”BETWEEN TUBAS and EUPHONIUMS...STEFAN TISCHLER”

Hi all. There is no doubt that Stefan Tischler is one of the most important and renowned orchestral tubists in Europe.

It is a luxury to be able to count on your experiences and I take the opportunity to thank you infinitely for your time, your collaboration with this interview project and your friendship.

Without further ado let's get started.

· Name and surname:

Stefan Tischler

· What instrument / s do you use?

I use to play F-tubas and Bb-flat-tubas.

· What manufacturer and model are the instruments you use:

F-tuba: MELTON/MEINL-WESTON 4250

Bb-flat-tuba: MELTON/MEINL-WESTON 197/2

and on journeys and in hotel rooms I use MELTON/MEINL-WESTON 14 - Travel tuba in F.

· What manufacturer and model are the mouthpiece / s you use:

I use mouthpieces of Franz Windhager, a fantastic and precise manufacturer from Vienna/Austria. For F-tubas I use mouthpieces of “his“ sizes 4-6 (depends on needs of piece and ensemble/orchestra), for Bb-flat-tubas I use a mouthpiece of “his“ size 8. Finding the perfect fitting mouthpiece is a very individual process every tuba player should spend some time on...

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

When I was a young boy I played the trumpet until I started to play the tuba at the age of 15. My teacher was Eckhard Vincke (a fantastic teacher for brass instruments at my hometowns’ music school) who helped me to prepare for conservatory.

· At what age?

At the age of 15...

· What reasons or circumstances led you to study this instrument?

Those days on a trip to Berlin I visited a concert of a youth orchestra. They performed the Vaughan-Williams-Concerto. Suddenly I was completely enthusiastically thrilled by this great instrument...

· Who were your main teachers?

When I was 16 years old Professor Klemens Pröpper became my tuba teacher at Musikhochschule Detmold and later at Musikhochschule Hannover.

3 years later Professor Walter Hilgers became my teacher, when I started my studies at Musikhochschule «Franz Liszt» in Weimar.

Regarding your vast PROFESSIONAL EXPERIENCE:

Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.

· In Orchestra and / or Band:

I am the principal tuba player of the BAVARIAN RADIO SYMPHONY ORCHESTRA since 2010. 2006-2010 I was a tuba player at the BAYERISCHE STAATSOPER, before 2006 I was a tuba player at the ESSENER PHILHARMONIKER.

As a guest tuba player I had the chance to play with some famous European Orchestras like the BERLIN and VIENNA PHILHARMONIC ORCHESTRAS, the CONCERTGEBOUW ORKEST AMSTERDAM and the ORCHESTRA OF THE BAYREUTH FESTIVAL...

· Metal Ensembles:

With colleagues of my orchestra we founded and established the Brass Quintet «NoPhilBrass» 10 years ago. Playing with this Brass Quintet is very important for me - it’s more than a job, it’s a passion - and of course big fun!

· Concerts as Soloist:

As a soloist I performed with my orchestra (BAVARIAN RADIO SYMPHONY ORCHESTRA) and several orchestras like ESSENER PHILHARMONIKER,  WEETFÄLISCHE KAMMERPHILHARMONIE and several youth orchestras. My favorite tuba concertos are LANDSKAP for tuba and strings by Lundquist and the VAUGHAN-WILLIAMS-CONCERTO.

About your ORCHESTRAL EXPERIENCE:

• Tell us your experiences to access the orchestra place you currently occupy:

When I was a tuba player at the BAYERISCHE STAATSOPER I played as a guest in BRSO, because of BRSO‘s vacant tuba position. I was very happy and felt very comfortable being the tuba player of the opera house, that’s the reason why I was hesitant and shy in applying for BRSO’s vacant tuba position. During some auditions colleagues couldn’t find a tuba player. After a couple of months I was very honored when Maestro Jansons and colleagues of BRSO’s brass section asked me to apply. In December 2008 I applied and took part in an audition for my current job.

• How was the selection process?

In German Orchestras you apply for a job if you feel comfortable to meet its demands. If your c.v. looks interesting you get an invitation for an audition. During this audition a lot of musicians play for the members and chief conductor of the orchestra.

• What works and / or orchestral solos were there as mandatory in the tests?

