Flex-Chin and Cheese Sandwiches! Marie-Luise Neunecker reveals her horn secrets to Sarah Willis on the Horn Hangouts live in Berlin.
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
[Music] hi everybody Welcome to the horn hangout our second horn hangout in November and the second of Our Ladies month I’m really really proud and really happy to welcome Professor Maria Lisa NOA welcome welcome welcome there are lot of people very excited to hear our hangout all over the world I mean it’s just been incredible to see where everyone is writing from
Singapore Melbourne Serbia Ireland um Berlin I hope your students are watching and they I suppose they don’t know ah some of them do I’ve been on the phone to some of them that that’s how I do my research I get on the phone to people I know who know you because because you’re not easy to research there’s not so much on the internet about you apart from official blah blah yeah
I’m old generation you know old generation okay well forget the old we ladies don’t talk about our age no but you did you did have your your your your career started at a time there was obviously no internet and um and that hasn’t been a very important part of of your of your career of your teach I think this is a development of the last 10 years what do you think of it it’s exciting it’s it’s wonderful you see so many people all over the world it was it’s it’s a new it’s a revolution in communication
I think it’s it’s a big chance and uh for me very new you know but younger generation is using it and I think it’s it’s great my 5-year-old got she can use my iPad and my iPhone better than I can so it’s it really is the younger generation nothing can replace the live concert though no this is uh still uh something different because you have the atmosphere and the it’s like 3D 3D it’s it’s another dimension but um for just to get information and to just to get contact with people it’s it’s great that’s why we’re so happy to have you today because we have
This little horn hangout Community all of you are out there I know I recognize the great thing about the horn Hangouts is I recognize so many of the names and uh and it’s a really nice Global feeling today and um and it’s a really good chance to get to know you because you’re a bit of an enigma on the on the internet anyway and people who have heard you in concerts
I’ve had people write in and say that your CDs were the first CDs they bought and so thank you very much for coming today and I’m going to start instead of with the usual blah blah about how you started playing the horn we are starting with the the most typical question on the horn Hangouts um Angelica TBS has already asked what sort of mouthpiece do you play on oh
I’m prepared you’re prepared so look this is a three b b three b or B what so it’s American mouthpiece it’s um The Rim is a little bit round so this is also always helpful is if you have a very bright sound it makes it a little bit more smooth you can say bit darker maybe yeah round more round and the the kle so the inside the ins inside yeah the cup is more um uh like
Trista it’s more more more like a more like a oh my goodness they understand like this not not like this so it’s not rounded it’s more straight down yeah this is a little bit um better for security if you tend to to make too much KS it helps sometimes KS is an important word for the non- German hangout uh friends
KS is our word in German for a split note a crack a Splat uh any maybe you can all tell us on the chat what in your country a split note is called I would we would like to know that um so kiks in Germany split in English but of course these are not things we like to talk about gag in in gagle
Gag it sounds more nice than than gagle yeah and in Spanish it’s Pia I think anyway you guys can start uh start telling us your words words for us splitting notes but we don’t want to start a horn hangout talking about splitting notes no is it unusual that um you play on an American mouthpiece on an Alexander horn because you are an
Alexander horn artist everybody’s watching at Alexander’s musique Alexander okay and um is it unusual that you play an American mouthpiece um right now they are not so common but I think it’s um a good mouthpiece but you know mouthpiece it’s like shoes you have to find the right size and sometimes I I complain that the normal sizes of the mouse have two and rusta so they are too far away you have 70 75 80 but our lips are most between 703 and 78 so it should should be more more smaller steps because the nerves are so so near together you you you
I can feel and you as well um millim or 100 100 of millim it’s really very very sensitive and I think um it’s always the look of of the right right really right size in in a very small uh I’m sorry to give you the mouthpiece question right in the beginning we’ve never actually started a horn hanger with a mouthpiece question but you know why not why now um oh good we’ve got some nice split note crack and crack in
Quebec ks in Serbian too so thank you keep them coming keep them coming Mar Louisa why did you decide to play the horn I think I I was already very old 91 19 uh I played trumpet before because I had three Elder Brothers playing trumpet and I was the like the young the youngest brother no you can’t play with us it’s not nothing for girls and then why so um
I I first he heard the the horn in in the chamber music group I I played very good piano and my teacher asked me to turn page in in a concert and there was a horn player and I in in The Ensemble they played and I like very much the the warm sound much warmer than trumpet and for me it was too too bright also today
I love more cello or or Viola than than the high strings and I think this everybody has um the soul is swinging in one uh Direction um I I heard this on and I I I thought it it must I must change not not my second instrument was trumpet my first was always piano and then second trumpet and then
