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Article Information
Journal Title: ITG journal.
Volume: 18 Issue: 2
MonthNear: 1993Pages: 21-

Article Author: International Trumpet Guild .

Article Title: Robert Platt and the Berlin Philharmonic Orchestra: An Interview with Arno Lange

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Name: Sievers, Karl
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Department: Music
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1931; Robert Platt and the
~:tf~
·es de
Berlin Philharmonic Orchestra
meme AN INTERVIEW WITH ARNO LANGE
rue et
. Edi-
ory of Robert Platt was born in 1937 in Fort Wayne, University, it was also her desire to spend some time
ry of Indiana. At the age of 14 he began studying trumpet in Germany. So, I said to myself''You are only young
[urces privately and was involved in his high school music once. It's now or never." I decided to invest one year
~Me- program. By the time he doing what interested me -
(al of graduated from high school regularly attending Berlin
1,34, in 1955 he was a regular Philharmonic concerts, work-
h the member of the Fort Wayne ing intensely on the trumpet,
'c Li- Philharmonic Orchestra. He and studying with Horst
tman received his formal music Eichler. Then I planned to re-
-Carl education at Indiana Univer- turn to the United States and
on of sity where he earned his BM begin my doctoral work.
(1959) and MM in trumpet AL: Your first audition in
mm- performance (1961). From Germany was in Dortmund
mer 1960-62 Platt taught public for the solo trumpet position.
un- school music (grades 1 How did you prepare for this
chen through 12) at a small school audition, and what did you
III. in Freelandville, Indiana, have to play?
aus- which was near enough to RP: At this point it was
0-2. Bloomington to allow him to February 1964, already six
erei. complete his master's degree. months longer in Germany
Arno Lange: Bob, for you than originally planned, and
the dream of many musicians I had come to the conclusion
16), has come true - to become a that professional playing ex-
sse, member of this orchestra. Be- perience could be just as valu-
;ph] tween Indiana University able as a doctorate. It couldn't
t de and the Berlin Philharmonic hurt your record. I felt it was
Orchestra there were many worth a try and this opportu-
stations and, therefore, you nity opened up overnight.
,ass were able to collect much ex- The Dortmund Opera and
ies- perience. Young people with Robert Platt Symphony Orchestra ex-
ger their musical careers in front panded in number, which al-
m- of them would be interested to hear your opinions. lowed for an additional first trumpet player. Upon
Jin Why did you come to Germany after finishing your receiving my application on a Friday evening, the
ent education at Indiana University? conductor of the Dortmund orchestra, Wilhelm
Iles Robert Platt: In 1962 I was 25 years old, had my Schuchter, contacted Horst Eichler and asked if would
the master's degree and two years of successful public be possible for me to play an audition on the follow-
fol- school teaching behind me. Rather than stay in pub- ing Monday. There was no time for preparation. At
lic school music, which I enjoyed very much, I had a that time I felt most comfortable playing the
burning desire to become involved in my specialized Hindemith Sonate, whereas generally the Haydn Con-
area. This meant earning my doctorate, which I fully certo is played for auditions. As it turned out, there
intended to complete at a later date. While in this had already been numerous auditions for that job,
indecisive period that spring of 1962, the Berlin Phil- and no one had been hired. On that Monday morning
harmonic Orchestra was on tour and played a con- I was the only one who played the audition. I played
cert in Bloomington. The Berlin Philharmonic with the Hindemith after which they said that they were
its unique sound had always been my favorite or- not familiar with Hindemith - could I play the Haydn?
chestra. After this concert I contacted Horst Eichler, So, I played the Haydn. Then I played a few orches-
at the time the solo trumpet with the Berlin Philhar- tral audition excerpts from Parsifal, Petrushka, etc.
monic. He agreed to allow me to study with him in In general, I didn't prepare anything special for the
Berlin. Since my wife majored in German at Indiana audition because of the short notice, but I was in

This article reprinted from the Euro-ITG Newsletter, No. 2 (1993) December, 1993 I ITG Journal 21
pretty good form at the time.
AL: How were the first months in Dortmund?
RP: When I think back to that time, I can remem-
ber that I had a very difficult time with an elegant
pianissimo. Everything was too loud, but I soon de-
veloped a good usable pianissimo.
It became clear to me then, however, just how
important it was to have a playing job, especially if
that's what you really want to do. One develops only
in the direction in which one finds oneself. Many
players reach only a certain point because their situ-
ation restricts further growth.
