We heard the great Cerminaro play the Strauss concerto # 1 w/the New York Philharmonic at Carnegie hall in 1971. Spectacular! An interesting lecture, but the acoustic sounds like the camera has a 3rd rate microphone---it's missing his far richer tone. Thanks for capturing this history. Mr. C's thinking is so honest and very helpful to our horn students. Fine post!
John was a horn virtuoso when he arrived at Juilliard. He drove me nuts because I would practice many many hours a day and he hardly ever practiced(I know because I was his roommate at Juilliard, and he was my best man at my (first) wedding). Yet he would pick up the horn and play beautifully, it was just natural for him. He has had a successful career. At that time(about 50 years ago), I thought his musicality was limited, but his technique and accuracy was excellent. I assume his musicality(emotional maturity) improved with further experience based on his accomplishments. He does sound quite different in this video than I remember him sounding, back then. I played with him many times back then(over 50 years ago), both in orchestras at Juilliard and Aspen(we used to spend the summers there at that music camp, studying under Phil Farkas). John and I are about the same age(both of us born in 1947). I assume he has retired by now. (as I have not seen much on the internet about him, following Schwarz's retirement and departure...which meant he had to go too, from what I have read). Seems like there is a whole new set of younger(very impressive) players I am seeing now on youtube. The world around music, has changed dramatically with computers now, which were not available to us back then. As a (retired) computer engineer, myself, I am very familiar with DAW computer programs like Logic Pro X, where a composer these days, can create an entire score, measure by measure, trying different instrument combinations, and then playing it back on the spot and hearing an actual replica of that combination of sounds. Really makes one appreciate how incredibly talented the older composers must have been, to write a complete composition with only the use of their head while imagining what it would sound like without that immediate feedback that composers of today, have available to them. But back to topic, from an audience perspective, there are many comments on the internet that I read recently about his past playing, which have always been quite positive. The many negative reports coming out of Seattle about personality conflicts puts a public, shadow of a cloud, on a career that otherwise appears to have been successful. (There were even rumors I read on the internet, that claim he was about to be fired when he left the NY Phil., not for his actual playing, but for his similar personality aggravating behaviors and obnoxious ego... but I do not know that for sure) The bottom line though, is, it never adversely affected his playing. It reminds me so much as to the way he was too, at Juilliard back then. I remember feeling back then, that to me, it appeared he would go out of his way to aggravate his peers by boasting about his great playing, like a fighter would taunt his opponent, only to perform (and win the battle) by his performing well. He actually seemed to feed off of that behavior which seemed to me, to motivate him to perform even better. And he rarely disappointed. As for Seattle, It seems the media tend to gravitate to, and exploit the bad situations happening between the personnel there, that got out of hand, and his personality(as I remember it and if not changed), would have exasperated the situation there,
+K. Bayquoi I'm just curious, how much time each day would he practice back then? I'm very jealous to learn when other brass players can do this, especially when we need to develop endurance.
