"BETWEEN TUBAS AND EUPHONIUMS...MATTHIAS VOGT"

Hello everybody. It is an honor for me to be able to interview this "wizard of dreams" of many instrumentalists who trust in his good work with all brass instruments.

I sincerely thank you for your friendship and your enthusiastic collaboration in this interview project.

Without further ado, let's begin.

• Name and surname:

Matthias Vogt

              

• Do you play or have you played any wind instrument?

As the son of a music teacher, I grew up with music from childhood. At the age of 6 years there were the first touches with recorder and piano. Later it became clarinet and saxophone. From the training as a metal wind instrument maker I took parallel lessons in trumpet and tuba. Through the membership in the music school orchestra and later various music clubs there was always a close relationship to music.

Our work

                      

• What instrument manufacturer do you own, CEO or representative?

We represent among others the following brands: B&S, Melton, Besson, Courtois, J.Scherzer, Hans Hoyer, Courtois Adams, Stomvi, Jürgen Voigt, Kühnl & Hoyer, Miraphone, Yamaha, Jupiter and all other popular brands.

In the taller

• What instruments do you make or modified?

We focus on all brass instruments. From the trumpet to the tuba. Our focus is on tuba or low brass.

In addition to the trade, we also sell instruments and accessories. We work closely with all manufacturers. In order to be able to offer high quality instruments in every price segment, we also have used instruments which we take on commission, buy or refurbish.

During the modification we often receive older instruments e.g. from Bohland and Fuchs, which are in a very desolate condition and are no longer playable for professional orchestra use. We restore and modify these instruments in many hours of work, so that in the end an orchestra-suitable tuba with its original sound characteristics is created.

Here, for example, the body is completely soldered apart, lovingly restored and rebuilt in its original form. Some old valves are no longer repairable or usable, so we use a new Meinlschmidt machine. Requests such as bore modification, bore adjustment, making mouthpipes and valve pull loops are normal. The needs for these projects are very individual and are always discussed with the customer on site. Each modification is always a one-off. No two projects are alike.

We started our own project based on our experience with a 6/4 Wendelin Michl from the 50s, which we completely rebuilt. New larger leadpipe, new Meinlschmidt machine, 3rd and 4th valve slide loops exposed, handmade main tuning slide from cut sheet metal, all valve slides new and wider 1st slide.

In addition to the low brass, we have developed our own trumpet model and a flugelhorn with 4 valves.

             

             

                                

• What type of Tubas, Euphoniums or another brass instruments are manufactured in your company? Professionals, for students, beginners?

We work not only with professional musicians and large orchestras, but also regionally with students, school orchestras and trombone choirs. Since we have an open workshop, you can always look over our shoulder while we are working.

In workshops, we bring young students closer to our profession by giving them insights into our craft and allowing them to try their hand at it themselves. Of course, not on customer instruments, but on old parts that are no longer used.

Let's talk about your company:

• When it was founded?

Our company was founded in the summer of 2007.

• In what city or country?

In my hometown of Leipzig, Germany.

• Who was the founder?

Matthias Vogt

The taller

• Since when do you manufacture or modified Tubas, Euphoniums or another brass instruments?

Since I started working for Peter Hirsbrunner after the end of my apprenticeship in 2001, I have been involved in tube building. Even then, some models were built completely by hand and from sheet metal blanks.  One of my master instruments, a handmade Hirsbrunner CC-290 came out of this, which is played today by Niels Lammers (Royal Netherlands Army). 

The love for the low brass was then continued since the own company foundation in 2007. With the cooperation and experience of Prof. Walter Hilgers and later, among others, Sebastian Wagemann (Komische Oper Berlin), Richard Alonso Diaz (Qatar Philharmonic Orchestra, Buenos Aires Philharmonic Orchestra, La Plata Opera House Orchestra) or Vikentios Gionanidis (Deutsche Oper Berlin), the old tubas were then lovingly rebuilt.

                      

• What reasons or circumstances led you to manufacture or modified Tubas and / or Euphoniums?

In 2001, after my apprenticeship, I came to Peter Hirsbrunner in Switzerland by chance. I wanted to get out of my hometown and, above all, see something different. At that time, Peter has had a very lasting and positive influence on my professional actions to this day. At that time, Hirsbrunner tubas and euphoniums were in great demand worldwide because of their quality and sound. What impressed me most was that the company dated back to 1748 and had been a family business for eight generations. Until the present day and its closure in 2019, tubas and euphoniums were made by hand. Sometimes models where large temples were made in lead and cut from sheet metal. This centuries-old manufacturing without much use of machinery was very fascinating. They were manufacturing methods that are used less and less in our profession, although it is the basis of good instruments.

