"BETWEEN TUBAS and EUPHONIUMS...VIKENTIOS GIONANIDIS"

Hi all. The interviewe on this occasion, to whom I thank him for his friendship and sincere collaboration with this interview that he will surely enjoy as much as I do, is one of the current references as a Tuba interpreter in an orchestra at a European level and perhaps worldwide, among other things.

Without further ado let's begin.

· Name and surname:

My name is Vikentios Gionanidis.

· What instrument / s do you use?

I play F tubas, Bb tubas and F cimbasso.

· What manufacturer and model are the instruments you use:

My F tuba is a B&S 3100 JBL Classics. 

My Bb tuba(s) are Bohland&Fuchs. I have a 6/4 Bb that is huge and is the instrument I mostly choose to play in the orchestra. It was made around the 1930s. 

I also have a 4/4 from around 1900 witch is currently under construction. Usually these very old instruments need a lot of repairs and restorations before you are able to play them.

I also play a Lätzsch F cimbasso in the orchestra.

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

On the F tuba I use for over 10 years the same mouthpiece, a Denis Wick 2,5CC.  

On the Bb tuba I play a Josef Klier  S 0.9 671.

On the F cimbasso I use a combination of my F tuba mouthpiece rim and a smaller cup made by Werner Schmidt.

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

My first contact with the world of music was on the island of Corfu, Greece where I was born. There is a big wind band tradition there and most of the children go there and learn how to play woodwind, brass or percussion instruments free of charge. I started playing the tuba after playing quite a long time other brass instruments and percussion. 

I then started getting lessons with G.Rarakos at the Corfu Conservatory. Later on I decided to study abroad and got accepted at the University of Music and Theater in Hannover, Germany to study under Prof. Jens Bjørn-Larsen. 

· At what age?

I was 15 when I started playing the tuba.

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

I was 12 years old when I first started playing the percussion, particulary snare drum, at the wind band ‘Mantzaros’ in Corfu, Greece. I was always fascinated with the sound of the trumpet and aprox. 5 years after playing the percussion I started taking trumpet lessons. This didn’t last long since my embouchure wasn’t helping. One day, the low brass teacher came to me after he heard how much I was struggling to play notes in middle register of the trumpet and persuaded me to switch to the euphonium. 

I immediately could play stuff way easier than on the trumpet. After reaching a level good enough to be a member of the concert band, the same teacher said I should get some trombone lessons if I later would like to become a professional brass player, since the euphonium has no place in the symphony orchestra. After some months practicing the trombone, I took part to the first masterclass for brass in 2003 and the teacher there convinced me to play the tuba. 

This felt even easier for me than the euphonium and started liking the profound sound of the law frequencies.  I am glad I took this long journey when I was still young, from the trumpet all the way down to the tuba. I learned how those instruments work and their abilities, this helped me a lot on playing the tuba as well as on arranging, witch I am very active nowadays.

· Who were your main teachers?

My teachers where Otto Gkogkas, George Rarakos and Prof. Jens Bjørn-Larsen.

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 tuba player with the Deutsche Oper Berlin since 2013. I have played with many major symphony and opera orchestras in Germany, including the Berlin Philharmonic, the Gewandhaus orchestra in Leipzig, the Hamburg State Opera, the German Symphony Orchestra Berlin (DSO Berlin), the Stuttgart State Opera, among others. 

I have played with orchestras outside Germany, such as the Orchestre de la Suisse Romande in Switzerland. In addition to that, I also played with the Ensemble Modern in Frankfurt, which is an ensemble specialized in contemporary music.

· Brass Ensembles:

In 2019 I played a lot with the Stockholm Chamber Brass. I also conducted the Metallon Brass Ensemble from the Athens State Orchestra with exclusively my arrangements. Apart from that, we form brass quintet or brass ensemble with members of the Deutsche Oper Berlin and play chamber music concerts regularly. 

In my studies in Hannover we used to form all forms of tuba ensembles, from tuba duets up to 14-part tuba orchestras!

· Concerts as Soloist:

I won first prizes in two of the most prestigious competitions for brass instruments. At the International Aeolus Competition in Düsseldorf (2010), apart from the first prize, I  also won the special prize for contemporary music and the audience award. At the final round of this contest, every brass instrument is competing each other, witch makes it even more difficult for the tuba to win against the trumpet or the trombone. 

At the International Instrumental Competition in Markneukirchen (2012) I won the first prize. In addition, I have won prizes at the National Music Academy Competition in Lübeck (2011) and the International Brass Competition in Gdansk (2012).