+Drworm89 I do not remember him ever practicing more than an hour a day if that. But of course, at Juilliard he was always involved in some orchestra or ensemble so he was always playing..which kept up his endurance, .but actual practicing alone in his room(which was right next to my room in our rundown 5 flight walkup apt. we lived in, back then) to develop his skill, practically none. He was already very skilled, when he arrived at Juilliard. In fact we all were under pressure to adapt to the "Big Tone" sound that James Chambers had made famous back then, which meant major changes in mouthpiece, embouchure and technique, and although he made some effort, he never really went for it fully as the rest of us did. He played around a bit with a Chambers mouthpiece which thickened his tone a bit(at the time, it sounded to me to be a bit more trombonist) but never really bought into that style completely, preferring(wisely now I see) to maintain his incredible accuracy over changing over completely to that style of playing. To do so, it meant changing everything you have learned about horn playing. Different embouchure, lots more diaphragm, different articulation, open throat, different jaw placement, a very physical way a playing. For me, it was like starting all over again on the horn. John stayed with his incredible technique and extreme accuracy. I played with him many times in various orchestras at Juilliard and at Aspen. I do not ever remember him ever cracking a note. It was unheard of, for him. I always thought back then that he was not that musically inclined, but his accuracy and control was unbelievable. He took some incredible chances and always pulled them off to everyone's amazement. But musically(and emotionally) I always thought then he was limited, but I assume these developed more as his career developed...His personality as I remember was VERY competitive, and had a BIG ego the size of which, matched his good playing. I suspect that too, helped his motivation to do better. If he ever had stage fright, you would have never known it. You always felt he had total control of the horn, when playing. A couple of other horn players at that time there, were (our other roommate) John Cahill, David Jolley and Martin Smith. Jolley/Smith seem to have stayed with it, as I see them from time to time on older youtube videos. After college we had a falling out( I can see from what I read about his personnel problems in Seattle, it appears that that part of his personality has not changed at all since college), so I lost track and never followed him after that(until I saw this video). Boy he sure has change A LOT from what I remember his looks to be, back then. But, alas, I suspect if he saw me on the streets, he too would not recognize me either. Age has a way of doing that to all of us. C'est la Vie!
K. Bayquoi Thank you so much for that response! I wasn't expecting so much detail but I love this stuff! I hope you are also still playing professionally. I was a Trumpet major until two years ago. I know of the many different opinions of people about mouthpiece sizes, instrument brand and model, and even the embouchure. I was going through an embouchure change...kind of twice which, to this day, has left me confused on how to play the trumpet again. I believe my professor didn't coach me through it in the best way and I think the changes were mostly unwarranted. Several other students had the same results as I did.
My wife and I heard both messrs. Cerminaro & Schwarz play weekly at the NY Philharmonic during the 1970's, but the hallmark of both seemed to be musical conviction and they were standouts for it, yet without the usual missed notes, as you've mentioned. The horn solos in these All Star concerts sound just as musical, don't you think?
My heart has just been filled with inspiration! Cerminaro was one of the first players I ever listened to, he was a tremendous inspiration then and now after 19 years of playing the horn eight of them professionaly, he does not cease to amaze me! thank you Maestro Cerminaro!
+jorge mejia ~ Very gracious of you to mention, Jorge. It has been my honor and pleasure to always try to give my utmost on the great stage. Thus far, 53 seasons and counting, I've racked up slightly over 8000 concerts on "the chair of chairs"! My only secret (?), playing each concert as if it were the last... Cordially, JC (Soli Deo Gloria)
Please forgive my delay replying! Over these last dozen or so seasons, it's narrowed down to mostly my two Schmid horns: the triple (Bb/F/f-alto) in gold brass w/sterling silver bell flair in orchestras and the double (D/f-descant) solo instrument, used in these All-Star concerts. Due to timing, the 8 NYC concerts were slated between several solo appearances (before and after) thus, maestro Schwarz kindly permitted me to use the lighter horn rather than travelling w/2 instruments. I compensated w/my "grandioso" cup...however, with such a superb horn section matching things up so wonderfully, it seemed to blend in just fine. Yes, I still have my Alexander Bb/f-alto, Paxman Bb/high b-flat, and two pre-war Conn 8D's. I also briefly played a lovely old Raoux single Bb (Dennis Brain-vintage) & a choice Farkas-Holton double (also Phil's one-and-only Conn 8D...yes, you heard me correctly!) and my customized Finke triple plus various other horns along the way. Apologies, again. This is far too long an answer, but it's also been sooooo very many years of playing (8000-plus concerts...and still counting!). Warmest regards, with love & blessings to all... JC
Fantastic work. I played in the Cleveland Public Schools All-City Band and All City Orchestra when I was in High School. My horn teachers were James Anastasia and Jessica Connavino. our coach in All City from the Cleveland Orchestra was Martin Morris.
One of the best things about this interview, for me, was hearing, "My wife and I were having a baby." All too often I watch interviews like this and they lack the human connection, we need more musicians with these communication skills and wonderful stories.
