Special Guest and Orchestral listening Lab
Special Guest today:
Yu Tamaki!!
A Japanese Solo Trombonist active worldwide, Yu Tamaki expands his diverse activities from being a trombone soloist, to a chamber and orchestra musician, educator, entrepreneur, author and producer. An official artist for Pro Arte Musicae of Tokyo, S.E.Shires Company of the USA and willie's Custom Brass of Yamanashi, the Music Director of FukuTama Festival of Shimane, Yu currently resides in Denmark.
In January 2018, Yu has departed from his Danish orchestra position to concentrate on his full-time soloist career. Ever since, he has been actively traveling between the
continents for various engagements.
His recent years' highlights include: solo recitals, concerto appearances and masterclasses around the world; trombone duo performances with Joseph Alessi (NYP), Ian Bousfield (soloist), Stefan Schultz (Berlin Phil), Peter Sullivan (Pittsburgh Sym) and Colin Williams (NYP); solo recital invitations to the International Trombone Festival in the USA and Japan, creative collaborations with Keisuke Ogido (Ristorante Arte Simposio), Anna Irite (dancer), Yo Yumura (Sanada Co.), Kenichi Aoyama (painter/videographer); commissioning new works to the world renown composers such as: Samuel Adler, Yasuhide Ito, Miho Hazama, Geoffrey Gordon and Minako Seki, aiming for progressive expansion of musical language of solo trombone.
During 2021-2022 season, Yu plans to release his 3rd album "JAPONESQUE", Solo Recital Series around Japan, Concerto Appearances with Osaka Shion Wind Orchestra, Solo recital at International Trombone Festival 2022 in the USA, his 1st USA tour to the prestigious institutions such as the Juilliard School, Manhattan School of Music, Cleveland Institute of Music and 20 others.
As a soloist, Yu has had concerto appearances with Japan's leading orchestras such as: Japan Century Symphony, Japan Philharmonic, Tokyo City Philharmonic, Tokyo New City Orchestra, Osaka Shion Wind Orchestra, Tokyo Kosei Wind Orchestra, Super Strings Kobe and others. Yu has given many solo recitals throughout Japan (Tokyo, Osaka, Nagoya, Kyoto, Hyogo, Ibaraki, Shimane), the USA, Switzerland, Denmark and South Korea. Also various Trombone Societies' have invited him for their festivals, such as International Trombone Festival of USA, Japan Trombone Association, Kansai Trombone Association, Shonan Trombone Association and Okayama Trombone Association. 1st solo album "Love and Chaos" was released in 2018, 2nd album "Colors for Trombone" and 1st single "Game from An;G;El" were released in 2019 and both are available on iTunes/Apple Music and major streaming services.
As an active educator, Yu has held lectures, clinics and masterclasses worldwide. Yu has had the rare opportunity to earn international education in Japan, the United States and Europe. These experiences put him in a position to offer a unique perspective and broader opportunity to the next generation. Since 2014, he has been conducting workshops for young professionals; in 2016, fully sponsored by Tokyo metropolitan government, and in 2018 by Pro Arte Musicae and Shinjuku ward office of Tokyo, held as the Ian Bousfield/Yu Tamaki Trombone Academy.
Yu has written monthly articles on "Band Journal"(Ongaku No Tomo Sha Co.), "Challenging to the World"(30 issues) in 2014-2016 and "One Point Lessons"(12 issues) in 2012-2013. Also he has been featured on the Kobe Shimbun and the San- in Chuo Shimpo Newspapers, "Pipers" magazine (Sugihara Shoten Co.).
As a chamber musician, Yu is the founding member of Trombone Duo "Tama- Shimizu" (prize winner of Aoyama Music Award) and "Slide Japan" Trombone Octet.
Yu Tamaki!!
A Japanese Solo Trombonist active worldwide, Yu Tamaki expands his diverse activities from being a trombone soloist, to a chamber and orchestra musician, educator, entrepreneur, author and producer. An official artist for Pro Arte Musicae of Tokyo, S.E.Shires Company of the USA and willie's Custom Brass of Yamanashi, the Music Director of FukuTama Festival of Shimane, Yu currently resides in Denmark.
In January 2018, Yu has departed from his Danish orchestra position to concentrate on his full-time soloist career. Ever since, he has been actively traveling between the
continents for various engagements.