The competitions gave me the chance to appear as a soloist with orchestras such as the Folkwang Chamber Orchestra in Essen, the orchestra of the Plauen-Zwickau Theater, the Göttinger Symphoniker, the Düsseldorfer Symphoniker, the Gdansk Academy Orchestra, just to name a few.

About your ORCHESTRAL EXPERIENCE:

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

First, the Deutsche Oper Berlin offered a time contract and I took the audition for that and won, this was back in 2012. I played with them for some months and then there was an opening for the permanent  position. Many tuba players from all over the world auditioned too.

I had to audition for my job twice.

• How was the selection process?

Usually, the group, after receiving the applications, decides witch candidates to invite to the audition, according to their orchestral experience, age, etc. In this case, the tuba player (my orchestra has two tuba positions) together with the trombone group. I had some experience when I applied, had played with professional orchestras in the past, to get an invitation wasn’t a problem. 

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

The list had all the classics! R.V.Williams tuba concerto with piano, F tuba excerpts from Berlioz to Bruckner, Bb tuba excerpts from Wagner to Mahler.

• Did you take any work of free choice? Which was?

This wasn’t an option.

In another sense:

• How is your current work in the orchestra of Opera?

The times we all  experienced was difficult during the pandemic lockdown. We were not allowed to do what we love to do, this is really hard especially for the artists. I was fortunate enough to be able to go back and play in June. 

The Deutsche Oper Berlin was the only opera company that got the permission to make a small production in an open air stage! We staged an arrangement of R.Wagner’s Rheingold for small orchestra. This felt like heaven after sitting home for so long time, practicing just for yourself (and the neighbours!).

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

I know it’s hard to get a job as a tuba player, there are not many opportunities, not many auditions. You have to perform your audition program in a certain way in order to make most people happy to get the job. This comes with a cost. Sometimes we tend to forget how WE like to play, how we want to sound, how we would like to phrase an excerpt. We always need to find the balance on that with the least sacrifice of our own taste. 

Get inspiration from great performers, great orchestras, etc. not necessarily tuba players, not even brass players. We can learn from anything around us. I learned a lot listening to great opera singers, how they fraze, how they make words sound less or more important. You can steal ideas from everywhere.

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?

As I said before, I switched from euphonium to other lowbrass because the euphonium has no place in the symphony orchestra. In Germany, most euphonium players are mainly trombonists that play euphonium if you ask them to. 

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

You can study tuba in most places around the world in a very high level. A young tuba player should consider where to apply for studies, cause there are traditions from country to country. f.Ex. the american brass playing philosophy is much different than the let’s say the german. 

For the euphonium, studying options are more limited. In the US, most tuba studios include euphonium students too. In Europe things are different. 

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 started teaching periodically at the Hannover Music School, orchestral and solo literature in 2014. This is in form of masterclasses, twice or three times a year. Last year, I gave masterclasses for tuba and chamber music at the Rice University in Houston and at the Baylor University in Texas. In the past years I was invited to teach masterclasses in Athens, Greece.

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

This depends on the student needs, I try to stay flexible and adapt on what the student needs the most. In the start, I usually let the student play for a longer time to be able to understand on what we need to focus.

I don’t believe that the teacher should have only one style of teaching. Every student is different. Especially on masterclasses, there are so many different levels, ages, etc.

· 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 strongly believe that a student should perform as often as possible. This makes you stronger as a performer and it’s the only way to get used to play in front of public, to learn to be exposed, to entertain the audience to enjoy it! But always be well prepared. 

· 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 would choose a tuba student. The reason is that we would have much more to work on, according on my experience.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

I divide my practice schedule on:

Staying in shape: 

This includes warm up exercises, technical exercises, etc. Both bass and contrabass tuba. 

What I need to practice depending on what I have to perform: 

If there is a solo appearance, I would focus my practice on that. If there is an orchestral piece I haven’t yet played coming, I would focus on learning it. This requires to listen to the work, study the score, etc. 

When I have a new arrangement done for tuba I always like to test it out and of course make corrections, changes, etc.

· What warm-up exercises do you use?

I usually start my warming-up with slow, flowing exercises such as Stamp. I often make my own exercises. Then I do some flexibilities in different speeds, expanding the registers. Always alternate and modify them, This keeps me being creative.

This  depends on how much time I have avaible.

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 believe most people around the world use very similar instruments, Melton, B&S, Yamaha, etc. This makes the sound already very similar. Of course, the language of the player influences the playing a lot.

