A Musical Life in the Caribbean
by Marquis Cahill
When I visited my parents in St. John in the U.S. Virgin Islands, I was planning on staying just a while and then moving on. Things did not go as planned.
I saw an ad in the local paper for a position at the local college for a theory/piano instructor. Although I had not played piano in 17 years, I applied. The music director had seen me performing horn in the local calypso tent with a band from St. John -- “reality” (I thought: grim reality!) -- and he felt this displayed a good attitude toward the local culture, a factor in my being hired.
When this position ended, Caneel Resort invited me to play piano in their fine dining room. Cramming from songbooks led to a decent season as the “dressed-up man playing the piano.” When tourist season and, subsequently, this job ended, I had a chance to housesit on the British island, Jost Van Dyke. This island then had 150 residents (all cousins), no electricity, and no roads. I lived in a simple house on a private beach and went to St. John once a week for an hour of survival-related activities: signing at the unemployment office (a benefit from the college job), getting a check from the post office and cashing it, and buying groceries. This peaceful summer ended when I got a notice of a temporary job filling in for a high-school choir teacher on maternity leave.
Although I had never considered being a public school teacher, to my great surprise I loved the job. The lady never came back, and I stayed…for 32 years! I found great satisfaction in leading memorized performances of the Vivaldi Gloria and Magnificat, Bach Cantata 4, Handel’s Messiah, Stravinsky’s Symphony of Psalms, and other works with a choir in black public school. In addition to choir, I taught brass classes and music theory.
Some singers on St. John, a National Park island with 2,500 residents, asked me to form a choir there. This led to 30 years of concerts, touring to other islands, and many friendships. A choir on St. Thomas and some church groups soon asked me to help them, too. Since I was doing so much choral work, I went to the Westminster Choir College in the summers, taking useful classes.
Interview of the Month - Vadim Shvedchikov
Jeff Nelsen: Thank you, Vadim, for taking the time to share your experiences with us. First off, huge congratulations on your most recent award! Your Facebook post said, “Thrilled to receive the ‘Best Musician of the Year’ award from Guiyang Symphony Orchestra! Thanks everyone and Happy Chinese New Year!”
What does this award mean? Why did you get it? What might getting the award inspire in your thoughts about the future?
Vadim Shvedchikov: This award came from the orchestra itself. Orchestra members as well as staff voted for the person they think is the best musician in the orchestra. I was especially happy to receive this award as I only joined the orchestra a year before. I was lucky to play some of the “big” horn pieces during my trial as well as afterwards, including Bruckner 4, Alpine Symphony, Ein Heldenleben, Don Juan, Rosenkavalier, Brahms 1, Beethoven 6, a few Shostakovich symphonies, etc. The “dream playlist” of the horn player!
JN: Why are you a musician? …And why do you play horn?
VS: Well, that’s actually a funny story. For my primary school, I studied at “Gymnasium” (a general, all-subject institution –Ed.) and was taking piano and music theory lessons at the music school/lyceum. Later on when I was in Grade 5, I decided to go completely into music and quit the Gymnasium. My mom was a music history professor at the same music school/lyceum I went to, so that made her happy. I had played piano for almost 11 years when I told my mother that I didn’t want to play anymore – I wanted to try some wind instrument like…clarinet. She thought it was just a “teenage caprice” and assumed it was something I needed to try for a short period of time before being back at the piano. She went to the ensemble manager and got me a clarinet. When I was putting it together, I realized that the mouthpiece was missing (what luck!), so asked my mom to return it. She went back to the manager and asked for “any instrument you have that he can just get and play straight away.” The manager said, “What about the horn?”
JN: And so the rest is history. Nice. What was your first performance success that you can remember that made you want to keep practicing, and want to be a professional musician?
VS: My first success was when I got my first job. There was an opening at the National Symphony Orchestra of Uzbekistan, and I decided to take a chance. At that time, I still had some difficulties in my playing that needed to be fixed (as I started quite late), but I practiced a lot for that audition. In the end, it worked out. I played my best and was happy to get into the professional orchestra.
