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大家好，

我是茱莉亚‧布特彻(Julia Burtscher)，我将于2019年1月1日接任国际圆号协会执行长一职。海蒂‧沃格尔(Heidi Vogel)在担任执行长的这些年来为协会奠定了强壮且健全的基础，我承诺将接下这一棒，带领国际圆号协会继续成长。恭喜海蒂退休且获得协会服务荣誉奖章！

1995年，我毕业于辛辛那提音乐院，主修圆号。2017年，透过学校的网路课程系统，再次于辛辛那提大学完成企业管理硕士学位。本科毕业后到完成硕士学位的这22年里，大部分的时间我都在铁路及运输物流公司服务，过程中，我天天都在学习，也很感谢自己能获得这样的经验。我住在俄亥俄州(Ohio)的托莱多市(Toledo)。从13岁接触圆号开始到现在，没有停止演奏过。圆号是我的挚爱，它带给我许多快乐！这也是为什么我对于能有机会担任国际圆号协会执行长一职感到非常兴奋。

成为协会的会员至今几时个年头，我知道这不只是一个正向、多产且热于助人的组织，更是由一群来自不同背景、充满天赋及创造力的人所组成的大家庭。国际圆号协会拥有丰富的资源能分享给大家，希望所有不分层级的圆号演奏者都能从中获益。我也很骄傲能获得协会的信任来担任执行长这样的角色。

我期待能有机会认识你们，也等不及要展开我在国际圆号协会中的新任务！

Julia
翻译：Vivian Chang

大家好，

我是茱莉亞‧布特徹(Julia Burtscher)，我將於2019年1月1日接任國際法國號協會執行長一職。海蒂‧沃格爾(Heidi Vogel)在擔任執行長的這些年來為協會奠定了強壯且健全的基礎，我承諾將接下這一棒，帶領國際法國號協會繼續成長。恭喜海蒂退休且獲得協會服務榮譽獎章！

1995年，我畢業於辛辛那提音樂院，主修法國號。2017年，透過學校的網路課程系統，再次於辛辛那提大學完成企業管理碩士學位。大學畢業後到完成碩士學位的這22年裡，大部分的時間我都在鐵路及運輸物流公司服務，過程中，我天天都在學習，也很感謝自己能獲得這樣的經驗。我住在俄亥俄州(Ohio)的托萊多市(Toledo)。從13歲接觸法國號開始到現在，沒有停止演奏過。法國號是我的摯愛，它帶給我許多快樂！這也是為什麼我對於能有機會擔任國際法國號協會執行長一職感到非常興奮。 

成為協會的會員至今幾時個年頭，我知道這不只是一個正向、多產且熱於助人的組織，更是由一群來自不同背景、充滿天賦及創造力的人所組成的大家庭。國際法國號協會擁有豐富的資源能分享給大家，希望所有不分層級的法國號演奏者都能從中獲益。我也很驕傲能獲得協會的信任來擔任執行長這樣的角色。

我期待能有機會認識你們，也等不及要展開我在國際法國號協會中的新任務！

Julia
翻譯：Vivian Chang

Chers amis et collègues cornistes!

Mon nom est Julia Burtscher et à partir du 1er janvier 2018, je serai la directrice générale de l’Association internationale du cor (AIC). Je m’engage à poursuivre l’excellent travail de Heidi Vogel qui a construit des bases solides pour une AIC en santé. Félicitations, Heidi, pour ta retraite et ta médaille d’honneur de service à l’Association!

J’ai obtenu mon Baccalauréat ès arts en musique avec une spécialisation en cor du Collège-Conservatoire de musique de l’Université de Cincinnati en 1995. Par la suite, j’ai obtenu ma maîtrise en administration des affaires (MBA) de la même institution en 2017, grâce à leur programme en ligne. Dans l’intervalle de 22 ans entre ces deux diplômes, ma carrière dans le milieu des affaires s’est concentrée dans l’industrie des logiciels de logistique de transport et de chemin de fer. J’ai la chance d’apprendre à tous les jours et d’avoir vécu des expériences dont je suis très reconnaissante. Je vis à Toledo, dans l’Ohio, et depuis mes 13 ans, je n’ai jamais cessé de jouer du cor; c’est mon premier amour et en jouer me rend heureuse. C’est pourquoi je suis si enthousiaste à l’idée de devenir votre prochaine directrice générale. Je suis membre de l’AIC depuis plusieurs années et je sais que c’est une famille solidaire, positive et productive remplie de gens diversifiés, talentueux et créatifs. Cette famille a un monde de ressources à partager afin d’enrichir les cornistes et musiciens de tous les niveaux et je suis très fière de me voir confier ce rôle.

Je suis impatiente d’apprendre à vous connaître et j’ai hâte d’entamer le travail avec l’AIC!

Musicalement vôtre,

Julia
traduction par Marie-Michèle Bertrand

Hallo, hoornisten vrienden.

