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

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.

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.

Schagerl C-Trp – Berlin:

“Die Berlin C-Trompete ist auf jeden Fall ein Glücksgriff für mich. In allen Lagen ausgeglichen im Klang und vor allem im Orchester immer wieder eine große Freude. Laut und leise, lyrisch oder rustikal, dieses Instrument ist ein Zugpferd im Orchester. Vor allem das romantische Repertoire macht mit diesem Instrument unglaublich viel Spaß zu spielen.”

Schagerl B-Trp – Berlin:

“Meine Berlin B-Trompete ist eine eher Leichte. Vor allem brauche ich diese Trompete für Solo- und Ensemblekonzerte. Die Ansprache ist auf den Punkt und man hat eine Wahnsinns Flexibilität. Die Höhe ist spielend zu erreichen und der runde Ton hilft sich gut mit seinen Kollegen zu mischen.”

Über Manuel:

Manuel Mischel ist koordinierter Erster Trompeter der Symphoniker Hamburg seit 2017.

Der 1992 in Uelzen geborene Trompeter Manuel Mischel erhält seinen ersten Trompetenunterricht im Alter von acht Jahren im heimischen Posaunenchor. Nach dem Jungstudium bei Prof. Matthias Höfs, an der Hochschule für Musik und Theater Hamburg, folgt dort auch das Bachelor-Studium.

Schon in jungen Jahren sammelt Manuel Orchestererfahrungen in den Landesjugendorchestern Niedersachsen und Bremen, dem Landesjugendblasorchester Niedersachsen, dem Bundesjugendorchester, der jungen norddeutschen Philharmonie, sowie beim Schleswig-Holstein Musik Festival in der Orchesterakademie und dem Zermatt Musikfestival.

Nach dem Orchesterpraktikum bei den Symphonikern Hamburg, folgen Engagements als Solo-Trompeter bei den Lübecker Philharmonikern und dem philharmonischen Orchester Kiel. Manuel ist in der Spielzeit 2016/2017 Stipendiat der Karajan-Akademie bei den Berliner Philharmonikern und erhält dort Unterricht von Tamás Velenczei und Martin Kretzer. Die Karajan-Akademie verlässt Manuel allerdings vorzeitig um seine Stelle bei den Symphonikern Hamburg anzutreten.

Als Gast spielt Manuel in Orchestern wie dem NDR Elbphilharmonieorchester, der Hamburgischen Staatsoper, dem Mahler Chamber Orchestra und den Berliner Philharmonikern.

Neben der Orchestertätigkeit engagiert sich Manuel auch solistisch und kammermusikalisch, besonders das Spielen im Blechbläserquintett bereitet ihm großen Spaß. So gründete er 2019 zusammen mit ehemaligen Kollegen der Karajan-Akademie der Berliner Philharmoniker das Quintett »SpiriladoBrass«.

Manuel ist mehrfacher Preisträger diverser Wettbewerbe, u. a. erster Preisträger des Wettbewerbs der Elise Meyer-Stiftung Hamburg, Bundespreisträger des Wettbewerbs »Jugend musiziert«, sowie erster Preisträger beim internationalen Blechbläserwettbewerb um die Europastadt Passau.

Außerdem ist Manuel Stipendiat der Studienstiftung des deutschen Volkes.

The Kissbone with the Fontana slide:

It’s a marvelous instrument. I have no doubt about it, since I play Schagerl instruments and plus the intense technical work, made my playing so much better.

the air goes through the instrument easy and relax. The more you play the rounder the sound get. My feeling with the instrument is that I’m playing with him together. He helps me to make the technical stuff more easy. Really a High-Class instrument.

Vita:
Born in 1992 in Guatemala, Pablo Marin-Reyes began his studies in trombone at the age of 15
in the National Conservatory “Germán Alcántara“ in Guatemala City. Marin-Reyes completed
his Bachelor’s Degree with M. M. Martin Bonilla, at the University of Costa Rica, UCR.
He is currently living in Salzburg, Austria, and studying the Master Program with Univ. Prof.
Andreas Pfeiler at the Musik und Kunst Privatuniversität der Stadt Wien. Marin-Reyes is also
being coached by his friend and mentor, the renowned international soloist Lito Fontana.
Pablo Marin-Reyes has played with several ensembles and orchestras in Central America: Youth
Orchestra Jesús Castillo, Guatemala National Symphony Orchestra, University of Costa Rica
Symphony Orchestra, Heredia Symphony Orchestra, Costa Rica National Symphony Orchestra,
Central America and the Caribbean Youth Symphony Orchestra and Ensemble Acrobat for
Modern Music (Salzburg).
Awards and Competitions:
● 2020, 1st. Price, Category 5, at the Innovatrombone.com Online competition.
● 2017, finalist, National competition “Young soloists” Costa Rica National Symphony
Orchestra.
● 2016, winner, “Soloists Competition“ Universidad of Costa Rica Symphony Orchestra.
● 2015, winner, “Recital de Honor“ University of Costa Rica.
● 2014, winner, “Recital de Honor“ University of Costa Rica.
Pablo Marin-Reyes plays Schagerl instruments.

