Let’s talk about your albums. The Voice of the Trumpet and Mademoiselle in New York are a wonderful mix of classical and jazz works. How did you go about choosing the repertoire? Also, please tell us about your newest album, Piazzolla.
I have such a fantastic team at Warner Classics. They support me and allow me to do what I want to do. So, my music comes right from my heart. I have always had a soft spot for both classical and jazz music. I chose the music because I love the pieces; there really isn’t any other explanation. I love to play them and hear them. We have so much essential trumpet repertoire in the classical, jazz and even modern genres, but not much in romantic music. I love doing transcriptions and arrangements, so I tend to include quite a few of those on my albums.
When I started working on Piazzolla, I wanted to experience different aspects of my career, to discover diverse repertoire, styles of music, instrument combinations, professional relationships, much as Piazzolla did. Piazzolla was inspired by many different composers, some of which may surprise, such as Bach and Paganini. In turn, he inspired others like Galliano. Hence, I chose Bach’s Violin Sonata, Paganini Caprice 24 and Galliano’s Tango pour Claude.
Astor Piazzolla himself travelled all over the world and was well-known for his tangos, of course. He started with Nadia Boulanger in France. I wanted to showcase one of her pieces since she is an incredible female composer. My arrangements were inspired by the pulse of the tangos and the different styles. I worked with several collaborators to arrange other pieces for the album, but it was in the middle of Covid, so many of the conversations were made over Zoom. Jérôme Ducros made almost all the arrangements on the album, and I absolutely love them.
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