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NEU! Thomas Gansch presents Stay Tuned – Pop & Jazz

26.01.2021

10 Original Duets for 2 Bb Trumpet oder Bb Trumpet & C Trombone von Otto M. Schwarz
Die Duette „Stay Tuned – Pop & Jazz“ beruhen auf einer Zusammenarbeit mit dem Trompeter Thomas Gansch. Stilistisch sind diese Werke in Funk, Pop und Swing komponiert und sicher eine Herausforderung für jeden Musiker sich stilgetreu der Interpretation zu nähern.

Ab sofort bei uns erhältlich!

Bei uns im Geschäft oder Online!

StayTuned400
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Leafar Riobueno – Schagerl Artist

26.02.2021

How did you get to know the Schagerl Company?
During my participation in the Venezuelan Brass ensemble, maestro Thomas Clamor spoke to us about musical technical aspects, referring to a color and sound tone that we should look for when interpreting certain music. That connection between the orchestral system and the brand made us receive some donations of instruments with rotor systems that later we were able to differentiate the timbral qualities and achieve what the maestro Clamor wanted. This was approximately in 2006 but I am wrong.

Which Schagerl Instruments do you play?
I have had the great opportunity to play with many models, from piston trumpets to piccolo, but I am currently using the Roman Impire model which is a complete trumpet for study and use in small ensembles.
Also the piccolo Berlin, which is one of the instruments with the highest timbre quality that is unique so far. Also, the different possibilities that can be adapted to musical needs.

Who influenced you in your career?
Many people have and are part of my influence, but without a doubt the teacher Jose Antonio Abreu, as well as Claudio Abbado and for me the teacher Winton Marsalis. These three are an example of life and sacrifice for music and the good of youth.
There are others but they do not come mainly to the artistic subject, as for example Jesus Christ.

About your Career.
My training was always in Venezuela, where I had the opportunity to receive and be monitored by the greatest instrumentalists in the world.
After studying in distant houses of study in Caracas-Venezuela, I became part of the Venezuelan Brass Ensemble and the Simon Bolivar Orchestra of Venezuela, the latter was one of the greatest experiences as a professional since it allowed me to meet many musician friends, which motivated me to continue growing and also to create different groups in may country through my music.
I am currently as a trumpet professor at the University of Talca-Chile.

LeafarRiobueno
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Corneliu Meici – Schagerl Artist

19.02.2021

How did you hear about Schagerl?
15 years ago I heard about Schagerl from Walter Hilgers, former tuba player with German Brass and Wien Philharmonic, he was conducting our philharmonic at that time. He asked me why we don’t use rotary trumpets, because at that time in our country we used only piston trumpets. In 2008 Schagerl had an expo in our country,but unfortunately I was away with our philharmonic on a tour in Holland, but while I was on tour, Dan Simule, the representative for Schagerl in Romania, loaded his car with trumpets and came to us in Holland so I could try them. We even played in the Concertgebow hall with those trumpets and I fell in love with them and we ordered 4 trumpets for our orchestra which came very fast and we still use them, they still look like new even after all those years, and after a few years we ordered another 6 trumpets to add to the arsenal. Some of my colleagues from Romania tried the trumpets and ordered some for them ass well.

What instruments do you use?
Schagerl Bb Berlin gold plated
Schagerl C Berlin heavy gold plated
Schagerl piccolo Berlin gold plated

Who influenced your career?
As a child I was influenced by my brother who played in the church brass band, a band that had very good plates even players from the local philharmonic. I was takes to the music school where I had a very good teacher, Werosta Werner, and in my highschool years I’ve had as a teacher the principal trumpet player(at that time) Lazar Moldovanu, who had a very important role in my development as a trumpet player and even helped me play alongside him and encouraged me to participate in many contest around the country. In my collage years I’ve learned with Sergiu Cârstea, principal trumpet with the National Opera in Timișoara and soloist, and for the bachelor’s degree, which I did in Cluj, I’ve learned with Pozdarescu Gabriel. After I finished my studies I participated in a international contest in Timișoara where I received first prize and also a chamber music contest where, alongside our brass quintet, we also received first prize. I can also say that a great influence on me were trumpet players like: Wynton Marsalis, who I listened to as a young child and seen many videos of him, Maurice Andre, Mathias Hoffs, Gabor Tarkovi, Hans and Thomas Gansch, Reinold Friedrich, Phil Smith,Sergei Nakariakov,Alison Balson,Arturo Sandoval,James Morrison etc, and also my participation in different masterclasses and courses with trumpet players and conductors from around the world.

