Sarah Willis interviews the legendary Myron Bloom live about his horn career, his time in the Cleveland Orchestra, George Szell and other heroes. Special guests Jeff Nelsen and Stefan Jezierski! 10.12.2012
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Hi everybody hi everybody out there in the horn hangout land it’s really great you can join us because today is so incredibly special I have sitting in front of me I wish it was in the same room but in front of me on the screen Mr my and Bloom absolute Legend to all of us horn players well to a lot of musicians all around the world and um this interview was set up by
Jeff Nelson who you all know already and I’m very very grateful to Jeff for doing that Mr Bloom welcome you’re in Indiana at Jeff’s home I believe he picked you up really early it’s really early in the morning isn’t it it’s uh 8:30 in the morning 8:30 are you an early riser usually no I sleep till noon every day well thank you very much for joining us our chat has already gone crazy with questions for you but
I I have a few of my own because you’re somebody I’ve always wanted to meet in person what do you think of all this online stuff I pay no attention to it this is the first time ever well there are people watching you from all over the world isn’t that is that a strange feeling I’m just here
I’m easy I don’t care but we have it hasn’t really come into my Consciousness I’m just sitting here talking to you okay well we’ll just pretend it’s just the two of us for now okay that’s good you are a um you’re a teacher at at the University there you’re one of the four horn teachers yes life has certainly changed a lot
I read in your biography your first first horn job was 1949 you orene syy Orchestra right that’s a while ago it’s a bit long are are you still playing uh I just play about five minutes every day uh for lessons that’s about all and lately it’s been really awful because I I’ve never been so long without playing and
I pick up the horn and nothing comes out and uh it’s very embarrassing I usually could pick it up and play right away can’t do that anymore so it your does your body miss it do you find that it’s it’s a physical thing that you miss or is it are you happy not to have the stress of having to practice every day oh no
I’ve never had I’m my I absolutely miss it every day absolutely and physically and mentally both when did you when did you actually stop your you’re performing because I mean the good old days maybe talk about the good old days anything you want to know I had um the the Cleveland Orchestra I heard being described as the orchestral machine ever the the the
Precision and the the the incredible chamber music like playing of the Cleveland Orchestra in your day was really quite outstanding um and you were huge part of that you were first on there for many many years um who did you have any favorites was cell always always your your favorite of those days or Baron boy pinched you to
Orchestra de par I understand yes well zel was uh the biggest hero of my life and uh I miss him every day to this day he was so important to me and uh uh it’s I can’t really describe in words what he means to me but he means everything to me everything I I I read though that he was quite difficult to work with but apparently you were one of the only people that could he was a pussycat to he was not a pussycat to me okay tell us very difficult in the beginning like with everybody else but but he was he got the reputation
Of being difficult not because he was a tyrannical impossible person but for one reason only the music came first and he was difficult with the music just as much on himself as on anybody else but that’s where that bad reputation came in and it’s total nonsense okay well I’m glad we we put that put that right um for me the absolute iconic
Strauss One recording was yours and his and we’ve had some people writing in already asking if you could tell us about the recording what if there any any funny stories to tell about the recording how you feel about it well I it was really quite amazing because when we rehearsed and this was unusual actually when we rehearsed with the piano with he playing the piano and we went through the whole thing and stopped just once and we stopped finished and he said stunning and then we re recorded it and the same thing happened
I only stopped for one the whole coner I stopped for one take one what do you call it one take absolutely just one otherwise it just went like that and that was that was really quite unusual very unusual these days things are patched together and fixed here and know it’s it’s a terrible thing what has happened you think so you think the one take wonders we need to create some more of them you stop all the time you lose the musical line and you lose the cohesion when you when you keep on going you have the the whole thing right there statement what horn were
You playing on for the recording con8 con con I heard a rumor though you played on an Alexander for a while is this true when I was very young I think I was 17 I bought an Alexander from James staliano you know that name I know the name yes and I kept it for 6 months and then he called me and said
I’d like to have it back so I gave it back to him and that was the last time I played in Alexander okay you have some people saying from taiw hello from Taiwan and hello from Texas and hello from France I tell you they’re all out there watching us today really it’s amazing hello everybody I’m so happy to meet all of you um
I have a question from a a very loyal viewer of ARS Kendall gray who’s a um a a horn playing lawyer and he said he would just like to know a bit more about what orchestra playing was like in the 50s when the American orchestras were really starting to come into their own um it was I mean