Regarding the vast experience of your brand in the market:

Please leave us a count of the most relevant artists in your catalog broken down as follows:

The customers who use our instruments or our work are individual students who are just starting out, trombone choirs / church choirs, music clubs, schools, customers from large professional orchestras as well as soloists or teachers. In the hobby area, it is mainly regional and national customers who visit us or we advise. Internationally and nationally, it is mainly professional musicians or soloists who come to us.

- In Orchestra and / or Band:

Gewandhaus, MDR, Luftwaffen Musikkorps der Bundeswehr, Deutsche Bläserphilharmonie, Deutsche Oper Berlin, Komische Oper Berlin, music academies / universities, police orchestras.

- Soloist / Teachers

Prof. Walter Hilgers

Sebastian Wagemann (Komische Oper Berlin)

Richard Alonso Diaz (Qatar Philharmonic Orchestra, Buenos Aires Philharmonic Orchestra, La Plata Opera House Orchestra)

Vikentios Gionanidis (German Opera Berlin)

Elliot Dushman (Police Orchestra)

Patricio Cosentino (Brass Band Jena, Soloist and Teacher)

David Gribb (Gewandhaus)

Bernd Angerhöfer (MDR)

Niels Lammers (Royal Netherlands Army)

In the enumeration only a few examples are mentioned. They are representative of many other outstanding musicians, orchestras and clients regionally, supra-regionally and internationally that we serve and cannot list them all.

Richard Alonso Díaz.

Sebastian Wageman

TALKING ABOUT TECHNICAL ISSUES:

• Could you give us your opinion on the different concepts of sound and what characteristics define it, according to the different types of instruments, that your brand manufactures?

• Please tell us a bit about the actual manufacture of brass instruments based on your experience.

Construction and sound character are directly related to each other. In addition to the selection of materials, the production method and the design also have an important influence on the timbre. There are basically two production methods that can be distinguished. First, the components manufactured with more machine use and the traditional construction method.

The latter takes place to a lesser extent from an economic point of view, but is still used especially in smaller manufacturer or in certain sectors in larger manufacturing companies. I have experienced and carried out both variants. It cannot be said that the once of machine technology is worse, but the characteristics of the instruments are different. Each manufacturing method fulfills the individually suitable purpose for the respective user. For example, the body production with inflated brackets or hydraulically bent tubes has the advantage that we can build more standardized instruments, which are very good from the price-performance ratio. However, the wall thickness in the plugging and stretching area can be more unevenly arranged. The metal structure is compacted differently than hand-hammered components.

If the same tuba model is made by hand from sheet metal blanks, the cost of which is considerably higher, and if tubes are made in lead, which requires countless annealing processes, hammering of the soldered seam or beating of the folds, this manufacturing process achieves a more homogeneous material condition, which has a positive effect on the sound and playing behavior.

Even the replacement of handmade components in traditional construction in a standard instrument can already bring a noticeable change for both the player and the listener.

• Please, tell us about the tradition of manufacture in Germany

Musical instrument manufacturing in Germany is an industry with 350 years of tradition. Accordingly, German manufacturers continue to export their instruments and services worldwide today. The upper Vogtland developed into the center of instrument making that it still is today. With around 115 companies and over 1,000 employees, the Vogtland is the most important location for musical instrument manufacturing in Europe.

Information

      

IN CONCLUSION:

• In your experience, do you think that the diversity of interpreters, instruments and training opportunities in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).

I don't think that the teaching methods and interpretations of music or sound conception is homogeneous worldwide. In different countries or regions, there are different perceptions of teaching methods, sound ideas and playing styles. This is also the reason why music is so multifaceted.

It is a pleasure and an honor to count on your experience and knowledge in my work as well as your sincerely friendship.

Thank you very much Matthias and my best wishes for you and for the “vogt-instruments”

A big hug.

"ENTRE TUBAS Y BOMBARDINOS...PATRICIO COSENTINO" 2ª ERA

Hola a todos.

Hoy les traigo una nueva entrevista audiovisual. Esta vez con el primer invitado que tuvo este proyecto de entrevistas. Colega y hermano al cual le agradezco su disposición para re-abordar temas y hablar de otros nuevos de gran interés para los tubistas y los bombardinistas.

Probando Tubas en AETYB Madrid 2018

Aqui les dejo el enlace a su primera entrevista en la ya algo lejano 2012 y les invito a ver y reflexionar con esta nueva entrega.

Sin más disfruten de la entrevista y les invito a seguirme en el blog. 

No dejen de seguir las próximas  entrevistas y artículos en mi blog.