About my career
I began playing trumpet at 10 years old, I finished highschool in Timișoara, collage also in Timișoara and bachelor’s in Cluj Napoca.
I am employed with Timișoara State Philharmonic since 1997 and from 2005 I am principal trumpet. I collaborated with many orchestras from Romania and other countries and had concerts and tours in over 30 countries and 5 continents.
I played as soloist with George Enescu Philharmonic from Bucharest, National Youth orchestra of Romania, Banatul Philharmonic,etc, interpreting works like: J.Haydn, J.N.Hummel, A.Arutunian, G.F.Telemann, G.Torelli, A.Vivaldi, G.F.Handel,D.Sostakovich,Siegfried Matthus, etc.
Since 2017 I am asociate professor with West University in Timișoara.
I am honored to take this interview and I wish to be an encouragement for the younger generation and also for all my trumpet playing friends from around the world. I totally recommend Schagerl trumpets, as they are the best for me.

CorneliuMeici
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Thomas Seitz – Schagerl Player

12.02.2021

Seit wann spielst du Schagerl Trompeten?
seit ca. 6 Jahren

Wie bist du zu Schagerl gekommen?
Ich bin zu meiner ersten Schagerl Trompete gekommen weil ich mich auf der B-Trompete verändern wollte, vieles bereits über die sehr guten Instrumente gehört hatte, und nicht zuletzt auf Empfehlung von Gabor Tarkövi. Die hervorragende Ansprache, Intonation und auch die Drehventilmaschine haben mich davon begeistert.

Welche Instrumente sind im Einsatz?
B-Trompete Model Hans Gansch; B-Flügelhorn Dione, (auf der C-Trompete spiele ich meine Monke aus dem Jahr 1997); meinen Anfängerschülern empfehle ich oft die Academica und als Einstieg in Drehventiltrompeten das Modell Salzburg

Wer hat dich in deiner Karriere geprägt?
Hermann Schwarz als mein erster Trompetenlehrer hat meine Liebe zur Trompete entdeckt und immer gefördert. Er gab mir bereits sehr jung immer wieder die Möglichkeit als Solist bei meinem Heimatverein der Musikkapelle Autenried, welche er lange geleitet hat, aufzutreten. Wir sind mittlerweile befreundet und tauschen uns regelmäßig über viele musikalische Dinge aus.
Ein prägender Moment war auch der Besuch eines Konzertes von Maurice André. Er war ab dann mein großes Vorbild.
Während meines Instrumentalpädagogikstudiums habe ich sehr viel von meinem damaligen Hauptfachdozenten Wolfgang Siegert (ehemaliger Solotrompeter Staatstheater Augsburg) gelernt und auch persönlich mitgenommen. Für meine pädagogischen Tätigkeiten hat mich Ulrich Köbl sehr geprägt. Ich profitiere heute noch von seinen herausragenden Methodik/Didaktikseminaren und der Lehrpraxis welche ich bei ihm erlernt habe. Immer wieder lese und studiere ich die alten Unterlagen von ihm. Natürlich habe ich während meines Studiums nicht geahnt, dass ich einmal sein Nachfolger am jetzigen Leopold-Mozart Zentrum in Augsburg werden würde.
Bereits während meines ersten Studiums am Konservatorium nahm ich auf Anraten von Ulrich Köbl Privatunterricht bei Uwe Kleindienst, damals noch Solotrompeter an der bayrischen Staatsoper in München. Von Uwe habe ich unglaublich viel gelernt. Als er dann im Jahr 2000 Professor an der Hochschule für Musik Nürnberg/Augsburg wurde absolvierte ich 3 Jahre ein künstlerisches Studium bei ihm. In dieser Zeit machte er mich zu dem Trompeter der ich jetzt sein darf. Ich denke, die Zeit während meines Studiums in Rom und die Studiumszeit bei Prof. Kleindienst haben mich am meisten geprägt. In Rom hatte ich z.B. einmal das Erlebnis mit Ennio Morricone zusammen zu arbeiten.
Das wichtigste war aber, dass meine Eltern mich immer unterstützt und ermutigt haben.

