myself on the CD as well so yeah I didn’t know no I had no idea that’s amazing yeah but it takes time
I maybe I will be done recording in May June and then sometime I knew you could play because we were somewhere on tour and you sat down at some CH on Oregon and you started to play was some dressing room somewhere do you remember saporo was it saporo that’s right and you sat down and started and it was there’s so many hidden talents in this
Orchestra amazing well great so it’ll be out in the summer maybe sometime after summer so you’ll come back on the horn Hangouts and tell us tell us about it okay well speaking of CDs Stefan tell us about your two can you guys George can you get a closeup of these two while we talk about them can you get those yeah well
I did uh I had the I had was a little bit off of this Orchestra for two years yeah and um I had the time to do this two CDs and both they uh are quite um new now I think Copenhagen uh was released in August and this was in July it’s a nice Danish Danish connection you recorded the
Copenhagen recital right yeah so this was this came out in July great photos by the way and um they are I’m enjoy this very much to do then they are very different in the style and um hand handleing Harlem is with Daniel Schneider who you you have a big collaboration with him you’ve done a lot of stuff with him it’s very cool did you go to
Harlem to record it yeah we did this in New York and um yeah okay well the thing is that we have these two here Stefan brought me to which I’m not going to give to anybody but we have these two that are going spare so we were wondering the first person to write in and tell us the name of
Stefan’s predecessor in the Berlin philonic gets one CD and the first person to write in and tell us the the name of yeser predecessor in the philmon gets the other CD so quick in you go and whoever’s the first one to do that we’ll send you the CD and the boys will sign them so well you can sign it too yeser why not so one
CD who was Stefan’s predecessor the other CD who was jer’s predecessor that’s the horn hangout competition for today so we’ll see what’s going on here Tim can you have a look at that and see who that is because uh it’s a it’s uh uh yeah oh Chaba Chaba just got the job at theant house Tom Tom is watching in leig the timy fler oh gosh he was in
Berlin he took your job cha yeah God what no wait no Martin Martin Martin another Danish person I tell you you do so um Benjamin Solis has got one question right Stefan schs well done Benjamin you’ve won one of the CDs so we’ll see when Herman boa secret SE says Lawrence in the hay good okay you won there you go um so what else have we got their great
CD says Jeff Clark in Wales thank you thank you thank you for that um how difficult Benjamin who’s just won a CD wants to know uh how difficult were some of the uh the the fast low passages in the Subzero K by Schneider how difficult yeah very difficult sounds easy though sounds easy maybe it sounds easy yeah yeah yeah okay good um was hman your predecessor or seeked it was actually seek freed so but you but uh but uh yeah but
Lawrence well Lawrence was the first one I wrote I think we’re going to have to fight about that later no Lawrence was the first one that got it right um what do you guys do when you’re not playing the trombone yes bar you play the pi practicing the piano yeah well I play with the piano but no but um what do
I do I like I like berin I like to walk around you live in a very cool area I walk a lot yeah um and I like to eat eat very good food and drink very nice wine and I just um I’m very interested in uh architecture and design so I Danish design is some of the coolest in the world uh yeah so
I like to walk and eat and I like the same and um yeah well I with of course to spend time with my daughters one thing which takes now um um some time from the day when I have really private time for myself I uh I like um the summer sailing very much to go on the sea or
I have a garden to do things in the garden yeah or just uh hang around and yeah read a book go jogging ah thousand things the day is not long enough no especially now with little Madam right um we’re going to have to uh there’s so many Fantastic questions here should we just go for some really fast ones um yes bro which trombone model do you use
Eli Eli uh in the orchestra I play Kat and outside the orchestra I play my B said that earlier you have to rewind for that one Robert H I have a question arist why do you put where why does when you breathe are your lips already around the mouthpiece oops this is a question I not really can give you a very good answer
I don’t think so much about how I do the things I’m more try to um yeah maybe the reason is because when I doing like this I hear the sound I want to hear when I inhale which which I explained before mhm but I yeah this is what I can say then okay the last thing I ask um or maybe the last two thing
I asked if you could give a piece of advice to one piece of advice to trombone students what would it be today if you know everything you know now what what would the advice be a piece just no just advice the most important thing well try to find the the the simple way of of uh using the instrument and use the the trombone not uh like a dronist use it like a musician just try to find the right voice and the
Soul on the instrument like a nice Jello player or beautiful singer and um never blow always sing and and um and try to get to be a better musician than to to study technique and things and he got he got the best answer you the same and also go for the results don’t go for all the middle work just go for the result go for the go for the sound always yeah yeah yeah here and what would you have done if you hadn’t have been a professional trombone player do you ever think about that architect really yeah
I like to be arit and stf maybe I would like to to work in the garden like like a g like a gardener yeah maybe something or I don’t know nice yeah okay well you never know we might all end up in the philarmonic retirement home and you can design it and Stan and I’ll will do the garden thank you so much everybody for your questions if you still have some more um questions there’s a couple of here
I can see uh that that need answering I will ask uh Stefan and yeser to have a look at these there’s some things about attachment F trone attachments and uh and scales and someone wants to hear a scale yes but but well you can they they’ll see you on the digital Concert Hall tomorrow playing Brook now I will play a scale though you play a scale you play yeah you play quite a lot of
St there’s some mental mentally focusing questions and things um yeah I’ll get the boys to just have a quick look and write them in write their answers in the in the chat so um sorry we didn’t get to all the questions but we got to an awful lot of them and it’s so amazing to see you out there uh thanks so much for joining us and uh yeah thank you for having us yeah it’s it’s a total pleasure
I’m always the most nervous when I have to interview my colleagues because the way Stefan looked when he came in this morning when Stefan turned up in the hanger he was like okay what’s going to happen here but it’s not it hasn’t been as bad as you thought no oh how many minutes we have yeah long time you can go now okay we’ve got a
Brookner eight tonight so I’ll let you guys go and uh thanks very much to Tim in Melbourne who stayed up it’s now 1 o’clock in the morning thank you Tim George who’s been doing camera yob our wonderful video director and um we’ll see you next time on the horn Hangouts and yeah let us know what you think bye bye byebye [Applause] [Music] oh
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
