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Visit the Besson section in this site
With top players switching and upgrading to the Besson euphoniums Steve has been collecting comments from professionals alike, and will be publishing these reports on euphonium.net
Kenneth L. Strattan, Margate, Florida
Kenneth L. Strattan, Margate, Florida
I have played euphonium for the past 35+ years. I played American bellfront horns, my favorite being a heavy bell "Olds". Later I took up trombone and valve trombone for jazz work and I attended the Berklee College of Music in Boston and studied with trombonist Phil Wilson. After graduation (1978) I purchased a new Besson Euphonium from a dear friend and music store owner Bob Giardinelli. He promised me a low serial numbered Besson. I recieved my "New Standard" Besson Euphonium serial number 633725 on May 10, 1979. It was the finest instrument I ever played. I learned that horn and everyone I ever played with loved it. Over the years I used it in studio work and live performances. I have even played it with the Broward Symphony Orchestra and in live concert with the Mills Brothers!
In 1995 I thought about replacing my Besson, after all it was almost 20 years old. I dicovered that Besson was having quality issues and that Hirsbrunner, Sterling and Wilson were up and coming. I had all 3 companies send me the best that they had and I played all three in the Hora Decima Brass Quintet. This group of players had been together for 15 years and I valued their opinions concerning the sound of the new horns. They told me I could keep the Hirsbrunner because it sounded close to the sound of the Besson. They also told me that if I purchased the Wilson or Sterling I would need to find a new group to play with! I decided to simply keep my old Besson. When I heard that you were working with Besson on Prestige model I was ready to purchase one. After all my Besson was now 28 years old. I wanted to make sure that production and reviews were good before ordering.
The next thing I knew Besson was out of business! What a mess! I really liked the idea of Buffet taking over and I followed this development very closely. I read reviews and student profiles on your college website. I determined that I needed a new Prestige. I placed my order with Carolyn Marshall of Sam Ash Music of Margate Florida on December 20, 2007. I received my Besson Prestige serial number 07300897 on February 20, 2008. It is simply the finest instrument made and mine may well be one of the first, if not the first, in Florida. The valves are clean, not caked with Red Rouge like my first Besson was. Many thanks for designing such a terrific instrument!
Kenneth L. Strattan, Margate, Florida
Brandon Jones plays the new Besson 967 Euphonium
Is there a perfect euphonium out there? Nothing is perfect, but I truly believe that these new Besson euphoniums are as close as we're ever going to get! I had always loved the “Besson sound”. They have always been the benchmark for creating that warm, singing euphonium sound that you can feel all around you. It was so frustrating for years to find a “good Besson” that had everything we wanted…good valves, manageable intonation, quality build, etc. That has all changed. With the introduction of these new Besson euphoniums, the blueprint for the instrument has stayed the same, but there have been so many needed changes. You can see, hear, and feel the difference right out of the box!
First off, the appearance is incredible. The plating is unmatched, and the attention to detail is remarkable. I immediately fell in love with the setup and feel of the instrument. Standing or sitting, the horn seems to “fit” to your body in a very upright manner, allowing the neck and back to remain very erect allowing for maximum air usage without creating tension from having to hold the instrument in an unnatural way. My second present was to find how incredible the valves are. I had played Steve's instrument at the Midwest Clinic in Chicago and was blown away at the valves and ease of play. Of course, that was Steve's instrument. I thought perhaps there was some “special tweaking” of sorts that he had done. He assured me that every new Besson has valves that work exactly like his, whether it is the Prestige or the Sovereign. He was right! The valves are almost unbelievable! I had played on a Yamaha for years, and thought the valves were great…until now! The hand bar has been repositioned slightly for a more natural set up and now even some of the most difficult technical passages for the fingers are easier to play than ever before! The valves literally have improved my finger technique tremendously! The only drawback is I no longer have any excuses!
The final big test for me was intonation. I had heard of how much these have been improved with regards to intonation, but the only real way to find out was to get out the old tuner and put it to the test. I was very surprised to find out that Eb and F above the staff were extremely easy and flexible and required little manipulation to play perfectly in tune. In fact, the entire instrument is that way. With my old Yamaha, I felt like I had to “place” each pitch up and down the range with the face. With the Besson, the horn feels as though it “reads your mind” and places the pitches for you. It's truly astounding! I could play Eb (concert pitch) in the staff, and slur up and down two octaves with little to no effort whatsoever. The high Eb seemed to lock right in place, and the responsiveness of the instrument allowed me to completely dictate what I wanted it to do. You simply must play it to fully understand how much easier it is to play than any other euphonium on the market right now.
I am extremely proud to be a part of the Buffet Crampon and Besson team and am so happy to have the opportunity to make music on such a great instrument that truly allows me to do whatever I want.
Brandon Jones
What a glorious instrument! I have been a Besson player and owner since 1969. First on wonderful old Besson Imperials of the late 1960's and early 1970's, and then in 1980, I purchased a brand new Boosey & Hawkes Sovereign (model 967) which I have played regularly and maintained lovingly for the last 27 years. After several practice sessions with my new 2051-2 Prestige, I can say the following:
I look forward to another 27 years with my new Besson Prestige!