Dein musikalischer Werdegang?
Thomas Seitz begann das Trompetenspiel mit 10 Jahren an der Musikschule in Ichenhausen bei Hermann Schwarz (spielt eine Schagerl Berlin). Er studierte bei Wolfgang Siegert am Leopold-Mozart-Konservatorium in Augsburg und an der Hochschule für Musik in München Trompete.
Mit dem Gewinn zweier Stipendien im Jahr 2000 folgte ein gut siebenmonatiger Studienaufenthalt in Rom, wobei er sich hier vor allem in der Kammermusik und als Solist weitergebildet hat. In den Jahren 2000 – 2003 studierte Thomas Seitz an der Hochschule für Musik.
Nürnberg-Augsburg bei Prof. Uwe Kleindienst und legte die künstlerische Diplomprüfung im Fach Trompete mit sehr gut ab. Als Solist gastierte er bereits in Rom, Kopenhagen, New York, New Jersey, Pittsfield, Long Island, München, Stuttgart, Assisi und vielen weiteren europäischen Städten.
Derzeit ist er Dozent am Leopold-Mozart-Zentrum der Universität Augsburg, Trompetenlehrer/Fachbereichsleiter Bläser an der Verbands-Musikschule Langenau und gefragter Gastprofessor/ Solist bei internationalen Meisterkursen und Festivals.

02_Thomas-Seitz
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Jonathan Bisulca – Schagerl Artist

05.02.2021

How did you get to know the Schagerl company?
In August 2016 I traveled to Berlin to take private lessons with Gábor Tarkövi, who is a world trumpet legend and someone I have always admired. One day, in the middle of the lesson, he lent me his instrument, and I was absolutely fascinated. Then, in 2019, I went to the factory and had the opportunity to spend an amazing day testing all the models of the brand, with their different characteristics. It is very evident that, in the Schagerl Company (Schagerl Family), each instrument is made with passion, dedication and a constant search for excellence.

Which Schagerl instruments do you play?
Trumpet in C “Berlin Heavy Z
– It has a remarcable richness of harmonics, a spontaneous and precise response throughout the whole register, and an unprecedented projection for a classic trumpet. The tuning of this instrument is superlative, and it has a great dynamic range.
Trumpet in B b „Berlin Heavy“ – It is the perfect tool for daily study. Especially effective in different symphonic and chamber ensembles (mainly brass ensembles), it has a rich and enveloping sound. This instrument is consistent for the different needs
of the professional trumpet player.
Bb Piston Trumpet „Las Vegas“
– Extremely versatile instrument. It feels super easy when playing – especially in the high register- because the air flow runs without any interruption. However, its timbre is dark and warm, which makes it ideal for the symphonic orchestra, as it blends very well with strings and woods. In all models, the machine is simply perfect.

Who influenced your career?
From an early age, my dad made me listen to Maurice André records and Philip Smith (NY Phil) cassette recordings. They really awakened a love for the trumpet in me. I met Wynton Marsalis some time later and he was also very inspiring. Lastly, Gábor Tärkovi and his incredible and prolific history as lead trumpet in the Berlin Philharmonic marked my career forever.

A short description of his career.
Jonathan Bisulca began his trumpet studies at the age of 8. In 2005 he joined the Academic Orchestra of the Colón Theater, a
symphonic ensemble with which he performed in some of the most prominent concert halls in Buenos Aires. In 2008 he was appointed as First Trumpet Soloist of the Symphonic Band of the Argentine Army.
In 2011 he traveled to Germany, where he took advanced lessons with Prof. Martin Wagemann, Principal Soloist of the Deutsche Oper Berlin. Upon his return, he was invited to play in the most outstanding symphonic orchestras in Argentina (National Symphony Orchestra, Colón Theater Philharmonic Orchestra, La Plata Theater Orchestra, etc). He also performed as a soloist in different auditoriums, pieces such as the J. Haydn Concerto, Neruda’s Concerto, Vivaldi’s Concerto for Two Trumpets, the
Venice Carnival, among others.
In the following years he took masterclasses with Professor Wynton Marsalis, and Reinhold Friedrich (International Concertists), and Gábor Tärkovi (Principal Soloist of the Berlin Philharmonic Orchestra). In 2016 he won the position as Principal Trumpet Soloist at the Argentine National Symphony Orchestra.
Since 2019 he is a Schagerl artist.