Saludos a todos. 🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"BETWEEN TUBAS and EUPHONIUMS.....WALTER HILGERS"

Hello to all. It is for me an honor and a luxury to be able to count among my interviewees of this series with a recognized interpreter, teacher and director as it is the teacher Walter Hilgers. A reference of the Tuba not only in Germany and Europe but in the whole world and to which I thank him infinitely for his time and disposition for me.

Without further ado, let's begin.

Name and surname:

Walter Hilgers 

What instrument / s do you use?

I use the F and B flat tuba

That make and model are the tools you use, that manufacturer and model are the /s nozzle / s you use:

I used a Bohland & Fuchs contrabass tuba in Bb that was copied by the Melton company and is sold there as the 197 model.

In addition, I designed an F tuba that I played during my time with the Vienna Philharmonic. This tuba will be offered for sale as a new model at the Buffet Crampon Group in collaboration with B&S and this new model is now available and can be tested at the Showroom.

www.showroom-geretsried.de

In the German Brass

Let's talk about your EDUCATION:

When and where their studies or tuba euphonium started?

In 1968, I received my first baritone lesson from my grandfather. In the same year I received lessons from Mr. Fritz Huhn, a former tuba player of the Aachen Symphony Orchestra, who also became my first tuba teacher and mentor in 1970. Mr. Huhn was my discoverer and mentor for many years, and I owe him a lot. Mr. Huhn died on October 13, 2020 at the age of 97.

At what age you’ve started to play the baritone?

I was 9 years old

What reasons or circumstances led him to study this instrument?

My father had a brass band and my grandfather played the baritone in the orchestra, which made me curious to play the baritone. At the age of 11 it was already clear to me that I wanted to join the orchestra. That's why I switched to the tuba, as there is no fixed position for a baritone player in the symphony orchestra

Who were your main teachers?

Fritz Huhn and Hans Gelhar

Fritz Huhn

Hans Gelhar

I learned a lot from both teachers and took away a lot. Mr. Huhn taught me the basics, i.e. the right approach, the air flow, the technical skills, the rhythm, the various articulations on the instrument etc. but also the introduction to classical music, and he decisively promoted my talent. 

After Mr. Huhn had finished teaching in 1974, I was very fortunate to be able to study with Hans Gelhar at the University for music and dance Cologne, at the department in Aachen. A wonderful person, fantastic tuba player and an excellent teacher. 

From him, I got the tools for my career as a tuba player, especially with regard to the interpretation of the orchestral parts, and I was and still am very proud that I was allowed to play with him at the Bayreuth Festival for many years as his colleague and friend. He always laid a protective hand over me and always advised me well and correctly on all important questions.

With the great Tuba Melton 197

As for his PROFESSIONAL EXPERIENCE:

· Please leave us a little account of his experience as a soloist, a member of chamber ensembles, orchestra, band, etc.

· In Orchestra and / or Band:

2005-2007 Tuba-player at the Vienna State opera and Vienna Philharmonic Orchestra

1979- 2007 Tuba-player of the ensemble "German Brass"

1991-1995 Tuba-player at the NDR Elbphilharmonie Orchestra

1981-1991 Tuba-player at the Hamburg Philharmonic State Orchestra

1979-1995 Tuba-player at the Bayreuth Festival Orchestra

1978-1981 Tuba-player in the Düsseldorf Symphony

· Metal sets:

Hamburger Blechbläsersolisten (Hamburg Brass Soloists) and German Brass

Cd of the Hamburger Blechbläsersolisten

· Solo concerts:

I have played too much Solo- Concerts to list all of them here. I've played as a Soloist with wind bands, symphony orchestras, and I have performed a lot of recitals with tuba and piano.

I especially remember my beautiful concerts in Japan with Tomoko Sawano as the pianist!

Which warm-up exercises do you use? 

I use my own book "Tägliche Übungen" (Daily Exercises) and Bordogni Vocalises and Kopprasch Études as well. 

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Euphonium, is an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one must know and master the tuba and euphonium.

· Could you give us your opinion on this and how would address this issue in the interests of education and training adapted to the necessary expertise required today?

I would very much appreciate it if euphonium / baritone lessons were offered as an independent subject at music schools and universities in Germany, as there are outstanding soloists and musicians on these instruments who can guarantee training at the highest level. All other solutions that are practised - for example, that trombonists or tuba players take over these lessons - I consider a possible compromise, but not the ideal solution!

Melton F Tuba old model Walter Hilgers

Melton F Tuba new model Walter Hilgers

Let's talk about your TEACHING EXPERIENCE:

· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.) 