Does John give any private lessons? I know he used to play in the Seattle symphony. I live in Portland which is only a couple hours away from Seattle. I would give anything to take lessons from him. His horn sound and technical ability has always been an inspiration to me ever since I've picked up the horn.
Oh, sorry! I've somehow missed this question. Apologies...and, Yes!..I do teach from time to time, but only privately (via consultation), usually when someone passes thru Seattle or else I'm nearby, giving a masterclass or solo appearance. However, i no longer teach @conservatories or music schools (complicated reasoning). That said, my contact address is still: cerminaro.john@gmail.com should anyone care to attempt comparing our schedules. Mainly, I want to say, thank you very much for asking about this; even more, for your interest in my ideas and methods---I'm dedicated to helping as much as can...only, seldom seem able beyond these online performances or videos. Nevertheless, may chance favor us! And some time quite soon... Buona fortuna, JC
I had the privilege of studying with John and playing( most weeks) fourth horn for him in the the Festival orchestra for four summers in the early 80's. His playing was exquisite and I never learned more than I did than being able to hear him play week after week.. Exquisite. Now that I am going back to playing 4 hours a day and getting back to professional level, I am Delighted John is doing these videos. Thank you , John. Once again you will be a source of inspiration and working knowledge, delighting me with your playing and insights! Thank you! Tom Heady
I will be sharing this with my students at Berea College. I had the privilege of studying with Cerminaro at Aspen for several years. Love the bit about trying to find the perfect mouthpiece. Thanks for making this video, John!
+Liza DiSavino ~ An honor and pleasure, as ever, Liza. By the way, a company in Belgium is manufacturing my latest mouthpiece in a 3-piece version, for later this season...maybe it will be THE one! Oh, and, that is Howard Wall (of the NY Philharmonic) on 4th and Jon Karschney playing assistant 1st (A1 w/the S.S.O.). A DREAM horn section for me... Ciao, mio amica di corno e di musici, JC
John Cerminaro Assuming that the mouthpiece you mention is now available. Where can we obtain it? Is there a model # and name on it, other than your Name? Thanks for sharing your knowledge and experience.
Kudos to the assistant on the Shost 5 - hard to sneak in and out like that. I recognize Erik Ralske on third; is that Gail Williams on second? Whos are the pups on third and fourth horn?
+Fhorn5114 ~ Yes, I'm wearing a 1st Air Cav. lapel pin. I do so to honor my boyhood pal, Paul "Wes" Pearson, who died not long ago of old injuries from 2 crashes in Vietnam (also insufficient veteran's medical care), despite our family's devotion to easing his final days. It's well known that the best and bravest are always the first to go. Wes was a courageous man (and pilot) who I always felt, somehow, would beat me back to the barn. The novel & film, "Stand by Me" concludes: "I never had any friends like the ones I had when I was twelve...Jesus, does anyone?" Our blessings to all still soldiering on... Ciao, mio amici di musici e di Dio, JC & fam.
John, we see online lists of the all-time greatest horn players posted by shameless media self-promoters, ludicrous even to we amateur players. Would YOU please give us your own top 10 best-ever list? Thanks, Saul
Yes, Saul, can do. Moreover, I possess the competence. I also recently ran into an online list, "Top 10 Classical Trumpeters", yet without any mention of legendary greats, Glantz, Herseth, Vacchiano, or Schwarz, still peerless virtuoso of the Baroque & Classical solo tpt. literature. Absent such names (?) is surely virtual-world lunacy. In fact, am thinking now, a more principled forum to submit my own real-world list of horn greats would be the I.H.S. journal. Look for it in "The Horn Call" soon. I'll make it a priority. Buona fortuna! JC
Sorry, I ought to have clarified this for you, Barret. My solo horn was created by Engelbert Schmid and may be seen in pristine condition, newly made for Philharmonic legend, Philip Myers. There are some good close-ups shots of the instrument during one of Engelbert's informal "fireside chat" interviews. Phil is a full-spectrum, universal player and evidently intends to road-test the lighter model under concert conditions and in the orchestra's home acoustic. A distinct possibility of success. May any remaining confusion begin to lift ... Keep punchin', JC
Thank you, I was just being a curious person. And since you are kind enough to reply, I feel I should tell you my name is actually Seth, it was in middle school when I thought of this. I really look up to you, both musically and philosophically. Thank you for being you.