I can’t even imagine it was the the American orchestras were really sort of coming and and making huge names for themselves that Cleveland definitely was um did was Cleveland the number one Orchestra at the time was it considered number one when I first started with playing with Cleveland Cleveland wasn’t even the even even in the first four or five
Cleveland was uh not there but then as we kept on playing and we kept on uh taking tours and making recordings it became one of the first four or five yes but in the beginning uh George zel and the Cleveland archer in the in the way of the world was nothing but they soon found out that was you credit him with that with really building that up he built them up oh absolutely completely
I credit him with everything to do with music I credit him with Wow H he must have been an amazing person he was he was fantastic he was just beyond belief and if you read the story of how he grew up what he was as a child you begin to see who he is because as a child
I mean between 12 17 12 13 14 it was the talent was all in there he could sing for you the second violent part of any string quartet written from memory and one day somebody asked him Mr zelle do you memorize how do you memorize he said I never memorize I despise memorizing it’s just there he hears it once and it’s there he could sing to you
I told you this any any inner part of any string quartet Trio he there’s a nice story about him and and uh um the violinist tangka have you ever heard of that name no I’m afraid I haven’t must admit well he George zel was the conductor of a of a uh Orchestra in Scotland that’s your home right no no that’s that’s where that’s where
Fergus comes from my colleague I come from I come from London near London but I was born in the oh you come oh Fergus come from Scotland I see I will I will they used to take the train every day every week back to London and then come back and have another week of playing and each time they took the train zel would bring an unbelievable gourmet dinner mainly cavar and they drink cavar and champagne the whole train trip and this happened all the time now
I don’t know why I started talking about this but there’s another reason that that comes back to what we were just saying about tanka oh so they they played they had a vacation together and they played all the piano literature for violin piano until they ran out of repertoire so zel just continued and start to play through every
Symphony and every Opera totally from memory everything all from his mind did he conduct did he conduct everything from memory as well he conducted everything from memory but he had a score there which You’ never looked at unless particular reason you got to look at it which is makes a lot of sense well what was your horn section like were you were you all were horns such a a
Brotherhood in those days as they are today I have the horns love to hang out together they’re all hanging out online together um were you guys was your horn section a real Brotherhood team I would say no oh that’s sad it wasn’t so bad we took we took George zel ran the horn section aha in other words
I can tell you a funny story which Maybe not I shouldn’t repeat but oh please do please do uh I leaned over to my colleague and said would you please do this there what it says in the score and he said I’m embarrassed to say I don’t take orders from you I take orders from zel and that tells us the story yes fair enough fair enough no but we got along fine and we uh we got along very well all of us who would you say who would you say apart from zel your musical
Heroes that’s what people are asking now they they want to know who else influenc you very easily my musical heroes are Pablo Cal Yasha hitz Arthur Rubenstein and EM Manel foron and George zel that’s six I heard you’re a big fan of Frank Sinatra though as well ABS count absolutely I’m a fan of all the great jazz singers
Frank Sinatra Ella Fitzgerald Sarah vaugh uh meltor um there are more I can’t think of them at the moment did you did you ever work musically with any of them did you ever venture out into the Jazz World heard I listen to them yeah yeah so when you went you were you were pinched we say pinched in
England you were stolen away from the or Cleveland and you went to Paris yes it’s a whole different style of playing actually the French school isn’t it yes did you fit in at once or did they have to adapt to you or what happened I got them to adapt to me uh but when I came they weren’t playing ascending horn there was only one player played an ascending horn that was barbat and when
I came nobody played an Ascend they all played paxman’s and they played k8s so they willingly went they willingly went over to the other side or they didn’t need any persuasion you mean to change warns yeah I think that I never talked about it with them I I just came and I played they heard me and I heard them and uh it just worked out now something very unusual happened a few months ago where someone called me and told me that they heard a recording of the concert stook of
Schuman on the YouTube and I said I never made that recording it’s ridiculous so I got on the YouTube and I heard two minutes of the concert STP with me playing with the orchestra of Paris horn section you can get it now yeah it’s out there and you but it was you you say it wasn’t you it was you it was me so
I can’t I’ve been calling them ever since trying to find out how this happened and no one can tell me oh the internet is a strange thing you know things appear on it all the time that you think have been gone or appeared but I was really surprised because I really didn’t like the way we played it and
I didn’t like the way I played there I remember it very well but then I heard it and it sounded wonderful well I mean that’s that’s a really great thing about about the internet is that we have so much so much out there do you think when you were a student if this had been available if you could have talked to your horn