JonathanBisulca
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Piotr Schmidt – Schagerl Artist

02.02.2021

How did you get to know the Schagerl company?
I have been aware of Schagerl trumpets for ever but I haven’t had the opportunity to own one until recently. In 2018, I took part in a symphonic project as composer and soloist. I sat next to a trumpeter who, I discovered, played the Schagerl Ganschhorn Gold Brass, size medium. I asked to try it and got hooked. It wasn’t until 2020 that, thanks to the great classical trumpeter Bartosz Gaudyn who represents Schagerl in Poland, I was able to travel to the factory in Monk, Austria, and test the best of the many models they had. I travelled expecting to choose the Spider: it sounds great and also looks awesome. But after testing various models I picked the Ganschhorn in Large. It’s a fantastic instrument with lots of tricks up its sleeve I’m excited about, and it looks the part, too. I’m glad and grateful that Bartosz travelled with me to Austria and enabled me to test all these trumpets.

Which instruments do you play?
I play the Schagerl Ganschhorn, but am thinking about the James Morrison, and for travelling, about Schagerl’s pocket trumpet

Who influenced you in your career?
My style has had many influences. As a teenager I was naturally drawn to Miles Davis, but also Armstrong, Lee Morgan, Dizzy Gillespie. Then, Wynton Marsalis was my model for a while and after that the great Poles – Tomasz Stańko, Piotr Wojtasik – inspired me. Next came Roy Hargrove, Nicholas Payton and recently, Ambrose Akinmusire. I would say that I owe the greatest debt to Miles, Stańko and Akinmusire.

A short description of your career:
I was born to a family with musical traditions. My mother’s a choral conductor by education; she has always been a great interpreter of classical piano at home, and a great sight reader. After raising the kids, she became a music educator and a school concert organiser on behalf of the Silesian and the Opole Philharmonics. My dad is a well-known jazz historian, author of a three-volume history of jazz which, since the late nineties, has been the textbook of choice at many jazz departments in Poland. He was a pianist and swing band leader in the 1940s, and afterwards became a leading Polish jazz and music educator, host of countless concerts and festivals, and jazz critic at various music publications. I was the only one of their three children to study music and I quickly started winning jazz competitions in Poland and Europe. After I won all that I could, I focused on my recording career

Currently, I’m not only a jazz trumpeter, but also a composer, band leader, music producer and publisher, lecturer at the Jazz Institutes of the University of Applied Sciences in Nysa and the Katowice Academy of Music, where in 2016 I’ve gained a doctoral degree in Music. In 2006 I won a scholarship to University of Louisville, Kentucky and early in my career (2006-2010) I won many individual awards and Grand Prix’s now being one of the most important jazz figures in Poland and middle Europe.

To date, I have produced and published twelve own albums, including three with Schmidt Electric. For the past eight years I have ranked among the best three jazz trumpeters in the annual Jazz Top poll of the Jazz Forum European magazine. One of my latest projects: Piotr Schmidt Quartet – Tribute to Tomasz Stańko is considered by Wolf Mueller (Sony Music Germany) as one of the 10 best albums from 2018 in the World!)
Among my many collaborators are: Walter Smith III, Matthew Stevens, Alex Hutchings, Ernesto Simpson, Ed Partyka, Zbigniew Namysłowski, Jan Ptaszyn Wróblewski, Dante Luciani, Francesco Angiuli.
As publisher and producer, I have co-created 
SJRecords (www.sjrecords.eu) through which, from 2011, there have been published 52 albums well regarded by music fans and professionals, critics and music journalists

PiotrSchmidt
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Berima Amo – Schagerl Artist

01.02.2021

How did you get to know the Schagerl company?
Through social media & Online videos

Which instruments from Schagerl do you play?
Schagerl Spyder

Who influenced you in your career?
E. T. Mensah, Fela, Hugh Masekela, Miles Davis, Chet Baker, Lee Morgan, Quincy Jones, Dave Foster.

