LSO Masterclass - Trumpet YouTube Symphony Orchestra 2011 Danish English

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Cobb: Goddag, og velkommen til denne masterclass for trompet

Cobb: Hello there, and welcome to the trumpet master class

til YouTubes symfoniorkester.

for the YouTube Symphony Orchestra.

Mit navn er Philip Cobb, og jeg er førstetrompetist

My name's Philip Cobb, and I'm the principal trumpet player

i London Symphony Orchestra.

for the London Symphony Orchestra.

På min højre side sidder Nigel Gomm.

And on my right here is Nigel Gomm.

Gomm: For to år siden, da vi lavede det her med YouTube,

Gomm: Two years ago, when we did the YouTube thing,

havde vi den gamle trompetist i LSO,

we had the old players of trumpet with the LSO,

Maurice Murphy, som nu er pensioneret.

which is Maurice Murphy, who's now retired.

En meget berømt mand.

Very famous man.

Maurice er 50 år ældre end dig.

Maurice is 50 years older than you.

Cobb: [klukker]

Cobb: [chuckles]

Gomm: Så det er noget af et spring.

Gomm: So that's quite a big, big jump.

Hvordan føles det?

What does it feel like?

Cobb: Det er ærligt talt et kæmpe privilegium.

Cobb: A massive privilege to be honest.

Ligesom det også er at arbejde sammen med Rod og dig.

And I always, you know, growing up--

Jeg er jo vokset op med

and to work with people like Rod and yourself.

at lytte til orkesteret.

Grew up listening to the orchestra.

Og på grund af baggrunden og arven

And because of the background and the heritage

i gruppen er det et helt enormt privilegium.

of the section, it's a massive, massive privilege.

Det er det virkelig.

Gomm: Vil du give os din version af Mahlers Femte.

Gomm: You do the Mahler 5 and give us your version.

[Mahlers Femte symfoni]

[Mahler's Symphony No. 5]

Hvordan griber du

How do you approach

sådan noget an?

doing something like that?

Cobb: Altså, til at starte med,

Cobb: Well, I think, to start with,

så ved mange folk, at Mahlers Femte

a lot of people know that Mahler 5 is one

er et af de mest berømte trompetstykker,

of the most trumpet excerpts

og at hele symfonien

and also that the whole symphony

begynder med trompeten helt alene.

starts with just the trumpet on its own.

Og det er nok vigtigt med en vis portion selvsikkerhed

And I guess you have to approach it

i sin tilgang til stykket.

with a certain amount of confidence.

Og det er ikke den slags – måske lige med undtagelse

And it's not the sort of-- apart from maybe

af de første tre takter –

you could argue the first three bars--

så er det ikke den slags åbning, hvor man kan trække sig tilbage igen.

it's not the sort of entry that you can back off.

Så for mig personligt – og jeg ved,

So for me, personally-- I know

at det kan virke arrogant,

it's maybe an arrogant viewpoint to take,

men det handler om bare at tage fat i den og sætte den i gang,

but it's just about laying it down and starting it off

sådan som du har tænkt dig at fortsætte.

as you mean to go on really.

Det er, hvad jeg lige...

For me. That's what I...

Gomm: Og hvad med dynamikken og alt det –

Gomm: And what about dynamics and all of--

du ved, du tager nogle ordentlige vejrtrækninger

you know, you're taking massive breaths

Hvad tænker du på, når du begynder?

When you start it, what are your thoughts?

Når du sidder på scenen, og du tager hul på dette

When you sit on the stage and you start this

ud af ingenting.

Så er det naturligvis et øjeblik med flossede nerver.

Obviously it's a big nerve-racking moment.

Men tænker du på musikken,

But are you thinking of the music

eller tænker du: "Åh nej"?

or are you thinking, "Oh, God"?

Cobb: Altså, første gang jeg oplevede det,

Cobb: Well, I thought, the first time I did it,

troede jeg, at jeg ville have det nøjagtigt på den måde.

I thought I'd feel exactly that.

Jeg troede, at jeg ville tænke: "Åh nej,

I thought I'd feel, "Oh, God, you know what,

hvad skal jeg gøre?

"what am I gonna do?

