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Harold Madrigal Frias plays Schagerl James Morrsion Trumpet

07.06.2022

Harold Madrigal Frias began his musical studies aged 8 in the National School of Arts in Havana, Cuba.
Already as a student he played with some of the top Cuban bands and over the years worked as a lead trumpet with the Joaquín Betancourt’s Jazz band, Cesar López & the Habana Ensemble, Roberto Fonseca & Bandidos All-Stars and the world famous Buena Vista Social Club and Orquesta Akokán.
Harold has been the principal trumpet of the Havana Lyceum Orchestra since 2008. For him it is very important to cultivate the flexibility of performing both Cuban and classical music – something quite tricky for a trumpet embouchure and something his Schagerl trumpet is a huge help with!

Harold has recorded and shared the stage with important world musicians like: Sarah Willis, Thomas Hengelbrock, Simone Dinnerstein ,Ronald Zollman, Walter Reiter, Remy Ballot and Duncan Ward.
He has been featured in different Festivals around the world such as: WOMAD UK, WOMAD NZ, WOMADELAIDE, Fiest‘A Sete Festival, Les Nuits de Fourviére, Nice Jazz, Nancy Pulsations, North Sea Jazz Festival, SF Jazz, Global Fest , Midnight Summer Jazz Festival, Sydney Fest, etc.

My Schagerl James Morrison Trumpet

My Schagerl trumpet is simply the perfect tool to help me transition smoothly from the classical music world to commercial and popular music playing. Its warm sound and wide sound spectrum enables me to go from a morning rehearsal of Mozart with the Havana Lyceum Orchestra to a night filled with Mambo and Cuban music solos. It makes my world much easier and I will be forever grateful to Karl Schagerl for making this possible.

My Schagerl trumpet was organised as a surprise from my dear friend Sarah Willis. It was made possible by the Instruments for Cuba fund set up as part of her Mozart & Mambo project together with the generousity of Karl Schagerl. In Cuba it is a rare thing to receive a brand new instrument and seeing the name Schagerl and unboxing the trumpet, I was like a kid opening a treasure. Playing the trumpet for the first time was an unforgettable moment and it remains my most prized posession.

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Dr. Jack Burt interviews Nadje Noordhuis

21.04.2022

On May 13 and 14 2022, the University of Maine enjoyed the residency of jazz composer and trumpeter Nadje Noordhuis for two concerts and a masterclass. She performed a concert – of mostly her own compositions – with the UMaine Jazz Faculty, as well appearing as guest soloist the UMaine Jazz Band and Jazz Ensemble, directed by Dr. Dan Barrett.

In both concerts, Nadje completey charmed both listeners and performers with her uniquely lyrical and positive musical voice. Unknown to me until we met Nadje performs on a Schagerl Penelope B flat trumpet.

Australian-born and living in New York City, Nadje has a varied career. She is a member of the Grammy winning Maria Schneider Orchestra, and has 4 solo albums to her credit. She is also on the faculty of the Manhattan School of Music, Hunter College, and is a widely sought after private teacher. I interviewed Nadje between events, and over food in Orono, Maine.

Interview Questions:

Jack Burt: It’s been so nice having you here for your residency at the University of Maine! It’s great to meet you – and I love the music you are playing with our faculty quintet and our two jazz bands. I particularly like your compositions.

NN: Thank you!

JB: Have you always composed, or was it something that developed over time?

NN: I wrote one tune when I was young and taking piano lessons, but then didn’t write again until I was in my early twenties. As part of my undergraduate improvisation degree in Australia I had to regularly write tunes to be performed each week in my ensemble class. It was an amazing assignment – what better way to learn how to do something than to jump right in! I never thought it would be such a major part of my career, but it has ultimately allowed me to develop my own voice. I can’t imagine how I would have been able to develop my own sound without having spent countless hours working on my writing.

JB: You are from Australia, but are based in New York City, what do you when you aren’t a guest soloist? You teach as well, am I right?