A short description of your career would be appreciated!
A trumpet master who has become West Africa’s ambassador for its rich musical traditions. Berima Amo plays songs that celebrate UNITY, JOY and LIFE through West African dance rhythms fused with jazz and soul.
Berima Amo’s catalog consists of 5 albums, 2 EPs and 3 singles. He has traveled extensively through America, Europe and Africa giving performances and workshops teaching the joys of African music. Berima Amo’s passion is to fuse different musical genres and to collaborate with artists from different cultures to foster peace and harmony in the world. He started a foundation BETTER MUSIC AFRICA to help groom African bands/artists to perform at festivals across the globe and to foster relationships between Western and African musicians.

BerimaAMOsw
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Wilfrido Galarraga – Schagerl Artist

28.01.2021

How did you get to know the Schagerl company?

I got to know the Schagerl brand of instruments through the national system of youth and children’s orchestras of Venezuela. I was in a seminar with maestro tomas Clamour and the Venezuelan brass ensemble, there they assigned me my first Schagel vienna trumpet in 2005. With this trumpet I played with the Venezuelan brass ensemble led by Maestro Tomas Clamour, with the Simón Bolivar symphonic orchestra conducted by maestro Gustavo Dudamel, and I was also able to perform my undergraduate recital in 2010 at the Simón Bolivar music conservatory.
I got to know the factory as such in 2008 on a tour to Austria in 2008 with the Simón Bolivar Symphony Orchestra of Venezuela. At the Schagerl factory, all trumpeters in the orchestra were given the opportunity to test various types of trumpets.
I have visited the factory about 5 or 6 times since 2008, with the Simón Bolivar symphonic orchestra, with the Venezuelan brass ensemble and with the Simón Bolivar trumpet ensemble. From that time to the present, I have been able to see the progress and development of the instruments in each of the visits.

Which Schagerl instruments do you play ?

Trumpet in C Vienna Dorada
C Horsdorf Heavy Silver Trumpet
Trumpet in B flat Horsdorf Silver Plated
Trumpet in B flat Horsdorf Heavy Gold
Trumpet in B flat Roman Empire without bath
trumpet in E flat London brass silver series
T-200L academic pocket B flat trumpet

And for hobby:
Schagerl Alto Saxophone without bath A-1CB
Schagerl Soprano Saxophone curved gold Superior Acedémica SC-1L

Who influenced you in your career?

Both in Caracas, which is my hometown, and in Barlovento, where my maternal and paternal family is, I had musical influence. My father played a lot of Latin music (Salsa at home, and my brothers played the cuatro that they learned from my uncles in Barlovento. At school my brother played the drum, I followed in his footsteps and entered the Fe y Alegría school student in La Vega (Caracas). There I played the drums of parranda and Christmas gifts, I sang in the school choir and I was a soloist in the choir, I also learned to play the mandolin a little, my teacher in that school was Professor Zenon. The school had a link with the orchestra system. At age 10 I received classes in music theory, sweet faluta and singing at the Simón Bolivar music conservatory. From that time on I wanted to play the trumpet since I was influenced by my uncle Nestror Ruiz (Trumpeter from Barlovento). At the age of twelve I began my studies of music in the orchestra system again, but this time at the Montalban nucleus, there I received classes in music theory, singing and began to study the trumpet.
In Caracas I was doing my academic studies in the orchestra system, but my vacations were always in San José de Barloveno. My uncle Nestor Ruiz may he rest in peace (Trumpeter and Teacher) he gave me trumpet classes, he gave me books on trumpet technique and also instruments and accessories, He also took me to play in the region’s groups (group of partying dicembrina and in the precessions of Easter). Besides that my uncle was an influential teacher in my career, from a very young age I saw how a whole mass of people moved with his instrument next to the trombonist Chuo in the parrandas (December parties eb Barlovento. My uncle played in the week-long processions Santa la first trumpet demonstrating a complete range. He also played salsa with various groups from the windward region, Venezuela and internationally. He also recorded records with various groups in the country.
Something that also influenced me was the fact that I saw the national children’s orchestra of Venezuela on television in 1996. This orchestra was found in Brazil during the visit of Pope John Paul II. That orchestra in which I began to be a part since 1998 was and is a great influence for me.
Wynton Marsalis, Arturo Sandoval, James Morrinson, Hans Gansch, Tomas Gansh, Maurice André, Dizzie Gillespie, Louis Armstrong among others … they are trumpeters that I have admired all my life, and they have been and continue to be for me.
Part of the influence is also the classes received by the Venezuelan and international trumpet teachers in the national system of orchestras founded by maestro José Antonio Abreu. Among the teachers we can mention: Maribel Llamosa, Edwin Gonzales, Eduardo Manzanilla, Luis Melos, Jairo Hernandez, Leonardo Mendez, Rafael Zambrano, Alfredo Dadona, Ivan Sanz, Allan Cox, Omar Guerra, José María Ortí Soriano, Antonio Martí, Thomas Clamor, Vladimir Kafelnikov, Michael Tunnel, Marc Ress, Gabor Tarkovi, Martin Kreissner, Lucas Beno, among others.
Each teacher of the system is and has been an influence on me: Ulises Ascanio, Jesus Ignacio Perez Perazzo, Alejandro Orellana, Maribel Llamosas, Laura Quijada, Rodolfo Sanglimbeni, Marcos Carrillo, Andres Ascanio, Gustavo Dudamel and of course the Maestro José Antonio Abreu.
I also thank my colleagues: Gian Carlos Castro, Gaudy Sanchez, Francisco Pacho Florez, Tomas Medina, Leafar Riobueno, Victor Caldera, Luis Alfredo Sanchez, Freddy Cardenas, Andres Gonzales, Francisco Grillo, Cesar Juares, William Rada, Josmar, Angel Peña , among others. As well as students who are now colleagues: Roderick Alvarado, Grehry Barceló, Erick Álvares, Eugenio Carreño, Oscar Rodriguez, Omar Villamizar, among others.

