Professor de trompa, integrante do Quinteto de Metais UNIRIO, maestro Banda Sinfônica da Universidade Federal do Estado do Rio de Janeiro-UNIIRIO. Doutorando em Educação Musical pela Universidade Federal da Bahia – UFBA, destaca-se por sua carreira como instrumentista com CDs lançado pela Orquestra de Sopro Brasileira em Tatuí - SP e Orquestra Jovem de Sopro de Karlsruhe-Alemanha na qual realizou turnê pelo Brasil e Alemanha. com grupo de música brasileira "Horn Brasil" – Tatuí SP .

Solista com grandes orquestras do Brasil e do exterior, Professor do Encontro Internacional de Metais da Universidade de La Serena - Chile, Festival Internacional de Inverno de Campos do Jordão (SP), Festival Eleazar de Carvalho (Fortaleza), Brasília (DF), Londrina (Pr) Tatuí (SP), Goiás (Go), Diretor Artístico do Coreto Paulista em Serra Negra (SP) – Festival de Bandas e Encontro de Maestros e Lideranças de Bandas do Estado de São Paulo – Tatuí (SP). Lecionou trompa no Conservatório Dramático Musical Dr. Carlos de Campos de Tatuí, onde formou vários profissionais que atuam nas mais importantes orquestras do Brasil. É Construtor e restaurador de Instrumentos de Metal com especialização em trompa natural. Horn Building e Brass Technology com o professor Lowell Greer pela William Cummings House, Toledo – Ohio (EUA).

By Frank Lloyd

Planning a recital?

Whether for your end of year exams, a concert in your local church, or as a professional looking for an all-in ‘tour de force’ programme, planning a recital can be for some a huge task, considering the many elements of a programme which need to be taken into account – not least building the stamina required to be able to get through it!

Recitals are hard, far harder in my view than playing ‘just’ a concerto, as you can be playing up to an hour or more of music in a full-length concert recital. Bearing this in mind, preparation on many levels is of utmost importance.

Like training running for a marathon, you need to start in plenty of time to build the necessary stamina and endurance. Unfortunately, there is no quick way to build playing endurance other than working on pieces and exercises that are taxing. Working the embouchure hard (but not beyond exhaustion) is the means in which demanding something from your body will result in it responding by building strength in the area you are working – in this case the embouchure.  Demanding more = response & improvement.

As with any hard training regime, rest is an important part, as rest = recovery. We have to respect the muscles we are working and not demand/expect too much. Recognise the signals you are getting when you practice, and be aware that when you start feeling tired it’s time to take a break. Overdoing it will damage the muscle fibres, prolonging the recovery and lessening the training effect – and can even jeopardise the concert. In this respect, leaving anything to the last minute is a recipe for disaster, as too late is simply too late. Don’t put yourself under pressure by trying to do everything in a week. Plan your programme following the tips below, and start your preparation in plenty of time as this will lessen the stress when the concert approaches.

Hello, dear colleagues of the Horn! I am a life member of the IHS and would like to congratulate all involved with our society for the fantastic work that has been done for almost a half century.

I was born in London, and after studying with Adrian Leaper, came to Brazil in 1977 and started playing in the Orchestra of the Municipal Theatre in Rio de Janeiro. It took me a while to get used to the heat, but I learned to love the rich culture and to appreciate the good-natured “carioca” people. I continued my studies in Rio with João Jeronimo Meneses and Zdenék Svab and became more involved with the music scene in Brazil, playing in other orchestras, namely the Brazilian Symphony Orchestra and The Petrobras Sinfônica, as well as solo, chamber work and commercial recording. In 1987 I joined the Villa-Lobos Wind Quintet, which this year celebrates 55 years of existence, and since then am proud to have been able to divulge Brazilian music with this group, recording many CDs, touring extensively, and playing over 1000 concerts in Brazil and overseas.

I have been teaching horn at the Federal University of Rio de Janeiro since 2010 and have been lucky to have had some very talented students, some of which I hope will be able to attend IHS49-Natal. I was very fortunate to be able to find a gap in my busy schedule to participate in the IHS47-LA, and had a grand time with my Brazilian friends: Radegundis Tavares, Marcus Bonna, Adalto and Lucca Soares, whilst marveling at the amazing virtuosity of the international horn all-stars.

I have an obligation to play Brazilian music in the symposium, and one of my passions is the work of the wonderful Moacir Santos, an underated jazz composer from Pernambuco who immigrated to California in the 60´s. I thought it would be appropriate to play his “Melodia” for Horn and Orchestra. Moacir´s work has had somewhat of a revival, due to the research of Mario Adnet, Zé Nogueira and Andrea Ernest Dias, and I have been lucky to be able to have known Mr. Santos´s music as a member of the Ouro Negro band, a group created especially for playing this brilliant composer´s music.

Other works I will be playing are by Alexandre Schubert, a composer resident in Rio de Janeiro who is writing a piece especially for the symposium, and Orlando Alves, a professor of composition in the Federal University of Paraíba.

 I hope that everyone will enjoy the hospitality of the “potiguar” people of Natal and would especially like to thank my friend Radegundis Tavares on organizing our IHS49-Natal!

English version

みなさん、こんにちは、私の名前はアベマミと申します。

今日本の東京に住んでいます。今年のシンポジウムはブラジルのナタルという町で開催されるそうですが、日本とブラジルは直線距離で12,000kmあります。我が家の下をずーっと掘っていくとたどり着けそうですが、まだその技術は開発されていないようです、、、日本の安倍首相は、リオオリンピックの際、渋谷からマリオに変身して閉会式に登場しましたね。ちょうど地球の真裏にあたるようです。

そんなに遠いところに行くには、飛行機を乗り継いで最短で３５時間（1日と１１時間、1日半）かかるようです。

そんな遠いところに１００年も前から約２５万人の日本人が移住し、１６０万人という大きなコミュニティがあると聞いています。
さらに日本には、各地にブラジルの方が多く住む町も増えています。今や日本の製造業を支えていると言っても過言ではありません。

ブラジルの音楽、食べ物は広く日本にも知られており、今回ブラジルに行けるのであればとても楽しみです。

私は旅行が好きです。国際シンポジウムにはミュンヘン、カンザスミズーリ、ラ・ショード・フォン、ロス、イサカに参加していきました。その先々で、ホルンを愛する人と出会うことができましたし、みんなと同じ音楽を奏でることができるマスクワイアに参加することが大好きになりました。

アメリカに行くのだって最近は疲れてしまうのに、１日半かけていくナタルには、どんな楽しみが待っているでしょうか？本場のサンバやボサノバを聴いたら、踊りたくなるでしょうし、美味しい食べ物をいただいたら幸せの気分になること間違いなしです。

世界中の方々をお会いできる日を楽しみにしております。