My family comes from musicians and artisans who worked in ateliers,
building guitars, lauds and bandurrias.
The first professional musician in my home was my dad Salvador Chuliá,
who was a recognized Spanish composer.
So, I have lived in a musical environment since I was a child.
Moreover, my mother and my grandmother sang very well.
This is the case for me and surely many other families
that have a special relationship with music,
feeling it from the inside of our mother and growing with it.
Unfortunately, my family lost my oldest brother.
He had a lot of talent.
He was not only a percussionist or trumpeter, but also an excellent musician.
My other brother Vicente is an orchestra conductor.
He is also an important composer, who follows my father's career.
Later I will play a small sample of a song that I recorded recently on my last album
called The trumpet in the conservatory classrooms.
To finish with this, I would like to say that anyone
who is lucky to be born into a family of musicians must take this opportunity.
From my point of view, our musical goals and dreams should not be pretentious,
but a way to live in music deeply and sincerely.
All the things we want to achieve to improve our lives,
will always be good, but this is not the only goal in life.
I remember that when I was a child, I dreamed being on stage and hearing applause.
I don't know the meaning of this dream and Freud would probably explain it best,
but I think that it meant that I wanted to share my feelings with the rest of the world.
Therefore, I recommend sharing your dreams with others through the music,
through your instrument, whether you're a trumpeter or euphonium player or even singer.
Everything that is ambition and pretension must be measured with caution.
Like many other musicians, I started my musical career in the town band,
although I first started training with my father at home.
Actually, I have learned almost everything from my father, but later, in the band I had a teacher
whose name was Eduardo Tari, who created a very important base for trumpet students.
I will not mention any names because there are many,
but there are a lot of important Spanish musicians who started with this teacher.
On the other hand, Vicente López was a student in Paris Conservatory during the seventies,
who revived the flame of the French school of trumpet with Maurice André.
For any trumpeter of my generation - to study with Maurice André is a dream come true.
In the 1990s, when I was sixteen years old, I was lucky to meet him during different courses
in my teacher's Vicente López village, in Perpignan,
in his house of San Juan de Luz and in Paris Prelambrie's house.
Our contact increased thanks to the friendship that arose with his son Nicolas.
Maurice André is the soul of the contemporary and classical trumpet.
He changed two important concepts.
He revolutionized the instrument technically to the highest levels of interpretation.
Nowadays, there is not a trumpeter who could perform the concerts he played,
both in quantity and in quality.
The second aspect he changed was his refining the musical taste.
When he played, he did it completely differently from the rest of the musicians.
For these reasons I recommend you should listen to his masterpieces.
It is a fortune that trumpeters can listen to his work and set it as an example.
Maurice André influenced the Spanish school for trumpet greatly due to several people.
The first one who went to France to study with him was Vicente López in 1975,
who studied in the National Conservatory of Paris, located in Madrid Street.
Later, as a professor, he invited former students of Maurice André
such as Guy Touvron, Eric Aubier, etc. to teach masterclasses.
These actions made sure that Spain began to have more contact with this school of trumpet
that had a refined taste in comparison to the rest of the world.
I cannot say all names because there are a lot, but one of the most important aspects
of it is that his son Nicolás lives in Spain and has his family here
(he is married to a Spanish woman), and he remembers that
his father was close to Spanish trumpet school.
As I have already said, there are many Spanish trumpet players
who have been influenced by them.
The road to follow is the road of musical sincerity
and not the one that brings us "virtuosity" or whatever it's called.
I would like to talk about the concept of sound: the sound.
In any instrument, the sonority is very important
since it is the first thing we listen in an auditorium.
The sound is the first thing the public gets to hear.
Maurice André insisted obsessively
that we could not consider the sound always the same way.
That is to say, the sound must be rich in harmonics, it must always have timbre, but it can't be aggressive,
the sound should be round, alike in the human voice, it shouldn't be narrow.
That is why we should never forget to practice playing long notes,
vocalizations and leading a tone as singers do.
I think that now is a good moment to think about what happens if we do this work daily
as it is one of the most important habits for a trumpet player or any other musician.
In this way we are going to talk now about "virtuosity".
But, what is the meaning of virtuosity?
One can be very virtuosic by playing a lot of notes
and other person can connect with the public in another way.
In my opinion, virtuosity should be the balance between technical and musical work.
Who doesn't understand music as a concept, as communication, can never be a "virtuoso".
Someone who plays a lot of notes but doesn't have a connection with the auditorium,
can't be considered a virtuoso, he/she is a chatterbox.
That means somebody who makes many sounds when speaking, but we don't understand anything.
In music it is the same.
I know what I want to say and I hope you understand me.
If you don't, then I would be a chatterbox. If you do, then I could reach you.
When you play, you have to think not only of yourself, but also of something more spiritual,
think about something that connects with the rest of the people.
If not, everything would be a lie, fraud, rubbish.
The word virtue comes from Greek and Roman philosophy and means good taste.
This translated into music, would be more than playing a lot of notes.
Besides this, we have concepts of interpretation and phrasing that have been much studied.