Mijn naam is Julia Burtscher en vanaf 1 januari 2019 zal ik de uitvoerend directeur van de IHS zijn. Ik ben aangesteld om het werk van Heidi Vogel voort te zetten die een hele sterke en gezonde basis voor de IHS heeft opgebouwd. Gefeliciteerd Heidi met je pensioen en met de eremedaille van de IHS.

Ik behaalde mijn Bachelor diploma voor kunst met hoofdvak hoorn aan de universiteit van Cincinnati - College muziek conservatorium in 1995. Mijn “ Master of Business Administration” behaalde ik aan hetzelfde instituut in 2017, door middel van hun online programma.

Tijdens de 22 jarige pauze tussen deze twee examens, besteedde ik de meeste tijd van mijn loopbaan aan de logistieke software industrie, voor de samenwerking tussen spoorwegen en transport.

Iedere dag leer ik er weer bij en ben dankbaar voor de ervaringen die ik heb opgedaan. Ik woon in Toledo, Ohio, en speel sinds mijn 13. levensjaar onafgebroken hoorn. Het is mijn grote liefde en ik heb er erg veel plezier in om te spelen. Daarom ben ik zo gelukkig om jullie nieuwe uitvoerend directeur te mogen zijn. Al vele jaren ben ik lid van de IHS en ken het als een ondersteunende, positieve, productieve familie die bestaat uit verschillende getalenteerde en creatieve mensen. Deze familie heeft een rijke dosis ervaring te delen, die hoornisten en musici op ieder niveau kunnen verrijken en ik ben nu heel trots dat deze rol mij nu wordt toevertrouwd.

Ik kijk er naar uit u te leren kennen en kan niet wachten om met mijn nieuwe taak bij de IHS te beginnen. 

vertaling door Ab Koster

My name is Seok-Jun Lee, and I was born in 1971 in Seoul, South Korea. I graduated from Yewon Middle School of the Arts, Seoul Arts High School, the College of Music at Seoul National University (where I studied with Dr. Young-Yul Kim); and I earned the Diplom and Konzert Examen certificates from the Folkwang Musikhochshule in Essen, Germany (as a student of Frank Lloyd). I have served as principal horn of the Korean Broadcasting Systems Symphony Orchestra (Seoul) and as guest principal horn of the Düsseldorf Kammerorchester while I studied in Germany. I have been invited to perform with JHS in Japan and the Tokyo Ensemble (directed by Chang-Kook Kim), and I was also invited to give a recital and masterclass at Illinois State University. I have been a soloist at the Jeju International Wind Ensemble Festival (Korea), and I held a recital and masterclass at the Shenzhen International Horn Festival (China). I have played in collaborative performances at the Seoul Arts Center Classic Music Festival in 2005, 2015, 2017; and I have given recitals annually since 2001 in the Seoul Arts Center Recital Hall. I have also given solo recitals at the Berliner Philharmonie Kammermusiksaal since 2009 and played in collaboration with the Berlin Kammerorchester. I have been invited to play as a soloist and to give masterclasses at the Asian Horn Festival in Japan in November this year, and I have my upcoming annual solo recital planned for December, 2018.

I am currently professor of horn at the Korean National University of Arts (Seoul) and a member of TIMF Ensemble and the Solus of Seoul Brass quintet. Additionally, I am one of the judges for the Jeju International Wind Ensemble Festival.

In my teaching, I emphasize basic skills. I have the students breathe naturally and exhale so as not to be rigid. They are also required to practice numerous scale and arpeggio patterns. I teach them to play so as to let the musical lines flow naturally for each etude or solo; but I also teach that it is important to play with precise pitch and rhythm. (translated by Namjoo Park Harcrow)

English version

1971년 서울출생 예원, 서울예고, 서울대학교 음악대학졸업 하였고 독일 Essen Folkwang Musikhochshule 에서 Diplom과 Konzert Examen을 졸업하였다. 독일 유학당시 Düsseldorf Kammerorchester 객원수석을 역임하였고 귀국후에 KBS교향악단 수석을 역임하였다. 일본 JHS 초청연주,일본 Tokyo 앙상블 (리더, 김창국) 초청연주, 일리노이주립대 초청독주회 및 마스터클래스, 제주국제관악제 초청 soloist, Shenzhen International Horn Festival에 초청받아 독주회와 마스터클래스를 하였다. 2005, 2015, 2017년에 교향악축제 협연자로 연주하였고 귀국후 2001~현재까지 매년 예술의전당 리싸이틀홀에서 독주회를 개최했으며 2009~현재 매년 Berliner Philharmonie Kammermusiksaal 에서 독주회를 개최하였고 독일 Berlin Kammerorchester와 협연하였다. 올해 11월에는 일본에서 열리는 Asia Horn Festival에 독주자와 마스터클래스로 초청받았으며 12월에는 예술의전당 독주회가 예정되있다. 

현재 한국예술종합학교교수로 재직하고 있으며 TIMF앙상블, Solus of Seoul Brass quintet, 제주국제관악콩쿨 심사위원으로 활동중이다.