Usually tuba players play the Vaughan-Williams-Concerto and one piece of their own choice. After playing those concert pieces applicants are asked to play orchestral excerpts for "Basstuba" and „Kontrabasstuba“ (usually these excerpts are some well-known passages for tuba from orchestra literature).

In another sense:

• How is your current work in the orchestra?

My orchestra - Bavarian Radio Symphony Orchestra - is a big concert orchestra of Bavarian Broadcasting Services (BAYERISCHER RUNDFUNK). We play concerts for our audiences and subscribers, usually in Munich and Bavaria, but quite often on international stages worldwide, visiting the most important capitals of culture.

BRSO collaborates with internationally known conductors and soloists. Supplementary all concerts are broadcasted by radio and internet streaming services. All these profiles make my job so attractive: I really enjoy the international orientation.

• What recommendations would you give future Tubistas aspiring to an orchestral position?

ENJOY THE MUSIC AND NEVER GIVE UP LEARNING!

Treating OTHER TOPICS OF INTEREST.

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

• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide? How do you see the tuba and euphonium teaching today and with a view to the future?

Euphonium and tuba are completely different instruments. Usually and in fact trombone players and tuba players share those students of Euphonium, very often “this system” does not support the Euphoniums’ unique character and exigencies.

In Germany military-wind-bands and police-wind-bands collaborate with just a few conservatories which employ teachers for Euphonium, Baritone or Tenorhorn.

Today and for the future it seems to be very important to educate and qualify students of Euphonium to become good teachers especially for those instruments. Many schools of music are in need of qualified teachers.

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

Currently I am teaching Tuba at MUSIKHOCHSCHULE NÜRNBERG. There I coach  my fine and small tuba-class.

In the past I was a guest teacher at conservatories and masterclasses in many European countries, Japan, USA, Brazil, Russia, Argentina, Korea... some conservatories invited me as a guest professor, like MANHATTAN SCHOOL OF MUSIC in NYC, YONSEI UNIVERSITY in Seoul, TOHO GAKUEN UNIVERSITY in Tokyo..., some orchestras invited me as a coach of its brass-section, like SHANGHAI PHILHARMONIC ORCHESTRA....

· How do you organize your classes and the topic in general?

During masterclasses time very often is limited to get in contact with students. If I have the chance to teach in private lessons, very fast I concentrate on noticeable problems and topics to afford success and new perspectives for the student I am working with. Those may be a special topic of music or even sometimes a small technical problem.

With my own students at Musikhochschule Nürnberg I have the chance to achieve sustained success due to the possibility to create a concept of teaching that is based on long-term considerations.

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

For every student it is important to play concerts for a public audience, especially young musicians need to learn to get in contact WITH and to play FOR an audience. That’s a physical experience every musician should deal and grapple with, independently of his/her age and individually “operating experiences” on stage.

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

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

Every student should get in contact with a versatile development during his/her education or studies irrespective of his/her intended career. If you will become a teacher you should have learned all basics about most important literature and orchestral excerpts of your instrument. If a student aspires to become a tuba player in an orchestra he/she should have learned basics about pedagogical issues.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

After practicing my daily routines, I try to spend some time in practicing those pieces and programs, I need to prepare for future concerts and productions, including those concerts and etudes my students are working with actually.

· What warm-up exercises do you use?

I like and prefer exercises which effect a very natural way of playing the tuba and producing sound. The ideas and exercises of famous brass pedagogues like STAMP, CLARKE or JACOBS are very common even today. I use their ideas daily.

· Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

Relationship between musician and manufacturer of instruments is characterized by confidence and mutual knowledge about each other.

Since ever I cooperate with MELTON/MEINL-WESTON-manufacturers who exactly know my preferences and demand of sound and response. In my opinion those instruments uniquely and exactly provide myself the special conditions and qualifications to create different “colors“ and possibilities of “transportations” of sound.

You are a recognized interpreter in you country.

Please tell us about the history of our instruments in your land.

Traditionally in Germany tuba players play F- and Bb-flat-tubas. When Mr. Wieprecht and Mr. Stölzel buildet their first tuba around 1830 in Berlin, it was a Basstuba in F.  To produce bigger tubas for military bands instrument makers created C- and Bb-flat-Tubas.