I have given many courses and master classes at home and abroad over the past few decades. That gave me a lot of pleasure, because I like to teach and because I also like to visit other countries. I have very fond memories of my master classes in Japan, Colombia, Argentina, Mexico, but also in Spain and Italy. In recent years, however, I haven't found the time for it, as my full-time work as professor for tuba and wind chamber music at the Liszt School of Music in Weimar, as well as my conducting obligations and my family, are more than enough for me.

· How do you organize your classes and the subject in general and how long are your classes?

Tuba lessons consist of 1.5 hours of main subject lessons, 30 minutes of double bass tuba lessons and additional time for orchestral studies.

· Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?

The pupils and students should have practical experience on stage as early as possible and as often as possible. This is indispensable and the best performance training, and it should also be considered to involve performance coaches from time to time.

Conducting in Santa Fe. Argentina 

An important part of the course curriculum is standardized and is based on the idea that students master the repertoire alone, sometimes to the detriment of the repertoire of large groups (Orchestra and Band), when in fact, most students Tuba and euphonium will be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of Tubas.

· In your opinion, how should this problem be addressed? How important do you think is include learning and mastery of the orchestral repertoire as part of the curriculum of the course? 

At the universities, orchestral studies must be given in addition to the weekly main subject lessons, as knowledge of the repertoire and the associated way of interpreting the orchestral passages is essential for the success at orchestra auditions. But also, in the amateur field it makes sense to rehearse the pieces with the students, which are then on the program, for example in a wind orchestra.

With Bohland and Fuchs and Melton 197 Tubas

Many questions about your class

· Tell us what is the admission process to access your class?

· What it is required repertoire in the class?

· Do you suggest any particular repertoire?

· How many works are required and in what format (solo, with piano, studies, etc.)?

· Is there a mandatory piece? If so, what is it?

These are the actually requirements for the entrance exams for the winter semester 2021/22 during the pandemic situation, they will be published at the website of the university of music Franz Liszt Weimar very soon.Entrance exam tuba - multi-stage process

Tuba - Bachelor of Music

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year. The duration of the video is 10-15 minutes including a personal introduction.

All works are played one after the other in a link without editing. The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible. The technical quality of the video recording does not have to be professional.

Presentation of the following works:

1. A Vocalise by Marco Bordogni (free choice)

2. Alexander Lebedev: Concerto in one movement

2nd stage - attendance test (invitation after passing the preselection)

Henry Eccles: Sonata for tuba and piano (Edition Billaudot)

Paul Hindemith: Sonata for bass tuba and piano, 1st movement

Anthony Plog - Nocturne for tuba and piano

Entrance exam tuba - multi-stage process

Master of Music

Artistic professionalization (2 semesters, 60 CP)

Artistic professionalization with profile (4 semesters, 120 CP)

Two-subject master's (4 semesters, 120 CP)

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year.

The duration of the video is 10-15 minutes including a personal introduction.

All works are played one after the other in a link without editing.

The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible.

The technical quality of the video recording does not have to be professional.

Walter Hilgers' s  Tuba Method

Presentation of the following works:

Thomas Stevens: Variations in Olden Style

Ralph Vaughan Williams: Concerto for tuba and piano, 1st movement with cadenza and 2nd movement up to number 3

2nd stage attendance test (invitation after passing the preselection)

Anthony Plog - Three Miniatures for tuba and piano

Alexander Arutiunian - Concerto for tuba and piano

Entrance exam tuba - multi-stage process

Artistic postgraduate studies - concert exam

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year.

The duration of the video is 15-20 minutes including a personal introduction.

All works are played one after the other in a link without editing.

The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible.

Presentation of a program with works of your own choice

2nd stage attendance test (invitation after passing the preselection)

A program of 50 - 60 minutes duration must be submitted

Works after the selection of the examination committee in the time frame of approx. 30 minutes

Accompanying pianists  are not available and must be brought by the candidates themselves

With the Georg Enescu Philarmonic in Romania

· What aspects you value? ¿Musicality, intonation, rhythm, …?

Musicality, rhythm and intonation are the three essential pillars for training as a musician. If there is additional the necessary talent and ambition, then those are very good prerequisites.

· If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

I have never been faced with the question because I am a professor for tuba.

SPEAKING OF TECHNICAL ISSUES:

· Could you give us your opinion about different concepts of sound and what characteristics define, articulation, types of instruments, literature, if the influence of language and musical tradition in sound and way of playing is considered important ?

· Talk a little about making snorkels and / or euphoniums and nozzles:

· Tell us about your experiences and tastes of a particular manufacturer and why?

Choosing the right tool is very important and individual. Of course, this also depends on the schoolchildren's or their parents' wallet, and it is of course also a matter of taste and a question of the sound conception, which is of course often influenced by the teaching teacher.

It is important that you take plenty of time to test mouthpieces and instruments and that you also call in specialist colleagues and experts.