Heroes and live do you think you would have been interested in that I guess you probably couldn’t even imagine meeting I don’t know people Barry tuckwell in Australia or I I don’t follow your exact question I mean I mean I I guess I think it’s just such a wonderful thing to to have this possibility these days um
I remember asking uh polini I was interviewing uh maricio polini um about and I said what did what did he think of this whole digital medium um because of course some performers think it’s maybe not so great because they’re always on show all the time and polini said well you know if Mozart had been on the internet
I would have been very happy about that so so I I I’m just very very happy you’re here okay where were we we were in Paris may I ask you a horn question about vibr because the the the the parisians they were they were playing with quite a lot of vibr and and it was something that you did use in your in your style of playing it’s not very typically
American but the vibr did appear in your playing well I I uh talking it’s very interesting talking about vibran because I never had a a a conscious vbr was always natural I never thought of playing a vbr and my vbr I think came from my throat I mean I never even knew I had a ver so people told me now did you hear a strong vbr or a weak one
I heard I think it fitted to the music it was just the you expressing yourself right but the the French rbr or the Russian ver didn’t fit at all no player of what’s his name the French the Russian horn player uh who made oh the great player who he made a wonderful recording of the of the Rini buosi buosi buski yeah buos anyway
I mean he was a great musician so the vibran which he used I didn’t like but it didn’t really interfere with the music but very often it did with a lot of people and that’s when I was it was unbearable to hear and uh and in the in the Franco Belgian uh times they they all used it but then again there’s a very fine
Belgian horn player who recorded one of my favorite recordings of the box weet he recorded the whole Frances Orval have you heard of him yeah and he’s a Belgian he doesn’t use FBR and he’s a very fine horn player and that’s one of the finest recordings I’ve ever heard the bossuets what other recordings do you love oh
I have to tell you the reason that I became interested in music as I was the age of 12 and my parents says you’ve got to go and hear this concert of a great chalous named Emanuel foron and I said no I’m not going I’m not interested in music and they pounded me until 10 minutes before in which
I exceeded to their wishes and I walked into that concert not knowing anything about music and not giving a damn about it and I walked out of that concert at the age of 12 I knew what I wanted to do with my life that’s that’s the effect so why horn not why horn and not cello well that’s another story
I uh when I was young I I Lov the chill I loved all this music I listened to the buest quartet and the the foron uh hiitz Rubenstein Trio and I listen to Pablo Cal’s that’s where I really got my musical education from listening to those people all those early years and they were my heroes so repeat your question again because
I’m coming to the end my question was why why horn and not cello if that was the such more the cello than the horn yeah me too actually I thought the cello was great I studied the cello for a year when I was in my teens and then I went to the Eastman School of Music where Luigi
Silva you know that name We Came From Italy but he ended up working in New York and he was the CH teacher at Eastman and I wanted to take some lessons with him so I went to him and said would you teach me I don’t don’t know how to play the show at all but I’m I love it he said
I have a class once a week where I teach absolute beginners I’m going to ask you to come and sit there and be the guinea pig that means that I’m going to show them how I teach beginners by teaching you right on the stage on the in the room so I went there and without even w a second he said now we’re going to teach you how to play the thumb position before
I do anything else so to this day I can play the thumb position just from that experience well uh I I I I was still there at eastand because of the horn not the cello I but uh I really wanted to be a chalis and then came the war and everybody told me play the horn you can get into an uh a a service band and playing the
CH you can’t so I played the horn um uh Ben has just asked you’ve described PA Pablo casales as a great hero of yours what what was it like working with him uh Mar you’ve heard of maror at maror yeah that’s there and what he did was conduct the orchestra and give master classes and so I made some recordings with him conducting the orchestra in marvelo and
I would listen to his master class all the time and uh he was the most fascinating musician I think I’ve ever seen in in many many ways he first of all he was the first chalice to play in tune the very first before that there was no intonation and he was the first chalous to well to to to play music at such a high level it was never heard of before and so he he was a real hero to me always was always will be yeah
I think he’s a hero to most most musicians out there incredible musician and so I have to tell you one thing about music yeah he would always talk about diminuendo yeah and he would always say you must sing die instead of and that became if you think about that that becomes a very important part of Music how do you finish a phrase how do you end a note that’s and it’s not really you don’t often hear people do it anywhere what are your what you can do you have any mantras that you use you are such a you have so many
Fantastic students out in the world we’ll get on to one of the very famous ones in a moment um my colleague um but do you have any mantras do you have any do you find that what do what are the biggest challenges of students these days do you have something that that you find you can always help them with for example this diminuendo um finishing phrases