NN: I teach a lot – both privately and at Manhattan School of Music. I have been able to live in a couple of different cities during the pandemic as I pivoted to teaching via Zoom in 2020. I find that I am still able to teach effective lessons despite not being physically in the same room. There are certain advantages, such as being able to quickly screenshare etudes or exercises, or to work on improvisation using play-a-longs. I miss living near the water in Australia, even after nineteen years of living in the US, so if I’m not teaching or playing, I’m heading up the road to go for a swim at a local pool.

JB: How did you get started in music, and jazz?

NN: My mother bought an old piano before I was born, and when I was very young I took a liking to it. She kindly enrolled me in piano lessons with a wonderful teacher, and I loved learning and practicing. Her husband played trumpet, so when I was seven, I also began trumpet lessons. It was compulsory for all third graders at my elementary school to play a band instrument. I played in my high school jazz band, but never considered it as a career until I was in college. I saw an all-female jazz group perform at a local pub, and it blew my mind. I never had thought of it as an option before. A couple of years later, I was enrolled in college for improvisation.

JB: I understand you have a new album in the works. Can you tell us about it?

NN: I actually have a few albums in the works at the moment! I just recorded my latest album for Newvelle Records, featuring Fred Hersch, Thomas Morgan and Rudy Royston. That will be out on vinyl in September, and released digitally in December. I’m also working on my next duo record with vibraphonist/synthesist/percussionist James Shipp. We still have a few layers to add, and will be mixing and mastering in the summer. That will be out on my label, Little Mystery Records, at the end of the year. I’m also slowly working on a rock album, which is an exciting new musical direction. I’ve always loved rock and metal music, as well as jazz. That album may take another year or so to complete.

JB: Who knew we both played Schagerl trumpets? How did you get started playing on your horn, the Penelope?

NN: I discovered the Schagerl Penelope trumpet at the International Trumpet Guild conference in Sydney in 2010. I had been looking for a new horn since my old one had been damaged in a chemical bath cleaning incident. I hadn’t had much luck at finding one until I picked up the Penelope. I knew immediately that I had found what I was looking for! It’s such a beautiful and versatile instrument. From big bands to solo trumpet with electronics, this horn plays it all. I can blend seamlessly in ensemble sections, and it cuts through effortlessly for solos with its gorgeous, warm sound. I get compliments pretty much every gig that I play on the purity of my sound. It’s my calling card, and I wouldn’t consider playing any other trumpet. Unless it’s another Schagerl, of course!

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Prof. Jack Burt about the new Schagerl Model “1961”

16.02.2022

I have played Schagerl trumpets since 2010, but only rotary trumpets, never pistons. I, of course was aware of their earlier piston models, which are all fine instruments, but I was never tempted to switch away from my Bach or Blackburn C and B flats.

In 2021 after a COVID-induced year and a half absence, I was able to visit the Schagerl factory in Mank, Austria, in August and October. During that visit, I was able to see many friends, socialize, and also interview many artists for the Schagerl social media sites.

During that visit, Karl asked me to playtest a new model they were working on – a piston series, celebrating the 60th anniversary of the founding of their company – intended for the American market. I was a bit hesitant, and for good reason. It is a tough sell, I thought, for an Austrian trumpet maker, known for fine rotary instruments, to make a piston model for the American market. We are an opinionated, demanding lot. Not to mention it is a crowded market, with many great instruments to choose from! Nevertheless, I gave them a try.

After having spent time with these horns, I have come away convinced that this new series, the ‘1961 Model” C and B flat trumpets, are some of the best piston trumpets I have ever played. Schagerl has well and truly hit it out of the park! These horns are “dead, solid perfect”, “straight down the middle”, American style trumpets. They found the sweet spot. Their sound is exactly what you would expect from a classic American orchestral trumpet: clear, rich, focused, brilliant and solid. Yet, and this is crucial… they offer more.

Not only do I get the sound I have always wanted on a piston C or B flat, but, I am producing it with less effort, more ease of flexibility and locked in intonation than ever before. My accuracy on both horns is better than ever. I never feel as if I am fighting the horn.

