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Electronic Theses, Treatises and Dissertations The Graduate School
2017 Ian Bousfield: A Life in Trombone Performance and Teaching Kyle M. Schaefer
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COLLEGE OF MUSIC
IAN BOUSFIELD: A LIFE IN TROMBONE PERFORMANCE AND TEACHING
By
KYLE M. SCHAEFER
A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music
2017
Kyle Schaefer defended this treatise on April 7, 2017. The members of the supervisory committee were:
John R. Drew Professor Directing Treatise
Brian Gaber University Representative
Christopher Moore Committee Member
Leon Anderson Committee Member
The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.
ii ACKNOWLEDGMENTS First, I would like to thank my supervisory committee for their support during this process: Dr. John Drew, Dr. Christopher Moore, Prof. Leon Anderson, and Prof. Brian Gaber, your guidance and encouragement throughout my time at Florida State has been invaluable. I would also like to thank Jeremy Wilson, Clara Daly Donnellan, Matthew Gee, Ben Green, and Simone Maffioletti for participating in my research, and sharing anecdotes about Ian Bousfield. Obviously, this document would not have been possible without Mr. Ian Bousfield. I cannot thank you enough for allowing me the privilege to write this treatise on your behalf. It has been an honor. Lastly, I would like to thank my family. I would be lost without their constant positivity and love.
iii TABLE OF CONTENTS
List of Figures ...... v Abstract ...... vi
INTRODUCTION ...... 1
1. ORCHESTRAL LIFE ...... 3
2. TEACHING ...... 13
3. EQUIPMENT ...... 27
4. REFLECTIONS ...... 36
APPENDICES ...... 41
A. HALLÉ, ECYO, AND OTHER RECORDINGS ...... 41 B. LONDON SYMPHONY ORCHESTRA RECORDINGS ...... 42 C. FILM SOUNDTRACKS (RECORDED WITH THE LONDON SYMPHONY ORCHESTRA) ...... 50 D. VIENNA PHILHARMONIC RECORDINGS ...... 52 E. DAILY ROUTINE EXERCISES ...... 54 F. LONDON SYMPHONY ORCHESTRA CONCERTS FEATURING IAN BOUSFIELD .....64 G. ALLAN BRIGGS EMAIL ...... 65 H. ORAL HISTORY DESIGNATION ...... 73 I. SAMPLE CONSENT FORM ...... 74
References ...... 76
Biographical Sketch ...... 78
iv LIST OF FIGURES
Figure E-1 Daily Exercise #1 ...... 54
Figure E-2 Daily Exercise #2 & #3...... 55
Figure E-3 Daily Exercise #4 ...... 56
Figure E-4 Daily Exercise #5 & #6...... 57
Figure E-5 Daily Exercise #7 ...... 58
Figure E-6 Daily Exercise #8 ...... 59
Figure E-7 Daily Exercise #9 ...... 60
Figure E-8 Daily Exercise #10 ...... 61
Figure E-9 Daily Exercise #11 ...... 62
Figure E-10 Daily Exercise #12 ...... 63
Figure G-1 Program from 1979 Concert ...... 66
Figure G-2 Official Band Photo, 1980 ...... 67
Figure G-3 Concert Announcement ...... 68
Figure G-4 Waiting Backstage Before a Concert ...... 69
Figure G-5 Actual Championship Performance ...... 70
Figure G-6 Celebration After a Contest Win ...... 71
Figure G-7 Official Band Photo with Championship Trophy ...... 72
v ABSTRACT
Ian Bousfield is considered one of the preeminent trombonists in the world. There are numerous truncated biographies highlighting his achievements. However, there has not been a significantly-detailed biography, written on his behalf, that also includes his teaching and his recent work with equipment manufacturers. This document will detail Bousfield’s life in four chapters. It will begin with his early life and lead into his time with the Hallé Orchestra, the London Symphony Orchestra, and the Vienna Philharmonic. His teaching will be separated into two sections, institutions and pedagogy; the first of which will highlight his relationship with four institutions where he is on faculty, and the second will discuss his pedagogical beliefs. The third chapter will illuminate his relationship with trombone and mouthpiece manufacturers, and the final chapter will allow Bousfield to reflect on his career. Ian Bousfield finished his orchestral career in 2012. His playing career lasted over thirty years and has been well documented through ample recordings; specifically, with the London Symphony Orchestra and their work on film soundtracks. He has been teaching full-time since he ended his orchestral career, and his students are some of the most successful trombonists through their posts in orchestras and academic institutions throughout the world.
vi INTRODUCTION
The trombone’s history is well documented. A History of the Trombone, written by David M. Guion, is in two sections that delve into the evolution of the physical instrument and its written literature, and an examination of the performance practices, sacred and secular uses, and the historical significance of the trombone, respectively.1 There are also many websites and periodicals that contain information, and even multi-page articles about the instrument. Some of these websites include the Online Trombone Journal, and the Trombone Page of the World, The British Trombone Society, and the International Trombone Association. The British Trombone Society and the International Trombone Association also have quarterly journals. However, staggeringly few comprehensive biographically-educational texts about the musicians that play the trombone exist. This treatise is intended to be such a document and illuminate the life, orchestral career and solo appearances, and teaching career of Ian Bousfield. Ian Bousfield is at the highest echelon of trombonists in the world and is considered, “…pound for pound maybe the best trombone player in the world” by his former colleague and current Associate Professor of Trombone at Vanderbilt University’s Blair School of Music, Jeremy Wilson.2 Wilson can recall being moved to tears after listening to Bousfield play Rachmaninov’s Cello Sonata (1901) during the International Trombone Festival in Rochester, New York at the Eastman School of Music. After that performance, Ralph Sauer (retired Principal Trombone of the Los Angeles Philharmonic) told Wilson, “…I think we heard a new high-water mark in the history of trombone playing.”3 Bousfield has also played in two of the top five orchestras in the world, according to Gramophone in 2008.4 He played with the London Symphony Orchestra from 1988-2000 and with the Vienna Philharmonic from 2000-2012. This document will explore Bousfield’s life in four chapters. The first chapter will recount his early life, to include his youthful influences, the impact his family had on his early success as a trombonist, and detail Bousfield’s time with each of the three orchestras that employed him as principal trombonist. The first chapter will also be accompanied by appendices
1 David M. Guion, A History of the Trombone, (Plymouth, United Kingdom: The Scarecrow Press Inc., 2010), vii. 2 Jeremy Wilson, interview by Kyle M. Schaefer, August 25, 2016, interview 8, transcript. 3 Ibid, 8. 4 “The World’s Greatest Orchestras,” Gramophone.co.uk, 2016, http://www.gramophone.co.uk/editorial/the-world’s-greatest-orchestras. 1 that list all Bousfield’s recordings inside and outside the orchestras. The next chapter will focus on his teaching; his various teaching posts to include the Royal Academy of Music (London, England), the Hochschule der Künste (University of the Arts in Bern, Switzerland), and the New World Symphony (Miami, Florida), and his thoughts about teaching music and trombone. Next, there will be a chapter that examines Bousfield’s work with such instrument manufacturers as Yamaha, Conn, and most recently, Getzen; as well as his work with Warwick Music and Christan Griego developing mouthpieces to be used by amateurs and professionals alike. The final chapter, entitled “Final Thoughts,” is intended to give perspective into where Ian Bousfield is today, regarding his feelings about the current state of trombone music, trombone players, and reflections on where he has been, where he is, and where he is going. The information for this treatise has been gathered primarily from interviews with Jeremy Wilson, Clara Daly Donnellan (current student), and Ian Bousfield. These interviews will be coupled with brief biographies from Bousfield’s personal website and an article in the ITA Journal about Bousfield when he won the International Trombone Association award in 2012, the ITA’s most prestigious award. A portion of Bousfield’s current and former students from his class in Bern and at the Royal Academy of Music also filled out questionnaires about his teaching. Additional sources, to include the Hallé Orchestra’s archivist Stuart Robinson, London Symphony Orchestra’s archivist Libby Rice and, and the Vienna Philharmonic’s website and archivist will be used as needed.
2 CHAPTER 1
ORCHESTRAL LIFE
Early Life
Ian Bousfield was born in Yorkshire, England in 1964. His family was not wealthy, but they did not starve. York was, and still is, one of the centers of brass band playing in the United Kingdom. Growing up around brass band music made the decision to play a brass instrument at a young age rather simple. At the time, there were limited options and if you wanted to play an instrument, you played a brass instrument. The other options were to sing in a choir, play football (soccer), or cricket. Bousfield remarked that he wanted to become a professional cricket player, but relative to the other hopefuls, he was subpar. He was fond of football, but athletics was not something in which he excelled, and ultimately left two choices for a young Bousfield to ponder.5 Even though Bousfield’s father was a trumpet player for a period and his mother would constantly sing around the house while he was growing up, he does not credit them with his start on trombone. “I kind of had a blinding flash of light from the headmaster of my school when I was seven because every week he would learn a different instrument. Monday through Friday…and on Friday he would call the whole school in and he would play.”6 It was during that year Bousfield started his journey as a young trombonist. Bousfield’s family was integral in his musical development during his formative years. His father had played in brass bands sporadically but had no desire to make that a career and had hesitations about his son getting involved with them. The elder Bousfield did instill two specific habits into his son; “He taught me to play and sing every day.”7 His father would have him play a hymn tune, sing that same tune, and play the hymn again. His father made him convey the lyrics of the hymn through his trombone. That was how he practiced, roughly one hour a day, for the first seven years, and his father listened to every minute. “I was surrounded by melody. I also used to go to bed at night listening to my father playing orchestral recordings on the hi-fi, so I heard pretty
5 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 7, transcript. 6 Ibid, 7. 7 Ibid, 8. 3 much the entire, basic symphonic repertoire.”8 “Everyone thought I got my musical talent from my father, but I got my discipline from him, and I got my musicality from my mother...who sang every day of her life. She never stopped singing.”9 Bousfield grew up in a musical environment which fostered his talents and enabled him to cultivate his skills. At an early age, he learned that he was able and quite adept at communicating through the trombone. “That was the only, the modus operandi, from the age of seven was to make people cry, was to make people laugh, and speak to people through a musical instrument. As much as I love the trombone, that was [just] the vehicle I used to do that.”10 In 1974 Bousfield reached a point of musical clarity. He recalls hearing the theme of Star Wars and being enthralled with the sound, clarity, and brilliance of the music on the radio. The sound of the principal trumpet, Maurice Murphy, emanated in his head and he recalled, “…what a genius. That changed my life.”11 At fourteen Bousfield joined a brass band called the Yorkshire Imperial Metals Band.12 Bousfield says, “It was certainly not unheard of for them to beat the Black Dyke Mills and Grimethrope Colliery Bands (the aristocracy of northern British brass bands…)”13 During the four years he played with the Yorkshire Imperial Metals Band, they won “the National Championships (1978), the British Open (1981), and the Yorkshire Championships on two occasions (1980, 1981).”14 Not long after joining the Yorkshire Imperial Metals Band, Bousfield won the Shell London Symphony Orchestra Music Scholarship. Bousfield, then fifteen, was the youngest winner of the prestigious scholarship. This achievement marked the point that Bousfield became critically interested in orchestral playing and was heavily influenced by Denis Wick, who was the principal trombonist with the London Symphony Orchestra at that time. Along with Wick, Bousfield’s other major influences during his formative years were a “big band ballad player”
8 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), viii. 9 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 7, transcript. 10 Ibid, 10. 11 Ibid, 9. 12 See Appendix H. 13 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), viii. 14 “Biography,” IanBousfield.com, 2016, http://www.ianbousfield.com/biography. 4 named Don Lusher and Denis Brain, a French hornist.15 It was around this time that Bousfield also began to study with Dudley Bright who was the principal trombone with the Hallé Orchestra (Manchester, England). Bright provided Bousfield with a firm understanding of the basic mechanics of playing the trombone.16 While playing with brass bands in and around York, Bousfield was also involved and playing with the European Communites Youth Orchestra under the baton of Claudio Abbado.17 During his time with the ECYO and Abbado, Bousfield recorded Berlioz’s Te Deum.18 It was almost two years later, in 1983, that Bousfield won his first audition. Bousfield, then eighteen, became the principal trombone of the Hallé Orchestra.19
Hallé
The Hallé Orchestra, located in Manchester, England, played its first concert on January 30, 1858 under its founder Sir Charles Hallé. The orchestra had played in Free Trade Hall until it was destroyed during the Blitz of 1939. It was rebuilt and subsequently reopened in 1951. In 1996, the orchestra made the move to Bridgewater Hall, which is located very near Free Trade Hall. The orchestra also has a private “Richter” archive which contains documents related to the conductor Hans Richter and a complete collection of all programs from every concert performed by the orchestra.20 Bousfield spent five years with the Hallé Orchestra after winning the principal trombone audition in 1983. During that time, he performed the United Kingdom premiere of Eine Kleine Posaunenmusik (1980) by Gunther Schuller, with the composer conducting.21 Eine Kleine Posaunenmusik was written for and premiered by John Swallow on July 18, 1980 and is described as, “a delightful and idiomatic piece which fully exploits the sound capabilities for virtuoso trombone…”22
15 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), viii. 16 Ibid, viii. 17 “Biography,” IanBousfield.com, 2016, http://www.ianbousfield.com/biography. 18 See Appendix A. 19 “Biography,” IanBousfield.com, 2016, http://www.ianbousfield.com/biography. 20 “Heritage,” Hallé Concerts Society, July 2016, http://www.halle.co.uk/about-us/heritage. 21 “Biography,” IanBousfield.com, 2016, http://www.ianbousfield.com/biography. 22 Norbert Carnovale, Gunther Schuller, (Westport, Connecticut: Greenwood Press, 1987), 25. 5 Bousfield played on multiple recordings during his time with the Hallé Orchestra as principal trombone. These recordings included renditions of Brahms’ Symphonies 1-4 under the baton of Stanisław Skrowaczewski, Anton Bruckner’s Symphony No. 4 conducted by Zdenek Macal, and lastly, “Russian Spectacular,” conducted by Vernon Handley.23 “Russian Spectacular” is a compilation recording, recorded by both the Hallé Orchestra and the London Philharmonic Orchestra, that contains music from prolific Russian composers such as, Night on the Bare Mountain written by Mussorgsky and Rimsky-Korsakov’s Russian Easter Festival Overture.24
London