You are a great recognized interpreter in your country and the world, in recent times you are developing a career as a conductor. Could you tell us about your experiences and what led you to this new facet?

I have been working as a conductor with professional orchestras since 1995 and I have had genuinely nice experiences as a conductor over the past 25 years, and I am incredibly happy that I can travel now around the world - after my successful career as a tuba player- and that I could already collaborate with many orchestras all over the world. And I am also incredibly happy and grateful that I’ve had the privilege to lead the symphony orchestra of the Province Santa Fe in Argentina for 3 years as a chief conductor. It was a wonderfully valuable and very educational experience for me that I wouldn't want to miss. Many contacts with the orchestras and the invitations came about thanks to the support of former colleagues and students, who actively supported me. I am incredibly grateful for that and I very much hope that the orchestras and opera houses will soon be revitalized and that I will soon be able to become active again as a conductor.

In Wiener Philarmoniker

IN CONCLUSION:

· In your experience, do you think the diversity of performers, instruments and the opportunity to train in various specialized schools is homogenizing in interpretive centers already established? (Example: Russian, American, German-Austrian, English, etc.).

It is generally a very good thing that students today through various exchange programs, such as the Erasmus program during their studies at different universities and get to know different schools. And of course, in the age of the Internet, students also have the opportunity to get to know the diversity of orchestras worldwide and to listen to and watch the best soloists and orchestras. As a student, but also as a professional musician, you can be inspired and motivated by this. I think it is very important and valuable that there is tonal and interpretational diversity and the different orchestral schools and, in my opinion, these differences between the orchestras should be preserved.

Master Hilgers, it´s a big pleasure and an honor to count on your experience, collaboration in this series of interviews and friendship.

Thank you very much and my best wishes.

A big hug.

Harold.

"ENTRE TUBAS y BOMBARDINOS....PATRICIO COSENTINO"

Hola: Mi nombre es Harold Hernández Lozano, Soy profesor de Tuba/Bombardino, Repertorio Orquestal y Música de Cámara del Conservatorio Superior de Música de Córdoba en España y soy Miembro de ITEA desde 1996.

Me dirijo a usted, para recabar uns cuantas impresiones suyas sobre algunos temas que considero de sumo interes, para publicarlos en este blog didáctico, donde alumnos e interesados en el tema, de todo el mundo tienen acceso a información en español sobre la Tuba, el Bombardino y temas afines.

Sin más preámbulo, comencemos:

 NOMBRE Y APELLIDOS: Patricio Cosentino

Que Instrumentos utiliza:

Tuba Baja       Tuba Contrabaja        Sousaphone        

Otros: Cuales? Cimbasso

Que Fabricante y modelos de Instrumentos utiliza en cada instrumento:

B&S – Melton – Bohland & Fuchs – Lätzsch – Weingrill-Nirschl

 Que Fabricante y modelos de Boquilla utiliza en cada instrumento:

Boqar – PB – B2 / PC – F2 / PC – Bydlo / PC - Cimbasso

FORMACIÓN ACADÉMICA:

¿Cuándo y dónde inició sus estudios de Tuba ó Bombardino?

Comencé en el coro de bronces de temperley, Lomas de Zamora, Buenos Aires en 1992 a la edad de 11 años bajo la guía de Martin Huss, actual director de coros de bronces de la provincia de Mecklenburgo-Pomerania desde 1998. Continúe en 1997 en la Orquesta Académica del Teatro Colon. En 2003 ingrese a la cátedra de la Universidad de música de la ciudad de Weimar en Alemania hasta la finalización de mi carrera en 2009.

¿A que edad?   11 años

¿ Qué razones ó circunstancias le motivaron para estudiar este instrumento?

En realidad fue casualidad. De donde soy, este instrumento no posee ninguna difusión y hay muy pocos que se dedican a el. En mi escuela primaria comencé a tomar contacto con la música y fue algo que me lleno mucho y cuando estaba en 7mo grado se acerco del director del coro de bronces de temperley, Martin Huss, a preguntar a quien le interesaría tocar en el grupo y yo me anote. El grupo es amateur y dependiente de la Iglesia Evangélica Alemana del Rio de la Plata muy tradicional en las iglesias alemanas. Comencé ahí y a través de otras personas que tocaban tuba en el grupo decidí tocar tuba y a la edad de 15 años, decidí que quería ser profesional.

¿Quienes fueron sus principales profesores?