Skal jeg være nervøs?"

Am I gonna get nervous, what?

Men jeg tror –

rent faktisk blev jeg

it's funny actually.

Og det skyldtes nok delvist, at jeg var spændt og begejstret

And maybe part of that was because I was excited

ved den første opførelse eller de første par stykker.

at the first performance or first couple of performances.

Men jeg synes, at –

But I think it's--

for mig, som er rimelig ung,

it's, for me also, being quite young

at starte lige på, du ved,

and just starting out, you know,

i LSO, med Mahlers Femte – det er en meget spændende oplevelse.

LSO, Mahler 5-- it's an exciting thing.

Det er en trompetåbning.

It's a trumpet opening.

Det er en fantastisk åbning.

It's a fantastic opening.

Den er dramatisk.

Spil den, som om du virkelig mener det.

Play it like you mean it really.

Gomm: Når folk skal forsøge sig med dette,

Gomm: So when people have a go at this,

børn, unge eller hvem det måtte være,

kids or students or whoever,

hvad er det så, du lytter efter?

what would you-- what would you be listening for?

Cobb: Jeg lytter efter karakter...

Cobb: I'd be looking for character...

at hver lille detalje bliver udtrykt,

bringing out every little detail,

at fraserne fører de rigtige steder hen.

making sure that the phrases head to the right points.

Men også at lyden ikke bliver for –

But also that the sound doesn't become too--

Når jeg taler om selvsikkerhed, skal man samtidig sørge for,

I talk about confidence, but also that, when you go for it,

at lyden ikke bliver for aggressiv,

the sound doesn't become too aggressive

og at lyden ikke forceres for meget.

and forcing the sound too much.

Og du kan have nok så god en teknik

Well, you can have-- you can have a great technique

på trompeten som messingblæser.

on the trumpet as a brass player.

Og det gælder sikkert – selvom jeg ikke rigtigt ved noget om det –

And I'm sure-- I mean, I don't know anything

så gælder det sikkert også

about it, but I'm sure

for strygeinstrumenterne,

on the string instruments as well,

men hvis du ikke har

but if you don't have the sound

tilsvarende god lyd,

to match up with that,

så er der nok ikke ret mange, der gider lytte til dig spille.

I wouldn't have said many people would want to listen to you.

Gomm: Det er sandt. Cobb: Måske nogle få.

Gomm: That's true. Cobb: Or a selected few.

Gomm: Det er helt korrekt.

Gomm: That's absolutely true.

Så til jer, der skal indspille disse uddrag,

So for the people that are recording this,

I kan opfatte disse uddrag

you know, these excerpts, you can look

som tekniske øvelser,

at them as technical exercises,

men det er de ikke.

but they're not.

Vi lytter efter mere end det.

We're listening for more.

Og noget, der gælder ved alle musikinstrumenter,

And, you know, the thing with any musical instrument

er, at du forsøger at fange nogens interesse

is that you're trying to draw somebody's ear

med lyden, og ofte – helt underbevidst –

to the sound, and it's often--

handler det ikke om, hvor vildt og smart

subconsciously, it's not how brilliant and flashy

or whatever they're playing.

Det er faktisk lyden af instrumentet,

It's actually the sound of the instrument,

så når du beskæftiger dig med sådan noget her,

so--so when you're doing stuff

så er der det tekniske aspekt,

like this, there's a technical side to it,

men der er også et andet og lige så vigtigt aspekt,

but there's an equal side to it,

nemlig det musikalske aspekt,

which is there's a musical side

og det er at lave den smukke lyd med instrumentet,

and making the beautiful sound on the instrument,

selv når du spiller højt.

even when it's loud.

Det skal stadig lyde smukt.

It still has to be beautiful.

Okay, det her er det lange midterste solostykke

Okay, so this is the long middle section solo

Den kører i E.

[Strauss' Don Juan]

[Strauss's Don Juan]

Det er fantastisk, Phil.

That's fantastic, Phil.

Du gjorde det med to indåndinger.

You did that in two breaths.

Hvorfor gjorde du sådan?

Why did you choose it there?

Var det bare –

var det bare almindelige indåndinger eller reguleringer,

is that purely breath or is it chops

eller hvad er det...