The London Symphony Orchestra (London, England) is the oldest of London’s symphony orchestras and performed its first concert in Queens Hall on June 9, 1904. This inaugural performance was conducted by Hans Richter who was the appointed conductor from 1904-1911. The LSO is arguably the most recorded orchestra in the world and is one of the most prolific ensembles used in film scoring, having recorded soundtracks for more than 200 films.25 Some of the more well-known of these films include Raiders of the Lost Ark, Braveheart, Harry Potter and the Chamber of Secrets, and most famously (winning three Grammy awards), the original Star Wars trilogy.26 In 1988 Ian Bousfield became the principal trombone of the London Symphony Orchestra. There was not an official audition announcement, but Bousfield was asked to play a trial period with the orchestra, which is commonplace in the United Kingdom. He was under the impression that the trial was a formality to ensure his personality and playing fit appropriately with the rest of the brass section, and with the orchestra as a whole. “They tried me out… it was interesting they got me into do quite a block of work and then… nothing. Everyone else was going into the London Symphony and I thought, “Bloody hell! They passed me by.” Then they called me up nine months later… someone’s canceled three days next week could you come in,
23 See Appendix A. 24 See Appendix E. 25 Richard Morrison, Orchestra: The LSO A Century of Triumph and Turbulence, (London: Faber and Faber, 2004), 283. 26 “LSO and Film Music,” London Symphony Orchestra, 2017, http://lso.co.uk/orchestra/history/lso-and-film-music.html. 6 and I came in. During the break of the first rehearsal they gave me the job. They just wanted to confirm…”27 Taking over for Denis Wick (Bousfield’s predecessor in the LSO) was a major step in his career. “I wanted to be the first trombone in the London Symphony from the age of 10. “When I won the London Symphony competition (The Shell London Symphony Orchestra Music Scholarship) in 1979 when I was 15, that kind of firmed things up. That put me onto the fast track into that position.”28 While with the LSO, Bousfield had the opportunity to play for Leonard Bernstein as conductor during his last appearance with the orchestra. Bousfield describes himself as a soon- to-be “dinosaur” because Bernstein passed away in 1990.29 During his tenure, with the LSO, Bousfield recorded numerous albums. He recorded Igor Stravinsky’s Firebird Suite on three occasions as well as The Rite of Spring on three occasions. With Maxim Shostakovich, the son of the composer, conducting, Bousfield recorded Dimitri Shostakovich’s Festive Overture and his 5th, 7th, 10th, and 15th symphonies. Other notable recordings include Ein Deutsches Requiem under André Previn and Penderecki’s Violin Concerto No. 2 with the composer conducting.30 Along with numerous recordings of major orchestral works, Bousfield played on numerous film scores with the LSO. One of his most memorable being Star Wars: Episode I The Phantom Menace.31 During his tenure, he played on thirty-five film scores that includes some of the most lucrative films of the 1990s.32 The London Symphony Orchestra Brass was the only chamber group that Bousfield played with regularly during his time in London. They recorded a three-disc set entitled Complete Works of Gabrieli which contains arrangements specifically done for the London Symphony Orchestra Brass by Eric Crees (composer, former LSO trombonist, and former director of the London Symphony Orchestra Brass). They also recorded American Brass which features arrangements of well-known works from American composers such as Bernstein and
27 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 6, transcript. 28 Ibid, 9. 29 Ibid, 16. 30 See Appendix B. 31 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 17, transcript. 32 See Appendix C. 7 Copland. Bousfield was also a part of the recording project entitled The London Trombone Sound, which featured sixteen trombonists from seven of London’s orchestras and arrangements from Eric Crees. Bousfield was also a guest artist with the Empire Brass Quintet during Boston University’s Tanglewood Institute (1992).33 Bousfield was a featured soloist on numerous occasions during his tenure with the LSO. He gave the world premiere of Stargazer, a piece written by Jonathan Dove and commissioned by the LSO.34 The genesis of Stargazer began in 1999 when Bousfield approached Dove and requested Dove write a trombone concerto for him. The trombone has been stereotyped in music for decades as the “big bad wolf” or “clown” and Bousfield was more interested in a lyrical work instead of a pyrotechnic-style piece. Dove’s conception of Stargazer was that of the trombonist peering through a telescope and observing constellations, represented by the orchestra. The composer, using the aforementioned conception, utilizes the nursery rhyme Twinkle Twinkle Little Star as the main theme to the entire work and describes the piece as a “fantasia” on the nursery rhyme.35 Bousfield’s long-time friend, Michael Tilson Thomas, conducted the premiere in 2007 with the LSO. Along with the world premiere of Stargazer, Bousfield was a featured soloist on three other, separate occasions. He played Concertino for Trombone and Orchestra, Op. 4 written by Ferdinand David (1992), Fantasma/Cantos II for Trombone and Orchestra written by Toru Takemitsu (1996), and Trombone Concerto written by Gordon Jacob (twice, 1998). Both concerts that Bousfield played the Trombone Concerto were celebrating the 21st anniversary of the Shell London Symphony Orchestra Scholarship which he had won almost twenty years previous.36 I think it’s youthful ambition, youthful drive, testosterone, all kinds of things. Basically, I love the orchestra and I loved the city. I had the most fun of my life with the London Symphony. The London Symphony was like a movable party. We were all very young and we all had a great time.37
33 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 18, transcript. 34 See Appendix G. 35 Jonathan Dove, “Stargazer,” Edition Peters Group, 2017, http://www.jonathandove.com/works/orchestra/stargazer/. 36 See Appendix G. 37 Ibid, 6. 8 A major asset to Bousfield and his success in his career is his relationship with those around him, and more specifically his colleagues in the orchestra, past and present. Denis Wick (retired principal trombone, LSO), was and is a major influence for Bousfield. Bousfield can call Wick and, in Bousfield’s words, “…he talks at me for two hours.” Wick has always been someone Bousfield can turn to for advice. Bousfield remarks,
I never really had a teacher. When I was 20 or 21 years old there were no people in the world who had been where I have now gone. I went through things in my career, and Denis became more important to me because when I hit a playing problem when I was 35 years old, or whatever, or I was finding playing in the orchestra difficult. I knew he’d been there, so I’d call him up and he’d say do this…38
Wick’s ability to convince a trombonist they are good when they are having doubts is remarkable and he is always positive. Bousfield regards Wick as a magnificent teacher, a model trombonist, and a dear friend.39 Vienna
The Vienna Philharmonic gave its first performance in 1842 with the aid of Otto Nicolai, who became the first conductor of the Philharmonic.40 The Vienna Philharmonic did not achieve its status of “world class” until its “Golden Era” under Hans Richter from 1875-1898. During this time, Brahms' 2nd and 3rd Symphonies, Anton Bruckner's 4th and 8th Symphonies as well as the Tchaikovsky Violin Concerto were premiered by the orchestra.41 It is also interesting that Richter and Bousfield are the only two musicians that have worked and held tenure with the Hallé, LSO, and the Vienna Philharmonic.42 The Philharmonic was recognized by the Austrian government, in an official capacity, in 1908.43 Throughout the twentieth and twenty-first
38 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 13, transcript. 39 Ibid, 13. 40 “The History of the Vienna Philharmonic,” Wiener Philharmoniker, 2016, http://www.wienerphilharmoniker.at/orchestra/history. 41 Ibid. 42 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 6, transcript. 43 “The History of the Vienna Philharmonic,” Wiener Philharmoniker, 2016, http://www.wienerphilharmoniker.at/orchestra/history. 9 centuries, the Vienna Philharmonic has been the premiere professional orchestra the world looks towards to model the traditional Germanic style.44 After twelve years with the LSO, Bousfield was approached to audition for the principal trombone position of the Vienna Philharmonic. Bousfield auditioned and subsequently won the audition in 2000. “I heard them live in 1986 for the first time and thought they were amazing.” Bousfield said about the Vienna Philharmonic.45 He decided to leave one of the best brass sections in world, in part, to feel the competition again.46
“I think part of it was the competitive… the idea of going behind the curtain and beating people. I had never done it before. I had auditioned for the Hallé; I was kind of headhunted for the London Symphony so I didn’t do an audition there. So, I took the shot and those were the only two auditions I’ve ever done. The idea of going behind the curtain… in my mind I just wanted to go behind the curtain and beat everyone else… which I had never done, which I did.”47
Bousfield was the first member of the Vienna Philharmonic to hail from the United Kingdom. While with the Vienna Philharmonic Bousfield had the opportunity, which he calls, “the highlight of his career,” to play Concerto per Trombone e Orchestra by Nino Rota under the baton of Riccardo Muti. Bousfield says, “A solo experience for a trombonist won’t get any better than that because I did it five times with him.”48 Three of the five performances were in Vienna and the other two were at the Lucerne Festival, and in Tokyo, respectively.49 Bousfield was also featured, on alto trombone, playing Concerto for Alto Trombone written by Johann Georg Albrechtsberger.50 The Vienna Philharmonic recorded numerous albums between 2000 and 2012 with Bousfield on principal trombone. Bousfield had the opportunity to play Beethoven’s 5th, 6th, and 9th Symphonies, and Tchaikovsky’s 4th, 5th, and 6th Symphonies under Simon Rattle and Valery Gergiev, respectively. He also recorded Symphony No. 2 by Gustav Mahler twice, once with
44 Michael Cooper, “A Sound Shaped by Time and Tools-What Makes the Vienna Philharmonic so Distinctive,” The New York Times (New York, NY), July 30, 2014. 45 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 5, transcript. 46 Ibid, 6. 47 Ibid, 5. 48 Ibid, 16. 49 “Ian Bousfield,” Windsong Press, 2016, http://www.windsongpress.com/brass%20players/trombone/Bousfield.pdf. 50 Ian Bousfield, e-mail message to author, January 23, 2017. 10 Pierre Boulez and again with Gilbert Kaplan.51 Boulez also recorded Mahler’s Symphony No. 3 which won a Grammy Award in 2003 for Best Orchestral Performance.52 A personal favorite of Bousfield’s recordings with the Vienna Philharmonic was a recording of the Richard Wagner’s Ring Cycle with Christian Thielemann on Deutsche Grammaphon. “Pretty much everything I did with the Vienna Philharmonic was a special occasion. Pretty much everything. They normally only do special concerts.”53 It is important to note that Christian Thielemann is a Wagnerian scholar, winner of the Richard Wagner-Preis (2015), and the current music director of the Bayreuth Festival.54 Bousfield lived with special occasions happening as if they were routine while with the Vienna Philharmonic. In one day while he was with the Philharmonic, Bousfield played under Seiji Ozawa (Music director of the Boston Symphony Orchestra for 29 years)55 in the morning, Pierre Boulez (Music Director of the New York Philharmonic (1971-1975) and conductor emeritus with the Chicago Symphony Orchestra (2006)) 56 in the afternoon, and Bernard Haitink (Chief conductor of the Royal Concertgebouw Orchestra (1961-1988)57 in the evening. “That kind of thing happened.” He recalls top conductors from all over the world making stops in Vienna as if it were a “railway station.”58 Bousfield recognized the truly “special” company he was working with every day. His early musical influences were mostly trombonists and brass instrumentalists, but now he views the entire Vienna Philharmonic string section as his biggest influence. Their professionalism, brilliance, their sound concept, and their love of what they do will provide him with the
51 See Appendix D. 52 “Pierre Boulez-Past Grammy Awards,” The Grammy Awards, 2017, https://www.grammy.com/artist/pierre-boulez. 53 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 16-17, transcript 54 “Christian Thielemann,” Staatskapelle Dresden, 2017, http://www.staatskapelle- dresden.de/en/staatskapelle/christian-thielemann. 55 “Seiji Ozawa (Conductor),” Bach-Cantatas Website, 2017, http://www.bach- cantatas.com/Bio/Ozawa-Seiji.htm. 56 “Pierre Boulez,” Chicago Symphony Orchestra, 2017, http://cso.org/about/performers/conductors/pierre-boulez. 57 “Bernard Haitink,” Royal Concertgebouw Orchestra Amsterdam, 2017, https://www.concertgebouworkest.nl/en/bernard-haitink. 58 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 17, transcript. 11 necessary fuel for the rest of his life. He views his seat within the orchestra as the best seat in the room and asserts, “They’re bloody amazing.”59 As previously stated, the Vienna Philharmonic is held in a very high regard around the world as one of the top orchestras in the world. Bousfield says,
The conventional list of the top four orchestras in the world, which is the usual mix of the Berlin Philharmonic, the Vienna Philharmonic, the London Symphony, and Concertgebouw. That’s by critics voting, they are always the top four in the orchestra world. To have played in two of those, there are not many people who have done that.60
Like the LSO, Bousfield relishes the relationships with his colleagues. Jeremy Wilson (Associate Professor of Trombone at Vanderbilt University) was second trombone with the Vienna Philharmonic from 2007-2012. This was Wilson’s first professional orchestral job, and Bousfield was instrumental in procuring the opportunity for Wilson to audition for the Vienna Philharmonic.61 Bousfield took on the role of big brother to Wilson during their years together which is similar to the role Denis Wick took with Bousfield years earlier. Wilson remembers Bousfield “taking me under his wing” and they were both on the journey together.62
59 Ibid, 13. 60 Ibid, 6. 61 Jeremy Wilson, interview by Kyle M. Schaefer, August 25, 2016, interview 2-4, transcript. 62 Ibid, 7. 12 CHAPTER 2
TEACHING
Institutions
As of 2012, Ian Bousfield was officially finished with being a full-time orchestral trombonist, and became the trombone instructor at the Hochschule der Künste (University of the Arts) in Bern, Switzerland. He is also a current instructor at the Royal Academy of Music (London, England), the Alicante Brass Academy (Alicante, Spain), and the New World Symphony (Miami, Florida). He has many years of experience with and a passion for playing trombone, but he may even have a greater passion for teaching. As previously stated, Bousfield is currently the trombone instructor at the Hochschule der Künste. Bousfield was still employed by the Vienna Philharmonic when he took over for Branimir Slokar, the founder of the Slokar Trombone Quartet. In Bern, Bousfield has a varied number of students, usually not more than seven or eight, but currently there are fourteen students. His prestigious class, past and present, contains some of the most active and successful trombonists around the world and particularly in the United Kingdom; to include Michael Buchanan (First Prize and Audience Prize at the ARD International Music Competition 2015, and ‘Player of the Year’ Award from the British Trombone Society), Matthew Gee (Principal Trombone with the Royal Philharmonic Orchestra, and trombone instructor at the Royal Academy of Music, London), and Peter Moore (BBC Young Musician of the Year 2008, and current Co-Principal Trombone, London Symphony Orchestra). Bousfield has been involved with the Royal Academy of Music in London since 1992, which dates back to his time with the London Symphony. He remained an instructor there while with the Vienna Philharmonic, and when he was in Vienna or on tour with the orchestra Denis Wick would assume his duties. They were both working with the same students and used this unique situation to bounce ideas back and forth. Bousfield remarks, “I got to learn a lot of his methods. I think he taught me to teach more than he taught me to play.”63 Bousfield was awarded Honorary Membership and returned as a member of the professional staff in 2012.