His recent years' highlights include: solo recitals, concerto appearances and masterclasses around the world; trombone duo performances with Joseph Alessi (NYP), Ian Bousfield (soloist), Stefan Schultz (Berlin Phil), Peter Sullivan (Pittsburgh Sym) and Colin Williams (NYP); solo recital invitations to the International Trombone Festival in the USA and Japan, creative collaborations with Keisuke Ogido (Ristorante Arte Simposio), Anna Irite (dancer), Yo Yumura (Sanada Co.), Kenichi Aoyama (painter/videographer); commissioning new works to the world renown composers such as: Samuel Adler, Yasuhide Ito, Miho Hazama, Geoffrey Gordon and Minako Seki, aiming for progressive expansion of musical language of solo trombone.
During 2021-2022 season, Yu plans to release his 3rd album "JAPONESQUE", Solo Recital Series around Japan, Concerto Appearances with Osaka Shion Wind Orchestra, Solo recital at International Trombone Festival 2022 in the USA, his 1st USA tour to the prestigious institutions such as the Juilliard School, Manhattan School of Music, Cleveland Institute of Music and 20 others.
As a soloist, Yu has had concerto appearances with Japan's leading orchestras such as: Japan Century Symphony, Japan Philharmonic, Tokyo City Philharmonic, Tokyo New City Orchestra, Osaka Shion Wind Orchestra, Tokyo Kosei Wind Orchestra, Super Strings Kobe and others. Yu has given many solo recitals throughout Japan (Tokyo, Osaka, Nagoya, Kyoto, Hyogo, Ibaraki, Shimane), the USA, Switzerland, Denmark and South Korea. Also various Trombone Societies' have invited him for their festivals, such as International Trombone Festival of USA, Japan Trombone Association, Kansai Trombone Association, Shonan Trombone Association and Okayama Trombone Association. 1st solo album "Love and Chaos" was released in 2018, 2nd album "Colors for Trombone" and 1st single "Game from An;G;El" were released in 2019 and both are available on iTunes/Apple Music and major streaming services.
As an active educator, Yu has held lectures, clinics and masterclasses worldwide. Yu has had the rare opportunity to earn international education in Japan, the United States and Europe. These experiences put him in a position to offer a unique perspective and broader opportunity to the next generation. Since 2014, he has been conducting workshops for young professionals; in 2016, fully sponsored by Tokyo metropolitan government, and in 2018 by Pro Arte Musicae and Shinjuku ward office of Tokyo, held as the Ian Bousfield/Yu Tamaki Trombone Academy.
Yu has written monthly articles on "Band Journal"(Ongaku No Tomo Sha Co.), "Challenging to the World"(30 issues) in 2014-2016 and "One Point Lessons"(12 issues) in 2012-2013. Also he has been featured on the Kobe Shimbun and the San- in Chuo Shimpo Newspapers, "Pipers" magazine (Sugihara Shoten Co.).
As a chamber musician, Yu is the founding member of Trombone Duo "Tama- Shimizu" (prize winner of Aoyama Music Award) and "Slide Japan" Trombone Octet.
Orchestral Listening Lab
Today we will explore trends in orchestral section performance. We will listen to several "benchmark" recordings and contrast various low brass styles, characteristics and approach.
We will discuss current orchestral section trends (low brass and tutti brass). I have had numerous conversations with colleagues in the business and recently retired from the business. Almost all have noticed that today's orchestral brass sections have homogenized in terms of style, balance and approach. Consequently, for those currently auditioning for orchestral positions, the option of playing with a distinctive stylistic trait or interpretive element may not be championed by those behind the screen.
BP opinion only: There was a day, not so long ago, when drop the needle exams proved to be obvious based on the way a certain principal trumpet or trombone player played. The Cleveland Orchestra has a very distinctive approach to note attacks and sound. There is an obvious LA horn sound. The SFSO from the mid 80's had a trumpet player with an overt vibrato. There has always been a distinctive leading edge to the NYP and the Chicago Symphony, for years, has been defined by the musical qualities of the principal trumpet. When I first joined the "President's Own" there was only one way to play a Sousa march and the national anthem - it was just how you do it. "It is how we always do it and who are you to change that?"
These ideas prompted our earlier Beethoven assignment with Seymour Bernstein.
