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

Wie bist du zur Musik und zur Trompete gekommen?

Mein Vater war Kapellmeister, ich durfte mit 8 schon in die Musikschule, der Rest hat sich ergeben … Maurice Andre in Passau, Hakan Hardenberger in Salzburg und Joe Zawinul im Brucknerhaus gehört, das wollte ich dann auch machen !

Wer hat dich in deiner Laufbahn besonders geprägt.

Bo Nilsson, Thomas Stevens, James Thompson und Hans Gansch außerdem Miles, Chet und Clifford !

Du pendelst ja zwischen Klassik und Jazz. Hast du eine Vorliebe ?

nein … Musik ist Musik und leiwand oder fad

Welche Schagerl Instrumente sind bei dir regelmäßig im Einsatz?

Aglaea, Penelope, Hans Gansch B und Prototyp C aus dem Jahr 2000

Was sind deine aktuellen Projekte?

Aktuell genieße ich den Zustand, dass ich in den verschiedensten Projekten dabei sein darf oder eigene neue Projekte starten darf.
Pro Brass haben wir zu viert mit Jürgen Ellensohn, Walter Voglmayr und Gerald Pöttinger übernommen. Neue CD kommt im Mai 2021 mit viel Musik von spannenden neuen Komponisten und bezaubernden Arrangements. Näheres findet man auf unserer Website!

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/

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.

Wie bist du zu Schagerl gekommen und welche Instrumente sind im Einsatz?

Mit meinen Lechner Trompeten war ich eigentlich immer sehr zufrieden. Besonders mit meiner C-Trompete, Bj.1981. Allerdings waren die beiden Instrumente zu dieser Zeit (1999,2000) schon etwas in die Jahre gekommen und ich fing an, mich um Alternativen in meiner Nähe (zwischen Wien und Linz) umzuschauen. Anfangs versuchte ich mein Glück in der Nähe von Wels bei der Firma Kürner, aber ohne Erfolg. Gleichzeitig entwickelte Hans Gansch mit der Firma Schagerl Trompeten. Hans war immer mein großes Idol in jeglicher Hinsicht, menschlich, bläserisch, stilistisch, tonlich u.s.w. Zu dieser Zeit war ich schon in Wien bei den Symphonikern. Ich konnte einige Schagerl-Instrumente von Kollegen der NÖ Tonkünstler und auch von Studenten probieren, die mir zwar ganz gut gefielen, war aber ehrlicherweise nicht restlos begeistert. Zu diesem Zeitpunkt war ich mit meinen gut zwanzig Jahre alten Lechnertrompeten verwachsen und sehr kritisch mit neuen Instrumenten. Ungefähr zu dieser Zeit gab es in Mank ein Firmenjubiläum mit verschiedenen Konzerten und Hans fragte mich ob ich bei einem Konzert mit einer 10er Besetzung mitspielen möchte. Na sicher! Da bin ich immer gerne dabei! Damit war ich zum ersten Mal in Mank und lernte die beiden Schagerlbrüder kennen. In ihrer Werkstatt konnte ich viele fertige und auch halbfertige Instrumente ausprobieren und verliebte mich auf Anhieb in eine noch rohe W2001 C-Trompete. Zwei Tage später begannen mit den Symphonikern die Proben für eine Europareise, unter anderem mit der 6.Mahler, und seit dem spiele ich auf diesem Instrument. Aus diesem Konzert in Mank ging das Ensemble ABC hervor. Ungefähr ein Jahr später spielten wir irgendwo anders (ich weiß nicht mehr wo) ein Konzert und Hans drückte mir bei der ersten Probe eine B-Trompete in die Hand. Zu dieser Zeit spielte ich noch Lechner-B.  „Ich glaube, die passt perfekt zu dir!“ Er hatte recht! Dieses Instrument ist das einzige, das ich mir nicht selbst aussuchte, es kam einfach zu mir. DANKE HANS!

Wer hat dich in deiner Karriere geprägt?