The great conductor Sergiu Celibidache told many times that music is not interpretable.
I don't feel qualified to explain it, but I can say something similar when talking about phrasing.
From my point of view when a person phrases music in a proper way,
he/she is able to precisely communicate what he/she wants to say.
It is not the same as to play in a brass quintet, where you have a specific role,
in a symphonic band, performing chamber music,
playing Jolivet or playing Tchaikovsky in an orchestra.
We must know the proper context of the music.
Sometimes I hear different versions where phrasing is really fragmented
and even the player swell the notes.
This is forbidden, yet some people still do it.
It would be like talking in a strange manner and behaving peculiarly, it wouldn't be phrasing.
For me, phrasing should be involved in the philosophy of musical elegance,
good taste and knowing the context in which we are playing.
Playing avant-garde music is not the same as playing romantic or baroque music.
In the same way, the main idea we must follow in teaching
must be something vocational, something innate.
It is possible to stimulate it, but it must be born from inside you.
The first thing we must take into account when teaching is to think of the pupil, not of us.
We cannot measure the time or think about money.
Moreover we must set an example with our instrument each day.
We cannot expect that pupils believe us and follow us only because we are the teachers.
We cannot say to our pupils that they have to listen to music, if we do not listen to it,
or tell them "there are no holidays for instrument" if we are not there for them during the holidays.
The great teacher Aavo Ots has been teaching for many years
and is organizing this International Trumpet Festival. He is admirable.
His class is full of trumpets and students... And it is the best example.
Unfortunately, I have seen in other places the opposite, with money and time always disturbing.
That is the worst philosophy for teaching.
However great player a person is, he will never give anything to trumpet school.
The process of recording my latest CD took me five months.
Months in which I talked to the composers near me
such as my family and mates from the conservatory when I worked in Valencia.
The CD tries to open a gate to the tonal or poly- tonal music which still works throughout the world.
It is very peculiar that avant-garde music has support from the Government
and tonal music on the other hand, has not, as it is considered not important.
That is a mistake, as whenever Tchaikovsky is performed, auditoriums are full,
whereas when Boulez or Schoenberg are performed, auditoriums are empty.
Perhaps there's 30 snobby people who are very interested in it, but the auditorium is empty.
Due to this fact, my mission has been to talk to composers near my tonal aesthetics
and ask them to write pieces for students from the first course of elementary level
up to the high course of professional level.
It has been a wonderful work with the best composers
and Sergio Sapena, an excellent Spanish pianist from Valencia.
I have tried to make an example for future projects in other countries.
I have invited young Estonian trumpeters to do it, in the way that they feel the music.
If anybody wants to do it in an avant-garde way, they will have more help than I had.
The most important thing is when you try to do something like this,
you must recognize what you make as own.
We don't need dishonesty in musical world.
We are in a period where frauds are the kings.
I only ask sincerity when they appreciate this work.
My goal has been to help and contribute to create a Spanish repertoire
for trumpeters who are still studying.
There are thirteen new pieces that by Salvador Chuliá, Vicente Chuliá (father and brother),
Vicente Martínez Casas, Sergio Mengó, Antonio Fornet, Alejandro Maicas and Gaspar Genovés.
It has been a great work which has made my dreams come true
and I invite others to do the same.
My first book for trumpeters was born in Escuela Municipal de Música Dionisio Aguado en Fuenlabrada,
when I first had the desire to be a teacher.
I was working there, not only with students who wanted to continue in musical studies,
but also with people who wanted to enjoy making music.
It is an acid test to know if you want to be teacher.
It is really hard and you need lot of patience.
I had a great group of pupils called Fuenlabrada Trumpets
that nowadays are followed in Valencia by Iturbi Trumpets.
The main goal was to unite trumpeters of different ages who want to enjoy making music together.
Without thinking about making a book, I made arrangements of children music,
film music, jazz ballads and even classical music
for older, intermediate and beginner players.
Then I recorded it with four trumpeters and an important percussionist Vicente Tello.
In this work, I collaborated with Antonio Cambres, Richard García and Cristian Ibáñez,
soloists of the opera orchestra, the municipal band and the television orchestra.
So, the quality is excellent.
This method is called Método para Agrupación de Trompetas.
However, the most important method in my opinion, is the second one: Vademecum for a trumpeter.
This was born thanks to a colleague, Francisco Cárdenas,
who encouraged me to read Ramón y Cajal.
This Nobel Prize winning author wrote a series of guidelines
for scientific methods that can be used in music.
It is the same philosophy of life and work.
Moreover I read Aristotle and Schopenhauer,
connecting them to Arban's, Franquin's and Maurice André's works.
Vademecum is a 150-page book
that any person who is studying a musical instrument can easily read.
It helps you put your feet on the ground, which is to say to be in the reality,
being comfortable and being possible to change the space.
If you read this book and feel identified with it, you can continue in the world of music.
And if on the contrary, you do not find any meaning to what you have just read,
it is better you dedicate your time to other things.
It is as Artur Honegger said to the pupils in their first lesson of composition:
"If you want to earn money with music, it is better you get out of the classroom".
And I think that is the best way to finish.
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