Mr. Cerminaro, I couldn't help noticing an injury to your forehead. It prompts me to ask: How do you continue performing well, even when injured or ill? Swollen and bruised chops are concert-spoilers for me--any advice?
Your question deserves a deeper answer, Mr. McEwen, but boils down to a simple idea: Willingness. Since we seldom can have the "perfect" lip, mouthpiece, or acoustic for a concert, we must get good at adapting. My first teacher, Alfred Resch, up only days after surgery, is said to have emptied blood from his water-key before the end of the opera. Yes, i was recovering from an abrasion (also lost 2 left molars) in a scuffle the week before this interview. Yet, was able to compensate. Something all professionals get used to doing. Hemingway had a highfalutin expression for it, "Faut d'abord durer" [first one must last], but I think P. T. Barnum got it best for performers, "The show must go on." And so it must. Ice & Tylenol before bedtime will help w/swelling, but the rest requires yrs. of experience and knowing yourself. More on this subject in a future UA-cam video. Meanwhile, best regards, JC
We heard the great Cerminaro play the Strauss concerto # 1 w/the New York Philharmonic at Carnegie hall in 1971. Spectacular! An interesting lecture, but the acoustic sounds like the camera has a 3rd rate microphone---it's missing his far richer tone. Thanks for capturing this history. Mr. C's thinking is so honest and very helpful to our horn students. Fine post!
“Take up a hobby that lets you breath and rest from the instrument, because it can be quite overwhelming at times.” That advice is a keeper.
John was a horn virtuoso when he arrived at Juilliard. He drove me nuts because I would practice many many hours a day and he hardly ever practiced(I know because I was his roommate at Juilliard, and he was my best man at my (first) wedding). Yet he would pick up the horn and play beautifully, it was just natural for him. He has had a successful career. At that time(about 50 years ago), I thought his musicality was limited, but his technique and accuracy was excellent. I assume his musicality(emotional maturity) improved with further experience based on his accomplishments. He does sound quite different in this video than I remember him sounding, back then.
I played with him many times back then(over 50 years ago), both in orchestras at Juilliard and Aspen(we used to spend the summers there at that music camp, studying under Phil Farkas). John and I are about the same age(both of us born in 1947). I assume he has retired by now. (as I have not seen much on the internet about him, following Schwarz's retirement and departure...which meant he had to go too, from what I have read). Seems like there is a whole new set of younger(very impressive) players I am seeing now on youtube. The world around music, has changed dramatically with computers now, which were not available to us back then. As a (retired) computer engineer, myself, I am very familiar with DAW computer programs like Logic Pro X, where a composer these days, can create an entire score, measure by measure, trying different instrument combinations, and then playing it back on the spot and hearing an actual replica of that combination of sounds. Really makes one appreciate how incredibly talented the older composers must have been, to write a complete composition with only the use of their head while imagining what it would sound like without that immediate feedback that composers of today, have available to them.
But back to topic, from an audience perspective, there are many comments on the internet that I read recently about his past playing, which have always been quite positive. The many negative reports coming out of Seattle about personality conflicts puts a public, shadow of a cloud, on a career that otherwise appears to have been successful. (There were even rumors I read on the internet, that claim he was about to be fired when he left the NY Phil., not for his actual playing, but for his similar personality aggravating behaviors and obnoxious ego... but I do not know that for sure) The bottom line though, is, it never adversely affected his playing. It reminds me so much as to the way he was too, at Juilliard back then. I remember feeling back then, that to me, it appeared he would go out of his way to aggravate his peers by boasting about his great playing, like a fighter would taunt his opponent, only to perform (and win the battle) by his performing well. He actually seemed to feed off of that behavior which seemed to me, to motivate him to perform even better. And he rarely disappointed. As for Seattle, It seems the media tend to gravitate to, and exploit the bad situations happening between the personnel there, that got out of hand, and his personality(as I remember it and if not changed), would have exasperated the situation there,
+K. Bayquoi I'm just curious, how much time each day would he practice back then? I'm very jealous to learn when other brass players can do this, especially when we need to develop endurance.