I can help them with many things and I do and uh the main thing that I that’s most important to me is how do I say it is their attitude toward music and I try to impart to them an attitude and a conscience even a morality about music that is not often done and I choose students from that standpoint
Point that’s why I’m so happy because it works it works the love in the studio of music and the love of just being a real person as you play the horn not just somebody that uh punches a typewriter which some horn players are as you probably know there there seems to be um quite a trend at the moment of people of
Prof Perfection going for Perfection I find home player students that come to me and they are technically really quite incredible um but I worry sometimes for the music and that is a hard thing the teach Perfection is the enemy of the good and I believe in that well you still got to hit the notes in Brookner 4 otherwise the audience want their money back well you got to hit the notes of course but if you only think of hitting the notes you’re not there making it very true other things are more important so it’s my it’s been always my belief and my way of teaching
Is I have to teach the music properly and when the music is to taught properly I don’t miss notes it’s when the music is gone that they miss notes what can I say absolutely true I I hear people applauding all around the world I’ve just had a message from Gail Williams she’s watching you at this very minute minut oh
I like her I do too she’s wonderful hi Gail hi um so ah someone’s just put up a post of your Schuman with the orchestra de par so everyone can go and have a listen to that so they’ll look forward to that there it’s only two minutes but it’s something incredible I think it it’s history it’s history and uh and that’s that’s it’s very from you
I I love it when horn student students take the initiative to go digging around in in their horn past because they’ve inherited all this and many of them don’t really know about these the old schools and the and this different way of playing all around the world that’s that’s it’s great to encourage think most important thing for me to do is to give people my great memories and
I think memory is important most important people for the whole world and when people without memory there’s a big problem memories are like gold could you put high it’s probably impossible after such a career that you’ve had but are are there real highlights that stick out in your mind the Strauss One recording with zel would probably be one of them conducting
Pablo KAS I would imagine to be another there were so many you know but but the highlights of my life was not so much what I did but what I listened to when you’re doing it we you’re not listening in that way when you’re doing it it’s it’s a different different thing when you’re playing it and a lot of times people play badly and they play very well and a lot of times they think they playing very well and it’s not so good so
I mean at the moment so it’s a funny thing when you’re there you come out as you are you can’t hide you you sound as you are I how we play is how we are this is very very true I’ve had bad patches in my life like everybody and I don’t mind talking about my bad patches and it’s interesting because my bad patches were caused by certain things and
I find it very interesting to tell students about my bad patches because they can see what causes bad playing and I want them to know what causes bad playing because I want to know what causes good playing and I want them to be their own teachers can you tell us what what what caused caused some bad patches say that again could you tell us about some of the bad patches because
I think a lot of people watching are students who struggle with with good and bad patches and it’s very encouraging to know from such a a horn legend that he also went through bad patches and and and what I can tell you a great story one about a bad patch we were on the first tour of Russia six weeks in in in
Russia can you imagine that was back then it was unheard of yeah and it was really very uh moving and uh uh it was quite a fantastic experience playing for that audience and and after the six week tour was over and we were all absolutely trying every moment of the time we came to Finland immediately after and there were two or three days off and
I didn’t feel like playing at all those two or three days and then I started to play and my lip felt terrible I just felt like I couldn’t play at all and I never understood why now I understand why that’s why this is important and so I played my lips felt awful we went to Vienna and we did the hien 31 with the high horn solo and
I messed it up completely because my lips felt awful it stayed that way I didn’t know know how to make them feel better and zel at the end of that says I’ll never program that piece again dear was it that bad was that bad dear but why do you you said you understood why tell us why well it has to do with the muscles taking care of the ambusher is very important and if you’re too anxious to take care of it too well you kill it in other words very often and this happens to many students you got to get that amature strong and they
Overdo it and they they do it in the wrong way not let the muscles work properly and soon after the muscles become dead yeah that’s what happened so you got to really understand that and not let that happen so the the right answer for me would have been to sit in a room and play pimo for one hour long tones scales arpeggios very quiet let the muscle come back but the muscle didn’t come back for two weeks oh