I decided no I I I changed to home 19 is quite late so you it’s late but bar Tu H and bman they all started very late so it’s never too late never too late to start because um if you have the musicality and if you have um it’s maybe um sensual uh intelligence of the coordin coordination yeah it’s some some are very intelligent here to to find the right coordination and then if you have the idea of of how it could sound and the m music then it’s very fast to learn it’s important to have your own sound in your head
I mean you could I couldn’t say what my own sound is but I you you know what it is when you hear it yeah and this sometimes um you as teacher you have to develop yeah everybody has its own sound but sometimes they they think I must have another sound but um it’s first you have to discover your own your own how do you do that with a student yeah um it’s good to make uh uh recordings of of yourself of yourself and in these days there’s no excuse with a quite good good sound and then then and but of course listening um other other
People and just to decide what what what uh what is my my vision of sound so you um you started the horn at 19 and you were going on to study gistic what is that in English German German German studies literat yeah but but you know I started to be a teacher in yeah yeah but not for little children but higher student and um it’s because
I started so late with the instrument and and with piano you can’t do a a career so I just started this um as a general study you you get a lot of informations in in music history and all the stuff but I never could imagine me as a teacher in school because I think I was not so nice and po to the teachers
I I know I know they um I would have suffered in school if they were like me so you decided to go and study the horn yeah I I stopped studying uh to be teacher when I had the for my job so oh okay so you studied you studied horn and on the side still still teaching these stud
I studied horn after I got the job in Frankfurt Opera so it was the wrong way the other way around you see this is the problem with Googling you you don’t get all that you started your job as second horn yes as second horn and then I decided as when I got the job I decided not to finish my study in in being teacher and then
I I because I had already the job so something very German to be um to have a feeling of security never we never risk too much good when you started and actually someone’s just uh just written in Jonathan lman um how did you cope with the difficulties facing a young female brass player in the 70s and 80s um everybody always asked everyone always asked me this question you know what’s it like being un girl you you you were you were really unique but in your in your student area in your student uh now
I want to speak German with you it’s difficult because we only speak German so it’s quite strange to suddenly speak English each other um you know in your in your group of students there were there were quite a few good girls around time yeah but they also got got good good jobs but um it was rare at at this time but
I when I entered when I went to to to the orchestra I didn’t feel strange because I grew up with three Elder brothers so and I was us to I know the the inner language how how men that’s very useful yeah this is really I think maybe we should do a hangout about that sometime it’s very special and um
I I will do next week a symposium um hornis in oresta so female horn players in Orchestra and can I come yeah I I invited you but you are busy okay and I think it’s still interesting yes still interesting and um because men and women are different in behavior and it’s good to know the the language of each other so to understand that did you ever did you you started a second horn so you weren’t actually the boss but
I heard a story about even though you were on second horn you were still very much the boss because when when you arrived at Frankfurt the first horn liked to look onto the stage so he had insisted that you sit the other way around like in Vienna right is that is that right because he wanted to see them stage the girls the nice dancers and you didn’t like that no so you changed it no
I I asked him very polite in the because in the first year it’s on you say on trial on trial and then he said yeah I’m you can it’s easy for you and but then I I got the job fixed and then I said no I don’t want to to change background maybe I was very young and you know so maybe now
I’m a little bit more um diplomatic I think it’s very interesting what you say about the the different mental I’ve never really um never had a problem really because I was always the only girl and I’ve never really people say wasn’t it difficult or isn’t it difficult being on tour with with only guys and it’s never been a big deal
I think if you don’t make a big deal out of it it doesn’t turn into a big deal no if the the focus is on the the um yeah what how you play so this must be on a really really upper the level if this is the focus this is your profession and you must be professional and on the really high level and then if
I played very good if I were really strong then I was always uh also I could fight but if if I had a bad amush sure I was you’d be quiet because we had um we had Tina Ting hit on on Friday she’s watching at home hi Tina uh she’s still in Berlin she spent the weekend at my place and she plays an ensemble of only girls and we couldn’t have ever even imagined that um you know there weren’t enough can be also boring
I don’t think Tina is boring may she told some great stories but yeah yeah could be also um my friend uh and colleague gor shenberger who works with you at the at the Hans eisa music high school he told me a story about how he turned on the TV one day and um you went from um the
Opera in Frankfurt to bber we’ll get back to that to Bamberg and then to hun um right Frankfurt radio Orchestra and he said he turned on the TV and there was Frankfurt radio Orchestra doing M five and he said he was he he was your student and he said he was so proud of you because there was this beautiful blonde woman at the front playing her heart out and there were only men for she all you could see were all these men behind you and he said he were so proud of you and and