Cobb: Altså, den sidste indånding, jeg tog,

Cobb: Well, the final breath that I took

hjælper, når du går opad

just helps you when you're climbing up,

upstairs in the register.

Men jeg mener, at der er flere forskellige muligheder for,

But there are, I feel, there are various opportunities

hvis du er nervøs, eller hvis du virkelig har brug for det,

to, if you're nervous or if you desperately need it

at tage en indånding et andet sted.

on the chops, to grab a breath elsewhere.

I mean, for example,

i figur 138 – eller, takt 138.

figure 138-- well, bar 138.

Andet taktslag. Gomm: Efter... ja.

Second beat. Gomm: After the--yeah.

Cobb: Der er mulighed for hurtigt

Cobb: It's just a quick opportunity

at tage en indånding,

to take a breath there

og fire takter senere

and then four bars later,

er der endnu en mulighed.

and then another one.

Gomm: For det er en meget lang frase, ikke?

Gomm: 'Cause it's a very long phrase, isn't it?

Især første del.

Especially the first section.

Cobb: Og på dette tidspunkt skal du,

Cobb: And you are, at that point,

hvis jeg ikke tager fejl, nærmest føre orkesteret.

if I'm not mistaken, riding the entire orchestra.

Gomm: Ja. Cobb: Men stadig ikke

Gomm: Yeah. Cobb: In which case,

på aggressiv vis,

again not in an aggressive nature,

men du skal drive orkesteret

but you need to be riding the band

med en passende – Gomm: Men det lykkedes dig

with an appropriate-- Gomm: But you managed

at spille det, og det lyder smukt,

to play that, and it sounds beautiful,

men du spiller rent faktisk rimelig højt hen ad vejen.

but you're actually playing quite loud as you go.

Som du siger, skal du drive orkesteret.

As you say, you've got to ride the orchestra.

Hvordan beholder du den lyd,

How do you keep that sound

når du ligesom skubber, uden det bliver for skarpt?

when you're pushing without it getting harsh?

Er det bare noget, som du hele tiden kan lytte dig frem til

Is it just a constant thing that you--you listen?

Cobb: Ja. Gomm: Fordi vi talte

Cobb: Yeah. Gomm: 'Cause we talked

med Maurice om dette, og jeg sagde: "Maurice,

to Maurice about this, and I said, "Maurice,

du spiller jo melodier."

"you know, you just play tunes.

"Nej, du er kendt for at spille melodier, de mest enkle melodier.

"No, you're renowned for playing tunes, the simplest tunes.

Hvordan får du det til at fungere?"

How do you think it out?"

Og han sagde, du ved –

And he said, well, he, you know--

jeg mener, han sagde at – han var jo i orkesteret,

I think he said that-- being in the bands

da de spillede salmer,

when they played hymns,

og han tænkte altid på at sætte ord på ting.

and he always thought to put words to things.

Så han tænkte på det, som om han sang.

So he'd think it was singing.

Han fraserede som en sanger.

So he'd phrase like a singer.

Og du gør det samme.

But you do the same thing.

Du spiller frasen naturligt.

You naturally play the phrase.

Cobb: Ja, jeg har altid godt kunnet lide melodier.

Cobb: Well, I've always loved tunes.

Jeg synes personligt,

You know, for me, personally,

at noget af den nyere musik

some of the contemporary music and stuff,

er meget teknisk udfordrende,

and it's all very technically challenging,

og det er meget virkningsfuldt.

and it's all very effective.

Men for mit vedkommende får jeg mere ud af at spille en melodi,

But, for me, I get more of a kick out of playing a tune

end jeg gør af noget andet.

than anything else.

Det handler også om at lytte, du ved –

And it's also listening, you know--

siden jeg var barn, har jeg lyttet –

since I was a little kid, I was listening--

Gomm: Du har spillet kornet.

Gomm: You come from a cornet background.

Cobb: Ja, jeg har spillet kornet

Cobb: Yeah, I come from a Salvation Army

i Frelsens Hær, ja.

cornet background, yeah.

Og lyttet til folk –

And, you know, listening to people--

måske lidt ligesom Maurice, med rødder i melodierne

it's possibly similarly to Maurice, the hymns background

og associationerne til ord.

and word association.