+Drworm89 I do not remember him ever practicing more than an hour a day if that. But of course, at Juilliard he was always involved in some orchestra or ensemble so he was always playing..which kept up his endurance, .but actual practicing alone in his room(which was right next to my room in our rundown 5 flight walkup apt. we lived in, back then) to develop his skill, practically none. He was already very skilled, when he arrived at Juilliard. In fact we all were under pressure to adapt to the "Big Tone" sound that James Chambers had made famous back then, which meant major changes in mouthpiece, embouchure and technique, and although he made some effort, he never really went for it fully as the rest of us did. He played around a bit with a Chambers mouthpiece which thickened his tone a bit(at the time, it sounded to me to be a bit more trombonist) but never really bought into that style completely, preferring(wisely now I see) to maintain his incredible accuracy over changing over completely to that style of playing. To do so, it meant changing everything you have learned about horn playing. Different embouchure, lots more diaphragm, different articulation, open throat, different jaw placement, a very physical way a playing. For me, it was like starting all over again on the horn. John stayed with his incredible technique and extreme accuracy. I played with him many times in various orchestras at Juilliard and at Aspen. I do not ever remember him ever cracking a note. It was unheard of, for him. I always thought back then that he was not that musically inclined, but his accuracy and control was unbelievable. He took some incredible chances and always pulled them off to everyone's amazement. But musically(and emotionally) I always thought then he was limited, but I assume these developed more as his career developed...His personality as I remember was VERY competitive, and had a BIG ego the size of which, matched his good playing. I suspect that too, helped his motivation to do better. If he ever had stage fright, you would have never known it. You always felt he had total control of the horn, when playing. A couple of other horn players at that time there, were (our other roommate) John Cahill, David Jolley and Martin Smith. Jolley/Smith seem to have stayed with it, as I see them from time to time on older youtube videos. After college we had a falling out( I can see from what I read about his personnel problems in Seattle, it appears that that part of his personality has not changed at all since college), so I lost track and never followed him after that(until I saw this video). Boy he sure has change A LOT from what I remember his looks to be, back then. But, alas, I suspect if he saw me on the streets, he too would not recognize me either. Age has a way of doing that to all of us. C'est la Vie!
K. Bayquoi Thank you so much for that response! I wasn't expecting so much detail but I love this stuff! I hope you are also still playing professionally.
I was a Trumpet major until two years ago. I know of the many different opinions of people about mouthpiece sizes, instrument brand and model, and even the embouchure. I was going through an embouchure change...kind of twice which, to this day, has left me confused on how to play the trumpet again.
I believe my professor didn't coach me through it in the best way and I think the changes were mostly unwarranted. Several other students had the same results as I did.
thats because he is a natural player.
My wife and I heard both messrs. Cerminaro & Schwarz play weekly at the NY Philharmonic during the 1970's, but the hallmark of both seemed to be musical conviction and they were standouts for it, yet without the usual missed notes, as you've mentioned. The horn solos in these All Star concerts sound just as musical, don't you think?
My heart has just been filled with inspiration! Cerminaro was one of the first players I ever listened to, he was a tremendous inspiration then and now after 19 years of playing the horn eight of them professionaly, he does not cease to amaze me! thank you Maestro Cerminaro!