Martin Huss – Rut Ronning - Walter Hilgers

EXPERIENCIA PROFESIONAL “NO” DOCENTE:

Por favor háganos una pequeña relación de su experiencia como Solista, Integrante de Grupos de Cámara, Orquesta, Banda, etc.:

Fui miembro de:

JDBS (Jungen Deutschen Blechbläsersolisten)

Nobel Brass

Ensamble de metales de la universidad de Hamburgo

Quinteto de metales Buenos Aires Chamber Brass

Mega Brass Buenos Aires

Los Bronces del Plata

Quattro Tubas

Quinteto de metales de la orquesta académica del Teatro Colon

Banda Sinfónica de la Facultad de Filosofía y Letras de la UBA

Orquesta Sinfónica de Salta

Orquesta estable del Teatro Argentino de la Plata

Orquesta Académica del Teatro Colon

Orquesta juvenil Libertador San Martin

Orquesta Filarmónica de Dortmund

Soy miembro de:

Octopus (octeto de tubas)

Pampa Brass

Enrique Crespo Brass Ensemble

Orquesta Sinfónica Nacional Argentina

Conciertos como solista en:

 ITEC (International Tuba Euphonium Conference)

IEI (International Euphonium Institut)

Perú Low Brass

Colombiatubas

Encuentro Argentino de Tubas y Eufonios

Trombonanza

Curso de Verano de Brasilia

Curso Internacional de Música SESC

Festival Carlos Gomes

Isla Verde Bronces

Jumilla Low Brass

Brass Academy Alicante

Tubas do Sul

Curso Internacional de Música de Jaén

Conciertos de solista con:

Orquesta Sinfónica Nacional (Argentina)

Orquesta Sinfónica de Campiñas (Brasil)

Orquesta Sinfónica Nacional de Lima (Perú)

Orquesta de Cámara de la Pontificia Universidad Javeriana de Bogotá (Colombia)

Orquestas sinfónica de Bahía Blanca (Argentina)

Orquesta Sinfónica Salta (Argentina)

Orquesta Sinfónica Córdoba (Argentina)

Banda Sinfónica de Córdoba (Argentina)

Orquesta de cámara de Almirante Brown (Argentina)

Orquesta Sinfónica de Corrientes (Argentina)

Orquesta de Cámara Weimar (Alemania)

Georgia Brass Banda (USA)

Banda Sinfónica de Loos (Francia)

Banda Sinfónica de la Policía Nacional de Paris (Francia)

Sound Inn Brass (Austria)

Quinteto de metales Aires Latinos (Argentina)

EXPERIENCIA PROFESIONAL DOCENTE:

Por favor, coméntenos en que Centros de Enseñanza ha impartido docencia ( como Profesor estable, como Profesor Invitado, Cursos,  Master clases, etc.) :

Como profesor estable:

Conservatorio Superior de Música “Manuel de Falla”, Buenos Aires

Brass Adacemy Alicante, España

Masterclasses y cursos dictados en:

IEI (International Euphonium Institut)

Perú Low Brass

Colombiatubas

Encuentro Argentino de Tubas y Eufonios

Trombonanza

Curso de Verano de Brasilia

Curso Internacional de Música SESC

Festival Carlos Gomes

Isla Verde Bronces

Jumilla Low Brass

Brass Academy Alicante

Tubas do Sul

Curso Internacional de Música de Jaén aparte de distintas masterclasses en España, Francia, Alemania.

PASANDO A OTROS TEMAS DE INTERÉS.

Aquí en España, todavía en algunos centros se considera que el Bombardino /Euphonium no es un instrumento que deba tener especialización propia y por otro lado algunos consideran que, como ocurre en otros instrumentos un mismo instrumentista debe saber y dominar la Tuba y el Bombardino.

Podría darnos su opinión al respecto y como abordaría usted este tema en aras de una formación y educación acorde  a las necesidades de especialización que se requieren hoy en día?

En mi opinión personal el euphonium es un instrumento como lo son el violín ó el piano y debe tener su propio profesor, su propia carrera, su propio programa de estudios, su propia practica de banda, su propio repertorio. No se lo puede relegar, es un instrumento y en mi humilde opinión uno de los mas completos en el mundo en el cual tenemos grandes exponentes mundiales que demuestran día a día lo maravilloso que es.

Si su labor actual se desarrolla fundamentalmente como docente, por favor rogamos responda las siguientes preguntas:

Como organiza usted sus clase y la asignatura en General?

Realizo un calentamiento grupal con todos los alumnos al iniciar el día de clases que dura aproximadamente 1 hs 10 min.

Luego cada alumno se retira a un aula diferente donde estudian y yo voy llamándolos de uno en uno para su clase particular.

Tomo a cada alumno como un ser diferente con diferentes necesidades buscando un mismo objetivo pero brindándole las herramientas que necesita para conseguirlo.

¿Qué duración tienen sus clases?