Altså, det er ikke nødvendigvis noget, jeg tænker på.

I mean, I certainly don't think about that necessarily.

Men der er denne her gennemgående ting i den slags orkestre,

But there is this constant thing in the army bands,

og sikkert også i andre typer orkestre,

and I'm sure in outside banding as well,

omkring frasering og så videre –

about phrasing and about looking at--

og jeg tror, at man ligesom bare finder ud af det.

and I think you just work it out.

Gomm: Ja, så jer, der skal spille dette:

Gomm: Yeah, so for those of you doing this,

Én ting er at spille tonerne,

it's one thing, you know, to play the notes,

men du skal finde ud af ting, såsom hvor du vil trække vejret,

but you need to work out things like where you're gonna breathe,

hvor mange gange og, som Phil siger,

how many times, and, as Phil says,

stadig forsøge at gøre uddraget til

still try to make the big phrase out of the--

én lang frase, hvilket er svært,

out of the excerpt, which is a tough one,

fordi den slutter på det høje harmonislag.

'cause it ends on the high concert beat.

Cobb: Skal jeg spille det igen med indåndingen?

Cobb: Shall I do it again, taking the breath?

Gomm: Ja, tag en mere.

Gomm: Yeah, do-- do--do another one.

Tag den ekstra indånding.

Take the extra breath.

[Strauss' Don Juan]

[Strauss' Don Juan]

Okay, det her er trompetkaldet fra Leonore.

Okay, this is the trumpet call from Leonore.

Det er offstage, og...

And this is offstage, and...

de otte takter op til er der et langt

the eight bars before it, there's a big long one

strygerstykke, et meget højt crescendo,

in the strings, very loud crescendo

som slutter på den første tone af dette kald, som er offstage.

ending on the first note of this offstage call.

Så det skal være –

So it needs to be--

ja, det er som sagt offstage.

well, it's offstage.

Det skal være temmelig storladent og nærværende.

It needs to be quite grand and present.

Og andet kald skal i endnu højere grad være det.

And the second call even more so.

[Beethovens Leonore-ouverture nr. 2]

[Beethoven's Leonore Overture No. 2]

Rigtig godt. Cobb: Den anden?

Great. Cobb: Second one?

Gomm: Ja, spil det næste. Det andet kald.

Gomm: Do the next one. Yeah, now do the second one.

Lad os se, om du kan gøre det lidt anderledes.

Let's see if you can make it slightly different.

[Beethovens Leonore-ouverture nr. 2]

[Beethoven's Leonore Overture No. 2]

Ja. Meget flot.

Right. Very good.

Rent teknisk er det ikke svært,

Technically, that's not difficult

før du begynder at spille det hurtigere.

until you start playing it faster.

Altså, når du spiller dette,

I guess-- when you play this,

så spil begge to, spil begge kald.

do both-- do both calls, and...

Det, vi skal forsøge – selvom det er det samme kald,

we're really trying to-- although they're the same call,

skal vi gøre det andet kald mere indtrængende

the second one needs to be more urgent

rent musikalsk,

in a musical way, so-- so it can be--

så du kan skubbe lidt på med sekstendedelsnoderne

the semiquavers can push on a bit,

og måske med triolerne, hvis det er muligt,

and the triplets can push on a bit more if you can

hen mod det lange a.

towards the long A.

Og så er det her, du skal koncentrere dig om

And, yeah, this is the one to concentrate

nøjagtigheden af dit arpeggio.

on the accuracy of the arpeggios.

Har du nogle tip til det?

Any tips on that?

Andet end at starte med at øve langsomt.

Apart from practice slowly?

Cobb: Øv det langsomt, og sørg for virkelig at banke –

Cobb: Practice slowly and really bang--

hamre ventilerne ned. Gomm: Ja.

hammer the valves down. Gomm: Yeah.

Cobb: Prøv bare at få det ind rent psykologisk.

Cobb: Try and just psychologically drill it in.

Gomm: Okay, og overordnet set –

Gomm: Okay, and as a general for all--

af alle disse tre uddrag,

all these three excerpts,

er dette nok det nemmeste rent teknisk

that's probably technically the easier

af dem alle tre.

of the three to do.