63 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 14, transcript. 13 The Alicante Brass Academy was founded by Rudy Korp (former first trumpet with the Tonkünstler Orchestra, Vienna) and his wife Nury (former hornist with the Vienna Radio Symphony). They became acquainted with brass players in Spain, more specifically Alicante, Spain and in 2008 started the Alicante Brass Academy.64 Along with Bousfield, the trombone staff has included Jörgen van Rijen (Principal Trombone, Royal Concertgebouw Orchestra), Ximo Vicedo (Principal Trombone, Spanish Radio Television Symphony Orchestra), and Daniel Perpiñan (Professor of Trombone, ESMUC Barcelona). The Academy also invites international brass soloists, teachers, and orchestral musicians to conduct masterclasses such as Steven Mead (International Euphonium Soloist), Patricio Consentino (Tuba Soloist, National Orchestra of Buenos Aires), and Pacho Flores (International Trumpet Soloist and Exclusive Artist with Deutsche Grammophon). According to Bousfield, “The quality of teaching in [many of] the universities in Spain is poor, by and large.”65 Despite this observation, He thoroughly enjoys his time in Alicante and is encouraged tremendously by the product the Academy is producing.66 Another relationship Bousfield enjoys with youthful exuberance is the one with Michael Tilson Thomas and the New World Symphony (Miami, FL). The New World Symphony (NWS) is “America’s Orchestral Academy.”67 Bousfield became involved with the NWS in 1989 while playing with the London Symphony, and his duties vary each time he travels to Miami. They can range from coaching the low brass section to coaching the entire brass section, or even conducting a brass ensemble concert. Every member of the low brass section also receives at least one private lesson during each of Bousfield’s visits. He understands his role while at NWS is that of mentor rather than teacher and reflects, “…by the time people get this good I’m a shoulder to cry on and the confessor and they come to me for confessions.”68 The members of NWS are essentially the “finished item” and not in need
64 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 13, transcript. 65 Ibid, 13. 66 Ibid, 13. 67 “About the New World Symphony,” New World Symphony, February 15, 2017, https://www.nws.edu/about/about-nws. 68 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 18, transcript. 14 of “major surgery,” but they do need someone to ease their mind and assure them that they are good and will, eventually, get [a] job.69 Bousfield estimates he is away from home (Bern) nearly six months out of the year, and is in high demand throughout the world for his playing and, as recently discussed, his teaching. He has spent much of his life playing in orchestras, and has made use of the experiences to mold his pedagogical beliefs. Pedagogy
In 2014 Bousfield, along with Warwick Music Group, spearheaded a video recording project entitled Unlocking the Trombone Code. “I was aware there were people around the world struggling because of lack of information, and I wanted to help. I was getting so many emails from people saying, I have this problem, how do I fix it?”70 These videos show Bousfield demonstrating his personal views on many fundamental aspects of trombone playing, some of which include breathing, sound, embouchure, articulation, slide technique, warm-ups, scales, and daily routines. The video series also contains Bousfield’s ideas on how to navigate some often- asked excerpts in an audition setting. Excerpts from Rossini, Wagner, Mozart, Mahler, and Ravel are discussed in detail. In addition to the video project, Bousfield wrote a book under the same title. The information is virtually identical; however, the book does contain other interesting material about some of the struggles Bousfield faced throughout his almost thirty-year orchestral career and how he dealt with them, but the book lacks any details pertaining to orchestral excerpts. Listening and Concept of Sound
Ian Bousfield is a proponent of listening as a tool to develop a trombonist’s concept of sound and style. His approach is like most, in that listening is crucial to musical development. The trombone is used in many types of ensembles, such as pit orchestras, jazz bands, background bands, brass bands, brass quintets, wind ensembles, and orchestras; and the more a student can immerse themselves into the style and idiosyncrasies, the better their chances of giving a convincing performance in their chosen genre. He suggests choosing many different sounds; trombone, voice, or cello for example, to form a basic palette of sound concepts on which the
69 Ibid, 19. 70 Ibid, 13. 15 student can build a foundation. The ability to color one’s sound for every occasion is highly beneficial and is most appropriate. Bousfield also believes that selecting sounds from different genres will add to the trombonist’s sound palette, and allows them to paint a “fuller canvas with [their] own sound.”71 To realize a student’s full potential for a characteristic sound, Bousfield believes the key is one’s imagination. Once the player has developed their sound concept, they must listen to their heart and emotions to cultivate an individual sound. Bousfield states that a trombonist must “…send messages from our brain and heart to our body, telling it what we want to happen.”72 In his view, a trombonist’s individual sound gives the audience a glimpse into the player’s soul allowing both the audience and player to enjoy the performance experience thoroughly.
Singing and Air, Breathing and Support
It is Bousfield’s contention that his mother’s singing when he was a boy had a profound effect on his ability to play wonderful flowing and singing melodies, and spurred superior musicality from a young age. He believes that it is vitally important to “…learn how to sing the way we play, and then to play the way we sing.”73 This belief parallels the adage used by many musicians, and particularly jazz musicians: if you can sing it, you can play it. An important note is that one does not have to sing well to reap the benefits of singing as a practice tool. Bousfield believes that singing puts the trombonist in direct contact with their emotions, and once one’s emotions are apparent it is inherently easier to express them on the trombone. He writes, “Singing teaches us about so many things: airflow, phrasing, articulation, and emotion.”74 Singing can illuminate issues that concern a trombonist’s air usage and whether it is being used efficiently. A mantra of sorts, used by Bousfield in his teaching, is to focus on “…the continuous flow of relaxed air.”75 Described as a “sweeping generalization,” he attempts to play a glissando at all times, allowing his tongue and slide to determine the shape of a note. His reasoning for this is rather simple, but often overlooked. Consistent air flow, no pulsing or
71 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), 3. 72 Ibid, 1. 73 Ibid, 4. 74 Ibid, 4. 75 Ibid, 4. 16 pushing, is paramount to achieve high-level trombone playing. A very prominent issue that trombonists encounter is moving the slide and simultaneously pulsing or pushing the air to assist in articulation or note shape. Pulsing or pushing of air can be used in musical expression, but is discouraged as a default setting, because consistent air flow produces long-term results. Inconsistent airflow can also be quite harmful to the development of range and flexibility. The freedom and efficiency of air are vital to high-level trombone playing, “…so do yourself a favor, and make the air your boss.”76 The efficiency of the air is also paramount in achieving musical artistry. This is not new information, but Bousfield relates air usage specifically to the trombonist by creating a connection that is helpful and practical. A glissando is something that is individual to the trombone and can be achieved by anyone, and can also be a tell-tale sign of inefficient air use. If a trombonist can create an even and relaxed (characteristically resonant) sound between two notes that are on the same partial, and at least a fourth apart, the air is being used evenly and efficiently. The idea of envisioning playing a glissando in one’s imagination promotes the use of relaxed and consistent air that will inherently be efficient, and will promote a resonant and even sound throughout the registers of the trombone. To move air through the trombone properly, a student must first take the appropriate breath in, and subsequently blow that breath out in a seamless manner; simply inhale and exhale. Breathing is a simple and natural bodily function. As trombonists, the simplicity is often negated because of the added variable, a trombone. Some pedagogues teach the player to breathe down to the diaphragm, or to open the throat, to expand the ribcage, to fill your lungs from the bottom to the top, or a multitude of other scenarios that inherently confuse students. This has the tendency to form bad habits. All the previous examples add variables to a student’s thinking that distract them from inhaling and exhaling. Attempting to think out every detail of inhaling and exhaling is convoluted and can complicate the process. That is why Bousfield’s desire in teaching breathing is to avoid, at all costs, over complicating the system; therefore, he has two basic steps to avoid this problem. The first of which is of utmost importance, and it is keeping the inhalation as natural and relaxed as possible. He believes the player should inhale as if they are orienting their oral cavity to say the word “who.” This oral shape relaxes the breathing apparatus, the thorax and
76 Ibid. 4. 17 abdomen, which tends to tighten if the inhalation process does not utilize an open vowel shape.77 Imagining saying “who” while inhaling is very similar to sighing and sighing promotes relaxation. There is no added motion or any arbitrary thoughts to ‘open up’ or relax, merely the thought of saying “who.” The second step is described by Bousfield as, “…the ‘who’ air comes in, at about two thirds of the way through, we start forming the embouchure, fixing the corners until, finally, we’re breathing the last few percent of our breath through the embouchure we are about to use.”78 After the embouchure is fixed and ready, and the inhalation is complete, all that is left to do is blow the air right back out. It is important to note that the inhalation sets up not only the exhalation, but also the embouchure formation, and the movement of air; and to reiterate, the inhalation should be relaxed, no matter the speed at which the breath is taken. Another facet of the inhalation process that is of importance, is that the breath should be taken in rhythm, and in the style of sound the player wants to produce. To clarify, Bousfield states “Have the sound in your head, and then take the air in the way you want the air to go out. Therefore, get a deeper “who” or a higher “who.”” 79 Bousfield refers to the difference between playing the first note of Ravel’s Bolero to playing the first note of the first trombone solo in Mahler’s Symphony No. 3. He would take a quick, and short breath to play Bolero, because of the tessitura and lighter texture. This contrasts with the breath that he would take to play the solo in Mahler’s Symphony. He would utilize two, even three, beats to take a slow and relaxed breath to set up a full forte dynamic that must be prominent and resonant, but not forced, from the back row of the orchestra. Continuing with breathing, the concept of ‘support’ has been taught for many years by many trombone and brass teachers. The idea of utilizing the abdominal muscles as a voluntary action, instead of a response to increased resistance, is something Bousfield strongly discourages. He would passionately assert that there is absolutely no need to contract the abdominal muscles voluntarily. To contract the muscles of the abdomen deliberately leaves virtually no feasible way to blow air freely through the trombone, and create the most resonant sound possible. He writes, “In the process, in reaction to the smaller hole, the stomach muscles
77 Ibid, 6. 78 Ibid, 6. 79 Ibid, 6. 18 contract.”80 This statement explains that the muscles must work, but sympathetically as the aperture shrinks in size when the trombonist, or brass player, plays higher. This is because of the additional amount of back pressure created from blowing a substantially fast airstream through a very small aperture. The myth of ‘support’ relates directly to Bousfield’s goal of avoiding anything that over-complicates the system. Adding a variable, such as voluntarily engaging muscles, is complicating the innately simple process of breathing. To further his belief, Bousfield compares the act of a child blowing out candles on a birthday cake. “Does this child really need to think about breath support? Neither should we when we play trombone.”81
Embouchure
Bousfield would assert that the embouchure is the most important facet of a trombonist’s technique, and this would be starkly different from traditional trombone pedagogy. An interesting thought he shares on the subject: “If our embouchure is in the correct position, it actually probably does not matter how bad our breathing is, or how bad our articulation system is, we will get the note. If, however, everything else that we do is perfect, but our embouchure is in the wrong position, we stand no chance.”82 This thought does not imply that other, previously mentioned, aspects of brass playing are not significant, but asserts the importance of a functional and efficient embouchure. The air is generally taught to be the most important facet of playing. Brass pedagogues are well known for their emphasis on air, and to be clear, Bousfield is not denying the importance of air, but in his opinion, the importance of the embouchure supersedes it. The embouchure and air need to work as a unit, or “the lips respond to the speed of the air.”83 The air has its importance, but no matter how efficiently the air is used, if the embouchure is not in the right place it is all for not. The functional and efficient embouchure begins with the corners of the mouth. They should be fixed, but not in a rigid fashion. Bousfield further elaborates by stating, “I have come to realize that we all have slightly different shapes: some of us are smilers, and some of us are
80 Ibid, 5. 81 Ibid, 5. 82 Ibid, 7. 83 Ian Bousfield, Royal Conservatoire of Scotland, Teaching Talks: Ian Bousfield, YouTube video, 10:08, July 15, 2014, https://www.youtube.com/watch?v=CqDy8G1d80I&t=339s. 19 frowners. Keep them [the corners] in the natural position for you, but keep them fixed.”84 To assist the student, Bousfield may direct them to Google. They are instructed to look through close-up pictures of Joseph Alessi85, Branimir Slokar, himself, and Dudley Bright.86 He states, “[Stylistically] you’re looking at custard, anchovies, apples, and steak, but their embouchures are [pretty much] identical.”87 The chin is flat and the corners are fixed. He also questions brass players who argue that the embouchure is not of ultimate significance “…how come all the really good players basically all have the same one?”88 Bousfield also notes, that somewhat paradoxically, many teachers, themselves with ideal or perfect embouchures, do not teach the importance of having a correct embouchure. The last point Bousfield asserts is the need for a properly formed aperture. The aperture is the hole in the lips through which the air must pass. The main function of the embouchure is to hold the aperture in place as Bousfield explains further, “…so that the very center of the embouchure (the business end of it) can be completely relaxed.”89 One school of thought that Bousfield disagrees with regarding the aperture is simply placing the lips together to form the letter ‘M’. This does not preserve the aperture, and although it can work, players with this formation of the lips tend to have a strong high register, but less than adequate middle and low registers. Joseph Alessi describes forming the embouchure as if he is saying ‘M’, which contradicts Bousfield, but adds that he creates a small pucker with the lips inside the mouthpiece creating an aperture.90 This now advocates Bousfield’s belief that there must be a hole for the air to pass through freely, and reaffirms the assertion that the best brass players essentially all have the same embouchure.