I I talked to her today on the phone yeah it it can’t have been easy uh at times I didn’t think about I loved the music so much I was so excited to play those big uh the those fantastic solos and uh and I had the big chance that Inbal was the conductor he liked horn so much so he never wants us to play careful always great and this is very helpful if you can play out if you don’t have to be shy she certainly can
I have to tell you we played the ring um with Simon rattle recently and Mari Louisa came played first tuba and then first horn in the vyy at the front was fun that was really good fun and she really she can really hold her own against St on door I must say no no not that but I
I Never Had the Chance in my life to play tuba yeah and this was uh she took it very seriously we had to do all sorts of rehearsals yeah but it was good I love it s it was really good fun so many questions for you um I think we’ll just stop in your uh in your uh your choreo
I can’t speak English we’ve been we should have started speaking English an hour ago we will stop in your um in your CV and go on to just a few questions before we get where where do we stop we stopped at Frankfurt so we’ll go back to Bamberg when we finish okay they’re good questions Lewis asks what do you look for picking a student to study with you do you prefer
Talent intelligent the will to study with you is there something you particularly look for I would we’ll get to that later but he’s asked about this so okay of course in every human relationship you must have a certain sympathy for for a person but um as older as I am as teacher I’m more and more flexible to be a good teacher for everybody so this is my my goal why
I it doesn’t have to be someone you really like you can okay no in beginning yes but but meanwhile I I try to to to see which person is behind of course I I prefer students where where I can can see a certain mental flexibility because this means if they are have different interest and and if they are
Lively in head so they they learn faster because this is the most important thing how how fast you are in your develop um speed because somebody is very high high in in beginning but then the the development is like this and the other one start here like me I was 19 I was here and and my development was quite fast so it’s never never too late but of course and it must fit together so not every teacher is is good for every student how many students do you have here in
Berlin always around 50 60 70 80s because they they if they I 15 yes not 15 no because if I’m I’m a good teacher then they are very fast in in orchestras they have to chance to play and then they um are only half the time here okay so okay yeah I I shouldn’t have skipped to that because
I want to get to your students but that’s just that’s really it’s a really important question Richard pranker who is um just is drinking beer in Melbourne you wrote was it beer or was it t Richard who was the conductor you found best to work with that’s a difficult question You’ worked with so many um as um in
Orchestra or as both because this is different yeah totally different as solist you want to conductor not to disturb you too much but as um so I yeah I didn’t of course I I played in radio Symphony Orchestra Frank from Frank you went to to Bamberg for two B back there I I I um played with Oran yum so this was yum was the
Brookner BR specialist and um I I was not so long enough orra only 10 years so of course I had the chance to to work with s rle which I personally like very much because he has such a human um standing towards the the the musicians our principal Su said that he loves playing um Andreas blow he said the great thing about
Simon is you don’t have to be afraid when he gives a downbeat this is really really very it’s very important so many conductors you know you just think they give the downbeat and they’re already doing this before you play the note it’s it’s terrible yeah so so Inbal you like very much and Simon no no Inbal I
I just work with I I wouldn’t say that is um I think a level of of S is so and for accompanying you as a soloist as the wonderful video we have here you were being conducted by Sebastian vler yeah was also very nice yeah it’s a lot of very good good ones uh very host Stein was very uh he was
Opera Opera conductors are very flexible so it’s very I remember you working with hin here at the schs Opera when I used to play at Lyon and poor Mari Louisa she you were playing Mozart too but what you didn’t know is that there was Alpine Symphony in the second half so do you remember in all the rehearsals you had all the offstage horns sitting there like this listening to you yeah but we had night very nice party afterward had a very nice party
I remember picking you up in my little mini and you were eating a cheese sandwich in the car and you just had like five cups of coffee and I thought how on Earth can you play after five cups of coffee yeah I was young I needed the do you still drink coffee before you play no no no but you still eat a cheese sandwich yes
I know all cheese sandwiches all over the world um something very sweet that one of your students told me is that whenever she goes to an audition um it was Amanda Manda Kimber she says whenever she goes to an audition you can tell who are the no Neos students because they’ll all be eating a cheese sandwich before the audition so
I that’s your tip that’s my tip because it’s very good for the cheese it’s good for the nerves it makes the mar ner the of the nerves of the stomach more calm really yeah try so cheese sandwich before when we’re nervous cuz somebody without somebody just asked that they want to know about being nervous without gum so no no vegetables no just playing bread bread and butter cheese a little bit little butter and cheese because um uh because bird horn has asked what do you do when you get nervous now we know you eat a cheese sandwich yeah