Later Wagner, Bruckner, Mahler and Strauss asked for a KONTRABASSTUBA and for them it was a big Bb-flat-tuba due to its perfect and natural ability to sound together and to cooperate with the sections of trombones and wagnertubas (all in F or Bb-flat). Even almost 150 years later nothing has changed - and if you listen to big orchestras in Germany or Austria with their deep, dark and rich sound obviously Bb-flat-tubas perfectly and naturally enrich and complement those orchestras.

IN CONCLUSION:

· In your experience, do you think that the diversity of interpreters, instruments and the opportunity to be trained in various specialized schools is becoming homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).

Generally I enjoy all colorful differences and diversities in music and culture.  There are so many different possibilities to interpret music in interesting variations.

We all should keep our ears and eyes and our mind open to notice all differences in interpretation and sound. And especially with tuba and it’s sound we can notice quite many different ways to create sound - somewhere on earth tuba players use to play with more vibrato than somewhere else (perhaps a question of cultural imprint)...

Some orchestras have a great history and experience in playing special repertoire. It is remarkable how teamwork in sound and phrase is growing if musicians are used to play together for a long period of time.

As a teacher you should invite your students to listen and remark all those different varieties in culture and music. And of course you should learn them to enjoy those varieties and possibilities in interpreting music in different ways.

Stefan, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.

I hope see you soon.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS.....MISA MEAD"

Hello good day. Today's interview is very interesting because it is a recognized figure of the euphonium, curiously and happily associated with another great name of this instrument, but who has earned her own place in the world of euphonium on an international level.

I appreciate your sincere friendship and collaboration for this interview project which I hope you enjoy as much as I do.

Without further ado, we begin

· Name and surname:

Misa Mead

· What instrument do you use?

Euphonium

· What manufacturer and model are the instruments you use:

Besson Soveregin 967T in Lacquered

· What manufacturer and model are the mouthpiece / s you use:

Denis Wick SM4XR

Let’s talk about your EDUCATION:

· When and where did you start your Euphonium studies?

I started playing the euphonium when I was 9 years old in the school band in Japan.

· At what age?

9 years old.

· What reasons or circumstances led you to study this instrument?

My sister was playing alto horn. 

I wanted to play same instrument but she said “ alto horn plays always off-beats and it’s boring, I recommend euphonium because it looks similar but has more melodies.”

I think alto horn is good instrument!  But I chose the euphonium as she recommended.

· Who were your main teachers?

Actually, I had many teachers.

Noriaki Okamoto, Shoichiro Hokazono, Takashi Yamamoto, Ayano Iwakuro, Philippe Legris, Philippe Fritsch, Anthony Caillet, David Maquet, Jacques Mauger, Roger Bobo.

Concierto con la Banda del Conservatorio de Tatuí en Brasil

Regarding your vast PROFESSIONAL EXPERIENCE:

Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.

· Metal Ensembles:

Spiel Kammerensemble (2012-2013, Japan)

· Concerts as Soloist:

More than 20 countries and with more than 40 ensembles.

Treating OTHER TOPICS OF INTEREST.

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

• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide?

I think it depends on the countries. For example, people can specialise in euphonium in most universities of music in Japan.

As a country of wind bands, there are so many school bands in Japan and so many euphonium players too.

Also, as a county of brass bands, people can study specialist in euphonium in many music colleges in the UK too.

I think the countries where you can’t study specialise in euphonium where the dominates.

In these years, more countries started to put euphonium class in the university of music as same as more people play euphonium.

Tuba and Euphonium are really different and I think no many teachers has enough knowledge for both and play both as a professional level.

• How do you see the euphonium teaching today and with a view to the future?

I think it’s getting better. Because there are more euphonium players than before and more competitive. Also we can get so many information easily by internet now. I don’t know for the future but maybe better again.

Master Class

Let’s talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

I normally travel to other countries and do masterclasses or individual lessons.

I also do internet lessons.

· How do you organize your classes and the topic in general?

I search which levels students will come and make the plan.

It’s depends of the students.

· How long are your classes?

Normally, one hour for an individual lesson.

Masterclasses are normally 90 minutes to 2 hours.