There is no substitute for orchestral performing,
and there comes a time when a trumpet player must
get a start. If one is not lucky enough to have ac-
quired a playing job by age 25-30, one should put
their efforts elsewhere. I've so often heard good trum-
pet players in auditions who simply do not play what
is required of an orchestral trumpet player. One may
play well, but their development has taken a differ-
ent direction. A trumpet player may become special-
ized in modern solo work, being able to play a fantas-
tic Tomasi, for example, but their Haydn Concerto
shows their tone and way of playing just would not fit
properly into a symphonic orchestra.
What I also clearly remember is how thankful I
was for having attended the Indiana University School
of Music. Everything I was required to perform in the
Dortmund opera for which I had no rehearsals, I had
played at LU. Operas such as Tiefland, Merry Wives
of Windsor, Flying Dutchman, Carmen, Die Kluge,
Gianni Schicchi, Troubadour, Tosca, and Madame
Butterfly. The only works I had to perform that I
didn't know were the German operettas, which were
often not very easy! At this point it was also clear to
me that I had to attribute most of my overall musical
development and ability to solve problems on the
trumpet to my teacher at LU., William Adam.
AL: You weren't long in Dortmund?
RP: I was in Dortmund for seven years before
going to Cologne. I was very happy in Dortmund,
especially because of the many friends in the orches-
tra I had made there. However, I wanted to play
more repertoire and Cologne offered that.
The Giirzenich Orchestra of Cologne has a long
tradition and is known in Germany to be among the
better opera/concert orchestras. Gunther Wand was
at the time head of the concert performances, and
Istvan Kertesz was head of the opera. I was lucky to
get that solo trumpet position and was in Cologne
until 1982. I found my experiences in Cologne ex-
tremely valuable because it was here that I had the
chance to develop as a first trumpet player with a top
quality orchestra and a full repertoire. Consequently,
there are only very few works that I have not had the
opportunity to play on the first trumpet.
22 ITG Journal I December, 1993
AL: You were solo trumpet in Dortmund, then in
Cologne, and then you applied for the tutti job in the th·
Berlin Philharmonic Orchestra. or
RP: In Germany the general practice is to hire re
young people for the solo trumpet positions - 25 er
years old or younger, if possible. Pension age is 65 de
and, when a colleague goes into retirement (usually fol'
by then a tutti player), the first trumpet player takes co
this opportunity to leave the first position and spend ev
the remaining years in the orchestra on a less strenu- ob
ous and demanding position. Otherwise, he must play
first until the age of 65. Therefore, most first players h
set themselves back to a second or tutti position by so
the age of 55 or so, depending. For this reason, it is ho
important that the age structure of a trumpet group
be well balanced, so that this process can take place. PH
In 1982 the Berlin Philharmonic was looking for a Cal
second player around the age of 40, which was an or
exception to the rule, because their remaining play- th
ers in the group were all young. In Cologne my oppor- w
tunity to set myself back would have occurred in h
about three to five years, so I concluded I'd rather ha
spend my remaining playing years as a second with
the Berlin Philharmonic Orchestra than stay in Co-
logne as tutti. For me the Berlin Philharmonic was
the orchestra with the best sound, and this was a
very desirable chance to meet the challenge.
AL: What was special about getting the job with
the Berlin Philharmonic Orchestra - about the audi-
tion and the trial period?
RP: The thing that was special about this under- m
taking was the very fact that I was 44 years old when po
the job opened up. The Berlin Philharmonic has very
strict rules about accepting new members. They must on
win the audition by a 50% majority and must have a th'.
2/3 favorable vote at the end of the audition year. an
Consider the fact that I had to leave Cologne in order p
to do this and if I would not be accepted by the Berlin in
Philharmonic, then I would be out of a job at 44. And w
it is almost impossible to find a playing job in Ger- tr
many over the age of 35. So the risk was very great fl
indeed. er
First of all, Herr von Karajan was informed about tr
the problem, and I had to audition for him alone and ho
be accepted by him before being tried out in the
orchestra. After this worked out favorably, I played
as an extra for a whole year before the audition took
place. This was very strenuous for me because I had
to keep my full commitment in Cologne at the same
time while traveling back and forth. The most diffi-
cult part came was to win the audition. Here I was
lucky again - I had a good day and got the job. Then,
I still had to play an audition year; but, because of
the year playing as an extra and because of winning
the audition, the risk of not being accepted was much
smaller, but not wholly impossible.