I was trying to get it back too hard and I made it worse oh how’s that for a solution that’s a great solution that’s a great solution I I know that feeling well it’s horrible but I guess everyone has to go through this everyone has to go through it it happens to everybody absolutely well you have you have really been such an inspiration to many and you you’ve produced such great students such really great students all and they they’re all over the world in top jobs you must be very proud absolutely
I’m proud although I don’t I don’t remember very many of them in top jobs who oh well I have someone who is in a top job who is one of my favorite colleagues right here who would love to come and say hello to you as a surprise hi myON great to see you it’s great to see you um
Sarah told me she was going to do this interview with you and I uh I’d been meaning to call you for a long time but you know one thing leads to another days go by but then I wanted to take this opportunity to say hello to you and um it’s was great hearing your interview you’re an inspiration now as you were back when
I was studying with you in Cleveland yes and uh uh it’s it’s Fant fantastic to see you you look great and uh it was great to hear your stories can I tell the story about you okay please tell us a story about Stefan now you might you might want to sit down for this one Stefan okay okay everyone’s sitting and waiting for the story well
Stefan uh studied with me for four years in Cleveland right yeah and for four years he just sat there and never said anything and he was kind of a little laughing a little bit every lesson he was kind of like he was making fun of me or something I could never understand him and he hardly ever he never sounded good at all never for four years and then there was a competition in the
Cleveland Orchestra where the winter would have a concert with the Cleveland Orchestra and I heard Stefon play and my mouth dropped a mile he sounded so wonderful and he never sounded that way once in all those four years so he won the the competition and he played the mozar Shadow with the Cleveland Orchestra so I figured out what happened
Stefan I don’t know if he was shy or if he was nervous but he never wanted to show himself but he listened to every word I said completely he knew everything that I said and I didn’t know this you know I I didn’t know this at all until we talked about it once and uh he learned by by listening to what
I was saying I don’t remember ever teaching him really do you well I remember you saying a lot of things about musical phrasing and use of the air was talking right you were talking and I was maybe I learned some of it by osmosis but I I did remember the things that you that you said and I remember them to this day you you know maybe you’ll understand what
I mean in in 10 or 15 years you know and then sometimes uh I’ll think think of something that you said and it’s uh it’s a great help and uh you know you gave me the tools that I needed to teach myself and also students and everything but to First in first of all to teach myself how to solve um musical problems that can come when playing the horn and
I just you know think of the things you told me about about using the air and musical phrasing and it it’s an inspiration to this day that’s just fantastic what you just said thank you well you’re very welcome I I I think your students now are very very lucky there at uh at the University um they have the most incredible horn faculty uh
Jeff Nelson is just behind the camera isn’t he Jeff come say hi come say hi Jeff this is a true Global horn hang out you guys this is quite incredible oh yeah we we’ve got the cameraman in the Stefan in the back here too he just has to capture this moment um Jeff did did we miss out on anything we had we had quite a few questions going on but we we covered most of them
I mean there’s a lot lot going on in the chat we’ll have to do a few more dozen hours with is an hour over now um well we can talk about Tenn do you have any we can keep talking as long as you will not quite as long as you want but talk to you it’s wonderful as long as you want
I’m here I I mean I know he’s also very passionate about Opera do you want to talk about one of your favorite opera singers or Opera oh the opera singers oh my God and the jazz singers Did You Know by the way Stefan is a great jazz player too that’s why I asked if You’ been so I wondered if he’d learn that from you but you said you never you never but
I love jazz marvelously to this day I just I mean frag Sinatra was a big influence in my life musically and so was Tommy dorsy because they played a long beautiful phrase and the great thing about the interesting thing about Tommy dorsy Frank was very young and he was in Tommy dorsey’s Orchestra and Tommy dorsy played This
Magnificent beautiful phras with this great sound and Frank said I never saw him take a breath I could not understand what was happening so he kept looking at him and looking at him for weeks and weeks and finally he saw that when he played there was a tiny little hole here where he would take a breath and you can hardly see it a small little pinhole where he tell us about the opera singers
I was gonna I was asking myin if he had any favorite recordings of Ella or someone you could recommend for people to go listen to with you in mind Ella Fitzgerald yeah or all of them anything specific that comes to mind no all of them and that’s true I mean with Ella you can listen to anything Ella sings
Harold arand Ellis sings Richard Rogers or Jerome ker any Ellis sings so so Jeff when to go back to the question Jeff asked the opera singers Opera you used to go to Italy a lot and listen to to Italian opera live there didn’t you that was it’s a big passion of yours I don’t recall going to Italy and hearing
Jeff told me you did oh Jeff no I got I had these recordings these fantastic recordings of these marvelous Singers I’ll tell you who they are my favorite singers in the world there was tobaldi and kalas and etas janini and jeppe Deano and uh there’s some somebody else I can’t remember but I I have all those people and everything they did and when they sang