JN: You’ve been migrating around the planet quite a bit. Sounds exciting, to say the least. Give us a short trip through your pre-professional music life. School, lessons, competitions?
Newsletter - 49th IHS
In the last edition of the IHS Newsletter, there was much talk about Summer Festivals. In this year 2017, the International Horn Symposium will take place in Brazil, a huge tropical country, in a beautiful northeast city called Natal where it is summer all year long ...
In this issue, we will have an interview with Brazilian horn player Radegundis Tavares (professor at the University of Natal and host of the 49th IHS), an article by Frank Lloyd about choosing recital repertoire, an article by Mami Abe (IHS representative in Japan) on the Symposium in Brazil and a pedagogical article by Zabolcs Zempléni.
We will also have an article by Philip Doyle (English horn player based in Brazil for several years) on activities in Brazil, an article by Luiz Garcia (principal horn of the São Paulo State Symphony Orchestra) and Waleska Betrami Tavares (an article on what kind of Experiences we can expect in Brazil).
Do not forget to attend this Symposium, where the theme is "horn and dance" and come to know and appreciate the fantastic music of Brazil and the performance of great international artists.
Marcus Bonna
IHS-Advisory Council
Waleska Beltrami - Featured Artist
English version
Estamos há poucos meses do 49º IHS Symposium e isso me enche de expectativas. Já participei de outras edições como colaboradora em Indiana e no Alabama, o que muito me alegrou, mas desta vez a sensação é diferente já que o meu país sediará esse evento, tão significante para nós trompistas. Me sinto muito honrada em receber e fazer parte deste momento de reflexão, imersão, aprendizado e compartilhamento de conhecimento, ideias, saberes, informações e opiniões. Pela primeira vez no Brasil e a América do Sul terão o privilégio de desfrutar de tantos artistas, professores, intérpretes e expositores reunidos. Numa época em que o mundo todo está conectado pela internet, em minha opinião e por vivência própria, nada substitui a experiência de ouvir seu artista preferido num recital ao vivo, aprender novas dicas num masterclass, além de poder conversar e trocar experiências pessoalmente com essa gama de músicos e profissionais.
Também é importante dizer que este parece ser um excelente momento para o Brasil ver e ser visto. Arrisco dizer que nunca houve, até o momento, tantas pessoas envolvidas no universo da trompa neste país. São muitos profissionais, professores e instrumentistas desenvolvendo trabalhos artísticos e/ou de pesquisas muito relevantes, além de um número expressivo e crescente de alunos em todo país. Quem vier ao 49º IHS Symposium, terá a oportunidade de conhecer e vivenciar um pouco da nossa música popular brasileira, na voz da trompa, através do concurso de trompa popular e também poderão ouvir uma mostra de repertório de concerto brasileiro para trompa em alguns dos recitais dos artistas locais.
Deixando um pouquinho de lado a parte musical, a cidade de Natal é privilegiada por ser dotada de uma beleza natural ímpar, belas praias e por esse motivo, muitos a chamam de caribe brasileiro. Passeando pela famosa Via Costeira, pode-se apreciar a cor especial do oceano de um lado e a beleza das areias das dunas de outro. Ainda, é possível conhecer o artesanato local e apreciar uma água de coco fresquinha na orla da praia de Ponta Negra e ainda saborear um belo prato de peixe nativo, camarão ou frutos do mar. No café da manhã, não se esqueça de provar a tradicional tapioca! E, por fim, há poucos quilômetros da cidade, você poderá se aventurar num passeio de buggy, com emoção, e se divertir muito numa descida de tirolesa ou skibunda!
Sejam todos bem-vindos! Vejo vocês em Natal!