How did you get to know the Schagerl company?
I got to know about Schagerl through some of my colleagues that have tried them out and spoke highly of them.Of course when it comes to musical instruments the best way to see how good they are is to try them out for yourself, and in 2015 I visited the Schagerl factory and got to try out all of the instruments that were on display and I have been blown away with the consistency that they offer.All of the instruments that I played sounded amazing. It was a first for me.

Which instruments do you play?
Currently I play a Schagerl D2 Bb trumpet which was bought back in 2008, also I play the new Schagerl Berlin C trumpet and the Berlin piccolo trumpet, which are both amazing instruments.

Who influenced you in your career?
The  biggest influence on my career was Sergey Nakariakov and Wynton Marsalis. When I was just a child I had a cassette tape with them and I listened to it all the time. I was amazed with the musicality and the flawless technique that they showed when playing the trumpet and I got drawn into the world of music.

Vita
I started playing in the church brass band at a young age and I always enjoyed playing the trumpet. Later on went to the conservatory in Timisoara, Romania and continued my studies at a higher level. My first job as a professional musician was in Novi Sad, Serbia, for the national opera house and principal trumpet, a job that I loved because of the beautiful opera music and also because of the wonderful coleagues that I had.After a few years at that job I moved back in Romania, Timisoara and started playing with the local philarmonic who I’ve been playing since then, and I still enjoying untill today.

Nelson Eduardo Gómez Restrepo. He was born in Risaralda Caldas on Oct.
26, 1980. From a young age he had a penchant for music, especially for La
Trumpeta. He began his musical career in the band of musicians from his
town Risaralda Caldas and with the Orquesta Los Katiwa De Colombia.
Later, he joined the Instituto Universitario De Caldas Student Music Band
and the Manizales Symphony Batuta Caldas, where he had a good
performance resulting in an invitation to play with the Sinfónica Juvenil De
La Habana (Cuba). At the end of his studies, one of the most recognized
orchestras in the country in classical music joined the Sinfónica Del Valle.
After spending a 2-year stage, he begins to savor new musical rhythms such
as Salsa, where he enters one of the best musical institutions in the world
such as the Majestic Grupo Niche, where he has spent a long time and at the
same time serves as a springboard to be in a number of groups such as the
Orquesta Guayacán, Son de Cali, Alberto Barros y Su Tributo A La Salsa
Colombiana, La Misma Gente, Grupo Bahía and in the accompanying
International Orchestra in Colombia by Tito Nieves, Cheo Feliciano, Maelo
Ruiz, Jerry Rivera , Cano Estremera, Luisito Carrión, Ismael Miranda, Richie
Ray and Bobby Cruz, Tito Rojas, Yury Buenaventura, k-Libre, Wilfrido
Vargas, Kinito Mendez, In Orquesta Local Cartagenera Bahia Azul, Los
Inéditos, Cartagena Caribe Big Band Orquesta Barbacoa, Television
Gilberto Santa Rosa, Juan Luis Guerra, Wilfrido Vargas, special guest as
Soloist with the Bogotá Philharmonic Orchestra at the Cartagena classical
music festival. After a career full of successes both nationally and
internationally, he has his own company ¨Nelson Gómez Music¨, having
formats for Weddings and Events such as: Soloists, Duos, Trios, Son Cubano,
Jazz Group, Orchestras and a Show in the City of Cartagena de Indias called
“The Trumpet Show” where 40 artists on stage enter to merge Music,
Circus and Dance. With all these experiences, his journey and his musical
trajectory, he became one of the Best Trumpeters in Colombia and Latin
America. He is now an Artist of the renowned Schagerl Trumpet Brand and
an Artist of the renowned Romera Brass Mouthpiece brand with his own
NG7 and NG9 models.