min At this point I would like to emphasize the fact
1 the that the trumpet group of the Berlin Philharmonic
orchestra was very helpful to me. I had to meet the
hire requirements, this was clear, but the group did ev-
L 25 erything in their power to help me and never hin-
ftally65 dered me in any way. The trumpet group is known
for its positive attitude. Today they are not only my
~kes colleagues, but also my friends. As it turned out
lend everything worked out better than hoped, and I am
rnu- obviously pleased that it did.
olay AL: Does the concept of sound in the Berlin Phil-
ers harmonic Orchestra come from tradition or do new
by sound concepts brought in by new instruments take
tis hold?
bup RP: If one listens to old recordings of the Berlin
ce. Philharmonic Orchestra made with Furtwangler, one
I
~r a can hear that the sound concept, especially how the
an orchestra goes about playing, hasn't changed over
lay- the years. Basically, the orchestra performs the same
'or- way now as it did then. The instruments basically
Iin haven't changed, and certainly the sound concept
'
!ler
i.th
hasn't changed either. There is more perfectionism
now with less value on "big tone" sound, but this
,.,
_,o- evolution up until now has remained minimal.
ms As far as trumpet is concerned, the German rotary
;a valve B-flat instrument formerly was the basic in-
strument for the first trumpet. Now our first trum-
Ith peters play more C than B-flat due also to the posi-
di- tive recent developments in the rotary C trumpet.
The rotary B-flat trumpet remains the basic instru-
ir- ment for the tutti players, however, when and if
en possible.
ry There is a very good reason why we do this. When
st one thinks of the brass section as a pyramid that has
a the thick, low tone of the tuba providing a wide base
1r. and the high tone of the C trumpet providing the
er pointed top, then place the other brass instruments
ln in their correct order in between. From bottom to top
td would, therefore, be tuba, contrabass trombone, bass
r- trombone, tenor trombone, low horn, high horn, B-
tt flat trumpet and at the top the C trumpet. If one
eliminated the B-flat trumpet, leaving only the C
Lt trumpet at the top, there would be a hole between
d horn and C trumpet. If, however, the B-flat trumpet
e is used, this gap is filled, making a balanced harmo-
d nious progression from the bottom to top. I realize
k: this concept is a bit radical, but if one wants an
:i optimal homogenous sound, then one must consider
~ such points seriously and carry them through. I feel
it is this kind of thinking that makes the real differ-
ence in the end product of the overall sound of this
orchestra. This applies to all instrument groups, and
f I think the basic type of thinking has been main-
tained over the years throughout the whole orchestra
and is, consequently, the reason why the Berlin Phil-
harmonic sound hasn't changed.
AL: What instrument and mouthpiece do you and
your colleagues play?
RP: I play the standard Manke rotary B-flat trum-
pet with a copper-brass bell, as do all the members of
the group. Various C trumpets are played, Manke,
Lechner, Yamaha, and old Heckels. I play a Bach 1
mouthpiece, Georg Hilser the same, Thomas Clamor
plays a Bach 1-1/2 C, Martin Kretzer plays a Bach
7B, and Konradin Groth plays a Schilke Special.
AL: For the last few years you have taught at the
Hochschule der Kiinste in Berlin. Students can learn
much from you as an experienced orchestral player.
Does teaching influence your work with the orches-
tra?
RP: In my opinion the secret to a long, happy life
as an orchestral player is a positive attitude. Positive
attitudes should apply to every aspect of orchestral
trumpet playing, from getting along with colleagues
to solving playing problems. This thing of having a
positive attitude must be learned, and it must be-
come habit or a part of life. I feel this is the upper-
most thing that a trumpet student should learn. First
of all, one must define positive attitude, just what it
is, and how one can use it.
I understand positive attitudes as positive prob-
lem solving methods. These methods must be learned,
and most important is to learn to sort the good from
the bad. This is why one needs a good teacher. The
teacher should know what is positive and what not,
and thus guide his students in a positive direction.
I find that a student should have a good, funda-
mental command of the correct basics of playing. If
he really has this, the sky is the limit for him. This
involves a command of correct embouchure and
breathing techniques. It involves the correct use of
air flow to acquire good tone, musical line and the
ability to identify oneself spontaneously with the
musical character in which he momentarily finds
himself. All this sounds simple and is easy to talk
about. It is extremely complex to acquire, and it
requires a great deal of time and concentrated effort
to finally sort out the positive from the negative so
that in the end the positive is all that is left for one to
work with. Constant, persistent effort for a good cause
should be the key thought for a trumpet player.