One of the very operas it’s my most favorite Opera is D Carlo and not just for the singers but for the orchestra it’s just unbelievable and the recording I always listened to was with Kion and the Vienna philarmonic and that record we don’t want to hear that we want to hear you what do you want that was my first recording with
Carion Don Carlos but not in the Vienna philonic but not in Vienna filam monic where with Kion in the in Berlin ah oh he loved that did did he have singers fantastic it was a fantastic production you were the singer uh let’s see it was uh Pi capili was singing great yeah great they he had you know just a a star studded cast and it was an amazing production he always did and that’s the if these days you hear operas and they can’t get all the good singers on there all at once so there’s always one fly in the ointment and caran never allowed that
To happen he got the best singers the best s did you ever play under him once zel had us we were on tour and he had us he had Kion conduct us for one concert in Switzerland somewhere lern maybe and so Kion was just great in rehearsals and and everything it was fantastic and then came the concert and he put his head down like this he conducted like this and never looked at one person during the whole concert and then when it was at the end the audience would clap we get up and we stay standing and
Karan sent us off the stage so he could take the other boughs yes well oh well that’s show is I guess yeah well anyway he did great things with the Opera fantastic all the very operas in the Vagner and all he was just fantastic for the Opera I didn’t like him so much with the orchestra were you in when he was conducting uh
I was there for the his last 10 years were you did you come to play Under no I wasn’t uh Sarah’s much too young Charming no no I joined um times right in my head I didn’t mean to insult your your youth that’s that’s quite all right but but if you look at Stefan you can’t believe that he did play with
Carion because he looks so young oh thank you Sarah well looks exactly the way he always did H not quite not quite didn’t he have a little bit more hair in those days I remember him without hair for a long time well since we’ve known each other for a long time but i’ I’ve had this sort of look since the 90s so the last times we’ve seen each other
I’ve looked similar at least as far as are you growing beer not really you know sometimes a little bit but you know I keep it something incredible the other day when I was in Paris I drew a beard and I found a picture of myself I was just absolutely flabbergasted doesn’t the beard get doesn’t the beard get in the way when you play the horn no now look at all the horn players with beards back it never gets in the way at all
I can’t imagine that well it’s good bad on you I think it wouldn’t be don’t try no we won’t anyway back to Horn playing away from beards may I just ask you Mr Bloom um for all the students out there what this sounds so corny it sounds so TV presenter like but what what would be your message to them out there
I mean we’ve talked so much about the music I have a feeling that’s what you would say just be a musician first and a horn player second well one doesn’t rule out the other so you got to be a horn player and a musician at the same time it’s not good if you’re one musician and no horn player or you’re a horn player and no musician it doesn’t work you got to have both and if you don’t have both together it doesn’t work so how do you teach that
I try to teach both things all the time in other words when I’m teaching something technical I give them the musical reason for why I’m doing that and when I’m teaching something musical I give them the technical reasons to do the musical thing there are two levels there and that’s the way to teach that fantastic fantastic Jeff are you still there yes
I think you guys are so incredibly lucky there to have such teachers on I you you it’s must be amazing you had Dale there last week I saw a wonderful picture of the four of you yeah of with Rick and Dale and you and me yeah yeah yeah yeah must you have to get a camera up there and record that for us so we can uh we can put that up be we can be flies on the wall we’ll do a live hangout but we’ll just listen to you guys talk well listen you you both have to come to
Bloomington you have to find some excuse okay we don’t need an excuse I meet you I want to meet you too here do horn event here that’s right we do yeah you’re a I love it thank you you’re a great person too it’s been a total and utter honor to meet you today and I’m so happy that
Stefan came he’s a fantastic colleague you did well I’m so pleased I feel top of the world thank you well we’ll let you and Jeff go and have some breakfast I’m sorry to everybody out there we didn’t get to all the questions but maybe we can persuade Mr Bloom to come back and talk to us sometime want we’ll do it again that is wonderful we’ll we’ll hold you to that we’ll hold you to that okay well have a go and have some coffee make
Jeff make you a nice cappuccino good and uh and take very very good care have a wonderful Christmas time and I have to tell you before we leave that I heard your recording for the first time I never heard you play at all till yesterday oh was the Broms loved your playing oh thank you so much thank you
I I learn from the best I sit next to the best horn players and yeah and it’s just fantastic here thank you very much Mr Bloom thank you for joining us bye-bye to everybody out there great to see you bye bye and uh we’ll see great to see you great I’ll call you soon we’ll talk okay okay see you bye everybody take care bye la
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