Yo considero que la duración debe ser acorde a lo que el alumno necesite y/o haya preparado para la clase. No veo sentido en tener que cumplir con un horario especifico de tiempo si el alumno no estudio ó si esta en un estado tan inicial que lo que necesita es información de alta calidad para poder desarrollarse como músico.

Mis clases pueden durar 15 min. Como 2 hs.

¿Con que regularidad se producen? Semanalmente, Quincenales, Varias veces a la semana?

Semanalmente

¿Considera que es importante que el alumno se presente ante el público durante su etapa estudiantil? De ser así que recomienda, Cuantas veces cree oportuno que se realicen estas presentaciones ante público y a partir de que curso ó etapa. Elemental, Profesional, Superior?

Considero que es importante que el alumno se presente ante el publico durante su etapa de formación. A esto quiero hacer algunas salvedades por que, según mi criterio, debe haber distintas exposiciones para las distintas etapas del alumno.

Cuando se encuentran en el ciclo elemental, considero que el alumno debe exponerse ante el público, pero yo considero que de forma grupal y periódica.

En la etapa profesional, así como Superior, considero que dos veces cada semestre es mas que suficiente, ya que el estudiante deja de ser un niño y debe invertir tiempo en estudiar y las exposiciones deben ser programadas y con una buena preparación para que esta le aporte progreso al estudiante. 

¿Existe otro profesor de su especialidad en el centro donde usted imparte docencia?

 NO

La Generalidad de los planes de estudio están estandarizados y basados en la idea de que el estudiante domine un repertorio solistico, a veces en detrimento del Repertorio de Grandes Agrupaciones (Orquesta y Banda), cuando en realidad la generalidad de Tubistas y Euphonistas, viven de ser Profesores y/o integrantes de una Banda y en menor medida en una Orquesta en el caso de los Tubas.

¿Cómo considera que se debe abordar este tema? ¿Qué importancia considera que debe tener el aprendizaje y dominio del Repertorio Orquestal dentro de los panes de estudio?

Considero que esta parte del estudio es la que le va a dar las armas necesarias al estudiante para poder ganarse la vida como profesional. No existen los solistas internacionales de nuestro instrumento por el momento y no creo que existan hasta dentro de mucho tiempo, si es que realmente pasa. Por eso nuestro trabajo principal esta en la Orquesta o la Banda.

Es de vital importancia que dentro del estudio el alumno estudie profundamente el repertorio orquestal standard para poder acceder a cualquier plaza en cualquier orquesta del mundo.

Por favor, refiéranos como es el proceso de acceso a sus clases.

¿Que repertorio pide para las pruebas?

Concierto en un mov. de Lebedev, una obra a elección del mismo nivel o superior, preferentemente una sonata o concierto barroco como podría ser: el concierto de albinoni, o händel o Bach como por ejemplos los arreglos hechos sobre estas piezas por Walter Hilgers, dos estudios del método Kopprasch y una escala de cualquier tonalidad en dos octavas.

¿Sugiere algún repertorio en concreto?

Si

¿Cuántas obras pide y en que formato (solo, con piano, estudios, etc)?

Con Piano dos y dos estudios

¿Pide alguna obra obligada? De ser así ¿Cual es?

Si, el Concierto de Lebedev

¿Qué duración aproximada tiene la prueba?

20 min.

¿Qué aspectos valora más en el momento de decidir? Musicalidad, Afinación, Ritmo,…?

Estado de la mascara facial, sonido, control del aire, afinación, ritmo, musicalidad.

De tener que elegir en un caso hipotético. ¿Tiene preferencia entre un Tubista ó un Bombardinista?

Yo soy Tubista, no interpreto Bombardino, por consiguiente no tengo alumnos Bombardinista, pero de suceder esa situación, no hago preferencias.

TRABAJO DURANTE LA CARRERA

¿Que repertorio trabaja más con sus alumnos? Solistico, Con acompañamiento de Piano, Cameristico,….?

Solista: conciertos del repertorio mundial standard, Música de cámara en general y Repertorio Orquestal

¿Qué tipo de formato tiene el Examen de Fin de Carrera? Concierto en Auditorio, Recital con piano,…?

Dos partes:

Recital solista y de cámara

Repertorio Orquestal con el concierto standard a nivel mundial

¿Que estructura tiene? Obras de diferentes estilos y periodos, …?

Una obra de memoria y luego obras de diferentes estilos

¿El alumno, tiene alguna decisión sobe las obras que interpretará? ó son elegidas por el Profesor?

El alumno tiene decisión sobre las obras que interpreta en conjunto con el profesor y las reglas de la institución

¿Hay alguna obra que considere obligatoria? Si es así, ¿Cuál?