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

I’ve never think about it before. Maybe once a year is good.

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

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

I think the important point is a good balance. I think it’s good to study the standard repertories for every student for any music job for the future.

And also I hope students are interested in many other categories and study voluntarily.

· If I had to choose as a student (in a hypothetical situation), would you have a preference between a Tuba student and a Euphonium student?

I’m happy to teach both Tuba and Euphonium.

Mostly, my students are Euphonium but sometimes I teach Tuba too.

Master Class. AETYB Madrid 2018

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Euphonium solo repertory as I’m a soloist.

· What warm-up exercises do you use?

Breathing, Buzzing, Long tone, Lip slur, Arpeggios, etc.

TALKING ABOUT TECHNICAL ISSUES:

· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?

I think it’s connected our talking and playing. So when I visit different countries, I can find the characteristic of the language and playing.

I think when we play the piece, we have to search where it’s from, when it’s written, which style, etc… then we can get ideas about how to play.

· Tell us a bit about the manufacture of Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I play Besson instrument. For me, Besson is the best sounds euphonium. And other things are good too, for example, valves, tuning which I use trigger, etc.

I use Soveregin 967T it’s lighter and easier to play than Prestige. 

With Besson instrument, Denis Wick mouthpiece is the best combination for me. I use SM4XR, it make bigger sounds and easier to play for high notes. I used SM4X, it has warm sound, SM5 is keep my stamina longer.

You are a big woman player of the euphonium in Europe and Japan another places.

Please tell us about you experience and about our instruments en your born country and adopted country

In Japan, there are many female euphonium players so I haven’t think about gender for instrument until I started traveling for other countries. We have two famous professional wind band in Tokyo and both euphonium players are women. Also, these years Japanese female euphonium players won some international solo competitions, ITEC, Falcone, Lieksa, all different players.

I think normally women has less vital capacity and muscles so harder to play than men but euphonium is still ok for women’s capacity. I know some great female euphonium players are work so hard, have passions and wonderful musicality. 

I can see there are no many female professional euphonium players in the world but why not, euphonium is open to everyone.

In the Debate about the Differents School of Tuba in the World. AETYB Madrid 2018

IN CONCLUSION:

· In your experience, do you think that the diversity of interpreters, instruments and the opportunity to train 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 know. Because when I do my classes in different countries, normally euphonium players do the interpreter.

Interpreter for the music needs special knowledge about the music and instruments so we can’t really have like great interpreter but doesn’t know any about the music and instruments.

Misa, it is a big pleasure and an a great honor to count on your experience and

collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.

"ENTRE TUBES et EUPHONIUMS.....GÉRARD BUQUET"

L'interview que je vous apporte aujourd'hui est sans aucun doute très importante et très intéressante, étant donné que c'est l'actuel professeur qui est considéré comme le plus important conservatoire de musique en Europe pour les joueurs de vent traditionnellement et je veux dire le Conservatoire National de Musique de Paris.

Je ne veux pas approfondir sa carrière, je vous laisse ici une petite esquisse de sa Biographie et de son vaste catalogue de composition et bien sûr je le remercie pour sa sincère collaboration et amitié.

Sans plus tarder, commençons.

• Nom et prénom: 

 Gérard Buquet

• Quel instrument / s utilisez-vous?

Tuba

• Ce marque et le modèle sont les outils que vous utilisez:

Miraphone F Tuba Elektra argenté

• Ce fabricant et le modèle sont la buse / s / s que vous utilisez:

Yamaha Roger Bobo Symphonic Mouthpiece 

Parlons de votre éducation:

• Quand et où leurs études ou euphonium tuba ont commencé?

En 1969 à Valenciennes ( Nord de la France)

• A quel âge?

15 ans 

• Quelles sont les raisons ou les circonstances l'a amené à étudier cet instrument?

Passion pour la musique, le professeur de tuba n’avait plus d’élèves alors j’y suis allé 

• Qui étaient vos principaux professeurs?

Joseph Vaillant professeur de tuba à Strasbourg

Quant à son expérience professionnelle:

• S'il vous plaît laissez-nous un peu compte de son expérience en tant que soliste, membre d'ensembles de chambre, orchestre, bande, etc.

