Michael Mulcahy, Chicago Symphony Orchestra

[@martinmenke1369]

"You have to love the way you want to sound" Perfect. Thank you!

[@Roger-wr3dd]

I usually don't make comments, but I learned so much from this conversation. Thank you!

[@fortheloveyoutube]

It was your gracious kindness towards me when I first wandered down to the belly of Orchestra Hall after a CSO performance many years ago. Thank you, again, and sempre avanti!

[@philosophicallyspeaking6463]

Michael's gift is likely conceptual, in so much as he 'didn't study in the American system, and so he avoided the 'pedantic', lumbering, plodding nature imparted to the state of play in the American trombone performance paradigm by Remington and his musically unhealthy and far reaching legacy. Only a few escaped, or rather...recovered professionally. There were/are more musically interesting things happening trombonisitically in Europe, come as a result of the 'lack' of a strangely dominant pedagogical and methodological approach that all too effectively overwrote unique instrumental exceptionalism. Remington's authorship of the American method made average players better, but...it also made 'possibly' great players...merely good also. Everyone succumbed to the system, no one stood out, so there was no development of identity such as went before him. This arrested the evolution of the technically 'musical' trombonist.