I need it for for the if I don’t eat one hour before something I’m I’m I get nervous and bananas I don’t like so much it’s makes so sticky in your mouth um what’s your best tip for a nervous player who only started the horn at age 47 that’s Miriam glad you started the horn Miriam at 47
I think that’s great but against nervosity yeah UMES cheese sandwiches yes and autog training uh yeah mental out out to lie down and and relax and you can also if you are trained you can do it on short before on the on the toilet on the toilet yeah just to to relax and mental train in in in general yeah that’s very important isn’t it it’s part it’s sport of course sport little bit little bit is good what what do you do not much but 10 minutes every day 10 minutes every day on the cross cross chainer
CR train more than I get to do but before TV oh yes 10 10 minutes in the morning TV breakfast TV or like or films or yeah I think little bit is better than nothing absolutely I’m I you have inspired me I I I tend to do either a lot or then nothing no a little bit is better 10 minutes is okay for me okay um
Daniel Vick just wants to know something about your B mouthpiece he wants to say is it an old B number three yes because the new ones are very tiny little bit smaller the the old ones are he was told to play a mouthpiece with a big big rim and would like to know what you think about that big rims no depends on the lips huh yeah so this is has already a big big rim it it really it’s so so individual you can’t do you can’t say in general you have certain rules because round
Rim makes the the sound more round and they attack more difficult but if uh if you have very thick lips and the attack is not so exact then you have to take smaller rims with inside a little bit more sharp okay and then it it makes it did you ever want to design your own mouthpiece like uh like
Fergus did no no I I think it’s too individual it it would fit from me but not for for all others so some people I I get so crazy I find students get very crazy with mouthpieces and they come with this whole big selection and I don’t know I just think if it sounds good and it works then keep it no
I I look what what everybody needs and then I I look in my big K and I select ah good now we try of course you have to try and then to to see oh Miriam says she doesn’t eat cheese would chocolate work oh chocolate is is dangerous it makes it makes it too too easy going so if if you am then the ks the kicks is
KS the piia the cck the the split notes for me this wouldn’t wouldn’t be good also chocolate is dangerous because it gives you high blood sugar raise very quickly and then halfway through the brook Symphony it goes bang but also this is you have to try just to try what um the worst is for me hot soup before
Oh the fat of the hot hot soup or something salty is not good either yeah very but everybody has to to make your own experience we just give the tips we know cheese cheese bread is in any case Okay Okay um okay so we’ll take a few more questions uh in in a bit um and uh I want just you went from bmag to uh radi but that was only 10 years in total but you still spend a long time you had quite a girly horn section didn’t you in frankt three
Gada and G o and yourself and um tell me why you decided to leave because I had the the teaching job in on on the school and this those teaching jobs are very highly the professor professorship at the yeah highly paid and highly it’s a very secure position but I I decided to be in Orchestra and teaching but then
I I got pregnant and then I had to to De you could get pregnant and playing the orchestra and teach and concerts and CH music and no this was too much so I decided to leave the orchestra but I couldn’t couldn’t listen a big Symphony four years so it it it was really hard but then after three four five years
I could listen a chovi symphony again no this was really because I like to play in in with other people to to be to it’s a loner Life as a soloist isn’t it loner yeah yeah how many solo concerts would you then do in a year or solo and chamber so when in this this time yeah it was quite a lot 70 80 in the year and and teaching and chamber music and children and so it was was tough but now life is a little bit more calm more how old are your children now 20 and 20 oh so they so they’re they don’t need
Mama that much do sometimes but no it’s now it’s very very much fun to have them setting up your class in um in in Frankfurt uh you you really did for me who came to it came to Germany then quite late you were like the teacher everyone it was like Mecca if I went if people went to study with you then they’d get a job and that’s what many of your students say is the best thing about you is that you can turn moderate
Talent into into somebody who really is a Totally Secure and and and horn player who has something to say they say you find their inner voice um like we talked about they say you’re very good at doing that and that that that you just you just turn out these really well schooled home players yes this is very nice to hear of course
I’m very honored but um yeah I I try to to to develop this and um to so that you discover the the person the the strong sides and the of course you discover sometimes weak weak sides as well and um yeah I think it worked well but I I never stop learning learning how how to teach better so for me something my profession even if
I play horn and or teaching it’s only interesting if I can develop myself if if I learn more and more how to be a better teacher so and a better player don’t you find that when you sit there master classes and tell people all these things then I well I do anyway then I go home and I think oh
I said that i’ better I’d better practice it now yeah more or less yeah it’s a it’s a it’s it’s quite I find teaching makes uh makes me makes me play worse in a way because the the more you talk the worse the worse playing yeah you have to make abstraction it doesn’t make doesn’t make you a worst player but it means you’re immediate playing you know picking up the horn playing when it’s no this is nearly impossible to to speak a lot and and then to play and