• Dans Orchestra et / ou Band: 

Soliste de l’Ensemble Intercontemporain ( P Boulez) de 1976 à 2000

• Ensembles métalliques: 

A fait partie plusieurs années du Quintette de cuivres JB Arban 

• Concerts en solo: 

Beaucoup de concerts et créations en soliste dans le répertoire contemporain

• Qui utilise des exercices d'échauffement ?

Exercices issus de ma pratique du Tai Chi ( Professeur Jacques Dropsy) 

Essayer d'autres sujets d'intérêt.

• Ici, en Espagne, dans certains centres, il est considéré que le Bombardino, est un instrument qui doit avoir sa propre spécialisation et, d'autre part, certains pensent que, comme instrumentiste, il faut connaître et maîtriser le tuba et euphonium.

• Pourriez-vous nous donner votre avis sur ce sujet et comment aborder cette question dans l'intérêt de l'éducation et de la formation adaptée à l'expertise nécessaire nécessaire aujourd’hui?

En France les deux instruments sont séparés et il y a des spécialistes pour le saxhorn et euphonium dont certains sont très actifs et de grands virtuoses ! certains tubistes jouent également du saxhorn et de l’euphonium mais pas au niveau des spécialistes 

In the class

Parlons de votre expérience de l'enseignement :

• Dites-nous ce que les centres d'apprentissage a enseigné (professeur à temps plein, professeur invité, cours, conférences, etc.

-  De 1997 à 1999 a enseigné la Musique de chambre au CNSM de Paris

-  Depuis 1999 est  professeur de tuba au CMNSM de Paris . 

- De 2001à 2018 a dirigé l’Ensemble de musique contemporaine à la Musikhochschule de Karlsruhe.

- Depuis septembre 2013 professeur de lecture à vue au CNSM de Paris pour les instruments à vent pour le répertoire contemporain.

• Comment organisez-vous vos cours et le sujet en général?

1/ Warming up collectif.

2/Travail technique collectif. 

3/cours individuel avec piano.

4/travail du répertoire solo 

5/ traits d’orchestre au tuba en Fa 

• Combien de temps vos cours?

6h par semaine pour 6 étudiants 

• Pensez-vous qu'il est important que les élèves font des apparitions publiques au cours de ses années de formation?

Oui , c’est très important ! Nous essayons d’en réaliser le plus possible notamment en collaboration avec d’autres classes en Espagne , Allemagne, Suisse…)

• Y at-il un autre enseignant avec votre même spécialité dans le centre où vous enseignez? 

J’ai la chance d’avoir un assistant (Sébastien Rouillard) qui est responsable du contre tuba en ut et sib 

Une partie importante du programme de cours est normalisée et est basée sur l'idée que les élèves maîtrisent le répertoire seul, parfois au détriment du répertoire de grands groupes (orchestre et bande), alors qu'en fait, la plupart des étudiants Tuba et euphonium sera enseignants et / ou les membres d'une bande et, dans une moindre mesure, d'un orchestre dans le cas de tubas.

• À votre avis, comment ce problème doit être résolu? Quelle est l'importance pensez-vous inclure l'apprentissage et la maîtrise du répertoire d'orchestre dans le cadre du programme du cours?

Nous essayons de faire les deux : tous les étudiants participent aux concours internationaux et aux concours d’orchestre. En ce qui concerne le travail d’orchestre le Conservatoire avec ses 3 orchestres proposent des projets avec des chefs renommés et la proximité du Conservatoire avec la Philharmonie permet aux étudiants de jouer régulièrement avec les orchestres professionnels ( orchestre de Paris, orchestres de radio France, Ensemble Intercontemporain…)

• Dites-nous quel est le processus d'admission pour accéder à votre centre d'apprentissage: 

Sur concours au mois de Février en deux épreuves : admissibilité et admission avec un jury extérieur composé de tubistes professionnels 

• Ce qu'il est nécessaire répertoire à l'examen d'entrée?

Classique et contemporain 

• Proposez-vous tout répertoire particulier?

Le Conservatoire grâce notamment à Pierre Boulez a inclus le répertoire contemporain dans à tous les niveaux du cursus 

• Combien d'œuvres sont obligatoires et dans quel format (en solo, avec piano, études, etc.)?