A short description of your career would be appreciated.

I began to study the trumpet in the montalban nucleus at the age of 12 in 1997. In 1998 I began to play with the Venezuelan national children’s group (Actual Simón Bolivar Symphony Orchestra of Venezuela) and went on to study at the Simón Bolivar music conservatory until the year 2010. Most of my career has been spent in the national orchestras system. Played in the Montalban Children’s Orchestra, Venezuelan Children’s Orchestra, Andrés Bello Youth Symphony Orchestra, Caracas Youth Orchestra and I have been playing in the Simón Bolivar Symphony for 16 years. At the same time, he played in chamber music groups within the same orchestral system such as: Montalban Brass Quintet, Caracas Brass Brass Quintet, Penta Brass Brass Quintet, Brass Ensemble of the Venezuelan National Youth Orchestra, Venezuela Metal Ensemble (Current), Simón Bolivar Trumpet Ensemble (Current). I have also played with the Simón Bolivar Conservatory Band, Symphonic Rock Orchestra, Simón Bolivar Latin-Caribbean Orchestra.
Outside the system, I have played with the Orquesta Gran Mariscal de Ayacucho, Orquesta Sinfónica Venezuela, Orquesta Municipal de Caracas.
In the world of popular music I have played with the dance orchestra (Elena and her trajectory, Naty and her orchestra, Caribbean Magic and also in groups for weddings.
With these words I want to thank Karl Schagerl and his entire team for their great support in the provision and financing of various instruments, as well as in the presentation of alternatives in terms of trumpets, mouthpieces and accessories that have facilitated my musical work in the different groups both inside and outside the orchestra system.
Karl Schagerl’s help goes beyond the mere use of his instruments. The classes received by members of the brand such as Gabor Tarkovy, or touching and receiving information from teachers Thomas Gansh, Gabor Tarkovy, James Morrinson, Raul Junquera is an added value. In addition, royalties from cd, dvd of artists belonging to the brand, cases, flannels among other utensils. In addition to supporting the Simón Bolivar Trumpet Ensemble on all their tours, concerts and presentations.

Visiting the Schagerl factory in 2010, the support received by Karl Schagerl in terms of instruments in 2013 and seeing James Morrinson play live are unforgettable moments for me.
Thanks to the support of Mr. Karl Schagerl, my daughter started studying the soprano saxophone a couple of years ago, now my nine-year-old daughter already plays the alto saxophone. Also, Mr. Karl gave me a pocket trumpet for my daughter when she was a baby.
To conclude, I would like to say that Mr. Karl and his team have provided me and many Venezuelans with instruments that are tools that allow us to educate ourselves, develop ourselves, and be busy.

