For more than half a century, the cheerful, round face of the legendary Maurice André was the epitome of the French trumpet. These were the macho years of the instrument, because André often emphasized the need for a strong body. “I got strong by moving 17 tons of coal a day at age 14 as a miner,” he said.
He died ten years ago and he might have been surprised that not long after that frail 23-year-old Lucienne Renaudin Vary claimed his musical legacy. It never came to a meeting with André. She ended up at the age of fifteen – two years after his death – at the Paris Conservatory, where he previously taught. “So there was only his shadow. Still, I feel like I know him, because his records were part of the soundtrack of my childhood. His sound was soft but clear, very human. I would recognize him out of thousands.”
Everything by feel
Renaudin Vary is part of a steadily growing stream of female solo trumpet players, with the British Alison Balsom (43) and the Norwegian Tine Thing Helseth (34) as the most famous pioneers. Balsom was my source of inspiration and role model. Seeing and hearing her for the first time evoked the thought: You see, I can become a trumpet player as a girl and climb the stages all over the world. Nowadays trumpet teachers write to me on Facebook that in their classes there are more and more girls who want to be me.”
She studied classical and jazz at the Paris conservatory. She broke through internationally at the age of seventeen, and since then she has released three albums on the major label Warner: most recently she devoted herself to the tango of Astor Piazzolla†
Next week she will give a recital during the Young Talent Festival on Schiermonnikoog, with pianist and festival director Caspar Vos. They both made music together for the first time on Wonderfeel three years ago.
“As a classical trumpeter, she is the most prominent face of her generation,” says Vos. “But she also effortlessly switches to jazz and other styles. Everything goes by feel. For her, music is about experiencing freedom and not capturing anything. It takes courage and daring to want to surprise yourself during concerts. But that’s an important part of her success. Because the public also wants to be surprised.”
Renaudin Vary can also be heard on dance with methe new album by the ensemble Ludwig van conductor and soprano Barbara Hannigan, in which her trumpet gives voice to the salsa in Barry Manilow’s world hit Copacabana† Her taste is broad. “When a nice pop song comes along in a taxi on the way to a concert, I often use it in the dressing room as a warm-up.”
Or she plays something by her jazz idol Chet Baker. “Every note is in the right place with him. His solos and improvisations are like melodies. He was one of the first trumpet players I listened to. His playing is so pure and simple: not many notes, not technically perfect, but straight from the heart and moving. “Simplicity is the crown on art,” said Chopin. Chet Baker is an example of that for me.”
Bare feet
Renaudin Vary often stands barefoot on stage so that her body can absorb the vibrations of the orchestra. “For me that is a good way to become one with the musicians around me. As an instinctive musician I need that physical experience. The few times I give a masterclass to young trumpet players, I always emphasize the pleasure that lies in it. No analyses, not too much in your head or being afraid of what others think of you. We play the trumpet, we don’t save lives.”