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© 2015 by Eric Aubier Intetnational French Institue of Trumpet

 

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ABOUT-1 Concepts and Proposals 

by Eric Aubier

Index

 

・Why an institute of French trumpet?

   present stuation, analysis, proposals

 

 

・French school of the trumpet

 

 

・Personal Reflections on the French School      of Trumpet

 

・Why Eric Aubier?

 

 

・Proposals

Why an institute of French trumpet?:

 

 

■Present stutation

Despite the very large population of trumpet players, Japan has not produced what it should have done...why?

I have been wondering at it for several years.

 

Japan has 120 million people, millions of musicians and hundreds of thousands of trumpet players! The country is crossed each year by the greatest oechestras and soloists in the world.

 

I have been to Japan every year for 25 years, I have met dozens of or even hundreds of students, dozens of professionals. In all these years in Japan I've heard a lot of talented Japanese and even exceptionals! 

 

I have been a jury in some international competitions almost every year for 20 years, and with a few exceptions, we didn't find Japanese winner in major competitions! I travel around the world for 30 years, but I never found any Japanese trumpet orchestra principal player in Western countries.

 

 

■Analysis

Japan essentially turned to Germany or the United States and mainly focus on orchestra.

The French school is well known for a soloist school to produce great soloists. Yet I think the fact that France "produces" multiple talented soloists creates confusion ...

 

Are there any confusion? Orchestra school would mean it does not occur with soloists?

Yet every major orchestra soloists spent contests which are worthy of getting their positions. And most have done a lot of contests or competitions.

 

Are there any confusion? Most major soloists and orchestra soloists have studied in France and were influenced by the French school.

 

Why Japan does not export in our instrument?

Why for many years the best in my class elements were Japanese?

Why half of these young talents stop once back in the country?

 

Japan apparently does not encourage in its best to compete good students, and very often those who contribute are those studying abroad.

But everyone must know that performance wins in the competition. The competition is absolutely necessary to push our limits and progress.

Professional trumpet is a competition, as in the high performance sports, because you have to "win" before working!

 

 

■Proposals

With the French Institute of trumpet, I propose to answer all these questions and propose solutions:

 

- To promote and share the French school of trumpet and wind instruments.

  If France has produced great soloists, it also produces great orchestral soloists. (See examples below)

 

- To assist and promote young Japanese talents.

 

- Manage and motivate students to perform well in competitions.

 

- Discover new directories

 

- Introduction to Pedagogy

●French School of the trumpet :

 

Prestige of French trumpet school made a worldwide reputation.

Probably Maurice André is the main cause, but before him Sabarich Raymond, Eugene Foveau and Jean Baptiste Arban were the great craftsmen of the French school.

 

The French school has produced the greatest soloists in the world. People do not always know, but a large majority of soloists and soloists with orchestras today have studied in France and studied with French teachers.

(Reinhold Friedrich, Hakan Hardenberger, Wynton Marsalis, Sergei Nakariakov, Pacho Flores, Alexandre Baty ...) and 99% of the trumpeters of the planet and of my generation say they have been influenced by Maurice André.

 

 

An example: Every solo trumpet of the major orchestras of Taiwan are trumpeters who studied in France in my class. Nicolas Rusillon Kaoru Sugiki (exceptional Japanese), David Argenta, Hou Chuan Year, Mom Chung Ho ...)

All as soloists from Argentina orchestras in South America: Fernando Ciancio, Osvaldo Lacunza or Colombia; Juan Fernando Avendano, Fernando Parra, or Venezuela: Pacho Flores, Gaudy Sanchez, or Chile: Rodrigo Arenas are all solo trumpet and orchestra are my former students in France.

 

One could also cite Koreans, Russians, Americans, Spanish, British, French ... and, like Alexander Baty, principal trumpet with the Philharmonic Orchestra of Radio France, 1st prize in international competitions in Budapest, Prague and Munich, and Marc Geujon principal trumpet of the orchestra of the Paris Opera. Romain Leleu is beginning a promising career.

 

●Personal Reflections on the French School of Trumpet

 

The French School trumpet has drawn its substance in all of us, the real impetus was taking shaped in the second half of the nineteenth century. It has its origins in the history of France. In a broader sense it is possible to say also French School of winds regrouped woodwinds as well as brass. This "School" is primarily the result of a meeting of our memory, our singularity and instrument making.

 

The history of France has shaped the character of our way of being, it matured our consciousness and our otherness, it is an important component traits of the French school of wind instruments. This peculiar sense of being "French", our "individualistic" positive side and how we assert our existence are the specific marks of our school. The other element of this conjunction was technological progress. The invention of different piston systems has led to the appearance of the cornet.

The French School of trumpet has first been that of the cornet. Because of its relative ease of playing, its softness and its chromaticism let cornet virtuoso players emerge. Jean Baptiste Arban is probably the most iconic character of that era that are based on the foundation of our school of trumpet, finally with cornet at that time.

 

It is from the twentieth century the trumpet in turn adopt the technology of the piston. And this is undoubtedly why talented French composers use the instrument of the finest ways, such as Debussy, Ravel, Stravinsky. In parallel and thanks to virtuoso as Foveau, Vaillant, Delmotte, trumpet "fate" of the orchestra and motivated composters such as Tomasi, Jolivet, Desenclos.

 

Finally Maurice André undoubtedly embodies the trumpet soloist in the world, he gave his true acclaim and attracted many vocations, it marks its global success at the height of the French school of trumpet.

 

Today composers such as Bacri, Matalon, Escaich and perpetuate the profound meaning of our school. The many small and large students that we are unveiling today will be no doubt tomorrow's leaders.

 

I am a product of this school and claims the essence but I do not consider it therefore has fixed or finished. People and people intersect, intertwine, exchanged, crossbreed, by my encounters and discoveries I participate in its development and renewal, and I hope to enrich it. Not our whole history ...

Why Eric Aubier:

 

Direct heir of Maurice André after his disappearance.

 

Maurice André asked me before dying to perpetuate the great French school trumpet worldwide. So for me the Consequence would be to open a French trumpet Institute in Japan scheduled in 2016.

 

The largest number of French music recordings available today in the world. His record company produces an average of 2 CDs per year, often with a French one directory.

 

Teaching experience of over 30 years, much of the current major soloists are from his teaching. Pacho Flores, Alexandre Baty, David Guerrier, Romain Leleu ...

 

Few people know it, but Eric Aubier was a orchestral principal for 20 years.

Concerts Column 5 years in Paris and 15 years at the Paris Opera Bastille.

40 years of solo experience. He was 12 years old when he performed his first solo concert with orchestra.

 

French international soloist recognized for the interpretation and representation of French music.

 

>>See Eric's Curriculum vitae

 

Training offered:

 

The French institute of trumpet offers various types of further/additional educational trainings to what is usually taught in colleges and high schools in Japan.

 

- Training for orchestra auditions and international competitions.

 

- Coaching on psychological preparation for competitions.

 

- Training in pedagogy and preparation for university teaching and in the elementary schools, junior and senior high schools.

 

- Advanced Classes for modern instrumental techniques and interpretation of different directories.

 

- Technical mastery classes for youngsters.

 

- Master classes by prestigious guests.

 

Eric Aubier