Members of harmonies, brass bands and music ensembles (constituted mainly by „wind instruments’) involved in the animation and the cultural life of our towns and cities in Belgium feel a bit neglected in the musical world. The disappearance of many regimental bands contributed by the mid 60s of last century, slowly dry up the source which supplied many professional musicians, musical groups composed of amateurs musicians.
By creating the association Brass Promotion we wanted to highlight human values and artistic convictions: passion, taste for excellence, humility and tolerance, qualities that are found in all these musical societies.
As in a sport team, the musician playing in a musical group should blend in it, give himself and provide pleasure to his colleagues. As in sports records are made to be broken, any musical project is perfectible and the man does not reach its limits. Wanting to excel, is not to elitism.
A word about the role performed by the musical association played in the musical training. The initial musical training of the musician is primarily the responsibility of Musical schools, while higher education is provided in the Royal Conservatories (Antwerp, Brussels, Ghent, Liege and Mons) and 2 high schools: IMEP in Namur and the Lemmens Institute in Leuven. With the Bologna Decree (2004) the musical education has integrated the European area of higher education. No more "1st trumpet price" and "higher degrees of ...". In 2007 were released the first Bachelors, and the first Masters in 2009. The musical groups (harmonies, fanfare, big band, brass band) just fit into these formations allowing some categories, either remained amateurs or became professionals, to embrass the diversity of styles: classical, folk, jazz, contemporary, ...
What is the interest for a local organization like ours to organize an international trumpet competition? Basically a musical performance competition is intended to stimulate potential candidates in the region, to discover new talent, but it can also be a place to promote. What to expect from the candidates? At present the real candidates' technical failures are rare because they usually have acquired the technics justifying their presence. However we hope that the jury can judge the acoustic control of places and how the candidate interprets the works while respecting the composer's instructions. This is ultimately to appreciate the musicality of the interpreter. For the viewer it's the moment that counts and the candidate must be able to give the best of himself. For the candidate, participation in a competition should be useful, for example during an orchestral audition or at a public concert.