Masterclass

Reinhold Friedrich is not only a great artist on his instrument, he is also a very good teacher. He showed his teaching ability during the whole seminar in all masterclasses and ensemble sessions. He was able to help all the players to improve right away, by demonstrating, giving hints, etc. One thing that he often commented was to play "straigh" and not "up and down" - he would also have some of the players do "air patterns" (a'la Cichowicz).

Here are some short notes taken in the masterclasses:

Espen
(Andre Jolivet: Concerto)
- bravo, strong player
- more strict tempo
- be more the soloist “fallen in love with himself”
- play more French (not so strict)
- better contact with the floor – better standing
- finger + “too – too –too “ – “speak it”
- also play it “straight” (not “down”) = follow through with the air
- play to “the tree outside” – reach for the tree

Odd
(Toru Takemitsu: "Path" - In memoriam Witold Lutoslawski)
- nice sound
- a singing quality in you playing
- how to use the mute? - I prefere to have it fixed on a stand.
- this is a memorial piece
- I use color code in the music to show things like tempos (color1= 60, color2= 68)

Arne
(O. Boehme: Concerto in F minor)
- bravo
- "Drink the music like Vodka" = more spirit
- I have a student from Minsk - he plays this piece great (but Haydn like a disaster)
- we have to find the speciality of the music, this german/russian needs more spirit
- a more "russian vibrato" perhaps

Maja, Denmark
(J. Haydn:  Trumpet Concerto)
Started solo (no piano at first).
- very nice – nice quality
- take the trills from the top (I did it in my recording – got it from a Dutch flutist)
- do you have your own cadanza? – I always ask my own students to make their own – very rewarding
- work slowly on the trill
- if you loose the centre of the sound – it’s the air behind
- take down the trumpet for rest and refreshing
- use trigger on 1.st valve for intonation

Oddbjørn
(Halsey Stevens: Sonata)
- good
- work on usage of air
- I hear to much up and down – use “too –too” (a’la airpatter from Cichowicz)
- It is important to play “in the middle” not “up and down”.

Reidar
(Gabriel Pares: Fantasy Capricce)
- Reidar, give air (use Clarke No. 7 – forget “up and down” – play it “straight”) – this is what all schools at least want.
- use the centre of the music “to get rid of nervousness”
- never go so fast that you cannot enjoy it
- Q: What is the character in this music? – A: Mexican – do it more European –like in Spain

Per, Sweden
(G. Enescu: Legende)
- good
- it is a Sonata – piano equally important
- play ahead (“straight”)  - bravo, now the sound did not change

Hanne
(Arutunian: Trumpet Concerto)
- blow paper against wall
- Andante – very good beginning
- work more on staccato (tongue down, not back)
- exercise: “Speak” – Play – “Speak”
- “too – koo – too – koo” – give air in one direction – thrust “your machine”
- I don’t like the mirror – what I want “to see” is more a feeling – more important to listen

Bjørn Magne
(Hindermith: Sonata)
- you can play very well
- you lost some energy by doing some unnecessary movements
- remember “Kraft” can be very different types of power
Reinhold demonstrates how to tell a story. This is a “human language” not classical music.

Roar
(Neruda. Concerto)
- we need to do some air exercise
- V.C. I – play "ahead", not “down”

Odd
(Andre Jolivet: Concerto)
- “big applause”
- Very nice, bravo!
- This is the next generation Norwegian trumpet player!
- You should take part in competitions!

Erlend
(Hagerup Bull: Second Trumpet Concerto)
- kind of Norwegian “Jazz”!
- interesting piece!
- very good player

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