Sincerely, Douglas Ruby - New England Wind Ensemble, Middlesex Brass Ensemble
Steve,
I wanted to thank you for the opportunity to play on your horn at the past Midwest Band Clinic in December. It was that experience that convinced me that the new horn is truly better than the old prestige euph. I went ahead and ordered a new 2052 and received it in early May. It was worth the wait and expense. It is a wonderful instrument and the best euphonium I have ever played on. The sound is more centered and the response in all ranges is wonderful(valves are better too). Players in the band thought the sound of the instrument was noticably better than the old 2052 I played on. You and Buffet Crampon should be commended for producing a truly high quality instrument. Again, Steve, thanks!
John Meling, Prarie Brass Band
Dear Mr Mead,
You did a great job, helping to design and build the new Besson Prestige Euphonium range! Since a week I am the proud owner of a new Prestige Euphonium. The difference with my previous instrument is astonishing! (I played a sovereign of 7-8 years old before) Not only is the technique much better, also the way of playing is more pleasing. The dynamical and even more the emotional range of the new instrument are really outrageous! (And my previous instrument wasn’t bad at all at these points.)
It is easier to make and hold the tone in both high and low registers. However, it has struck me that it is harder to make the expressions you want to make. But this is a problem that will solve itself in time, and is not due to the instrument. As you had, in a figurative sense, an expression band of 1 meter on the older euphoniums, you now have 10 meters and more! So it takes some time to get into control of the instrument.
Bart Schepers, Holland
I just wanted to contact you to thank you for your work in getting Besson back on their feet and helping with the production of some fantastic new horns. I was able to play test the new Besson Sovereign and Prestige euphonium a few weeks ago at the NABBA brass band championships and was very impressed. A few days later I even ordered the horn and am currently a proud owner of a Sovereign 968.
In truth, I have wanted a Besson euphonium for quite some time now. I was stricken by the wonderful sound quality and great response of the horns, but was always wary of purchasingone due to the intonation problems and the rumored lack of reliability in general craftmanship. However, these new horns are certainly something special. Most of the intonation issues are solved and the new valve sets are nothing short of spectacular. At the NABBA conference I was also able to play test the new York euphonium (under the surname of "Sonare") and was not very impressed. The craftmanship and improvements in the new Besson will speak for itself in the competitive market against York. In my opinion, they are worlds apart.
Thank you again for your work with Besson and Buffet-Crampon. I hope you the best of luck in the future.
David Heinsen, Solo Euphonium, James Madison University Brass Band
Principal Euphonium of the current British National Champion Brass Band, the world famous Grimethorpe Colliery Band
After years of playing various makes of Euphonium, the Besson Prestige stands head and shoulders above the rest.
The mellow yet powerful tone (providing its commanding status in any brass band) is complemented by its handsome good looks.
The silky smooth valves and the immaculate trigger system are proof of the fine craftsmanship that has gone into producing this superb piece of
German engineering.
- Mike Dodd, UK
The (new) Sovereign just keeps getting better, and works great with the SM3! At first, the 967 was a little problematic on the high concert D in the climax of the Ellerby 3rd movement, but that is now locking in, which is probably me learning the response of the horn (it is quite different from my Yamaha 842 in the highest octave). The sustained high concert B, for me played second valve, in the first movement was easy to hit and maintain from the first blow of the Sovereign, a sure test of quality.
The response of the horn is the best I have ever played -- it is lightning fast! Tuning is not an issue -- as good as any instrument which does not have a trigger.
Should Buffet want to know, Dillon Music in New Jersey was great to work with. They are a fine representative of the Buffet/Besson line.
Best regards,
- John Jones, USA
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Matthew van Emmerik is the former principal euphonium with the Central Band of the Royal Air Force UK, and is the current solo euphonium player in the Royal Australian Navy Band and Kew Band Melbourne, one of Australia's finest brass bands. Matthew is the current Australian Open Brass Champion of Champions and has just undertaken a PhD in performance at the Sydney Conservatorium of Music, Australia. To keep up to date with Matthew's activities please visit his website at: www.matthewvanemmerik.com |
I received my new "Prestige" euphonium in January of 2007. After our summer break here in Australia I was keen to start some intense practice for the upcoming year.
On first inspection of the instrument I found it to be immediately lighter than the previous model, on closer inspection the "new Prestige" is around 20 to 23 grams lighter compared to its predecessor. I was impressed to notice the ease of the trigger system and fine detail of silver plate throughout the instrument, including the inside of the bell, which was finished with high quality. The valve block and overall bore of the euphonium are slightly larger, which in many cases would be an over focus of the instruments tone, but due to the lightness and thinness of the metal, the euphonium is focused in all areas.
The feel of the prestige in all registers is very pleasing, the low pedal range is open and every note has a wonderful core of sound. The middle range is easy especially throughout the notorious concert Eb, F and G area. Most pleasing on the new range of the prestige euphoniums for me is the higher register. I recently returned from performing Janacek's Sinfonietta with the West Australian Symphony Orchestra who tune to A441 (no problem with the new snap lock and adjustable tuning slide!) and for all of us Tenor Tuba excerpt players, we know how much of a bugger that top B natural concert can really be (especially after it is repeated 11 times!) Fortunately with this new instrument all the notorious notes in the upper extension of the instrument sing with relative ease. All individual performers will have their own fingerings and ideas for these notes, but overall the instrument is complemented well in all areas.
In Australia over the Easter period we have our National Brass Band Championships which are hotly contested by Australia's and most often than not New Zealand's finest bands. I was very pleased with the instruments ease of use in the "pressure" situations and found that the valve action under extreme use was flawless.
I look forward to many hours and years of wonderful use of this great horn, and I can't recommend it enough to all levels of euphonium performers.
- Matthew Van Emmerik