+jorge mejia ~ Very gracious of you to mention, Jorge. It has been my honor and pleasure to always try to give my utmost on the great stage. Thus far, 53 seasons and counting, I've racked up slightly over 8000 concerts on "the chair of chairs"! My only secret (?), playing each concert as if it were the last... Cordially, JC (Soli Deo Gloria)
Please forgive my delay replying! Over these last dozen or so seasons, it's narrowed down to mostly my two Schmid horns: the triple (Bb/F/f-alto) in gold brass w/sterling silver bell flair in orchestras and the double (D/f-descant) solo instrument, used in these All-Star concerts. Due to timing, the 8 NYC concerts were slated between several solo appearances (before and after) thus, maestro Schwarz kindly permitted me to use the lighter horn rather than travelling w/2 instruments. I compensated w/my "grandioso" cup...however, with such a superb horn section matching things up so wonderfully, it seemed to blend in just fine. Yes, I still have my Alexander Bb/f-alto, Paxman Bb/high b-flat, and two pre-war Conn 8D's. I also briefly played a lovely old Raoux single Bb (Dennis Brain-vintage) & a choice Farkas-Holton double (also Phil's one-and-only Conn 8D...yes, you heard me correctly!) and my customized Finke triple plus various other horns along the way. Apologies, again. This is far too long an answer, but it's also been sooooo very many years of playing (8000-plus concerts...and still counting!). Warmest regards, with love & blessings to all... JC
Fantastic work. I played in the Cleveland Public Schools All-City Band and All City Orchestra when I was in High School. My horn teachers were James Anastasia and Jessica Connavino. our coach in All City from the Cleveland Orchestra was Martin Morris.
One of the best things about this interview, for me, was hearing, "My wife and I were having a baby." All too often I watch interviews like this and they lack the human connection, we need more musicians with these communication skills and wonderful stories.
Shame they ruined some of the recordings with mic preamps set wrong.... smh.
この人の音本当に好き
MR. JOHN FIRST OF ALL I LIKE TO THANK YOU FOR YOUR SERVICE 1st CALV. AND THANK YOU FOR TEACHING ABOUT THE HORN IT SOUNDS BEAUTIFUL FROM A D.A. VETERAN
Love the bio/history, very cool and interesting! I really like these "learn about the___" videos the orchestra has done here!
Thanks!
Fantastic story, John!
Does John give any private lessons? I know he used to play in the Seattle symphony. I live in Portland which is only a couple hours away from Seattle. I would give anything to take lessons from him. His horn sound and technical ability has always been an inspiration to me ever since I've picked up the horn.
Oh, sorry! I've somehow missed this question. Apologies...and, Yes!..I do teach from time to time, but only privately (via consultation), usually when someone passes thru Seattle or else I'm nearby, giving a masterclass or solo appearance. However, i no longer teach @conservatories or music schools (complicated reasoning). That said, my contact address is still: cerminaro.john@gmail.com should anyone care to attempt comparing our schedules. Mainly, I want to say, thank you very much for asking about this; even more, for your interest in my ideas and methods---I'm dedicated to helping as much as can...only, seldom seem able beyond these online performances or videos. Nevertheless, may chance favor us! And some time quite soon... Buona fortuna, JC
I had the privilege of studying with John and playing( most weeks) fourth horn for him in the the Festival orchestra for four summers in the early 80's. His playing was exquisite and I never learned more than I did than being able to hear him play week after week.. Exquisite. Now that I am going back to playing 4 hours a day and getting back to professional level, I am Delighted John is doing these videos. Thank you , John. Once again you will be a source of inspiration and working knowledge, delighting me with your playing and insights! Thank you! Tom Heady
I will be sharing this with my students at Berea College. I had the privilege of studying with Cerminaro at Aspen for several years. Love the bit about trying to find the perfect mouthpiece. Thanks for making this video, John!
+Liza DiSavino ~ An honor and pleasure, as ever, Liza. By the way, a company in Belgium is manufacturing my latest mouthpiece in a 3-piece version, for later this season...maybe it will be THE one! Oh, and, that is Howard Wall (of the NY Philharmonic) on 4th and Jon Karschney playing assistant 1st (A1 w/the S.S.O.). A DREAM horn section for me... Ciao, mio amica di corno e di musici, JC
John Cerminaro Assuming that the mouthpiece you mention is now available. Where can we obtain it? Is there a model # and name on it, other than your Name?
Thanks for sharing your knowledge and experience.
What glorious symphony is being played @20:20?