I need always some some minutes to get get in and I think I lose so much time when I I I show things and mostly they don’t want to hear what what I do really you think so I think I I learned enough to to explain to explain your teachers would your your students would like to hear you play something rather than talk about it yeah but but if
I I need time to to play on this level what I want from them if if I can’t warm up and and the speaking and and playing it makes your lips dry so I I really don’t like so much playing while I teach you had a nice master class recently in in be store in Paris I saw some great pictures of that at
Lolli fall yeah it was very dry it is is for the students but it was a nice nice atmosphere it’s a nice place a different place to do a master class how many outside master classes do do you do a year yeah also not so much because yeah I I like master classes on one side and other side
I prefer to I prefer really to to work with somebody two three years and to develop things it masterclass can only be a little idea how how to make it better or but to do it and to change things this is really something you must must keep on uh very and and to give help for somebody to change really
Elementary things this needs every week and and this is more interesting for me do you manage to be there every week a lot of the big names don’t manage to to be around really give your students a lot of time yeah maybe one week not in in but I’m really very I always try to be there and to fly morning and then teach the today sometimes not so long but
I think uh in in homeopathic doses it’s it’s much more valuable yeah yes someone’s just asked asked me asked you a question Alec has asked what was the recording you had the most fun in doing and I have a feeling I know which one it is because it’s a we have a picture here if that’s the one
I’m thinking of it’s one of I I liked all I to it’s always a big experience to make a recording and your glar is amazing I mean there’s really what are your favorite ones I can’t you couldn’t say no I uh in a certain way I love and having the most fun in the most fun any yeah fun or don’t we have fun when we yes yeah you have fun if it it was good but while doing it you’re so concentrated and um yeah of course
I I’m very honored that liti wrote this H conti and H con from me I think a lot of um lot of students never heard it but it’s worth because it’s really a new a new development of of the it’s really difficult I mean it’s got four natural horns in the orchestra yes I’ve heard our friend Tommy benstein he’s he’s made a lot of complaints when he was trying to learn this part he says it’s really difficult yeah but but it gets more and more more easy and it’s a another sound it’s another music another speaking um and
Li did he consult you while he while he wrote this I I know him knew him years before and we were on on tour um while playing the cameraman are throwing things around in the room yeah the trio for viin horn and piano and we had a lot of concerts where he was also explaining his music and then
I I spoke with him oh Judy you must write something really for hor he’s a great character oh no what I know about hor this I wrote in this Trio and I said yes but this is the beginning of a new way you have to to make it you you persuaded him to do that Stefan can you look at this this is this is a book um what is this there a book about him a book about lietti and this such a beautiful picture kissing your hand was it after a performance after the uh well f after the first performance of the con you got
That but like that okay got it we’re very spontaneous here in the horn hangout yeah he was very Charming he was a very Charming Man wasn’t he yeah but also dangerous in his opinions he was such an intelligent and uh great person I also have the booklet here I don’t know if if you can for enm um
Li can you see that that’s a little bit more difficult what’s this little picture that he’s written that he’s drawn here this uh yeah it’s the the overtones one two 3 four five because he the whole conad is um written for natural horn but he just decided to to take the the full horn and you change always only the length of the okay well that’s amazing no he really was a great thing so that that’s a really a big gift you’ve given the horn
World CH yes it’s uh it’s not a that solistica to to get in this music it’s it you discover really new words it’s poor four horns in the orchestra they have to really practice Yeah but he wanted to to construct a new harmonic with a combined the different uh natural horns and it it’s there are really great great sounds coming out everybody go and buy the
CD it’s fantastic it’s F I think in the internet you can find in the internet I’m sure I’m sure you can find anything in the internet just not a lot of information about you um uh okay should we go back to a few questions there’s some nice questions going on right you ready for this um Ellie mops is looking she says hello ah hello
Ellie um and it’s really nice to see to see who’s watching Campbell is watching um it’s he’s written it’s unbelievable the dedication that TR NOA has for her class and I’ve only been there a few weeks yes that’s nice that’s nice um oorn I read I think that’s probably someone in Australia what kind of technical exercises do you feel are very important that’s a difficult question
I would maybe re rephrase that is what do you do to keep in shape especially when you’re teaching so much because it’s so hard to keep in in your teaching yeah so I think you have big Elementary um themes you have you have to train every day one exercise of one of the big uh uh things so this is flexibility
MH every day one one exercise of flex not not five hours flexibility but only one then then one stability then one stability stability then so just keeping that the nodes are not swimming wobbly and then one Legato M and one for high register one for low register and one one for endurance for power and then you have some some special things like lip drill or muting with a hand in actually someone’s just writing a question