84 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), 7. 85 Principal Trombone of the New York Philharmonic. 86 Principal Trombone of the London Symphony Orchestra. 87 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 4-5, transcript. 88 Ibid, 5. 89 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), 8. 90 Joel Baroody, “Brass Chats Episode 28: Joe Alessi,” Brass Chats (Vlog), February 17, 2017, https://www.brasschats.com/interviews/joe-alessi. 20 Slide Technique and Legato Articulation
“Slide technique makes the trombone a much more difficult instrument to play, in principle, than a valved instrument. It is the one thing that trips everybody up, and it is the place where I always start to work with students.”91 As with other fundamentals, Bousfield brings all slide technique back to simplicity. He chooses to describe slide technique with one word, synchronization. A trombonist must have a synchronized system of three parts, air, tongue, and slide movement. Many instructors teach a student to move the slide by placing emphasis on speed; however, Bousfield makes a case that speed is a “by-product,” not the “primary goal.”92 Slide technique is more about precision than speed. The slide must remain in position until the duration of the note is complete and, only then, can the slide move to the next note. This idea makes legato, staccato, and tenuto playing all the same when referring to slide technique, and takes other variables out of the situation.93 Slide technique can be simplified even further: just move the slide precisely in tempo. Although the adage “easier said than done” can be applied, if careful attention is placed on moving the slide in time, and in a precise manner, the speed will be the “by-product” and not the “primary goal,” and a student will have a much clearer understanding and more efficient grasp on slide technique. The way a trombonist holds the slide establishes good slide technique. According to Bousfield, the grip should be focused between the “thumb and forefinger.”94 He elaborates with a rather humorous analogy, “If you wrap your hands around the slide, like holding a banana, you will hear that the articulation is very dull. Then hold the slide, as we would imagine the Queen would hold her teacup when she takes her afternoon tea. See then, how much clearer your articulation is.”95 Although slide technique for legato and detached playing is the same, the articulation is completely different. Bousfield describes legato playing as a glissando while making a ‘thh’ sound to articulate. “It is really like licking the back of our teeth.”96 The airflow is never stopped
91 Ian Bousfield, Unlocking the Trombone Code (Coventry, Enlgand: Warwick Music Limited, 2015), 10. 92 Ibid, 10. 93 Ibid, 10. 94 Ibid, 10. 95 Ibid, 10. 96 Ibid, 9. 21 completely, only interrupted. A common misconception Bousfield finds with students is thinking legato tonguing is merely “a softer version of detached tonguing,” but he asserts, “This is not the case. It is a completely different system.97 Bousfield also believes that a trombonist should use a legato articulation only when absolutely necessary, and goes on to clarify “…only when we are playing notes on the same harmonic.”98 The most efficient legato playing a trombonist has is the use of natural slurs, and that should be simulated when using a legato articulation.
Warming Up, Daily Routines, Flexibility, and Scales
The purpose of a warm up on a trombone is to “…achieve a point where the lips are vibrating in a relaxed and comfortable way throughout the whole register.”99 Bousfield continues by asserting that simply playing a warm-up every day that consists of the same exercises is “not particularly sensible”100 because our lips do not feel the same every day. If a player begins his/her warm-up and had a “very heavy blow the day before,”101 then the warm-up may take a bit longer, and they may need to spend an ample amount of time, no more than fifteen minutes, buzzing the mouthpiece before moving on. Bousfield’s philosophy of a warm-up is to “…move around and to keep swooping through the registers.”102 The goal of the warm-up, again, is to get the air moving freely in and out of the lungs and through the embouchure. A warm-up should also be as efficient as possible. The warm-up should not take a tremendous amount of time, and Bousfield believes that the warm-up should get the player where they need to be quickly, because warm-ups can often be used as an excuse to avoid practicing. “Central to having a good feeling throughout the day is to get the warm-up in early in the morning.”103 He also reminds the student that often, in the orchestral repertoire, the wait to play may be thirty minutes or more, and there is no warm-up prior to the entrance.
97 Ibid, 9. 98 Ibid, 9. 99 Ibid, 11. 100 Ibid, 11. 101 Ibid, 11. 102 Ibid, 11. 103 Ibid, 11. 22 After a sufficient warm-up, practice usually begins. Bousfield does not generally take a day off from playing, but is sometimes short on time while traveling and may only have thirty minutes to practice. In that case, Bousfield has a daily routine that assesses and addresses his fundamental trombone playing. Fundamental trombone playing can be summarized as sound, articulation, flexibility, and range. His daily routine is his way of ensuring that all facets of playing are operating at an optimum level. It is important to note that a warm-up and a daily routine are not the same. A warm-up is used to prepare a player to practice, and a daily routine is practicing. A daily routine’s function is, by his definition, to address the fundamentals of brass playing, every day. Bousfield has a set of exercises that he uses to assist in keeping his playing at a high level, develop weaknesses into strengths, as well as fix issues he may be having in repertoire he is preparing. These exercises can also hone technique that has somehow been forgotten. “…exercises that remind you when you’re lost… because we all get lost. How do I do this? Bang… that’s how I do it.”104 For over thirty-five years, Bousfield has been relying on, what he calls his “home exercises”105 for his daily routine. Sample exercises that Bousfield recommends can be seen in Appendix F. One part of his daily routine, not included in Appendix F, is playing scales. Scales address a multitude of issues for the trombonist, to include slide technique, knowledge of tonality, range, speed, consistency of articulation, intonation, and tone quality.106 Bousfield believes that scales should be played utilizing two octaves. They should be played slowly, as well as fast to avoid an embouchure shift that can plague a trombonist moving through different ranges. “Scales, and the tonality therein, also form the language that we speak as musicians.”107
Working with Students
“There is no ‘one size fits all’ system to get the student to the desired place, and the journey itself is crucial.”108 Every student is different and should be treated as such, and the
104 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 3, transcript. 105 Ian Bousfield, Unlocking the Trombone Code (Coventry, England: Warwick Music Limited, 2015), 44. 106 Ibid, 24. 107 Ibid, 24. 108 Ibid, 89. 23 teacher should remain flexible in their approach during the teaching process. The best teachers, according to Bousfield, are the ones who have the required information of how the trombone works, and can assess a student’s current ability level, and future needs “…plot the course as to exactly when the student needs this information.”109 If a student receives too much at any given time there may not be any clarity as to what their focus is, but if too little information is given the student may feel lost, and find misguided resources to aid in their struggle. Bousfield is keenly aware that there are many who are taught to play trombone, and do that very well, but very few are “taught to teach it.”110 He delves deeper and surmises that “applying the intricacies of trombone technique”111 is where many teachers fall short. He is truly fascinated by the art of teaching, and remarks,
I’m not interested in teaching someone how to play a piece of music. I’m not interested in coaching them on excerpts. I’ll do it, but by the time I finish my work with them they don’t need me to. That’s my aim. I want to teach them how to express themselves and then guide them to getting their own opinions out through the trombone.112
Bousfield views himself as a facilitator along with being a teacher. He recognizes that a student, generally, has an idea of how something should sound. His task, then, is to help the student acquire the needed skills or guidance to achieve what they want. Bousfield makes a point to be honest with his students, and never lie to them. During the first lesson he assess his student(s): “Where do you want to go, what do you want to do? I want to be here… okay well let me tell you, you’re here now and I want to be realistic now, it’s my job… this is the journey we’re going to take.” In some cases, a student is well behind for their respective age and their prospective career path and Bousfield illuminates the reasons they are behind. Bousfield asserts “…fundamental to it is that a student needs to know exactly where they are.”113 With any new student, Bousfield approaches the fundamentals of their playing and applies his knowledge and experience to fix their issues. He refers to these instances and reflects,
109 Ibid, 89. 110 Ibid, 89. 111 Ibid, 89. 112 Ibid, 2. 113 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 1, transcript. 24 “I am aware that I get very amazing and talented people. It’s a different type of teaching I do, but I don’t really want to talk about music until some of the basic things are fixed. By the time those fundamentals are fixed I don’t need to say anything because they know what they want to do they’re just technically disabled.”114 Clara Daly Donnellan, a current student of Bousfield’s, understands his philosophy and explains:
Ian tends to take people into his class who he believes, once he sets them up to be technically able to play anything, they have the musical ability to use that technical stuff and go with it and play all the things they want to play. He wants to give you a good set up, a good foundation where you are strong and solid on everything. He takes people into his class that he knows once he gives them that, they can do whatever they want because they’re intuitively musical. Most of my lessons have been pretty boring, like Arban’s studies and things like that. Just getting (sung rhythm from Arban’s), that rhythm perfect. I spent probably four months doing that exercise in every key…That’s what’s so good about those Arban exercises, they just cover everything. All bases. Rhythmic, articulation, tuning, capability of transposing, range. They cover everything. That’s why I spent four months doing it.115
Bousfield is also aware that attempting to fix a fundamental playing issue can be a struggle and he tries to ease that struggle by approaching it from many different angles, or many ways of saying the same thing. Bousfield said, “The only real form of communication we have as human beings is through words, and that is a very inaccurate way of describing things.”116 He recognizes that his students are not particularly fond of him while they work out fundamental hindrances in their playing. “…usually with 50% of my students there’s three months where they hate me completely, and I’m fed up with seeing them.”117 Once this period is over, and Bousfield acknowledges it can last longer than three months, they can both move forward, amicably, and discuss musicality and the student is finally able to showcase their own personality. He also admits that after fundamental hindrances are fixed that he and the student generally become rather close. While dealing with fundamental issues, emotions can get out of
114 Ibid, 1. 115 Clara Daly Donnellan, interview by Kyle M. Schaefer, September 15, 2016, interview 5, transcript. 116 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 2, transcript. 117 Ibid, 1. 25 control, and Bousfield is careful with how he deals with these fragile situations by only mentioning something if he is convinced there will be a positive result.118 Ian Bousfield has been teaching for many years, but has only just begun his full-time teaching career. He has used these pedagogical ideals and beliefs throughout his thirty-year orchestral career, and they have guided him to the player and teacher he is today. His students, past and present, are some of the most successful trombonists in the world. His success and that of his students cannot be ignored. As a player, he is in the company of few, and one can argue that the same applies for him as a pedagogue.