Wilfrido-Galarraga
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Andrei Kavalinski – Schagerl Artist

26.01.2021

Wie bist du zu Schagerl gekommen?

Über die ewige Frage „Welches Instrument soll man wählen?“ wissen wir alle. Vom ersten Moment an hatte ich diese Frage nie wieder, als ich die Schagerltrompete in meine Hände nahm. Der Weg nach Mank war eine intensive Suche nach Freiheit im Spiel und eine Erweiterung der farbenreiche Klangpalette. Meine Aufmerksamkeit erregte die Performance der Künstler, die Schagerl repräsentierten – Hans Gansch, Gábor Tarkövi, James Morrison… Ich war überrascht von der Offenheit und den einzigartigsten Farben des Klanges. Es eröffnete für mich ein neuer Horizont in der mir damals unbekannten Trompetenperformance – SCHAGERL MEISTERINSTRUMENTE. Und dann passierte alles wie in einem Roman. Ich habe diese Frage kurz beantwortet, da unser Interview nicht alle einzigartigen und unvergesslichen Momente abdeckt, die ich bei der Auswahl meines neuen Instrumentariums erlebt habe.

Welche Instrumente sind im Einsatz?

Im Moment spiele ich auf der

  • Schagerl B-Trompete Modell „Berlin“ heavy
  • Schagerl C-Trompete Modell „Berlin“ heavy
  • Schagerl B-Trompte Modell „Las Vegas“
  • Schagerl C-Trompete Modell „Charis“
  • Schagerl Es-Trompete Modell „Phoibe“
  • Schagerl Bb/A Piccolo Trompete Modell „Berlin“
  • Schagerl Bb Fluegelhorn Modell „Wien“

Wer hat dich in deiner Karriere geprägt?

Meiner Meinung nach hatte ich die besten Lehrer, die ich mir nur wünschen konnte und ich spreche nicht nur von Trompetern, sondern auch von solch genialen Musikern, auf deren Aufnahmen meine eigene Sicht auf die Welt um uns herum entstanden ist. Der große Heinrich Neuhaus mit seiner Klavierschule für darstellende Kunst, David Oistrakh mit seinen unübertroffenen technischen Fähigkeiten, Enrico Caruso und die Deutsche Schule für Gesangsdarbietung sowie Dirigenten, die uns die reichste Welt der Orchestermusik eröffnen und natürlich meine erstaunlichen Professoren Nikolai Volkov und Reinhold Friedrich.

Wie war dein Werdegang?