Waleska Beltrami - Featured Artist
We are a few months from the 49th IHS Symposium, and this fills me with great expectations. I have participated in other symposia as a contributing artist in Indiana and Alabama, which I was very happy about. This time the feeling is different since my country will host this event, so significant for us horn players. I feel very honored to receive and be part of this moment of reflection, immersion, learning and sharing of knowledge, ideas, news and opinions. For the first time Brazil and South America will have the privilege of enjoying so many artists, teachers, interpreters and exhibitors gathered together. At a time when the whole world is connected by the internet, in my opinion and from my own experience, nothing replaces the experience of listening to your favorite artist in a live recital, learning new tips in a masterclass, and being able to talk and exchange experiences in person with all these musicians and professionals.
It is also important to say that this seems to me to be an excellent time for Brazil to see and be seen. I venture to say that there have never been so many people involved in the horn universe in this country so far. There are many professionals, teachers and instrumentalists working in the art of the horn and / or very relevant research, as well as an expressive and growing number of students throughout the country. Whoever comes to the 49th IHS Symposium will have the opportunity to know and experience some of our Brazilian popular music, in the voice of the horn, through the popular horn contest and also through listening to Brazilian horn repertoire in some recitals of local artists.
Leaving the musical part a bit aside, the city of Natal is privileged to be endowed with a unique natural beauty, beautiful beaches and for that reason, many call it the Brazilian Caribbean. Strolling along the famous Via Costeira, one can appreciate the special color of the ocean on one side and the beauty of the sands of the dunes on the other. Also, it is possible to get to know the local crafts and enjoy fresh coconut water on the edge of Ponta Negra beach and still enjoy a beautiful dish of native fish, shrimp or seafood. At breakfast, do not forget to taste the traditional tapioca! And finally, just a few kilometers from the city, you can venture out on a buggy ride, with excitement, and have a lot of fun on a canopy or skibunda descent!
Welcome, everyone! See you in Natal!
Waleska Beltrami – Horn player of the National Symphony Orchestra of the Fluminense Federal University (UFF), PhD in music by the Federal University of the State of Rio de Janeiro (UNIRIO). Featured Artist of the 49º IHS Symposium in Natal – Brazil.
Pedagogy - Szabolcs Zempléni
Balance all'Ungarese (Hungarian-Style)
by Szabolcs Zempléni
At the friendly request of Ab Koster, I'm happy to gather together a few of my thoughts about my pedagogical work.
For me, nothing is more crucial than finding BALANCE - in life as well as in horn playing. Whether in teaching or performing, it's important to find a good blend of all the different aspects we need for these activities.
As my students call it, "Szabolcs' magic triangle":
It's interesting to look at the fundamental elements taught in various countries: in Italy, home of the opera, you can almost always find a singing horn sound and strong musicality. However, rhythm and intonation are not always cultivated to the same degree. (This should not be taken the wrong way as any kind of accusation!) ⯑ In Germany, articulation is very important, just as it is in the German language. In South America, where people are always dancing, rhythm is #1. And in Hungary? Music is king ⯑
If we wish to be successful in our career, we must be on top of all these elements or at least be working on them. A beautiful sound and good rhythmic feel are useless without good intonation, just as good intonation and sound are useless without rhythm. Furthermore, there are other very important things, such as articulation and, finally, the deciding element: MUSIC.
However, we cannot work on one element to the negligence of the others, since we then quickly lose the BALANCE. If we know our own tendencies, then we also know where we need to work. As Arnold Jacobs said, brass players must think like singers. If we are successful in this, then we can simultaneously improve our intonation and develop a good sound.
But... what is the definition of a beautiful sound?
In Germany, the current dominant concept is the Alexander sound, something I would describe as being rich in overtones. When I was a student, there existed in Germany many different ideas of sound. Hermann Baumann had a singing sound that amazed the entire world. Yet you also found a softer, smaller sound out of Dresden that was the trademark of Peter Damm. When I first came to Germany, my own sound was also much thinner and smaller. It was Johannes Ritzkowsky (former solo horn in the Bavarian Radio orchestra) Who first suggested I listen to more opera.