118 Ibid, 2. 26 CHAPTER 3
EQUIPMENT
The “Perfect” Trombone
Ideally, all trombones are created equal, and a player could insert a mouthpiece, take a breath, blow, and the instrument produces a wonderfully resonant sound with brilliant overtones, and sounds the same no matter the dynamic level or the range. This instrument should also feel good, or should fit the player’s physical stature. All of this should happen without any compensation by the player, and should be done easily. Although that scenario would be sensational, it is not reality. Instrument manufacturers have worked to create one trombone, for their respective companies, that works the same for every player; however, playing trombone, like many other things, is individualistic. Every player is different, but Bousfield has worked for nearly twenty-five years to design a trombone that makes the above scenario a reality. Ian Bousfield has worked closely with three instrument manufactures from 1990-present; designing, tinkering, and testing trombones. He tirelessly strives for, and achieves, greatness when teaching and playing trombone, but he has been obsessive about designing an instrument that can work for him in all playing situations. His goal has always been to design a trombone for amateur and professional trombonists alike. This trombone should produce a wonderfully resonant sound, at any dynamic, regardless of tessitura. Bousfield began work with Yamaha in 1990, two years after he began playing with the LSO. He worked with the company for two separate spans of time, from 1990-1997 and 2007- 2012, and his goal remained the same throughout that span of time, design his own “perfect” trombone. To design the ideal trombone is a tremendous undertaking, but to Bousfield, it had to be done. “To have an instrument that you can’t hit a top Ab through the middle is no longer acceptable, and the top D.”119 Bousfield is referring to two notes that are traditionally very difficult to center and play consistently on many manufacturers’ trombones. The design process is arduous, and can prove to be thankless and disheartening, but some aspects of it seemed to fit Bousfield. He remarks, “I’m very popular with instrument companies because I will play the same thing all day exactly the same way, so that means I’m the perfect
119 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 21, transcript. 27 test pilot. That means they can change anything on the instrument and they know the air is going to go through the same way every time.”120 This is important because, if there are too many variables during testing, a manufacturer cannot determine what needs to be changed during the design process. If Bousfield was not able to play the same way every time, greatly diminishing the human variable, testing the trombone is essentially worthless unless done by a machine, which is not possible. Bousfield’s ability was utilized by Yamaha fully. During his tenure with Yamaha, the research and development center was in Hamamatsu, Japan. The company would fly him there, and he would walk into a room, in the morning, with thirty lead pipes on the table. He would have to play every one and record his feedback. There would be a break for lunch, and afterward he would go into the same room, with the thirty lead pipes “some minutely different,” but this time they would be in a different order; and he must play each one again, and record his feedback. “Apparently, I was right every time. I gave the same feedback. That meant they knew that the judgment I had given was accurate, if I said the same thing about them twice.”121 Despite Bousfield’s ability to test the equipment rather robotically, the process for designing trombones with Yamaha did not allow him to design anything by himself. The most stressful aspect was designing by committee. Bousfield never had “free reign to design anything”122 and he could not change anything at will. This meant that if he wanted to try something new or suggested a change, it would be brought before a committee; and he may have to wait more than six months to have a decision. If the committee decided they would like to oblige the request, they would send him a trombone, with the change to try. This was somewhat infuriating because designing by committee, with multiple people around the world, to “build this Frankenstein trombone”123 is not what Bousfield set out to accomplish. That was not the best process to design his ‘perfect’ trombone. Bousfield holds no disdain toward Yamaha, but the design process with a large corporation brings about numerous challenges. “I love the company and the people, [but] their policy for design [at the time] was unsuccessful.”124
120 Ibid, 20. 121 Ibid, 20. 122 Ibid, 20. 123 Ibid 15. 124 Ibid, 15. 28 Although he was not able to design his “perfect” trombone, he was able to design two signature models, the 681B (straight tenor) and the 682B (symphony tenor), both of which have been discontinued. His main trombone was the 681B, and after many years he reflects, “You know what, they were really good instruments. I think the problem was I wasn’t settled as a player at the time and I felt as though [we] released the models before we finished them. Between the Yamaha years (1998-2006), Bousfield worked with Conn Instruments (Conn), now Conn-Selmer, and again set out to design his “perfect” trombone. When Bousfield began playing trombone, in 1971, the major manufacturers were Bach and Conn, and the front- runner models, “Bach 42 and a Conn 88H,” were essentially played by everyone, including his mentor Denis Wick. The issues of notes not centering and a trombone that can “do it all” still plagued Bousfield, and Conn was not convinced their product needed changing. “Their research and development has not moved. It’s stayed exactly where It was 60 years ago. They didn’t see the need for change and I did. I was on the battleground being let down by my equipment, and they didn’t seem to want to change it.”125 During his years with Conn, he played numerous different models; all of which had been slightly changed to fit his needs, whether he was playing a solo concert or playing with the LSO. These adjustments and alterations only increased when he left the LSO and joined the Vienna Philharmonic. He wanted a trombone that could match Vienna’s “German” sound. While with Conn, Bousfield rarely played a trombone that had not been altered in some way. He never developed a signature model like Yamaha, but was constantly tinkering to find his “perfect” trombone. It is worth mentioning that there was a trombone manufacturer during this time, who has recently retired, who made something very close to exactly what Bousfield wanted in a trombone. Gary Greenhoe of Greenhoe Trombones played Conn trombones while with the Milwaukee Symphony (1971-2010). Greenhoe’s legacy is the valve he created, but he also wanted to create a trombone that played evenly throughout all registers and did not make the player compromise their sound when engaging the valve. Bousfield remarked, “Gary is another obsessive. He did wonderful work.”126 Greenhoe sent Bousfield the first ever Greenhoe trombone. This was the trombone he used when premiering Stargazer by Jonathan Dove with the
125 Ibid, 21. 126 Ibid, 24. 29 LSO. Greenhoe sent Bousfield another Greenhoe trombone in 2010 while Bousfield was in Vienna “that was so beautiful that when I started playing in the opera the string players started looking around to see what it was. It was such a beautiful sound, but I couldn’t play solos on it. I just couldn’t do it. I couldn’t move [fast enough] on it.”127 Bousfield had found the sound he desired, but not the complete “perfect” trombone. In 2013 Bousfield, again, set out to design his ‘perfect’ trombone. The Greenhoe trombone he played in 2010 was as close as any manufacturer had come to realizing it, and ironically enough, Greenhoe had little to no input from Bousfield. Unhappy with the direction Yamaha took to “come up with the equipment [he] wanted,”128 Bousfield’s business agent set out to find a company that would be willing to make him exactly what he wanted, and Bousfield responded “…Fine, but not Edwards.”129 Bousfield has always played on narrow-gauged slides, and Edwards Instruments very rarely, if ever, manufactures a large-bore trombone with a narrow slide. “I just can’t play that equipment. I don’t play wide slides. I don’t play wide trombones. It’s just a philosophical thing, they are very good instruments, they’re just not for me.”130 Bousfield’s agent approached numerous instrument manufacturers explaining, “I have one of the world’s senior trombone players who’s looking to change his company, would you be interested?”131 Bousfield’s agent asked him if he had to pick a trombone to “play at that moment what would it be?”132 Bousfield’s response was something that didn’t exist, a Bach (large bore) trombone with a narrow-gauged slide. His agent explained that Bach was not interested in adding another artist, and neither was Conn. Close to a year had passed, and Bousfield received a phone call asking him where he was, and if he could make his way to Elkhorn, Wisconsin. “Christan wants to talk to you.”133 Christan Griego works for Edwards Instrument Company as the Director of Development and Marketing.134 Bousfield had expressed he did not want to work with Edwards, but Griego
127 Ibid, 24. 128 Ibid, 22. 129 Ibid, 22. 130 Ibid, 22. 131 Ibid, 22. 132 Ibid, 24. 133 Ibid, 22. 134 “Meet the Team,” Edwards Instrument Company, 2017, http://www.edwards- instruments.com/edwards/team.php. 30 was already working feverishly, in anticipation, making narrow-gauged slides to fit Bousfield’s playing style. Griego remarked, “I’m going to make you whatever you want.”135 This is exactly what Bousfield wanted in an instrument manufacturer. He wanted full control of what was being made, and finally he was going to make his “perfect” trombone. Something that sets Griego apart, aside from his abundant knowledge, is his willingness to learn what the player wants and make a trombone to suit those wants, not what he thinks a player needs. One major stipulation was Bousfield did not want to manufacture a trombone that was customizable. It needed to be “off the peg” which did not fit the Edwards model. Bousfield’s “philosophy” of designing his trombone fit with the Getzen Company. Getzen owns Edwards, and that is important to note because Griego designs trombones for both companies. Joseph Alessi is an Edwards artist and “…from a business point of view, you had someone who was going to [be the face of] Edwards. They needed someone who was going to [do the same for] Getzen.”136 The process of designing started with wide-gauged slides, and although Bousfield tried, he was not able to move around the trombone as efficiently as he would like, “it just wasn’t nimble enough.”137 The two had more conversations about what Bousfield truly wanted to produce and the end result should be “a trombone like the Conn 88H or the Bach 42 that would still be being made after we were both gone.”138 Bousfield describes the process as the “biggest crisis of Christan’s life [as a designer]” because presumably, he could manufacture a narrow- gauged slide and use a pre-existing bell and that would work. “That design process was not easy. It didn’t happen overnight.”139 Bousfield wanted something perfect, and everything had to be examined scrupulously. The first two prototypes were denied by Bousfield. “I just flatly said no.”140 After the denials, Griego spent the next three months toiling with materials, brace placement, and experimenting with other components to achieve exactly what Bousfield wanted. After his three- month hiatus, Griego called Bousfield requesting they meet to try his latest endeavor, and at the
135 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 22, transcript. 136 Ibid, 22. 137 Ibid, 22. 138 Ibid, 22. 139 Ibid, 22. 140 Ibid, 23. 31 time, Bousfield was teaching in Bern and preparing to play a solo concert. Griego boarded a plane and met with Bousfield in Switzerland. Bousfield was handed the 4147B-001, and Griego remarked, “If you don’t like that I can’t help you.”141 Bousfield has been playing on that first production model since that day. Griego assured him that he will want to change something in the future and that is normal, but as far as Bousfield is concerned, he has designed the “perfect” trombone.
I haven’t wanted to change anything at all. The only slight difference I have is the hand brace where my right-hand goes, I have a narrow one rather than the silver [regular-sized] one. The sound is better on the silver one, the one-piece silver one sounds better. That narrow one, if you’re playing fast, is easier to move. That’s the only reason. Other than that, it’s a production model. I tried the productions last week and they’re great you know, really good.142
Bousfield has thoroughly enjoyed his short tenure with Getzen, and that feeling is shared by the company. Both Bousfield and Getzen are hopeful that their relationship continues well into the future.
Mouthpieces
Compared to the early 1970s, when Bousfield began playing trombone, there are significantly more options of instruments as well as mouthpieces. In a video he made for the Royal Conservatoire of Scotland, Bousfield remarks, “They were all one size. It was either, do you want a trombone and mouthpiece or not?”143 The amount of options today is tremendous. A player can find something that really works well, but too many options can also be detrimental. With so many choices, the tendency is to try many and never settle on one. Bousfield, not unlike others, has played on many different mouthpieces throughout his career. The ideal mouthpiece for a player is one that allows them to play everything that is required of them. A player must be able to move freely through all ranges and dynamics of the trombone without compromise. In the aforementioned video, Bousfield also makes mention not to choose a mouthpiece because someone famous, or your personal hero, plays that brand or size.
