In Part 2, Mark and I discuss differing views of interpretation, specifically with the Hindemith Sonata for Trumpet and Piano. The question is always this: How faithful should the performer be to the exact text of the music? Mark, of course, has some very definite ideas! We also talk about his time with the Metropolitan Opera, and end this part of our conversation with a discussion of historical performance practice.

Mark Gould is one of the most interesting, controversial, and hilarious musicians on the classical (and jazz) musical scene today. His new book, Gould on Music, is a fascinating look into many aspects of music, especially teaching. So it was interesting to hear Mark’s thoughts on so many different aspects of music and the music business.

In Part 1 of our conversation, I ask Mark about a number of his ideas about teaching, how he approaches each individual student differently, and how using humor can be a help in teaching, including ways to make concepts memorable. I ask him how he would teach me as a young student, he talks about the sound and approach of Adolph Herseth, and we end with a few funny stories of his time with the Metropolitan Opera.

In the Bonus Room, I ask Justin about how a student might get started playing Baroque music on the natural trumpet. We talk about social media and how it has helped his career, and at the end of our conversation I ask him where he sees himself in ten years.

In Part 2 of our conversation, I ask Justin about the different instruments he plays, the effect tonal keys can have on the nature of the music and why composers choose certain keys. And at the end of Part 2 we get into the weeds when talking about interpretive possibilities of the Haydn Trumpet Concerto.

Justin Bland is a wonderful trumpet player currently living in Copenhagen, Denmark. Specializing in Baroque music on the natural trumpet, Justin is far more than just a specialist. In addition to the natural trumpet, he also plays the modern trumpet, the recorder, the keyed trumpet, and is even a counter-tenor. Oh, and he has also tuned harpsichords!

In Part 1 of our conversation, we talk about how Justin got started on the trumpet (and how he learned to play the trumpet without having a teacher by reading articles on the internet). And then we get into the first part of a conversation about Baroque music and its interpretation.

In the Bonus Room, Jan discusses his other creative outlet, composition.

Part 2 is a continuation of our conversation about writing, creating, and the four composers covered in his biographies: Mozart, Brahms, Beethoven, and Ives.

Jan Swafford is known as both a composer and biographer. His compositions have been performed by orchestras such as the St. Louis Symphony, the Indianapolis Symphony, and the Dutch Radio Orchestra. His biographies of Ives, Brahms, Beethoven, and Mozart have received rave reviews, and so it was a total joy to have this conversation with Jan about all things musical (and a few things non-musical).

In Part 1 of our conversation, Jan talks about his beginnings in music, his ideas about writing, and how he has conveyed those ideas to students over the years. Then we begin our conversation about his four main biographies: Ives, Brahms, Beethoven, and Mozart.

I've always been impressed with the way Håkan has been able to achieve a great balance in his life, so we talk about what's important to him as both an artist and also as a husband and father. We end with Håkan talking about how he spends his time during the day of a performance.

In Part 2, we discuss Håkan’s most recent project, the recording of the 36 Études Transcendantes of Théo Charlier, which leads to a discussion of interpretation. At the end of Part 2, Håkan talks about his friendship with Andris Nelsons, the Music Director of the Boston Symphony, and how Håkan got him interested in playing the trumpet again.