Some trumpets make you work too hard to achieve what you want, and are always a struggle. Others seem to do it for you, like “bowling with bumpers in the gutters” as one colleague described it. They play more easily, but the result is less than satisfying.  The ‘1961’ Series has neither of those faults. They are free blowing, responsive, and beautiful. It feels like a friend who wants to go wherever you want to go. They are a joy to play.

As always, with Schagerl, the workmanship is world-class. The Schagerl valves are smooth as silk, and the finishing is superb. Do yourselves a favor, find one, and give it a try!

Jack Burt, Professor of Trumpet – University of Maine – Orono, ME USA

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Scott Moore Statement about Schagerl Berlin Heavy C Trumpet

29.01.2022

About Schagerl Berlin Heavy C Trumpet

My Schagerl Berlin-heavy C trumpet is everything I have always dreamed of in an instrument. The response is immediate, the intonation is impeccable, and the range of tonal colors is only limited by my imagination. It has such a rich, warm, and resonant sound, yet still allows me to play with brilliance and power.

My Berlin piccolo trumpet is absolutely amazing. I love the tone it allows me to produce, and I never have to worry about the intonation. The lower register sounds like a big trumpet, and the upper register is effortless.

I am convinced that Schagerl is making the best instruments in the world today. And as an added bonus, they are beautiful to look at!

Scott Moore is Principal Trumpet in the Memphis Symphony Orchestra and the leader of the MSO Big Band. He has also performed with the Chicago Symphony, the St. Louis Symphony, the Baltimore Symphony, the National Symphony, and as guest principal with the symphony orchestras of Atlanta, Toronto, and Jacksonville. He has recorded and performed with the Nashville Chamber Orchestra, and with I Fiamminghi, the Orchestra of Flanders. Mr. Moore is also the Assistant Principal Trumpet in the Arizona MusicFest Orchestra.

As a soloist, Mr. Moore has appeared with the San Antonio Symphony, the Nashville Chamber Orchestra, the Tennessee Summer Symphony, the Chattanooga Symphony, and on numerous occasions with the Memphis Symphony. He has also been a featured Guest Artist at the International Trumpet Guild Conference.

Scott Moore has a Master of Music degree from the New England Conservatory of Music, and a Bachelor of Arts degree from McNeese State University. His teachers have included Charles Schlueter, Arnold Jacobs, and Michael Ewald.

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Andon Markov Statement about Schagerl Berlin Heavy C Trumpet

22.01.2022

About Schagerl Berlin Heavy C Trumpet

From the first moment I saw the Schagerl Berlin Heavy C trumpet I was attracted by the exceptional look the trumpet have.
With the first note I played on the Schagerl I was instantly amazed from the unreal great response of the trumpet. Magnificent,
crisp round sound in all ranges. For a trumpet player with more than 30 trumpets in my collection I can say for sure, this is the
greatest trumpet I have ever played. For me as a principal trumpet player the most important ability one instrument should
have is to be able to do the job on a high level in any circumstances. With Schagerl Berlin Heavy C trumpet I always feel
confident in my playing and performance. Definitely this trumpet have the quality I can trust always without any doubts! Thank
you so much Schagerl Music GmbH for the amazing instrument and for the opportunity to develop my skills farther every day

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Marc Osterer- Schagerl Artist

08.03.2021

How did you get to know the Schagerl company?

Playing at the Salzburg Festival in 2013, I was traveling around Austria shopping for a new instrument to take back to my job in the Mexico City Philharmonic. Schagerl was not only the highest quality, but very accommodating and personal with their service.

Which schagerl instruments do you play?

Roman Empire and Spyder trumpets, Wien flugelhorn. I used to have a Penelope model, which fell off my motorcycle on a winter’s night on the Austrian Autobahn 5 years ago – a tragic misfortune. Hopefully someone found it and is making some nice music.

Who influenced you in your career?

My teachers and colleagues in New York City, who taught me to show up on time, play everything as well as possible, and be friendly to everyone.

How long have  you  been living in Austria? What brought you here and why did you stay?

6 years! After working 3 summers in Salzburg, and meeting such amazing musicians, I decided that Vienna is a perfect city, where I can have a comfortable lifestyle and nice freelance career. So far, things are going according to plan!