기본기가 중요한데 자연스럽게 호흡하고 내뱉고... 경직되지 않게 하고 아르페지오나 스케일 연습많이시키는 편이예요~ 곡이나 애튜드 할때는 자연스럽게 노래가 흘러가도록 하게하지만 음정,리듬 이런거 정확하게 하는게 중요하다고 가르침니다.

Thoughts to prepare you for an orchestral audition. (re-post from August 2018)

by Nuri Guarnaschelli

If you are young and you are thinking that you would like to have a job as a horn player in a professional orchestra, you should already be thinking about the direction in which you are taking and the frequency of your training with this objective in mind.

Unfortunately, practicing for years may be far from preparing you for this purpose.  To be a good orchestral musician you must prove that you are able to withstand a trial year once you win an audition. 

The orchestra does not look mainly for soloists; rather they look for instrumentalists who know how to perform with their group, work as a team, and someone who is sensitive to what is happening around them. 

First of all, there are two fundamental technical aspects, rhythm and intonation.  We have to consider many others too, but without these two you cannot play in an orchestra or with other musicians. 

If you want to win an audition you should basically be a person who listens to a lot of many different versions of music and knows these works very well, because in an audition, a good jury will be aware of this aspect by the way you perform every solo. 

Training for an audition has several aspects to consider: the technical, the artistic and the physical.

The technical aspect includes your development to the point of having a clean technique, and good intonation with the appropriate articulation in the style of each piece you are performing.  The artistic aspect includes understanding of styles, articulation, sound, phrasing and character that is appropriate with each composition. 

Secondly, the physical aspect is something to consider.  Doing some activity that helps you feel physically and mentally fit.  Remember the famous "mens sana in corpore sano"! (“healthy mind, healthy body”!) . It can be yoga (for me personally, this practice has always helped me to feel balanced in all senses, mental and bodily) or your favorite sport.

The mental state and confidence in yourself is very important when you are auditioning.

Something very significant that I want to emphasize is that all these aspects must be added to your daily practice, even if you are already a professional.

If you practice only one or two months before an audition, you will not succeed.  Only a definitive change of your playing habits will define whether a jury will decide in your favor or whomever else they listen to that demonstrates better technique and musicianship. 

Remember, you will have a maximum of 5 minutes in the first round in which you must demonstrate to the jury that it is worth their while to consider you in the next rounds.  You must convince them with of your impeccable technique, musicianship and tone qualities.

What the jury values most in the first round is rhythm, intonation, articulation and tone.

For the next rounds, in addition to the qualities already stated, they will evaluate more closely your knowledge of style and your artistic quality. 

Remember that they are looking for the ideal "colleague" who will improve the quality of their team and their orchestra, and they are not looking for an advanced student, but look for a solid professional, capable of performing the job being offered. 

Another tip is that you should listen to important works of our symphonic repertoire every day, which also includes chamber music, string music, and opera.  This will cultivate your musical sense and development as a well rounded musician.

If you are not excited listening to music or you don’t want to play music in your free time with friends or colleagues, I recommend you seriously consider studying something else ... the music profession is very competitive.  Without a fanatical passion you will not achieve more than that of being a hobby musician.

These thoughts that I have shared are results of my own personal experience in preparation for auditions in Germany, France and Austria, and also my experience in orchestras where I was a soloist and I participated as a member of a jury including the Stuttgart Philharmonic for 4 years and Radio and TV in Vienna (RSO) for 16 years. I have experience as a teacher for over 10 years at the Brass Academy Alicante where I help my students achieve their professional goals as musicians. 

All professors in this International Academy train students to prepare themselves technically and stylistically as professional musicians so that in the long or short term they are able to perform good auditions and be able to make their positive contributions toward the orchestra that they achieve to get into.

For this purpose, we not only do individual classes, but we also include chamber music and orchestral repertoire in groups.  That way you not only get to know the solos and individual parts, but get to experience them in the context as they are in the orchestra. 

Group classes also train in live performing, developing emotional stability under real life situations 

You will only succeed with your solos in an audition if you know the context in which they were written.

I want to share with you some audio examples of our orchestral repertoire classes at the Brass Academy Alicante: 

Fidelio- Beethoven, Nury Guarnaschelli and her BAA´s students
Mahler´s 3th Symphony
Lohengrin-Wagner
Bruckner´s 8th Symphony

Finally, I want to share with you some points for your daily practice.

You should ALWAYS be prepared and ready to take an audition, not just prepare for a specific moment.

Your daily practice should develop:  

• Technique (Flexibility, breathing, attacks, etc.)
• Technical studies (rhythm, tuning, articulation, and phrasing)
• Concertos
• Orchestral solos, solo and playing along with a good recording.
• Concentrated listening to good orchestras every day, preferably with a score in hand.
• Listening to concerts and opera regularly.
• Play chamber music or in orchestras (young or professional) as much as possible.
• Daily yoga or sport.

SUCCESS !!! 

NURY GUARNASCHELLI  
Brass Academy Alicante

English translation by Gabriella Ibarra