Ich habe angefangen, als ich 10 wurde die Trompete zu studieren in meiner Heimatstadt Minsk beim Professor Nikolai Volkov. Es war ein Glücksfall für mich – er war ein fantastischer Lehrer, der mir die Grundlagen und Technik beibrachte und in die Deutsch-Russische Trompetentradition einfuhr. 8 Monaten nach Beginn meines Studiums habe ich mein erstes Recital fürs Publikum gespielt und im darauf folgenden Jahr den Hummel Konzert mit dem Philharmonischen Staats Orchester  live im Fernsehen. Einige Monate später folgten meine erste Aufnahmen mit dem Staats Rundfunk Symphonie Orchester: Konzerte von Haydn und Gorelova (letzter wurde mir gewidmet) und viel Kammermusik mit Klavier, darunter Werke von Brandt, Honegger, Sarasate und Arban. Ein Jahr später begann ich intensiv auf der Piccolo Trompete zusammen mit dem Philharmonischen Staats Kammerorchester zu arbeiten. So spielten wir Konzerte von Telemann, Leopold Mozart, Fasch, Händel, Torelli, Vivaldi, Michael Haydn, Tartini, Molter, Hertel, Albinoni u.a.
Mit 16 wurde ich Solo Trompeter im Symphonie Orchester der Staatsoper, dem größten und wichtigsten Orchester im Lande, das auch sehr viel großes symphonisches Repertoire spielte.
Ich wollte mich weiter entwickeln und es war mein Wunsch unbedingt die traditionsreiche Deutsch-Österreichische und Französische Trompetenschulen zu erlernen. 1998 ging ich nach Deutschland und habe direkt nach meiner Ankunft angefangen als Solo- und Wechsel Trompeter im Dortmunder Staatstheater.
Einige Monate später habe ich beim Prof. Reinhold Friedrich in Karlsruhe angefangen zu studieren. Es war ein weiteres Meilenstein in meinem Leben. Reinhold war phänomenal in jeder Hinsicht. Wir haben zusammen das gesamte Solo und Orchester Repertoire durchgenommen. Es war ein anderer Welt, die sich für mich auf einmal öffnete. Durch ihm lernte ich die Konzerte von Zimmermann, Davies oder Skalkottas kennen. Reinhold hat mir gezeigt, wie man Barock und klassische Literatur stilistisch interpretiert, bewusst folgend die Fußstapfen der Pionieren wie Harnoncourt, Leonhardt und Pinnock.
Ich war ständig auf der Suche nach einem passenden Instrument und Mundstück fürs dementsprechende Repertoire. Es war mir klar, dass ich die Stabilität beim wechseln von einem zu den anderen Instrument brauche. Eine bessere Gelegenheit, als sich und meine Equipment im Wettbewerb zu testen, wo man ständig die Instrumente wechselt, gab es kaum. So beschloss ich während meiner Studiums teil zu nehmen an Großen Internationalen Trompetenwettbewerben und wurde Gewinner von Wettbewerben wie Maurice André (Paris), Toulon, ITG-Ellsworth-Smith, Moskau, Porcia, Tromp Muziek Biennale (Eindhoven) sowie Preisträger des Richard-Wagner-Preises (Bayreuth), des Timofei-Dokshizer-Preises (Moskau), des Karlheinz-Stockhausen-Preises (Deutschland) u.a.
Mit 22 bekam ich die Stelle des Solo Trompeters im Symphonie Orchester des Belgischen Rundfunks. 2014 wurde ich Super-Solist im Orchester National de France (Paris).
Ich finde es sehr wichtig um die Tradition weiter zu unterstützen und fortzusetzen indem man sich auseinandersetzt mit neuen Klängen und Techniken. Ich arbeite gerne mit zeitgenössischen Komponisten. In diesen Rahmen entstanden bereits Werke für Trompete mit dem Symphonie Orchester, Trompete Solo und Trompete mit gemischter Besetzung.
Als Solist und Kammermusiker trete ich häufig auf und gebe weltweit Meisterkurse.

Wie wichtig ist für dich die Arbeit mit Studenten? 

Ich finde es sehr wichtig. Man muss die junge Generation unterstützen. Die heutige Studenten sind die Profis von Morgen. Als Student kann man profitieren von den wunderbaren Möglichkeiten die sich anbieten auf verschiedenen Plattformen wie Meisterkurse, Wettbewerbe, das Spielen im Ensemble und außer Trompete sich auch andere Instrumente, insbesondere den Gesang anzuhören. Außerdem ein regelmäßiges Austausch bringt oft neue, positive Ideen. Es ist ebenfalls wichtig außer Musik sich für die anderen Kunstformen zu interessieren wie Bücher, Museums- und Theaterbesuche, Bildende Kunst und vieles mehr – zurück in der Musik man ist stärker beim Aufführen indem man mehr Ideen hat die Geschichte zu erzählen. Und natürlich es ist sehr wichtig sich gesund zu ernähren, regelmäßig Sport treiben, in die Natur gehen und das Leben mit der Familie und Freunden genießen. So ist man im guten Balance.

Was kannst du der neuen Trompetergeneration auf dem Weg mitgeben?

Ich bin in der Tradition eines malerischen Blicks auf die komplexe Welt um uns herum aufgewachsen. In jedem Moment des Lebens Schönheit zu finden, sowohl angenehmen als auch schwierigen, weil sie uns stärker und besser machen sollen. Sie haben eine Frage: „Wie können sie nützlich sein? ”. Das Leben ist uns gegeben zum Studium und zur Entwicklung als Person und schwierige Momente sind eine Art Prüfung, die wir an das Universum weitergeben. Betrachten Sie es nicht als Bestrafung, sondern als Gelegenheit, zu einem neuen Schritt in Ihrer Entwicklung aufzusteigen, und dann werden neue Farben in Ihr Leben eintreten und die silbernen Fäden Ihrer Wünsche werden Musik spielen, die sich zu erfüllen beginnen.

AndreiKavalinski