Joined: 28 Jan 2002 Posts: 998 Location: Honolulu, HI.
Posted: Tue Jul 24, 2018 6:41 pm Post subject:
If I could write something better I would. The Mathez Family from Editions-BIM wrote this and I wanted to share it. I’m really going to miss him:
Editions Bim Website
Thomas Stevens will be missed now, and forever, by all who loved and admired his exceptional musicianship.
Our friendship, our intense professional cooperation, and the exceptional spirit in our permanent exchanges of ideas, started spontaneously with our first meeting in Denver (1973) on the occasion of the 6th National Congress of American Trumpeters and lasted and remained alive and sustained for 47 years, until this fatal July 14, 2018.
He was a non-academic « wild » scholar, an exceptional musician with artistic integrity and curiosity and a very lucid observer of the musical world. As a virtuoso of his instrument he reached world fame with his vertiginous recordings of contemporary trumpet music. Star French trumpeter Maurice André was flabbergasted by his performances. Not to speak about his wonderful orchestral performances during his long career with the Los Angeles Philharmonic Orchestra.
He worked with the Brass Bulletin (1973-2004) and with us at Editions Bim not only as a valued consultant, but also as a composer of study books and compositions. As well, he introduced us to the genius of James Stamp, which led to the Editions Bim publication of the worldwide famous and original James Stamp Warm-Ups.
Thomas Stevens, an essential personality in the history of brass instruments of the 20/21st centuries, has disappeared.
Let’s hope that his precious legacy remains in the collective memory.
Editions Bim
Jean-Pierre, Jeremy and Gabi Mathez _________________ Zony
Posted: Sun Sep 16, 2018 2:59 pm Post subject: Remembrances of Lessons Past
Since his passing, I have reflected a lot on the loss of my friend Tom Stevens, who was in many ways a musical mentor to me, even though I never formally studied with him.
Looking beyond his magnificent trumpet sound, his distinguished tenure with the LA Philharmonic, and his groundbreaking achievements in the field of contemporary music, what set Tom apart was his strong sense of integrity concerning all aspects of his work, not just musical performance. His insistence that assumptions be examined, that claims be supported by evidence, and even that anecdotes be corroborated, demonstrates the depth of commitment and care that he brought to the practice of his art.
Tom’s unvarnished assessments of the music business were sometimes acerbic, often refreshing, usually entertaining, and always instructive. His many self-deprecating statements never smacked of false modesty, but revealed an unflinching critical sense and a healthy perspective on the pursuit of mastery.
I got to know Tom only after he had retired from performing, but was privileged to witness all of his tutorial sessions and masterclasses over the years at the Chosen Vale seminars. He brought a remarkable level of preparation, energy and enthusiasm to his teaching, and while he was often tough on students, his generosity inevitably shone through, and his focus was unwavering — music first.
Despite his reputation for being stern and serious, Tom had a great sense of humor, informed by his perceptiveness, intellectual curiosity, and appreciation for the many absurdities of life. He always seemed open to new ideas and revelations and was never afraid to look - and listen - forward. His ears were always open.
While I knew him, Tom seemed reluctant to acknowledge any notion of celebrity associated with his career. I’m quite certain that he would have dismissed any discussion of his legacy, and instead would have drawn attention to the work itself, prodding us to keep asking the right questions. It is up those of us who learned from him to keep that discussion alive, and honor his memory by bringing our best selves and best efforts to bear on our craft. He would have expected nothing less.
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