Concierto para Tuba y Orquesta de R. Vaughan Williams

HABLANDO DE CUESTIONES TÉCNICAS:

¿Podría hablarnos un poco sobre su opinión a cerca de los diferentes conceptos de sonido,  características  lo definen,  la articulación, los tipos de instrumentos, la literatura, si considera importante la influencia del idioma y la tradición musical en el sonido y la forma de tocar?

Esta es una pregunta de la cual podrían escribirse un libro analizando todos los temas que se preguntan. En mi opinión personal la cultura de sonido es algo fundamental y que debe ser la base, junto con otras cosas, de la ejecución de nuestros instrumentos. Lo que nosotros le damos al publico y le mostramos en primera instancia es nuestro sonido. Estos son instrumentos que mal ejecutados pueden, realmente, generar mucha molestia en un espectador NO experto. Es por esto que en mi opinión el alumno desde sus comienzos y a través de su profesor debe desarrollar la capacidad, guiado por el docente, de generar buen sonido y saber cuales son los pilares para generarlo, Aire y vibración. Lo cual a su vez le aportaran al joven instrumentista la practica habitual de estos dos elementos que son esenciales para la correcta ejecución de nuestros instrumentos. Es de extrema importancia, indistinto quien toque que el músico toque siempre de forma “culta” y no de forma brutal. Como mencione anteriormente, el sonido es nuestra presentación al publico por eso debe ser muy cuidado y muy bien presentado.

Hablando un poco sobre la fabricación de las Tubas y/o Bombardinos y boquillas:

¿Qué puede contarnos acerca de su experiencia y gusto sobre algún fabricante en particular y porque?

Yo vivo actualmente en la Argentina. País, como muchos de Sudamérica con un gran atraso en la materia de construcción de instrumentos y con un enorme impedimento en la obtención de los mismos ya que para poder conseguir uno ingresándolo de forma legal al país hay que pagar un sobre precio no menor al 60%.

Con toda esta adversidad a cuesta y escaso interés en la materia, comencé en octubre de 2010 a trabajar con un , luthier argentino, MARCELO LUDUEÑA, con una trayectoria de 40 años, a diseñar una línea de boquillas para Tuba Bajo y Contrabajo que aporten una perspectiva un poco mas alentadora a todo aquel que quiera comenzar o desarrollarse profesionalmente brindándoles la posibilidad de probarlas, experimentarlas, tocarlas sin tener que comprar a ciegas por catalogo.

A su vez desde mi regreso de Europa (2009), comencé a trabajar a través de Marcelo Ludueña con la única fabrica sudamericana de instrumentos, WERIL , situada en San Pablo, Brasil, para lograr algo que en Sudamérica no existe y que es una tuba bajo en fa. En realidad solo desde hace 4 años existe una respetable tuba contrabajo en sib y do realizadas con esta misma firma en conjunto con el lutier alemán WALTER NIRSCHL . Lamentablemente hay una gran carencia de información en Sudamérica y eso genera que los estudiantes en vez de comenzar con la tuba correcta (tuba bajo) y la gran falta de recursos y el recargo del 60% hacen imposible que un estudiante pueda acceder a ella, es por eso que uno de mis proyectos mas grandes, por suerte y gracias a mucha gente esta por volverse realidad y en septiembre de 2012 tendríamos la primera tuba bajo en fa hecha íntegramente en Sudamérica. Las posibilidades que poseen en España con respecto a este tema es infinita!! La posibilidad de conseguir cualquier instrumento es una inmensa ventaja!!!!

PARA CONCLUIR:

Según su experiencia, considera que la diversidad de interpretes, instrumentos y la posibilidad de formarse en diversas escuelas estilísticas, esta homogeneizando las escuelas interpretativas que están preestablecidas ya? (Ejemplo Rusa, Americana, Germano-Austriaca, Inglesa, etc).

 Yo considero que aunque la globalización llego a la música también y esto permite que muchas cosas se mezclen, fusionen, fundan, etc. existe aun tradiciones muy fuertes en el mundo que se mantienen y generan las diferencias entre las distintas escuelas, por mas que uno pueda tomar clases con Alan Baer, Walter Hilgers, Gasulin, Hendrick jan Rennes, Gerard Buquet, Philip Legris, Roger Bobo, Rex Martin, Stefan Heimann, Jens Björn Larssen, por nombrar algunos, las diferencias, en mi humilde opción, siguen existiendo y es lo que hace, considero, lo lindo de las diferencias. Sino seria todo tan aburrido!!!!

Muchas Gracias por su atención y por sus amables respuestas.

Un placer y gracias por tenerme en cuenta!!

Saludos a todos!!!

Patricio Cosentino y Harold Hernández

©HaroldTuba2012