141 Ibid, 23. 142 Ibid, 23. 143 Ian Bousfield, Royal Conservatoire of Scotland, Teaching Talks: Ian Bousfield, YouTube video, 10:08, July 15, 2014, https://www.youtube.com/watch?v=CqDy8G1d80I&t=339s. 32 The choice of mouthpiece should be based on the player’s needs, and the usual place to start is with a mouthpiece that is “standard”. The traditional standard for trombone mouthpieces is related to the Vincent Bach (Bach) mouthpieces. Of those, the 6 ½ AL and the 5G are regarded as the standard for tenor trombonists because they can produce a characteristic tenor trombone sound. These mouthpieces also allow the trombonist relative ease of range, dynamic, and flexibility. However, one of the major problems with these two mouthpieces is their “caveman design.” Bousfield elaborates:
Vincent Bach made the 6 ½ AL and he got like 10,000 blanks. On the outside, they all look the same. If you look at a 6 ½ AL and a 1G, on the outside they are the same. It’s just the hole just gets bigger and bigger and bigger and bigger. He couldn’t go this way [indicating wide] because he had all the blanks, all he could do is go this way [indicating deeper]. So basically the 6 ½ has just gotten deeper and deeper and deeper. Mouthpiece design has moved on in the last fifteen years.144
This is exactly why Bousfield decided he would, at the urging of Steve Greenall from Warwick Music Limited, design a series of mouthpieces he believes will appeal to trombonists who want better than “caveman design.” Bousfield began to design his range of mouthpieces with Warwick Music without having any substantial knowledge of the process. He understood the basic concepts and had an idea, a basic philosophy, from which to work that did not copy any previous designs. The first design step was to find the “form of what a cup was and then to just grow it or shrink it, so all of the cups were exactly the same proportions, inside and outside.”145 The mouthpiece has to provide the right amount of resistance, according to Bousfield, and if the proportions are not complementary the mouthpiece can become a rather expensive paper weight. This differs from Bach mouthpieces, in that Bousfield’s mouthpieces would be proportionally correct, so that it functions as efficiently as possible. Bousfield believes there are two types of trombone players; those that play with a “chest voice” and those that play with a “head voice.” The “chest voice” players are the ones that prefer less resistance, and the “head voice” players prefer more resistance.
144 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 25, transcript. 145 Ibid, 24. 33 The process was rather slow because the machinery to manufacture the mouthpieces was not in-house. The team would design using a computer and send the drawings to the company that would lathe the mouthpieces. They would be sent back to try, and if they were not exactly right, the process started over. The final product was a series of three mouthpieces, the 4, 5, and S. The 4 is equivalent to the inner-rim diameter of the Bach 4G, the 5 to the inner-rim diameter of the Bach 5G, and the S to the inner-rim diameter of the Bach 3G. Although the rims resemble Bach mouthpieces in diameter, the other dimensions (cup depth, throat diameter, and overall- outer size) do not, making these mouthpieces incredibly efficient, and in turn, the trombonist does not have to work harder than needed. The 4 and 5 were developed for brass band, wind band, and orchestral trombonists, and the 4 is one of most popular mouthpieces being sold in Germany.146 The S was Bousfield’s main mouthpiece that he used for all his playing needs. His first endeavor being a success, Bousfield wanted to develop an even larger range of mouthpieces. This larger range would focus on the professional trombonist and his/her daily needs. Bousfield remarked, “There were two people in the world [with whom] I could’ve done what I wanted. The other was Greg Black, but I already had a relationship with Christan.”147 Bousfield and Griego designed two series of mouthpieces, one with the prefix O (Orchestral), and the other with V (Virtuoso). Both series have a 3, 4, and 5. Bousfield describes each series:
The V series will give the piping clear projecting, radiance which sounds so good on top of a section, or in front of the ensemble playing solos. You can float in the high register or throw as much air as you want. The O Series will tend towards being more free, while retaining the ability to sing with the head voice. The O series has the ability to play with both head and chest playing, but the color, and weight of sound is more towards a blending darker sound, when pushed the O series is still alive and clear.148
Bousfield now uses the V3, which was modeled after the S, as his main mouthpiece for all occasions. Bousfield anticipates additions to these series and is currently testing a prototype of a
146 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 24, transcript. 147 Ibid, 24. 148 Ian Bousfield, “The Philosophy of Mouthpieces by Ian Bousfield,” Griego Mouthpieces, February 19, 2017, http://www.griegomouthpieces.com/products/bousfield.php. 34 4 that has a shallower cup, but a more open throat. His goal is to find a mouthpiece that enables him to play two-hour recitals without getting tired.149
149 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 25, transcript. 35 CHAPTER 4
REFLECTIONS
The last chapter of this treatise will focus on Ian Bousfield’s thoughts concerning where he has been, where he is today, and how he feels he should influence the future of the trombone community. It will conclude with thoughts from a current student, Clara Daly Donnellan, and a former colleague, Jeremy Wilson, regarding Bousfield as a colleague, mentor, teacher, and person. How London Turned into Vienna, and then Bern
When Bousfield began his tenure with the LSO, he was twenty-four years of age. The LSO was and is an incredible orchestra with a tremendous pedigree. The LSO performed numerous concerts throughout their seasons, and in some busy weeks or months they would often perform two, or even three calls every day, and this could continue without break for weeks. Although this is not particularly unusual for prominent orchestras, it can still take a toll on the body, and even more so, the mind. Bousfield remarks, I was working really, too hard in London. Even in my early thirties I was starting to buckle under the workload. It wasn’t so much the work, but the fact you have an hour’s traveling to get to work, an hour’s traveling at lunchtime, an hour’s traveling at teatime, and then an hour to get home. You would be traveling four hours to do three calls. That was day in and day out, and in different parts of London. I love the orchestra and I loved the city. I had the most fun of my life with the London Symphony.150
Despite his joy of playing in London and with the LSO, Bousfield could not turn away an invitation to audition for the Vienna Philharmonic. The decision to leave London was difficult but when asked whether it was the right move, Bousfield does not have a definitive answer. As with any major decision, aspects of his life were affected in different ways; as for his career, “…it didn’t do any harm,” and as far as location, Vienna has charm, but London was a far better city for him personally. Monetarily the move to Vienna could have been one of the best
150 Ibid, 6. 36 decisions of his life. “Financially it was a very good move. When someone triples your salary that’s a pretty good start. That’s a pretty convincing argument.”151 Although Bousfield made the decision to leave the LSO, he never felt he made a choice on the artistic direction of his career.
… my weakness, if I were to look back, and it’s something I just realized, because of the upbringing I had, everything I have done has been geared toward making money, and I have. I’ve made a lot of money. I spent my life doing what people asked me to do. Now I’m in that position thinking what do [I] want to do with [my] life?152
Three people he admires who have been able to achieve this are Denis Wick, Jörgen van Rijen, and Christian Lindberg. He humorously added, “I think Christian loves money even more than I do, but he also made the decision [this is what I want to do].”153 The choice to pursue the principal trombone audition in Vienna was difficult, and Bousfield understands how fortunate he was to be invited. To play with the Vienna Philharmonic for twelve years, to hear one of the finest string sections in the world every day, and to play under the baton of so many magnificent conductors was something Bousfield will never forget. The opportunity to play with two of the world’s finest orchestras for over ten years each is an incredible honor and achievement; but, then to leave Vienna, before Bousfield turned fifty years of age, to pursue a full-time teaching career is also quite remarkable.
The Vienna Philharmonic, for me, is like being in love with someone and you know it just won’t work. You’re going to regret it for the rest of your life, but I had to leave. The city wasn’t right for me… personally the city just didn’t work for me, [but] the orchestra did. I love the orchestra, you know. I think it was time to move on and do other things.154
It is important to reiterate that Bousfield taught trombone while playing with the LSO and Vienna Philharmonic, but it was only part-time due to his schedule with each orchestra.
151 Ibid, 6. 152 Ibid, 9. 153 Ibid, 9. 154 Ibid, 6. 37 Moving to Bern, Switzerland was another significant change for Bousfield. To have two full-time careers in one’s lifetime is not a rare occurrence. However, to play with two of the top orchestras in the world, for over ten years each, and then decide that it was time to move on, could be referred to as a rare conundrum. Although the shift of careers may look insane from the outside, Bousfield could not be happier with his choice, and his life. When asked if moving to Bern was the right decision, Bousfield stated:
…it wasn’t professionally. Personally, it’s probably wrong too, but somehow, I’m happier than I’ve ever been, [so] there has to be something right about it. Career-wise it would be better for me if I was living in London or New York where there were composers and conductors around all the time. I’m in this little Swiss town, but my quality of life is fantastic.155
Posterity
Bousfield has recorded five solo trombone albums,156 but recording solo albums is not something that is of significance to him. He is keenly aware of his colleagues and peers who record albums to leave for posterity, or to “keep a snapshot of where [they] were at any given time,” regarding their playing. In response to that awareness, “That doesn’t interest me at all.”157 Instead of recording more albums of solo repertoire, Bousfield would rather leave a trombone concerto, “one good commission,”158 for posterity’s sake, and to urge more solo appearances of trombonists with orchestras and wind bands. The standard repertoire for the trombone has not seen an addition of a new concerto that “everyone wants to hear,”159 according to Bousfield. He also believes the trombone has not been a particularly sought-after solo instrument in front of an orchestra, and for good reason. There has not been a significant offering to the trombone repertoire that is accessible by a substantial number of players. For instance, of the nearly eighty-five commissions that have been written for Christian Lindberg, all are, essentially, virtuosic works that are only playable by himself and perhaps a very few others. Few, he believes, are the type of piece to which an audience would like to listen. Some of the commissions are unpopular because of difficulty, and others because of the theatrics that are
155 Ibid, 6. 156 See Appendix A. 157 Ian Bousfield, interview by Kyle M. Schaefer, May 1-2, 2016, interview 18, transcript. 158 Ibid, 18. 159 Ibid, 15. 38 incorporated. About the Motorbike Concerto written by Jan Sandström, Bousfield stated, “When I started playing the trombone, it was a joke instrument. Now we’ve got a guy riding around the stage on the motorbike in motorbike leathers and make the noise a motorbike would make in the trombone. Look how far we’ve come.”160 Bousfield intends to use his influence in the trombone community and with composers to inspire a concerto that is accessible to many; but most importantly, a work that is still played and enjoyed long after he is gone. This project is not purely for Bousfield, and parallels his efforts to design his “perfect” trombone. His goal is simply to leave the trombone community in a better place than when he started. Bousfield would also like to have a positive effect on people as some of his former colleagues did on him. He remarked, “For me it’s personal qualities and friendships, and things like that, that are important.”161 He remembers colleagues like Maurice Murphy and Rod Franks, both of whom were exquisite trumpet players who he had the pleasure of sitting next to while with the LSO. Their playing, although spectacular and wonderful, is not where his thoughts are focused when reminded of them. “Even as great as [their playing] was, I don’t think about their playing very much. I remember and miss them.”162 These individuals, along with Denis Wick, have had a profound impact on Bousfield’s life, and he hopes he can impact his colleagues and students in the same fashion. Bousfield has had extraordinary people in his life who have helped shape him into the player and teacher he is today, and while in Vienna he had the opportunity to impact and mentor Jeremy Wilson. Wilson is an American who became second trombone of the Vienna Philharmonic. Wilson has many fond memories of Bousfield, and truly appreciates his mentorship during their tenure together.
I got to know Ian a lot on tours because we would have a lot of free time. I think the Ian I wish more people knew would be the off-stage Ian, because he is such a strong personality. He is so caring, he actually, really does care about people. He looked after me so well in the orchestra. He saved me from colleagues. He saved me from myself. He saved me from falling into innumerable landmines.
160 Ibid, 15. 161 Ibid, 18. 162 Ibid, 18. 39 He didn’t treat me like a kid who didn’t know anything. That’s very special. I didn’t know at the time how special that was. Now I know.163
Clara Daly Donnellan was referenced previously regarding her experience studying with Bousfield. Aside from his ability to play and teach trombone at an incredibly high level, she feels that his personality and caring nature are far more significant. She further elaborates:
I think the overwhelming thing about Ian is that I have a relationship with him where I feel like he’s an excellent teacher but also an excellent person. I think that’s the most important thing to maintain… I think what’s common between all of us [in his class] is that, as a result of having him as a teacher, we trust him, and he always cares.164
Ian Bousfield has already had an incredible career, and he has not yet reached sixty years of age. His tenure with three orchestras as principal trombone, two of which are so highly regarded in the orchestra community, is a feat that no other trombonist has matched. His teaching is producing some of the most successful trombonists around the world today, and his work with Getzen and Griego Mouthpieces has elicited high-quality trombone equipment that is reestablishing standards. He does not dwell in the past, and he also does not stagnate in the present; he is constantly striding forward. Although Bousfield has been given many accolades, awards, and even a substantial amount of monetary compensation for his trombone playing and teaching; that is not why he plays or teaches trombone. He plays and teaches trombone because he has found his way to affect people’s lives positively.