4 œuvres en solo et avec piano 

• Y at-il un morceau obligatoire? Si oui, quel est-il?

Oui, 2 morceaux obligatoires un classique et un contemporain

• Combien de temps est l'examen?

40 mn en tout 

• Quels sont les aspects que vous chérissez le plus pour décider? ¿Musicalité, l'intonation, le rythme, ...?

La musicalité qui est très difficile de transmettre à un étudiant si elle n’est pas déjà présente 

• Si je devais choisir (dans une situation hypothétique), serait de préférence entre étudiants Tuba ou euphonium un?

Notre classe est consacrée exclusivement au tuba basse et au tuba contrebasse ainsi que le cimbasso

A propos de leur travail au cours.

• Quel genre de répertoire que vous travaillez principalement avec vos élèves? Solo, avec accompagnement de piano, musique de chambre, ....?

Nous travaillons un répertoire très large incluant par exemple le théâtre musical, la musique électro-acoustique… 

• Quel format examine LIMIT? concert solo, récital de piano ...?

L’examen final est un récital de 50 mn environ composé de pièces solo, avec piano, avec électronique, avec ensemble de cuivres, quatuor à cordes , orchestre symphonique selon les années et les étudiants

• L'élève choisit les œuvres à jouer? ou ils sont choisis par l'enseignant?

Une partie par l’étudiant et une partie par les professeurs 

• Y at-il le travail qu'il juge obligatoire? Alors quoi?

Les traits d’orchestre sont inclus dans les examens de fin d’année sauf pour le Master 2 

In the recording studio

PARLER DES QUESTIONS TECHNIQUES:

• Pourriez-vous nous donner votre opinion sur différents concepts de son et ce caractéris-tics définissent, l'articulation, les types d'instruments, de la littérature, si l'influence de la langue et de la tradition musicale dans le son et le mode de jeu est considéré comme important ?

La langue a effectivement un rôle important pour les articulations et pour le son mais elle doit s’harmoniser avec le style musical des compositeurs que l’on interprète. 

• Parlez-nous un peu de faire tubas et / ou euphonium et buses:

J’ai choisi le chemin de l’expérimentation de nouvelles techniques au tuba et le travail de création avec les compositeurs d’aujourd’hui ainsi que le chemin de la composition musicale comme complément de mon travail comme instrumentiste

• Parlez-nous de vos expériences et les goûts d'un fabricant particulier et pourquoi?

Je joue un Miraphone Elektra argenté depuis plusieurs années et auparavant un Firebird : ces deux instruments ont une très bonne projection sonore et un jeu direct qui convient très bien pour la musique contemporaine 

• Avant de terminer, faites-nous part de votre expérience en tant que compositeur et chef d'orchestre.

Comme compositeur : 

• A composé notamment pour l’Ensemble Intercontemporain, l’Ensemble Modern de Francfort, le Klangforum de Vienne, le RSO de Stuttgart, le Klangforum de Heidelberg, l’Ensemble Nomos,  l’Ensemble Aleph, l’Ensemble Slowind…

• Ses œuvres solistes ont été interprétées notamment par  Marcus Weiss : saxophone, Vincent David : saxophone, Eva Böcker : violoncelle, Delphine Biron : violoncelle  Frédérique Cambreling : harpe, Elisa Humanes : percussions, Claude Barthélémy : guitare

• A également composé des œuvres pédagogiques pour Ensemble, pour trombone,  pour tuba…..

J'ai composé entre autres œuvres

Œuvres solistes : 

"Voix Captives" pour Tuba et bande

"Zwischen" pour trombone contrebasse à 2 pavillons

"Adverb" pour  violoncelle solo et électronique 2001/2002

"L’astre échevelé" pour saxophone soprano et dispositif électronique (2008-2009). 

"Surimpressions" pour percussion et électronique (2006). 

"Con Voce " 2019 pour tuba solo, 

Musique de Chambre : 

"Buckbarthblues"pour Tuba et guitare électrique

"Zwischen 3 " (Juillet 2003 ) pour trombone contrebasse à 2 pavillons  et Quintette de cuivres 

"Les danses du temps" pour flûte, clarinette, harpe, alto et violoncelle. 