I’ve never actually come across before the horn hangout Becky wants to know what are the most important mutes to have now mouthpieces mutes uh need yeah mute I guess we use uh well a whole different range of no I I still use the angan anaman this is a wooden the sound is not not so it’s a little bit with us that’s quite difficult because it’s a little bit too soft to reach the back of the ceremony yes in in
Orchestra it’s you have to use different mutes so do you use a stopping mute or do you prefer to use the hand good good girl I don’t understand this sort of reaching for the stopping mute for every note yeah but for a really low register it sometimes you have have to have you can still practice it yeah of course um what was your most satisfying teaching experience can you even answer that you ask that uh
Miriam oh Miriam’s coming up with good questions today yeah of course if you teach somebody three or four years and and the person is is coming from there to there and got a yeah then it’s a very good feeling is it true that with you in German there this there’s this two um the Z and the do the polite form of you and the the the personal form of do we’re we’re lucky because we’re already on the personal form of you is it true that you have that a student has to
Z has to say Z to you until they get a job yeah but I also do yeah yeah yeah you do as well yeah this I I did from beginning and I never changed and I will never change and then then when they have the job um then they and then we have drink and then but G gor said that he he’s so in awe and so respectful of you that even many years later he’s still gets the do sometimes he still has to work on that yeah it’s maybe in
France you have it still yeah and so in English we all say it’s a part of our culture and um I don’t want just to so your has to get a job and then they can save you yeah okay so that must be a very satisfying teaching thing um Kathy and Michigan wants to know what’s the title of the
CD um isn’t it just called Li oh we have it no oh here I’ve got it here um Georg liti yeah it’s hamburg’s uh the title of the Contra is hambur hamburgers is the ham hamburger con hamburges con um and the yeah that’s just it’s got the Hamburg the double con the ramifications and the reuan so so there you go you know that um and
Felix would like to know the three main properties of the perfect omishore GI is there even a perfect umash show there’s an ambush show who which works with um maybe 80% of all H players the majority plays with this now look at that Shin can you do that once more can you do that once more you know the important thing is the stability yeah you get from here yeah the flexibility you the produ use of the note is is here and this is like the clavat of the piano you give the
I hope you guys are really that that that is the perfect ERS for me so in the lower register you have this is always tense because this gives the position and it’s not a lot to wobble no no this is the position and and here you get the tension for the note so this means as higher you come all tension and lower no tension but here the corners are always staying quite
Ure so it’s very easy My cameramen are looking very impressed with that but you know you know ambusher is from my opinion 50% okay 50% ambusher 50% support supp really and the support from here and be relax I was just about to say this you you did that actually if you say support you think it was coming from here but here here’s supporting here’s relaxing yeah but you support to relax the support means you have something to support and this this is what you have to support like the singer the singer must be here and
I think it’s 50% 50% many people think it’s 100% here but it’s how how can you keep someone fre let someone free because I hear so often and you you really see the tension in here yeah the yeah it’s hard work but we it needs some month how do they get to free how do you free them up first to get a feeling of the tension itself to have the feeling oh yes this might be tense then to get relaxed and then to get go in the activity here but first first relaxation then activity while keeping the relaxation it’s a subject for a whole another
I think we’re going to come with our hangout team into the into the the music school and uh and see what we can um yeah um rorie who’s also a big friend of the Hangouts hi Rie what would advice would you give to those 20% like me who can’t play using the flex chin in all registers so obviously the chin goes a little bit walking um yeah how old are you oh
I don’t know how old are you Rie I think he’s probably about you know 20 20 early 20s right yeah early 20s early 20s yeah if you are not already professional and playing in Orchestra you can you can change I’m I’m very careful in changing things if somebody is already professional and have has to play then I
I I don’t touch but if you somebody’s under 20 of course it’s worth um to change and uh the important is to strength the little muscles who give the direction through this the inner inner ones who go in the middle those are have to be strengthed because the others they are very strong of course of laughing and the and just to have the right balance because power you always get from two muscles who go outside and inside and they two together it makes makes the the the power so no smiling and you can use mirror of course and just try to produce notes going inside
And see those everybody has has the the muscles here all around the world there’s horn players going it looks different if you do a little then you will find them and then try to play you have the ultimate chin you have the ultimate chin of all home players 80% 80% of good players have it they do just the same but for a for a 20% that’s uh it can if somebody is really has a lot of muscles and can press enough yeah then