Tchaikovsky's 4th symphony.
@@paulkolodner2445 Thank you *very* much, Paul 👍
Kudos to the assistant on the Shost 5 - hard to sneak in and out like that. I recognize Erik Ralske on third; is that Gail Williams on second? Whos are the pups on third and fourth horn?
It is Michelle Reed Baker of the MET orchestra on 2nd. Fourth horn is Howard Wall of the NY Phil. I'm unsure of the back row or the assistant.
I noticed he's wearing a 1st Cavalry division patch on his coat. Was he in the Army? Is one of his kids currently in the Army?
+Fhorn5114 ~ Yes, I'm wearing a 1st Air Cav. lapel pin. I do so to honor my boyhood pal, Paul "Wes" Pearson, who died not long ago of old injuries from 2 crashes in Vietnam (also insufficient veteran's medical care), despite our family's devotion to easing his final days. It's well known that the best and bravest are always the first to go. Wes was a courageous man (and pilot) who I always felt, somehow, would beat me back to the barn. The novel & film, "Stand by Me" concludes: "I never had any friends like the ones I had when I was twelve...Jesus, does anyone?" Our blessings to all still soldiering on... Ciao, mio amici di musici e di Dio, JC & fam.
how much does french horn cost?
John, we see online lists of the all-time greatest horn players posted by shameless media self-promoters, ludicrous even to we amateur players. Would YOU please give us your own top 10 best-ever list? Thanks,
Saul
Yes, Saul, can do. Moreover, I possess the competence. I also recently ran into an online list, "Top 10 Classical Trumpeters", yet without any mention of legendary greats, Glantz, Herseth, Vacchiano, or Schwarz, still peerless virtuoso of the Baroque & Classical solo tpt. literature. Absent such names (?) is surely virtual-world lunacy. In fact, am thinking now, a more principled forum to submit my own real-world list of horn greats would be the I.H.S. journal. Look for it in "The Horn Call" soon. I'll make it a priority. Buona fortuna! JC
I'm kind of confused what your horn is. is it a compensating horn?
I of course can't speak for him, but to me it looks like a single Bb horn with a 4th stop valve. Brand?
bigpardner It is an Engelbert Schmid.
Sorry, I ought to have clarified this for you, Barret. My solo horn was created by Engelbert Schmid and may be seen in pristine condition, newly made for Philharmonic legend, Philip Myers. There are some good close-ups shots of the instrument during one of Engelbert's informal "fireside chat" interviews. Phil is a full-spectrum, universal player and evidently intends to road-test the lighter model under concert conditions and in the orchestra's home acoustic. A distinct possibility of success. May any remaining confusion begin to lift ... Keep punchin', JC
Thank you, I was just being a curious person. And since you are kind enough to reply, I feel I should tell you my name is actually Seth, it was in middle school when I thought of this. I really look up to you, both musically and philosophically. Thank you for being you.
Mr. Cerminaro, I couldn't help noticing an injury to your forehead. It prompts me to ask: How do you continue performing well, even when injured or ill? Swollen and bruised chops are concert-spoilers for me--any advice?
Your question deserves a deeper answer, Mr. McEwen, but boils down to a simple idea: Willingness. Since we seldom can have the "perfect" lip, mouthpiece, or acoustic for a concert, we must get good at adapting. My first teacher, Alfred Resch, up only days after surgery, is said to have emptied blood from his water-key before the end of the opera. Yes, i was recovering from an abrasion (also lost 2 left molars) in a scuffle the week before this interview. Yet, was able to compensate. Something all professionals get used to doing. Hemingway had a highfalutin expression for it, "Faut d'abord durer" [first one must last], but I think P. T. Barnum got it best for performers, "The show must go on." And so it must. Ice & Tylenol before bedtime will help w/swelling, but the rest requires yrs. of experience and knowing yourself. More on this subject in a future UA-cam video. Meanwhile, best regards, JC
WIsh he had stood back from the camera a bit!
Would not have helped. It's the microphone on the camera: It's very bad. Am in tech wk myself and know. JB