´Théâtre musical, concert scénique :

"Un Concert imaginaire"Pour contrebasse à cordes, Tuba et bande avec Frédéric Stochl

"Enjeux" (commande d’Etat) Spectacle musical, Texte : Guy Lelong, mise en scène : Patrice Hamel

Dijon, Festival « Nouvelles scènes », Paris « Centre Georges Pompidou », 1993.

Co production Ircam et festival « Nouvelles scènes ».

"Fluxus temporis "(2017)": performance avec l'artiste Anja Michaela, 

Helmut Lachenmann tuba concerto Harmonica in Helsinki with the Philharmonia

Pour Orchestre et Ensemble :

"l’enclume des forces" : (2010) pour clarinette basse principale et quintette à vent,  

"Die Malerin von Bellevue" (2009/2010) pour 6 voix de femme trio à cordes (vl, alto, vlc)  et trio à vent (clarinette, cor et fagott),  

« l’horizon et la Verticale » (2012 pour 2 harpes solo et orchestre. 

"les navigateurs immobiles" (2014) pour 12 violoncelles 

"les navigateurs immobiles : le retour (2017) pour 12 violoncelles. 

Œuvres pédagogiques :  

Solo : 

"Trois Miniatures"pour trombone solo (éditions Lemoine)

Pour Ensemble : 

"Nonobstant" 2018 pour soprano, violon, saxophone, claviers, percussions et électronique. 

"Fiction" : spectacle musical pour ensemble instrumental

"Images de passage" Clip musical pour Ensemble instrumental créé en mai 2003 au ZKM (Medientheater) de Karlsruhe avec les étudiants de la Musikhochschule.

"Transitoire « G » "pour Ensemble de 23 musiciens.

Comme chef d’orchestre :

• De 2001 à 2018 : direction musicale de l’ensemble für Neue Musik de la Musikhochschule de Karlsruhe (Allemagne).

• a dirigé de nombreuses œuvres des étudiants de la classe de composition de W. Rihm et de Marcus Hechtle ainsi que le répertoire contemporain

• Octobre 2007 a dirigé « les Etudes d’après Séraphin » de W. Rihm, spectacle associant musique danse et création lumière (réalisée par l’artiste Rosalie) pour le 10ème anniversaire du ZKM de Karlsruhe, (coproduction Staatstheater de Karlsruhe, ZKM, HFM Karlsruhe.

• Il a invité des solistes à se joindre à l’Ensemble für Neue Musik (notamment F. Cambreling, Garth Knox, M. Weiß, Mario Caroli, J. Geoffroy ……).

• A dirigé en Mars 2012 à Karlsruhe, le concert « Konzertante Plastiken » pour les 60 ans de Wolfgang Rihm, un concert mis en espace, comprenant 5 créations (R. Saunders, O. Neuwirth, P. Dusapin, M. Hechtle), Ensemble Tema et Ensemble für Neue Musik de la HFM de Karlsruhe  (Coproduction HFG et SWR). 

• En janvier 2012, a enregistré au ZKM, une œuvre de Matthias Ockert réunissant des musiciens de l’EIC et de l’Ensemble Modern. (Production CD du Deutscher Musikrat).

• A dirigé, en 2012 l’Österiche Ensemble für Neue Musik pour un concert « carte blanche à Pascal Dusapin «  à Salzbourg.

• A dirigé en 2015/ 2016 "zwei Gefühle " d'Helmut Lachenmann à Karlsruhe et à Strasbourg.

With the Hessische Rundfunk Francfort

POUR FINIR:

• Selon votre expérience, pensez-vous que la diversité des artistes, des instruments et la possibilité de former dans diverses écoles spécialisées est homogénéisant dans les centres d'interprétation déjà mis en place? (Exemple: russe, américain, allemand-autrichien, anglais, etc.).

Il faut de la diversité de style et de son dans le monde musical et tous les orchestres ne doivent pas sonner pareil ! Un vin espagnol, italien ou français est différent et c’est tant mieux !

Gérard, c'est un grand plaisir et un honneur de compter sur votre expérience, votre collaboration dans cette série d'entretiens et votre amitié.

Merci beaucoup et mes meilleurs voeux.

Un gros câlin.