I my my opinion is press as much as you can but but not press this way yeah also also okay though the pressure you need to to otherwise it’s too windy and too thin but um not more than 80 or 900 800 or 900 gram Dee I have a certain and and masquerade something to measure how much yeah how how you can you can see how much you press but not not more but
I think one kilo always it’s enough not not more one kilo pressing against everybody is doing this okay but who those people who press too much do more and then the lip of course it’s like like hurting what what is this this this thing um no it’s just it’s very easy it’s just the feather and it just goes a little bit inside if it’s not this burp thing no no no no oh okay
I I don’t know about such I’m going to come and try it yeah it’s it’s very easy it’s just a control and if somebody is too early in then it means he has used more than one kilo pressure and then it’s it’s worth just to relax the arm and just to to go a little bit but not without pressure this is would be a trumpet position this is too much outside we need a certain pressure to be in the middle we need the middle for good sound we need the lip relaxed if you go like this it’s trumpets you can do that really well though
See our early trumpet trp TR so much horn is better we prefer the of course the horn is better um oh R’s 24 so I was just about right um uh Amanda I wonder if that’s our Amanda how do you get motivated to practice when you don’t feel like it well I’d like to know that too discipline discipline it really there’s nothing we can about but if you if you want to be ha player you must really decide do
I like to practice but if if if you if you don’t like to practice really to discover things new things then it’s a a hard profession because uh only Talent is not enough you have always like a sportsman to train the muscles the muscle coordination I often don’t like to practice but I have to there’s no way around if it’s very then sometimes you can take the mute yeah um mute dempa yeah the mute yeah the very the the the the practice silence silence and then watch a very nice film you’re not supposed to say that just you sometimes just keeping notes with a good
Support and then you have two hours good practice okay well I’m going to be doing that tonight but you you can’t develop your sound and all this so for students I don’t recommend it but if you sometimes if you have to practice and you don’t feel like it then that’s in a hotel sometimes that’s the only or in the car when
I drive car Stephanie does that too he has a little horn he plays it in the car in in in traffic jams he likes that there are so many questions I don’t think we’re it’s really incredible you’re going to be um be getting these afterwards so you can see all the all all the things my friend I just want to ask you a question from
Tokyo because my friend Midori is watching in Tokyo hi Midori kumbawa um she says hello to us both and when she practice horn by herself her lip gets tired very quickly and how many hours do you practice a day and why and how can she practice more at a time that’s that’s a good a typical student question um probably pressing too hard yeah maybe you you press a little bit too much and then you get too too early so try to relax your left arm and and try to to keep notes and not and try to be also more relaxed here normally then you can
Play very long long time okay really short answers to these ones because this is we could go on for like two hours here but uh I have to go and practice so the what do you have to do after this got to go and teach after the hangout today no you’re free today free day and you came in just for the hangout yeah thank you let’s go and have some coffee afterwards um
John putam says Uh George Georgie did you Georgie Li recommends a triple horn on the front page of the hamburger K did you use a triple horn no he didn’t recommend a triple he recommends a triple on the front page of the music apparently that’s what but maybe this was written later but but not maybe someone else no not not when you not when you played it no triple not because you on the high
F you can’t produce the those overtone series no this is not at all that higher no no no no triple horn okay um Alexander Mar wants to know what’s your thoughts on setting on or setting in setting in produces a nice round sound it’s very good for for slurs but very very few uh persons can can have in enough endurance with this ambush of course there are a lot of good famous horn players who most low horn players yeah this can be okay but if you try try to play highh horn with lot of endurance then
I I think it’s easier easier on yeah it depends a little bit what you what when you have a lot of thick muscles and a head like this and then you can can use more pressure so my I say use as pressure as much as you can but if it’s um too much this Flex chin is causing a lot of people are really talking about this
Flex chin Chelsea said she’s only just figured out how to use it in the low range yeah and then she says now what do I do to get used to it practice in the low range that’s the only thing you can do Yeah the secret is so those two little muscles mhm they go in okay and they allow you to bring the this lip in for the low register okay so in low register you need really lip mask and if you pull it then it’s tensed when you go out you have to go in in in and also down yeah and the yeah flexibility of
The side if you are tensed in the lower register it’s not possible to to open but if you’re relaxed in the side then you can really open and you have the lip who can swim great fantastic this is the reason I have a good low register yeah but but this is also so important where I go all all over the world the masterclass and people have terrible problems with the low range because they aren’t made to practice it but this is really the best high horn players have a good low low range is only a thing of position yeah low lower register is relaxing the