I think the reason anybody wants to become a
trumpet player or a musician of any kind is because
it is fun, one enjoys it. This feeling must be main-
tained and kept alive. Success in making good music
and playing one's instrument well is the nourish-
ment needed for maintaining this happiness as a
musician. Positive problem solving methods lead to
positive results, whereas negative application leads
only to a worsening of the situation. An orchestral
musician will repeat his daily tasks over and over,
continued on page 32
December, 1993 I ITG Journal 23

cal movement. Students, music programs, schools,
and communities will benefit from the experience.
The player/ coach is not the only means of providing
this experience, but for a teacher/performer who is
oriented toward students and would like to establish
a collegial rapport with them it is a very rewarding
tact. What could be better than combining the joys of
teaching with the joys of music.
Performance opportunities are many for a brass
quintet. Recitals are the natural performance me-
dium for chamber music and brass quintets have
become regular contributors to many recital series.
The volume capacity of the brass quintet allows for
larger halls and audiences than most chamber en-
sembles but brass quintets can perform admirably in
all but the smallest settings. The need for service at
community functions, church services, weddings, and
receptions (indoor and outdoor) can be filled by the
brass quintet. School functions that require service
music such as graduations, honors nights, inaugura-
tions, and memorial services are also within the realm
of the quintet, although care must be taken in the
music selection of the processional and recessional to
allow for endurance limits. A quintet performance at
these functions as opposed to the orchestra, concert
band, or jazz ensemble provides a reasonable amount
of music and a greatly reduced logistical effort. The
difference between five chairs and five stands com-
pared to equipment needs such as four tympani or a
piano and a PA system - to say nothing of the time
and effort for fifty people as opposed to five - is
significant. You will lose volume capacity and visual
impact in a large hall, and that may be an important
factor in the political life of a music program, but in
most cases the quintet can provide for many of these
functions.
JL: How can the teacher sustain the students'
interest past the festival or recital?
MB: Part of our profession is that we play for the
intrinsic value of music, but as a practical part of our
profession it also provides income. Certainly the mem-
bers of a group that play well together and can pro-
vide a varied program can supplement their income.
A scholarship honorarium that might be donated from
a service performance is much more effective when
divided among five players instead of a gift to the
general fund. Success in any area develops the desire
for continued success. When this starts to happen,
the group wants to play. The teacher can coach, sug-
gest literature, and enjoy the seed he's planted.
32 ITG Journal I December, 1993
T
Robert Platt from page 23 Go
and a constant development is always in progress,
either a positive or a negative one. So, as a teacher
my goal is to give my students the ability to maintain
themselves through the application of positive prob-
lem solving, enabling them to develop on a continual
upward trend.
AL: Have you ever during these 30 years in Ger-
many thought about returning to the USA to play in
an orchestra there?
RP: I learned very early that if you really want to
be an orchestral trumpet player, a job offering the
chance to develop further is probably the most valu-
able thing you can have. Good playing jobs are very
difficult to acquire anywhere, and I feel lucky to have
been able to have one. I have thought about return-
ing to the USA often, and once I even had a chance to
do so. I never took that step, however, as I didn't feel
I could better myself. For this reason I've remained
in Germany, and I feel I've had the opportunity here
to develop in the right direction. However, one
shouldn't take this for granted. In many countries
this wouldn't be possible. Germany has been good to
me, and I am thankful for that.
AL: Bob, you have been in Germany now for 30
years, first in Berlin to study and now in Berlin
again. Berlin is known as a city that is open to the
world and has many foreign elements. Do you still
feel like a stranger here?
RP: I've never felt like a stranger here in Berlin,
even in August 1962 when my wife and I arrived here In
and my German vocabulary consisted of only about
ten words. Berliners have always been open and
friendly and eager to make acquaintances. Of course, gu~
one is not at home, I wasn't born here. However, I ing
feel accepted here and have no reason for discomfort. fer
Contributing to the feeling is the fact that all the pr
members of the Berlin Philharmonic Orchestra, mo'
through their world-wide travels as cultural ambas-
sadors for Germany, also maintain an openness. Br
we1
About the Author: Arno Lange is a member of the ter
trumpet section of the Deutsche Oper Berlin. do
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