163 Jeremy Wilson, interview by Kyle M. Schaefer, August 25, 2016, interview 7, transcript. 164 Ibid, 5. 40 APPENDIX A
HALLÉ, ECYO, AND OTHER RECORDINGS
The Hallé Orchestra
Composer Work Conductor Stanislaw Brahms Symphonies No. 1-4 Skrowaczewski Bruckner Symphony No. 4 Zdenek Macal Various Russian Russian Spectacular Vernon Handley Composers European Community Youth Orchestra
Composer Work Conductor
Berlioz Te Deum Claudio Abbado
Recordings Outside the Orchestra (Reverse Chronological Order)
Type Title Year
Solo Memories and Dreams 2016 Beethoven and Brahms: Trios & Sonata (For Solo/Trio 2009 Trombone) Solo The French Collection 2007 Pryor Engagement (Ian Bousfield (trombone) with Featured Soloist 2006 Black Dyke Band) Featured Soloist Bourgeois in Brass 2003
Solo Virtuosi 1997
41 APPENDIX B
LONDON SYMPHONY ORCHESTRA RECORDINGS
London Symphony Orchestra (Alphabetic Listing by Composer)
Composer Work Conductor Film Music: Suites Premier Recordings, Alwyn Odd Man Out, Fallen Idol, History of Mr. Richard Hickox Polly Alwyn Symphonies No. 3 & 5 Richard Hickox
Alwyn Symphony No. 1 Richard Hickox
Alwyn Piano Concerto Richard Hickox
Alwyn Symphony No. 2 Richard Hickox
Alwyn Symphony No. 4 Richard Hickox
Arnold Symphonies No. 5 & 6 Richard Hickox
Arnold Symphonies No. 1 & 2 Richard Hickox
Arnold Symphonies No. 3 & 4 Richard Hickox Film Music: The Bridge on the River Kwai, Whistle Down the Wind, The Arnold Richard Hickox Sound Barrier, Hobson's Choice, The Inn of the Sixth Happiness Suite Barber Violin Concerto (Gil Shaham-violin) Andre Previn
Bartok Miraculous Mandarin Kent Nagano
Bartok Concerto for Orchestra Kent Nagano Concerto for Orchestra/Concerto for Rafael Frühbeck de Bartok/Kodaly Orchestra Burgos Rafael Frühbeck de Beethoven Symphony No. 5 Burgos Beethoven Symphony No. 9 Wyn Morris
42 Composer Work Conductor Berg, Strauss, and Lieder (Jane Eaglen-soprano) Donald Runnicles Wagner Berlioz Beatrice and Benedict* Sir Colin Davis
Berlioz Romeo and Juliet* Sir Colin Davis
Berlioz Symphonie Fantastique Louis Fremaux
Bernstein A While House Cantata Kent Nagano Michael Tilson Bernstein West Side Story, etc. Thomas Michael Tilson Bernstein On the Town Thomas Bernstein Candide Leonard Bernstein Double Bass Works (Franco Petracchi- Bottesini Thomas Martin double bass) Sir John Eliot Boulanger Psalm 24, 129, 130 Gardener Brahms Ein Deutches Requiem* Andre Previn
Brahms Ein Deutches Requiem Richard Hickox
Brahms Symphony No. 2 & 3 Neeme Järvi
Brahms-Schönberg Piano Quartet No. 1 Geoffrey Simon
Brahms-Schönberg Piano Quartet No. 1 Neeme Järvi
Britten Billy Budd Richard Hickox
Britten A Midsummer Night's Dream Sir Colin Davis War Requiem, Sinfonia da Requiem, Britten Richard Hickox Ballad of Heroes Sinfonia da Requiem, Gloriana, Sea Britten Interludes and Passacaglia from Peter Steuart Bedford Grimes The Young Person's Guide to the Britten Charles Mackerras Orchestra
43 Composer Work Conductor Jeux, La Boite A Joujoux, Prelude A Michael Tilson Debussy L'Apres Midi D'Un Faune Thomas Michael Tilson Debussy Le Martyre de Saint Sebastien Thomas Rafael Frühbeck de Debussy La Mer, Nocturnes Burgos Delius Delius: Orchestral Works Barry Wordsworth
Donizetti Lucia di Lammermoor Richard Bonynge
Donizetti Lucia di Lammermoor Ion Marin
Dukas The Sorcerer's Apprentice Charles Mackerras
Dvorak Symphonies No. 8 & 9* Sir Colin Davis
Dyson The Canterbury Pilgrims Richard Hickox
Elgar Symphony No. 2 Andre Previn
Elgar In the South/Falstaff Jeffrey Tate
Elgar Symphony No. 1 Jeffrey Tate
Elgar Cockaigne jeffrey Tate
Elgar Symphony No. 2 Jeffrey Tate
Elgar Symphony No. 1, Cockaigne Overture Charles Mackerras
Elgar The Apostles Richard Hickox
Elgar The Kingdom Richard Hickox
Gabrieli Complete works of Gabrieli** Eric Crees
Gageneux Triptyque Seiji Ozawa Orchestral Music: Rhapsody in Blue, Gershwin Piano Concerto in F, An American in Carl Davis Paris (Joanna MacGregor-piano)
44 Composer Work Conductor Orchestral Works (including Holst Richard Hickox Hammersmith and Egdon Heath) Holst Cloud Messenger/The Hymn of Jesus Richard Hickox
Hovhaness Symphony No. 2 John Williams Orchestral Works : Scherzo & Cortège, Ireland Tritons, The Forgotten Rite, Satyricon, Richard Hickox The Overlanders Suite Michael Tilson Janáček Sinfonietta/Glagolitic Mass Thomas Korngold Symphony in F-sharp major Andre Previn
Korngold Violin Concerto (Gil Shaham-violin) Andre Previn Michael Tilson Mahler Symphony No.7 Thomas Mahler Symphony No. 1 Yondani Butt
Mahler Symphony No. 1 Jacek Kaspszyk
McCartney Standing Stone Lawrence Foster Michael Tilson McLaughlin Guitar Concerto No. 1 Thomas Pictures at an Exhibition, Night on the Mussorgsky Jacek Kaspszyk Bare Mountain, Khovanshchina Prelude Violin Concerto No. 2 (Anne-Sophie Penderecki Krzysztof Penderecki Mutter-violin) Porter Anything Goes John McGlinn
Prokofiev Alexander Nevsky Mstislav Rostropovich
Prokofiev Ivan the Terrible Mstislav Rostropovich Michael Tilson Prokofiev Symphony No. 5 Thomas Pinao Concerto No. 1 & 2 (Vladimir Michael Tilson Prokofiev Feltsman-piano) Thomas Prokofiev Peter and the Wolf Charles Mackerras
45 Composer Work Conductor
Puccini La Rondine Antonio Pappano
Puccini La Bohème Kent Nagano Piano Concerto No. 2 (Barry Douglas- Michael Tilson Rachmaninov piano) Thomas Piano Concerto No. 1 & 2 (Gennady Rachmaninov John Ogdon Rozhdestvensky-piano) Piano Concerto No. 2 (Evgeny Kissin- Rachmaninov Valery Gergiev piano) Ravel L'Enfant et Les Sortileges Andre Previn
Ravel Daphnis et Chloé (Complete) Andre Previn
Ravel Boléro Kent Nagano Piano Concerto in D for the Left Hand Ravel Pierre Boulez (Krystiean Zimerman-piano) Ravel Rhapsody Espagnole Kent Nagano
Ravel La Valse Kent Nagano
Ravel Daphnis et Chloé (Complete) Kent Nagano
Ravel Adrian Leaper
Ravel Bolero, Daphnis and Chloe, La Valse Louis Fremaux Michael Tilson Reich The Four Sections Thomas Rimsky-Korsakov Scheherazade/Capriccio Espagnol Charles Mackerras
Saint-Saëns Samson and Delilah Sir Colin Davis
Schumann Overture, Scherzo & Finale, Julius Caesar Neeme Järvi
Shchedrin Cello Concerto Mstislav Rostropovich
Shostakovich Symphony No. 15 Mstislav Rostropovich
46 Composer Work Conductor
Shostakovich Symphony No. 12 Mstislav Rostropovich
Shostakovich Symphonies No. 2 & 3 Mstislav Rostropovich
Shostakovich Symphony No. 8 Andre Previn
Shostakovich Symphony No. 8 Maxim Shostakovich
Shostakovich Symphony No. 7 Maxim Shostakovich
Shostakovich Symphony No. 15 Maxim Shostakovich
Shostakovich Symphony No. 5/Festive Overture Maxim Shostakovich
Shostakovich Symphony No. 10 Maxim Shostakovich
Shostakovich Symphonies No. 10 & 15 Mstislav Rostropovich
Sibelius Complete Works of Sibelius Sir Colin Davis
Sibelius Symphony No. 2 Charles Mackerras
Soderlind Symphonies No. 2 & 3 Ragnar Soderlind
Strauss Don Quixote Andre Previn Michael Tilson Strauss Vier Letzte Lieder Thomas Michael Tilson Strauss Also Sprach Zarathustra/Don Juan Thomas Rafael Frühbeck de Strauss Alpine Symphony Burgos Also Sprach Zarathustra, Don Juan, Till Strauss Jacek Kaspszyk Eulenspiegel Tone Poems: Don Juan, Till Eulenspiegel, Strauss Yondani Butt Death and Transfiguration Sir John Eliot Stravinksy Symphony of Pslams Gardener Stravinksy Petrushka Kent Nagano
47 Composer Work Conductor Michael Tilson Stravinsky Stravinksy in America Thomas Stravinsky The Rite of Spring Robert Craft
Stravinsky Apollo and Orpheus Robert Craft
Stravinsky The Fairy's Kiss Robert Craft
Stravinsky Petrushka Sir Georg Solti
Stravinsky The Rite of Spring Pierre Boulez
Stravinsky The Firebird Franz Welser-Möst
Stravinsky The Firebird Kent Nagano
Stravinsky Symphonies of Wind Instruments Kent Nagano Michael Tilson Stravinsky Symphony of Winds Thomas Michael Tilson Stravinsky Symphony of Psalms Thomas Michael Tilson Stravinsky Symphony in C Thomas Rafael Frühbeck de Stravinsky The Rite of Spring Burgos Stravinsky The Firebird Neeme Järvi
Tchaikovsky Symphony No. 5 Sir Georg Solti Michael Tilson Tchaikovsky Swan Lake Thomas Tchaikovsky Manfred Symphony Yuri Simonov
Tippett A Child of Our Time Richard Hickox Endless Love, Evergreen, Hello, All The Vandross Jeremy Lubbock Woman I Need, The Impossible Dream Various Film Themes Jerry Goldsmith
48 Composer Work Conductor
Various Back to Titanic James Horner
Various The London Trombone Sound*** Geoffrey Simon The Classical Album (Arturo Sandoval- Various Luis Haza trumpet) Various Classic Rock: The Wind of Change Various
Various Classic Rock: The Living Years Various
Various TV Themes Stanley Black
Various 007 Classics John Cacavas Various American American Brass** Eric Crees Composers Vaughn Williams Symphony No. 5 Richard Hickox
Vaughn Williams Sympnhonies No. 1 & 7 Bryden Thomson
Vaughn Williams Symphony No. 6 & Tuba Concerto Bryden Thomson
Verdi Requiem Richard Hickox
Verdi La Travita Carlo Rizzi
Williams Bassoon Concerto John Williams * - Live Recording ** - LSO Brass Recording *** - 16 Trombonists from orchestras in England
49 APPENDIX C
FILM SOUNDTRACKS (RECORDED WITH THE LONDON SYMPHONY ORCHESTRA) Film Soundtracks (Reverse Chronological)
Year Film Compser
1999 Star Wars: Episode I - The Phantom Menace John T. Williams
1998 Asterix and Obelix vs. Caesar Goldman/Romanelli (David Snell)
1996 Meet Wally Sparks Michel Colombier (David Snell)
1996 Flipper Joel McNeely
1996 Wilde Anne Dudley
1995 Mary Reilly George Fenton
1995 Cutthroat Island John Debney (David Snell)
1995 Balto James Horner
1995 Braveheart James Horner
1994 Much Ado About Nothing Patrick Doyle
1994 Last of the Dogmen David Arnold (Nicholas Dodd)
1994 Little Women Tom Newman
1994 Street Fighter Graeme Revell (Tim Simonec)
1994 The Pagemaster James Horner
1994 Legends of the Fall James Horner
1993 Le Petit Garçon Philippe Sarde (Harry Rabinowitz)
1993 Shadowlands George Fenton
50 Year Film Compser
1993 We're Back James Horner
1993 The Man Without a Face James Horner
1992 Once Upon a Forest (The Endangered) James Horner
1991 Cape Fear Bernard Herrmann (Elmer Bernstein)
1991 Rambling Rose Elmer Bernstein
1990 The Josephine Baker Story Georges Delerue
1990 An American Tail: Fievel Goes West James Horner
1990 Eve of Destruction Philippe Sarde (Harry Rabinowitz)
1990 The Nutcracker Prince Victor Davies (Boris Brott)
1989 Lord of the Flies Philippe Sarde (Harry Rabinowitz)
1989 All Dogs Go to Heaven Ralph Burns
1989 Little Nemo: Adventures in Slumberland Tom Chase/Steve Rucker (Chase)
1989 The Return of the Musketeers Jean-Claude Petit
1989 Rarg Philip Appleby (James Stobart)
1988 Honey I Shrunk the Kids James Horner
1988 Slipstream Elmer Bernstein
1988 L'Ours (The Bear) Philippe Sarde (Carlo Savina)
1988 The Land Before Time James Horner
51 APPENDIX D
VIENNA PHILHARMONIC RECORDINGS
Vienna Philharmonic Recordings (Alphabetic Listing by Composer)
Composer Work Conductor
Beethoven Symphony No. 5 Simon Rattle
Beethoven Symphony No. 6 Simon Rattle
Beethoven Symphony No. 9 Simon Rattle
Britten Billy Budd Donald Runnicles
Mahler Symphony No. 2 Gilbert Kaplan
Mahler Symphony No. 2 Pierre Boulez
Mahler Symphony No. 3 Pierre Boulez
Mahler Symphony No. 10 Daniel Harding
Schubertt Symphony No. 9 Nikolaus Harnoncourt
Strauss Alpine Symphony Christian Thielemann
Strauss Ein Heldenleben Christian Thielemann
Tchaikovsky Symphony No. 4 Valery Gergiev
Tchaikovsky Symphony No. 5 Valery Gergiev
Tchaikovsky Symphony No. 6 Valery Gergiev
Various Anna Netrebeko (soprano)-Opera Arias Gianandrea Noseda
Various German Overtures Christian Thielemann
52 Composer Work Conductor
Various New Years Concert 2001 Nikolaus Harnoncourt
Various New Years Concert 2003 Nikolaus Harnoncourt
Various New Years Concert 2005 Lorin Maazel
Various New Years Concert 2007 Zubin Mehta
Various New Years Concert 2009 Daniel Barenboim
Verdi Requiem Nikolaus Harnoncourt
Wagner Parsifal Christian Thielemann
Wagner Tristan und Isolde Christian Thielemann
53 APPENDIX E
DAILY ROUTINE EXERCISES
E-1 Daily Exercises #1
54
E-2 Daily Exercises #2 & #3
55
E-3 Daily Exercise #4
56
E-4 Daily Exercise #5 & #6
57
E-5 Daily Exercise #7
58
E-6 Daily Exercise #8
59
E-7 Daily Exercise #9
60
E-8 Daily Exercise #10
61
E-9 Daily Exercise #11
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E-10 Daily Exercise #12
63 APPENDIX F
LONDON SYMPHONY ORCHESTRA CONCERTS FEATURING IAN BOUSFIELD
G-1 LSO Performances Featuring Ian Bousfield
64 APPENDIX G
ALLAN BRIGGS EMAIL
Ian Bousfield, A Yorkshire Imp circa 1977/8-1982 (14-18 years old)
On the evening, Ian was introduced to Yorkshire Imperial Band we had a dilemma. He was 14 years old and was about to join one of the busiest Brass Bands in the country. Our concert diary was extensive. Most weekends took us to all the corners of the United Kingdom, and occasionally on overseas tours; in addition to two rehearsals a week and exhausting extra rehearsals for all the major contests. We had to let him know what was expected, and more importantly, his parents had to be fully aware of any consequences that could occur. We had a special meeting to discuss the pros and cons of accepting Ian to the band, and discussed this with Ian and his Father. It took just a few minutes, but we all agreed with the terms. As they say, “the rest is history” Ian’s time with the band was extraordinary, and all was made to happen by his Father, who brought him from their home in York, to Leeds every rehearsal, concert, and contest. In Ian’s first year with Imps (1978), we won the National Finals at the Royal Albert Hall in London. Ian was soon to be recognized as a superb soloist and featured on most of our concerts. A picture of the program from an Arts Council concert at Birmingham Town Hall in 1979, featuring Ian playing Gordon Langford’s Rhapsody for Trombone is included. (Photo-1) In 1980 was the year we won the British Open Championship for the third time in the bands history, but the first and perhaps the only one for Ian. Included is the official band photo displaying the British Open Shield. (Photo-2) Another prestigious concert in the history of the band, here Ian joins forces with the ever-popular Don Lusher at a concert in the Royal Albert Hall. (Photo-3) Sadly, in 1982 Ian was about to leave us to pursue his career, a full-fledged eighteen-year old Imp. However, just before he left us, we produced a record featuring the great trumpet player Maurice Murphy. And just because we could, we Ian was also featured on the same album playing Bill Geldard’s arrangement of Autumn Leaves. Many trombone players have tried to copy the performance of this arrangement, but none of them with the panache of Ian’s version. I have listened to this recording for thirty-five years and never tire of it.