Since so many concerts have been cancelled the past year, I’m lucky to now be working as lead trumpet in the Synchron Stage Orchestra, where we’ve been recording music for Hollywood film and TV productions.

More detailed information about his career: https://trumpetscout.de/marc-osterer-gekommen-um-zu-bleiben/

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Emircan Birgül – Schagerl Artist

19.03.2021

How did you get to know the Schagerl Company? 

In 2010, I was just fifteen, I saw Mnozil Brass’s concert videos on Youtube during my high school years at the conservatory, and I was very impressed.  My favorite recording was Hungarian Schnapsodie. First of all, I liked the design of the instruments, I thought ‘’how easily they are able to perform what they want’’ while watching and, I dreamed at that moment by saying to myself ‘I should definitely buy a Schagerl trombone in the future. I went to the Schagerl factory in 2015 and had the Kissbone X my first instrument. It was an invaluable experience for me. The best part was that Zoltan Kiss tried my first trombone while I was at the factory and the Schagerl family welcomed me very well. Since then, I have used the Kissbone, Aurora, and Aurora Rizotto models and still use the Aurora Rizotto model.  The most important things in an instrument for me are intonation, transition between sounds, timbre besides acoustic power. I am quite pleased that Schagerl has met all of my expectations. I am grateful to Karl Schagerl in the first place and the entire Schagerl family for their support so far.

Which Schagerl instruments do you play?

Kissbone X Goldbrass Bell (2015-2017)
Aurora Yellowbrass Bell (2017-2018)
Aurora Rizotto Yellowbrass Bell (2018 – Currently)

Who influeced you in your carrier?

My mother encouraged me first to make a career choice. Three months before the conservatory exams, she prepared me for the music training required for the exam, and I have decided on my career plan thanks to her. I would like to thank from the bottom of my heart to my mother for her great guidance for my future. I would also like to express my deepest gratitude to my teachers Bedi Durham and Peter Körner, who have made valuable contributions in my life.

A short description of your career would be appreciated about your music and projects.

Emircan Birgül was born in Balıkesir, TURKEY in 1995. His trombone education started in 2006 at Hacettepe University Ankara State Conservatory. In 2010, he was selected to Doğuş Children’s Symphony Orchestra as part of Dogus Group Social Responsibility Project. In the same year, he took part in the Presidential Symphony Orchestra as the youngest guest artist.
 In 2012, he participated in Ankara Youth Symphony Orchestra and took part in various concerts.

He actively participated in master classes at Bilkent University with Joseph Alessi (2015) and Christian Lindberg (2016) in Ankara and he participated in master classes with Otmar Gaiswinkler(2016) and Jesper Busk Sørensen(2017) at Stift Melk, in the project of „Schagerl Brass Academy“ organized by Schagerl Meisterinstrumente in Mank, Vienna.

In the same year, he performed the trombone concerto of L. Grøndahl with Hacettepe University Symphony Orchestra which was conducted by Artun Hoinic. 

He actively participated in master classes with Armin Bachmann(2017) at “Ankara Brass Week” project in Ankara. 

In 2017, he successfully completed his trombone education at Hacettepe University Ankara State Conservatory in the class of Bedi Durham and he graduated with a status of “High Honor Student”. 

In 2018, he started the master education with Peter Körner at Anadolu University State Conservatory and same time he started the work at Ankara State Opera and Ballet Orchestra. At the end of the same year, he worked with Jamie Williams in a project of “Deutsch Türkische Jugendbrücke” at Hochscule für Musik und Theater Rostock, and 2 weeks later, he actively worked with world-famous trombone artist such as Mayumi Shimizu, Harrie De Lange, Dirk Ellerkamp, Matt Gee, Jose Milton Vieira, Zoltan Kiss and Peter Stainer at the “Leatzsch Trombone Festival”. 

In 2020, he was selected as one of the few to participate in the World Brass Association Wartburg Akademie project and he actively worked with Prof. Armin Bachmann. 

He continues master education at Anadolu University State Conservatory with Peter Körner and he is currently working as a trombone player at Ankara State Opera and Ballet Orchestra. 

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