Side and Chin down and open yeah and open down yeah and Felix writes what what can be the reason if the flex chin does not work for two or three notes um for him it’s example the low C to D sh down to the se but after that it’s it’s fine that’s just the break is yes but
I think it’s it’s because of the hanging up of the kin the chin yeah the chin it’s not a very uh organic you have to try to make an organic opening I just love it every all the horn players are are just listening and my wonderful here they’re like what she talking about you’re going to have a test after this you guys yeah no it’s ugly but no it’s it’s fantastic
I wish it it’s really it’s no but this the break is mostly that the contact of the mouth with here you lose the contact and you to have the contact you must activ make activity of the little muscles going they can only go inside and this combined with the pressure the contact then you can try to yeah to go over this this this break area but it’s possible
I know fantastic okay that’s enough of the flex chin you guys I think we’re going to do a flex chin horn hangout at some point and only talk about that it’s really I’m totally fascinated by this I’m I’m the sort of I sort of tend to not think about it too much because I’m lucky because it it does it anyway so when people ask me these questions
I can’t answer them nearly as well but you do you you are in the middle yeah it’s just but no but that’s I was just lucky because I just yeah but yeah click up it’s it’s not so hard to to do to learn yeah fantastic only the two points everyone watching who plays the horn and even you like
Tina who don’t you’re going to go away and practice your getting your chin down and um but you know if you try to to put it down don’t tense also the upper lip it’s not that you tense all and nothing yeah it’s just the independence of tense the upper lip in the high and then to relax the app but be all the time with the here in position this is the difficulty to to use it separately okay okay two more questions
Eva what piece have you performed most often oops Yeah for Mo first stra yeah then second straw very often of course second moart such a hero some and a question to finish off well question to finish off the the the questions um the the the live questions I still have a couple of my own Raphael wants to know which is very good because we’re being sponsored today by
Alexander horns why do you play Alexander horns and um what do you find in them that other horns don’t have I can see Phillip Alexander and M going you I’m I was born 30 kilometers from M away of course I speak the dialect of this region and um no it’s it’s I think it’s a very centered sound very centered and um has a little bit more resistance than other horns but this makes the sound more it goes more because in physic the energy never is going away so somewhere the energy is in in the wom then um yeah and
I think Alexander is they are so nice people yeah they are they’re great and very very generous and um also yeah yeah and I think Fant we’re proud to be Alexander players yeah but I think I think of course there are other instruments wonderful instruments I I have to say of course but I it’s this thing of of what what you want to hear yeah thank you for all these live questions
I have a couple of really many ones to finish off is what do you do when you don’t when you’re not playing and when you’re not teaching oh yeah you know I’m I grew grew up in the in lands on landscape in little vage yeah in the country so I really love to to do very simple things like painting uh uh windows or cutting wood and such things and this
I do in Sweden you have a house in Sweden yeah yeah and I I love very much everyone who’s visited you there has just been so impressed at you you bake cakes apparently your raspberry jam is phenomenal phenomenal want to try it and um and one friend of ours um Tommy described you as a woman who gets things done he said because you can fix anything and you can bake and you you can just do all this stuff yeah but you know you need always in your life you need the
I don’t like to do always the same I I I need just the the difference I love Berlin with the exhibitions and the modern art and and culture I love it yeah but then sometimes want to be just in the forest and picking up some just to to to keep the brain fresh and and just this I
I like the the difference otherwise it would be boring and tell us about your horn Muer because next week you’re doing it’s a very special thing for you um horn m m is the word a mill sort of horn yeah it the first first meeting was in such a kind of of house an Old Mill but if you you can also in in in
German language if you means that you work so hard that it comes comes out uh then really uh separate so it’s um double meaning and it’s um I do it since nearly 20 years now every year a meeting of my students and former students it’s a big family and former students bring own um for own own own ideas and ideas and and we work or
I invite other teachers and you also invite not only horn players but actors salsa teachers yes we did salsa it was great and uh as well this this time I have somebody who’s making um he’s doing hypnos Hy hypnosis yeah hypnosis against nervosity fantastic yeah so this I I forgot to mention so this I am looking forward but of course this is not something for with all it’s just only one one person and um yeah different different other things always your students are very very lucky to have you and we are very lucky to have you here at the horn hangout
I brought you a little something from Japan wow what that it’s horn chocolate oh fantastic I just thought so yeah no idea if it’s yummy but I like the name of it so you can take it to your horn muler and uh see if it’s thank you so so much for joining us we are all so grateful um and thank you for for looking and um listening and um so horn is the best choice what more can
I say thank you very much for joining us and we will see you for the next horn hangout keep a look at on the website and we’ll let you know who’s coming up next bye byebye
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