My question to you, after you have listened to many great recordings of the past, what elements of musical style, character and interpretation are permissible today? Do brass sections still seek to define their style of playing? What are the current musical attributes of orchestral section playing? If the focus of current brass playing is simply to play perfectly together, perfectly in tune and with perfect blend and balance then we may be on the cusp of losing our stylistic identity. Why do we love the Berlin Phil? Why do we love, or for some, despise the NYP? I believe these distinctive qualities of orchestral playing should still exist but they are often replaced with a "clean wins" mentality. Blend in, don't draw attention and try not to be noticed is less than compelling both for us as instrumental musicians and I believe for our listeners.
One final note: How does acoustics effect your style, playing, appraoch, and interpretation of volume, blend, note lengths - everything? Having spent 19 years in Jones Hall at Baylor University, and Roxy Grove over in Waco Hall, I am convinced that I am a different player now than I was in the nineteen years ago. Our artistic endeavors are defined and in many ways, completely held hostage by the halls we frequent. We can teach a class anywhere with a reasonable space with a laptop and a screen. We can adjust our playing and teaching to moderate volume and style in an applied lesson. You can paint a canvas in most any indoor space.
Making profound, excellent, compelling musical art, requires a substantive and suitable space. This suitability is not only for the student or professional musician, but equally necessary and inviting for the community, who wishes to experience your music. Can you tell your story? This involves access, parking, inviting spaces, temperatures that are reasonable, and a culmination of art, design, acoustic, and symbiosis of community experience.
Ask yourself if this matters at all to you, and consider these elements carefully before you commit to a lifetime of potential challenges with such matters. These issues have for many years defined one orchestra from the other. It has defined how my students play.
Today we will explore trends in orchestral section performance. We will listen to several "benchmark" recordings and contrast various low brass styles, characteristics and approach.
We will discuss current orchestral section trends (low brass and tutti brass). I have had numerous conversations with colleagues in the business and recently retired from the business. Almost all have noticed that today's orchestral brass sections have homogenized in terms of style, balance and approach. Consequently, for those currently auditioning for orchestral positions, the option of playing with a distinctive stylistic trait or interpretive element may not be championed by those behind the screen.
BP opinion only: There was a day, not so long ago, when drop the needle exams proved to be obvious based on the way a certain principal trumpet or trombone player played. The Cleveland Orchestra has a very distinctive approach to note attacks and sound. There is an obvious LA horn sound. The SFSO from the mid 80's had a trumpet player with an overt vibrato. There has always been a distinctive leading edge to the NYP and the Chicago Symphony, for years, has been defined by the musical qualities of the principal trumpet. When I first joined the "President's Own" there was only one way to play a Sousa march and the national anthem - it was just how you do it. "It is how we always do it and who are you to change that?"
These ideas prompted our earlier Beethoven assignment with Seymour Bernstein.
My question to you, after you have listened to many great recordings of the past, what elements of musical style, character and interpretation are permissible today? Do brass sections still seek to define their style of playing? What are the current musical attributes of orchestral section playing? If the focus of current brass playing is simply to play perfectly together, perfectly in tune and with perfect blend and balance then we may be on the cusp of losing our stylistic identity. Why do we love the Berlin Phil? Why do we love, or for some, despise the NYP? I believe these distinctive qualities of orchestral playing should still exist but they are often replaced with a "clean wins" mentality. Blend in, don't draw attention and try not to be noticed is less than compelling both for us as instrumental musicians and I believe for our listeners.
One final note: How does acoustics effect your style, playing, appraoch, and interpretation of volume, blend, note lengths - everything? Having spent 19 years in Jones Hall at Baylor University, and Roxy Grove over in Waco Hall, I am convinced that I am a different player now than I was in the nineteen years ago. Our artistic endeavors are defined and in many ways, completely held hostage by the halls we frequent. We can teach a class anywhere with a reasonable space with a laptop and a screen. We can adjust our playing and teaching to moderate volume and style in an applied lesson. You can paint a canvas in most any indoor space.
Making profound, excellent, compelling musical art, requires a substantive and suitable space. This suitability is not only for the student or professional musician, but equally necessary and inviting for the community, who wishes to experience your music. Can you tell your story? This involves access, parking, inviting spaces, temperatures that are reasonable, and a culmination of art, design, acoustic, and symbiosis of community experience.
Ask yourself if this matters at all to you, and consider these elements carefully before you commit to a lifetime of potential challenges with such matters. These issues have for many years defined one orchestra from the other. It has defined how my students play.
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