Crispian Steele-Perkins: As a matter of fact, I haven’t taught for ten years. Currently I have to do a lot of playing, and I’ve got so many different instruments that. The BBC artist page for Crispian Steele‐Perkins. Find the best clips, watch programmes, catch up on the news, and read the latest Crispian Steele‐Perkins. Where were you born? What is your earliest musical memory? I was born in Exeter, UK (England) in where my father was the 5th generation of doctor in .

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And above all, now we all tend to specialize in one instrument. Do you simply want to get through each piece rather than play musically? Of course, in the Baroque period, the leader of the group was usually the guy who wrote the piece. We were talking a little bit before about the different halls.

There is a long tradition of exceptionally good teaching. I think both of those things. I think it does reveal some quite interesting things especially about the trumpet, about how gently and softly it was performed in the old days. What kinds of music did you enjoy listening to as a child? Trumpet Concerto No 2 in C major 2nd mvt.


Crispian Steele-Perkins Interview . . . . . . . . .

They crave that experience. Trumpet Concerto No 2 in C major 2nd mvt Composer.

But I mean the worst offender for that was the symphony hall in Birmingham when it was first opened. Throughout the s and s, he played a key role in the growth of historically-aware trumpet playing, using a collection of more than pre mechanised and ‘natural’ trumpets to bring a brighter, clearer sound to baroque performances. I enjoyed doing a lot of commercial music at one time for the films and television. Read more at Wikipedia.

You have to be. Now having said that in a rather disparaging way, he did so much good because he raised the perspective of music and it became a trendy, fashionable thing to enjoy.

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One of the problems is the acoustic is designed for the listener, not for the performer. I am, and I think a cripsian scholar should support them.

To our great disappointment, they regard us as being elitist. But if it fails to communicate, which, I think, was the problem with much of the music of the late 20th century, we get bored with it. And yes, I like the idea of it being a little bit more social. What would I give to just hear that.

You sort of get dry mouth. We do a concert and we find ourselves leaning with our foot on a bar stedle somewhere and discussing some very serious things, like we are right now. Views Read Edit View history.


I just cannot do it. We take the music very seriously and they get very high quality performances.

Sign in to the BBC, or Register. He came from a mining village in Kent, and I went perkisn play at his memorial service and she, the minister of the arts, turned up. Are we, perhaps, getting so that we are eliminating the archaeologists of the future by leaving recordings of all the brand new works?

And sadly, without a public figure that sort of sponsors us emotionally, as it were, the arts are in quite a bit of difficulty in England. Crispian at Salisbury Cathedral. This trip, for instance, involves 10 days, and miles driving.

During the seventies and eighties we started getting these ghastly halls that were designed by people who were too clever by half, and the acoustic was poor. In other words, when things are going rough, and when the economy is bobbing down, history tells us that it comes back.