Bravo Mr. Ian Bousfield (Once an Imp always an Imp) We are very proud!
Photo-4 Waiting to play Photo-5 Actual winning performance Photo-6 Celebrating back at the hotel Photo-7 Band official photo displaying National Champions Trophy
Courtesy of Allan Briggs (Yorkshire Imp since 1969)
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G-1 Program from 1979 Concert
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G-2 Official Band Photo, 1980
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G-3 Concert Announcement
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G-4 Waiting Backstage Before a Concert
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G-5 Actual Championship Performance
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G-6 Celebration After a Contest Win
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G-7 Official Band Photo with Championship Trophy
72 APPENDIX H
ORAL HISTORY DESIGNATION
From: Julie Haltiwanger To: Jane Clendinning CC: Kyle Schaefer Subject: Oral History?
Dr. Clendinning,
Yes that would be an oral history project, which in general, does not fit the definition of "research" pursuant to the federal regulations governing the protection of research subjects. Please be mindful that there may be other requirements such as releases, copyright issues, etc. that may impact your oral history endeavor, but are beyond the purview of this office.
Julie Haltiwanger Office of Research P O Box 3062742 Tallahassee Fl 32306-2742 850-644-7900 Fax 850-644-4392 [email protected]
73 APPENDIX I
SAMPLE CONSENT FORM
Ian Bousfield Research Project
You are invited to take part in a biographical piece about Ian Bousfield. You were selected as a participant because you are or were a colleague of Ian Bousfield. Please read this form and ask any questions you may have before signing in agreement.
This study is being conducted by Kyle Schaefer, a doctoral candidate at Florida State University.
Procedures:
If you agree to participate, I would ask you to do the following:
• Schedule a face-to-face interview or Skype session to be interviewed. • Communicate through email correspondence. • Sign and return this form.
Confidentiality:
However, research information that identifies you may be shared with the Florida State University Institutional Review Board (IRB) and others who are responsible for ensuring compliance with laws and regulations related to research, including people on behalf of Kyle Schaefer and the Office for Human Research Protections (OHRP).
Voluntary Nature of the Study:
Participation is voluntary. If you decide TO/NOT TO participate please sign the appropriate line and return this form. If you decide to participate, you are free to not answer any question or withdraw at any time. If you, as the participant, choose to remain anonymous, your name will be excluded and there will be no explicitly identifiable information included in the prose of the biography.
Contacts and Questions:
The researcher conducting this study is Kyle Schaefer. If you have a question, you are encouraged to contact Kyle Schaefer at XXXXXXXXXXXXXXXX You can also contact XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
Statement of Consent 74
I consent to participate.
______Signature Date
I wish to participate and remain anonymous
______Signature Date
I DO NOT consent to participate.
______Signature Date
75 REFERENCES
“About the New World Symphony.” New World Symphony. February 15, 2017. https://www.nws.edu/about/about-nws.
“About Empire Brass.” Columbia Artists Management Inc. 2017. http://www.empirebrass.com/about.html.
“About Us.” Heritage. 2016. http://www.halle.co.uk/about-us/heritage.
Baroody, Joel. “Brass Chats Episode 28: Joe Alessi.” Brass Chats (Vlog). February 17, 2017. https://www.brasschats.com/interviews/joe-alessi.
“Bernard Haitink.” Royal Concertgebouw Orchestra Amsterdam. 2017. https://www.concertgebouworkest.nl/en/bernard-haitink.
“Biography.” Ian Bousfield. 2011. http://www.ianbousfield.com/biography.
Bousfield, Ian. email message to author. January 23, 2017.
Bousfield, Ian. interview by Kyle M. Schaefer. May 1-3, 2016. transcript.
Bousfield, Ian. Royal Conservatoire of Scotland. Teaching Talks: Ian Bousfield. YouTube video. 10:08. July 15, 2014. https://www.youtube.com/watch?v=CqDy8G1d80I&t=339s.
Bousfield, Ian. “The Philosophy of Mouthpieces by Ian Bousfield.” Griego Mouthpieces. February 19, 2017. http://www.griegomouthpieces.com/products/bousfield.php.
Bousfield, Ian. Unlocking the Trombone Code. Coventry, England: Warwick Music Limited, 2015.
Carnovale, Norbert. Gunther Schuller. Westport, Connecticut: Greenwood Press, 1987.
“Christian Thielemann.” Staatskapelle Dresden. 2017. http://www.staatskapelle- dresden.de/en/staatskapelle/christian-thielemann.
Cooper, Michael. “A Sound Shaped by Time and Tools-What Makes the Vienna Philharmonic so Distinctive.” New York Times (New York, NY). July 30, 2014.
Daly Donnellan, Clara. interview by Kyle M. Schaefer. September 15, 2016. transcript.
“Did You Know…” London Symphony Orchestra. 2016. http://lso.co.uk/orchestra/history.html.
Dove, Jonathan. “Stargazer.” Edition Peters Group. 2017. http://www.jonathandove.com/works/orchestra/stargazer/.
76 Guion, David M. A History of the Trombone. Plymouth, United Kingdom: The Scarecrow Press Inc., 2010.
Gunia, Bruce. “ITA Award 2013 Ian Bousfield.” International Trombone Journal 41, no.4 (2013): 50-52.
“About Us.” Heritage. 2016. http://www.halle.co.uk/about-us/heritage.
“Ian Bousfield.” Windsong Press. 2016. http://www.windsongpress.com/brass%20players/trombone/Bousfield.pdf.
“Meet the Team.” Edwards Instrument Company. 2017. http://www.edwards- instruments.com/edwars/team.php.
Morrison, Richard. Orchestra: The LSO A Century of Triumph and Turbulence. London: Faber and Faber, 2004.
“Orchestra.” Vienna Philharmonic. 2016. http://www.wienerphilharmoniker.at/orchestra/history.
“Pierre Boulez.” Chicago Symphony Orchestra. 2017. http://cso.org/about/performers/conductors/pierre-boulez.
“Pierre Boulez-Past Grammy Awards.” The Grammy Awards. 2017. https://www.grammy.com/artist/pierre-boulez.
Rice, Libby. email message to author. January 27, 2017.
“Seiji Ozawa (Conductor).” Bach Cantatas Website. 2017. http://www.bach- cantatas.com/Bio/Ozawa-Seiji.htm.
“The History of the Vienna Philharmonic.” Wiener Philharmoniker. 2016. http://www.wienerphilharmoniker.at/orchestra/history.
“The World’s Greatest Orchestras.” Gramophone. 2016. http://www.gramophone.co.uk/editorial/the-world’s-greatest-orchestras.
Wilson, Jeremy. interview by Kyle M. Schaefer. August 25, 2016. transcript.
77 BIOGRAPHICAL SKETCH
Kyle Schaefer began his trombone studies, as many young students, in the sixth grade in Indianapolis, Indiana. After moving to Lafayette, Indiana before high school, he began studying privately with Jim Hopkins. After graduation and acceptance to Ball State University, Kyle was under the tutelage of Dr. John Seidel. Kyle was a member of the Studio Jazz Ensemble, Symphony Orchestra, and the Wind Ensemble while at Ball State. He also participated with the University Singers as the trombonist and occasionally a singer on their 15-day tour of China in the summer of 2005. During his years at Ball State, he also studied with Christopher Woody, Adam Johnson, and William Frazier. Prior to receiving his Bachelor’s degree, Kyle auditioned for a trombone position with the United States Marine Corps. He was accepted to enlist, and after completing his Bachelor of Arts, was shipped to recruit training in San Diego, California. After recruit training he traveled to Camp Pendleton, California for combat training; which consists of one month of weapons, hand to hand, and general combat training. Kyle then left the west coast for Little Creek, Virginia and the Armed Forces School of Music. There, he studied applied trombone skills with Sergeant First Class Steven Adrian. Kyle was appointed the Platoon Guide of the Marine Detachment (the liaison between the command element and the student platoon), which consisted of between twenty to seventy-five Marines at any given time. While at the Armed Forces School of Music he was also awarded Student of the Month and graduated with a “Superior” rating after finishing his playing assessments. Kyle was then relocated to San Diego, California where he was selected to play with the premiere brass quintet of Marine Band San Diego. The brass quintet traveled to different states throughout the Western Recruiting Region where they performed standard and contemporary works for brass quintet, presented master classes, and were called on to recruit new musicians for the Marine Corps. While in San Diego, Kyle also studied privately with Principal Trombonist Kyle Covington, and Bass Trombonist Michael Priddy, of the San Diego Symphony. During his enlistment, Kyle was also the male vocalist with the band. Kyle concluded his enlistment in 2012, and began studying trombone with Moises Paiewonsky at the University of Arizona. While studying in Arizona he was asked to travel to Mexico and play in the Orquesta Filarmónica de Sonora for a recording project with Arturo Chacόn-Cruz for his CD “Arturo Chacón le canta a México.” Kyle also played trombone for the
78 world premiere of Craig Walsh’s “The Destruction of the Temple of Heaven,” and played 3rd trombone in the Studio Jazz Ensemble during their 28-day summer tour of China in 2013. Kyle recently finished his Doctor of Music degree at Florida State University with Dr. John Drew. While attending Florida State, Kyle played half of a season with Sinfonia Gulf Coast and with the university has played with Jazz Ensemble I, the University Symphony Orchestra, Wind Orchestra, Chamber Winds, and actively participated in the Trombone Choir.
79