Men lad være med at miste modet.

But don't be discouraged.

Vi har en helt fantastisk førstetrompetist

We have a fantastic principal trumpet player

siddende her, ved du nok, og vi forventer ikke,

sitting here, you know, and we don't expect

at folk kan gøre ham efter.

people to be able to play like that.

Du skal ikke lade dig slå ud. Gør et forsøg.

Don't be put off. Have a go.

Giv det endelig et forsøg.

By all means, have a go at it.

Og det, vi kigger efter,

And the things we're looking for,

er ikke bare teknik.

it's not just technique.

Vi leder efter musik.

We're looking for music.

Vi leder efter melodier og fraseringer,

You know, we're looking for tunes and phrasing,

beautiful sound.

Det handler ikke alt sammen om teknikken

It's not all to do with just technique

og nøjagtigheden, hvormed man rammer tonerne

and the accuracy of hitting notes

på et messinginstrument.

on a brass instrument.

Cobb: En ting...

Cobb: One thing...

jeg synes, vi skal komme ind på,

I think we should touch upon

er, at mange af jer måske

is just the fact that probably a lot of you

ikke har spillet så mange af disse værker

have not played a lot of these pieces

og uddrag i orkestre

and excerpts in orchestras

eller sammen med orkestre før.

or with orchestras before.

Og personligt kan jeg godt lide –

And, personally, something I love doing--

og det gælder ikke nødvendigvis kun for trompetister,

not necessarily just trumpet players,

men at lytte til forskellige typer musik

but is just listening to different types

og stilarter inden for musik.

and styles of music.

Og det vil virkelig være en god ide

And I think it's a really, really good idea

at lytte godt til disse uddrag,

to have a listen to these excerpts

lytte efter, hvor trompeten kommer ind,

and listen to where the trumpet comes in

og hvad forskellige trompetister gør hver især,

and what different trumpet players do

bare så du får en ide om,

just so you get some sort of idea

hvad du har med at gøre,

as to what you're dealing with

når du aflægger din audition.

when you're doing the audition.

Personligt. Gomm: Ja.

Personally. Gomm: Yeah.

Ikke for at kopiere. Cobb: Nej, nej, ikke for at kopiere.

Not to copy. Cobb: Not to copy, no.

For at beslutte, hvordan du vil gøre det.

Decide what you want to do.

Gomm: Hvis du lytter til seks forskellige optagelser,

Gomm: If you listen to six different recordings,

vil du høre vidt forskellige versioner.

you'll hear completely different versions.

Cobb: Og det gælder generelt, og ikke kun for disse uddrag.

Cobb: Well, that's in general, not just with these excerpts.

Sådan er det ofte. Du skal ikke kopiere andre solister,

It's completely-- not copying other soloists

som Nigel sagde, men blot lytte

as Nigel said, but just listening

til andre musikere, som gør tingene på forskellig vis.

to other players do different things.

Og det er altid – jeg synes altid, at det er et plus.

And it's always-- I think it's always a plus.

Gomm: Så mor dig med det.

Gomm: So have fun doing it.

Du skal ikke være bange for det.

Don't be afraid of it.

Hvis du spiller med meget høj lydstyrke,

If you do play it at quite a loud volume,

så sørg for at holde lidt afstand til mikrofonen,

make sure you get away from the mic a bit,

da man nemt kan ende med en forvrænget optagelse,

because distorted recordings

når man spiller trompet.

are quiet easily done on a trumpet.

Og hav det sjovt.

Det er meningen, at man skal nyde det,

It's all supposed to be enjoyment,

og hvis du ikke nyder det,

and if you're not enjoying it,

så vil lytteren heller ikke nyde det.

then the listener won't enjoy.

Cobb: Så er vi nået til vejs ende af denne mini-masterclass.

Cobb: Well, that's the end of our mini master class.

Nigel og undertegnede siger farvel.

It's good-bye from Nigel and myself.

Gomm: Held og lykke, gå til den, og nyd det.

Gomm: Good luck, go for it, and enjoy.

Cobb: Jeg er enig.

Cobb: I concur.

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