In my homeland, Hungary, top priority goes to having a beautiful tone. We had two professors at the Academy, Prof. Adam Friedrich and Prof. Ferenc Tarjani), Who each had very different but without a doubt equally wonderful horn sounds. For me personally, the sound of Dennis Brain was a perfect example. His tone was so endlessly flexible. Twenty years ago, I absolutely wanted to achieve this myself.
Finally, we cannot neglect the most essential element: music. A beautiful tone can also sound empty and dumb without music. Therefore, I'd like to quote my "mentor," Frøydis Ree Wekre: "Always remind yourself why you started to play the horn in the first place." And: "Have fun!"
With these quotes, I try to cook all'Ungarese, so that it tastes good to everyone. ⯑
Here is a little taste for you – I hope you like it
Fond greetings,
Szabolcs
Szabolcs Zempléni has won many competition prizes in his career, including prizes in the Concerto Praga, Markneukirchen, Brno, and the ARD Competition in Munich. Since then, he has appeared on the great stages around the world and has been a dedicated chamber musician. He is currently professor of horn at the Hochschule für Musik in Trossingen, Germany.
(translation: KMT)
Pedagogy - Szabolcs Zempléni
Balance all’ Ungarese
Auf die freundliche Anfrage von Ab Koster, komme ich der Bitte, ein paar Gedanken über meine pädagogischen Arbeit zusammenzufassen, gerne nach. So versuche ich einige Gedanken über meine pädagogischen Aspekte zusammenzufassen:
Für mich gibt es nichts Wichtigeres als BALANCE zu finden - im Leben wie im Hornspiel. Es ist beim Spielen wie beim Unterrichten wichtig, eine gute Mischung von allen Bereichen, die wir dafür brauchen, zu finden.
Wie meine Studenten es nennen:
Szabolcs` magic triangel:
Interessant sind die Eigenschaften von den grundlegenden Elementen in Bezug auf verschiedene Nationen zu betrachten:
- In Italien, der Heimat der Oper, ist eine singende Hornstimme und Musik fast immer vorhanden. Jedoch ist Rhythmik oder Intonation nicht immer gleichzeitig stark ausgeprägt. (Bloß nicht dass ich jemand beleidigen möchte!)
- In Deutschland ist die Artikulation wie in der Sprache, sehr wichtig.
- In Süd-Amerika, wo immer getanzt wird: Rhythmik ist der Nr1.
- Ungarn? Musik at all...J
Luiz Garcia - Featured Artist
I was born and raised in São Paulo, Brazil, although I've spent a good portion of my life abroad. At the age of 18 I was granted a scholarship to study in the USA under the guidance of my great mentor, Charles Kavalovski! Right after graduating from the New England Conservatory, I joined the Empire Brass where I spent two seasons recording and touring a great deal. I also had a great time during my years in Boston as substitute in the Boston Symphony and Boston Pops. After 8 years living in the USA, I returned to Brazil to join the São Paulo symphony as principal horn. However, the urge to discover new horizons took me four years later to Berlin, where under the guidance of Stefan Dohr I began to substitute as guest principal horn with Berlin Philharmonic, Cologne Radio, Staatskapelle Berlin, Frankfurt Radio, Tonhalle Zurich among others, with the most distinguished conductors. I also played as guest artist with German Brass for 4 seasons.
I feel extremely privileged to have had the opportunity to experience in such depth two of the most prominent and influential horn schools in the world. This amazing mix gave me the tools to perform, teach and think of music from an enriched and diverse perspective.
I rejoined the São Paulo Symphony as principal horn at the end of 2014, in my home country, where I also teach, play chamber music and make solo appearances.
It will definitely be a thrill to perform at IHS 49 in a program made of works from a CD of original Brazilian compositions for horn and piano, among other standards.
I'll see you in Natal!