Wie schon erwähnt natürlich Hans Gansch, aber auch alle, die in erster Linie Musiker und nicht nur Trompetenwahnsinnige sind. Das sind natürlich (Gottseidank!) viele! Meinen Vater und meinen Bruder muss ich da anführen und Papa möge es mir verzeihen: Auch der musikalische Input der Beatles und vieler anderer Popmusiker hat mich glaube ich sehr geprägt.

Dein musikalischer Werdegang?

Rainer Kübelböck wurde 1967 geborgen und erhielt im Alter von neun Jahren seinen ersten Trompetenunterricht bei seinem Vater. Ab 1980 studierte er zunächst am Konservatorium Wien bei Prof. Hermann Schober, später an der Wiener Hochschule für Musik und darstellende Kunst bei Prof. Carole D. Reinhart und zuletzt am Anton Bruckner Konservatorium in Linz bei Prof. Josef Eidenberger.

1985 wurde er als 2. Trompeter im Brucknerorchester Linz engagiert und wechselte 1989 als 1. Trompeter zum Radio Symphonie Orchester Wien. Von 1996 – 2018 war er Solotrompeter der Wiener Symphoniker. Neben seiner Tätigkeit als Orchestermusiker spielte er als Solist und Kammermusiker in zahlreichen Ensembles.

How did you get to know the Schagerl company?

My secret is to always surround myself with a professional team that allows me to grow continuously and that adds value to my career. 6 years ago it was my own team who told me about the brand and urged me to try their instruments. We traveled to Mank where I was able to test various models and instantly fell in love with the sound and the versatility. At first I decided on the “gansch horn light”, for my solo works; the “Nodus L” model, for section and commercial works; and the flugelhorn “aglaea”.

Which schagerl instruments do you play?

 I still use my inseparable “gansch horn light” and I am using the “Las Vegas” model, for section and commercial works. Also, recently I am enjoying the “1961” model, a jewel that adds to my collection. I have also changed the “aglaea” flugelhorn, for a Killer Queen Z, and I can say that: it is the best flugelhorn in the world.

Who influenced you in your career?

Since my beginnings, I learned since I was 9 years old from the hand of my teacher Manuel López, in my homeland, Sedaví (Valencia) to whom I owe everything. Later, when I was 20 years old, I moved to Barcelona where I studied the higher degree of trumpet at the Barcelona Conservatory, under the guidance of Jaume Espigoler, whom I have to thank for all the knowledge he gave me regarding the classical trumpet. And in that same period, I was able to participate in the workshops of Michael P. Mosmann, in Sedajazz, which gave me a much broader vision of the trumpet in the field of jazz and modern music. Artistically I have admired great trumpeters like Claudio Roditi, who, unfortunately, has recently left us; Wallace Rooney, Jack Wallrath or Arturo Sandoval, with whom I have had the great pleasure of being able to collaborate and share experiences. Miles Davis, Maurice André, Dizzy Gillespie or Woody Shaw are always my inspiration.

About your Carree:

I am spanish trumpet player. I have been linked to my instrument for 37 years and have learned about life through it. I have grown and traveled with a trumpet in my hands. She has been and is the filter of my life. It has always been my way of expressing myself. And these are some of the projects I’m touring with. Film Sessions, Carlos Santos Award for Best Jazz Album 2019. Movie songs, covered for Jazz quartet. A classic line-up that revives mythical pieces of film history such as Saturday Night Fever, Chinatown or Flash Dance and that has already been heard at the best festivals in the world. Symphonic Jazz Sketches explodes onto the musical calendar as an open-ended project, seeking to bridge the gap between two seemingly opposite genres. David Pastor’s solo trumpet provides the link between both styles, accompanied by a quartet of renowned jazz musicians and a classical orchestra. Timelapse It is the new project that I am still working on, with which I am very excited and that will see the light at the end of 2021. I put myself against the strings, adapting the great universal classics in jazz mode, with a chamber orchestra. Gladly some suggestions on your part The sound of the Schagerl instruments allows me to be myself and express my sonority in a natural way, to find my own voice

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.

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.

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.

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