· 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?

I always liked the B&S F tubas because they have a sound you can shape it in the way you like it. You can do a lot with it. For Bb tubas, I am a big fan of the old Kaiser tubas simply because they produce a sound very deep, profound and round that modern ones don’t do. There are other difficulties such as intonation you need to be extra careful with these old tubas.

You are a recognized interpreter in Germany but I like know about our instruments in your country.

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

Most of the modern german instrument makers have their origins to Graslitz-Bohemia, today is Kraslice-Czech Republic. There where many brass instrument factories and makers, such as Bohland&Fuchs. It is very interesting. 

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.).

In my opinion, even though most of the players play very similar instruments or from same instrument makers, you can still hear the differences and be able to tell where they studied, what are there background. However, I each player is an individual with his own personal characteristics. For me these characteristics such as sound, articulation, frazing, musicality are more distinctive to a player.

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

It was my pleasure.

I hope see you soon.

Thank you very much and best wishes.

A big hug.

ENTRE TUBAS Y BOMBARDINOS POR ESPAÑA: EDUARDO NOGUEROLES.

Hola a todos. 

Después de un tiempo de "mutis" obligatorio, volvemos con la serie de entrevistas "ENTRE TUBAS Y BOMBARDINOS", esta vez con una nueva perspectiva y es reconocer el sobrado talento que en España existe en nuestros instrumentos.

Esta primera entrega es con un excelente Tubista, Docente, hermano y presidente de nuestra genial AETYB, me refiero a Eduardo Nogueroles.

Comencemos pues.

Eduardo Nogueroles Realiza sus estudios superiores de Tuba, Dirección y Composición en los Conservatorios de Jávea, Valencia, Madrid y Perpignan, en la Universidad Estatal de Arizona y en la Royal Schools of Music, con profesores como Miguel Moreno, Mel Culbertson, Sam Pilafian, Harvey Phillips, Pablo Sánchez Torrella, Tomás Gilabert, Andrés Zarzo ó Ferrer Ferrán.

Formó parte de la Orquesta de Estudiantes de la Comunidad de Madrid y de la Joven Orquesta Nacional de España y es colaborador habitual en numerosas orquestas españolas. Fue laureado en el Concurso Internacional de Tuba de Albany (Nueva York) y en el Concurso de Metales de Xátiva (Valencia). Desde 1996, ofrece recitales e imparte Cursos y MasterClasse por toda España, grabando en el año 2000 el CD “Escenas Latinas” y en 2014 “Una mirada atrás”.

Caratula del CD "Una Mirar Atrás"

Ha sido Director de las Bandas de música de San Miguel de Oia, Vilafamés, Aldaia y Villar del Arzobispo, con las que ha obtenido diversos premios. Fue miembro del jurado de Juventudes Musicales de España en 2001 y Director del Festival Internacional de Tuba de Vigo entre los años 1997 y 2003.

Como compositor, ha realizado encargos para prestigiosos solistas y agrupaciones y su música ha sido grabada en diversos Cds. Desde 2013 publica para Potenza Music (EEUU).

Actualmente, compagina la docencia con la composición y la dirección, siendo Profesor de Tuba en el Conservatorio Profesional de Música de Valencia, Solista del Grupo Instrumental de Valencia, Miembro del Spanish Tuba Quartet, Director de la Banda Sinfónica de la Societat Musical d'Alboraia y Presidente de la Asociación Española de Tubas y Bombardinos (AETYB).

Entrando en materia.

¿Que instrumentos utilizas?

Tengo varios instrumentos que utilizo según creo oportuno para cada ocasión.

En Fa tengo una Melton 45S que utilizo para música de cámara, piezas como solista y grabaciones. En Do tengo una B&S Neptuno 6/4 y una Conn 54J 4/4, que alterno según creo conveniente.

Además de estos instrumentos más habituales, tengo un serpentón Monk de 6 agujeros, un oficleide Gautrot de 11 llaves, un Bombardino y un Cymbasso Consolat de Mar, una buena colección de Didjeredoos y algunos instrumentos de colección.

Eres Presidente de AETYB por segundo mandato unánime. Cómo surgió AETYB? 

La Asociación Española de Tubas y Bombardinos (AETYB) surge como consecuencia de la sinergia existente en nuestro país en relación a nuestros instrumentos.

Profesores, estudiantes, amateurs, solistas, compositores, tiendas, reparadores, etc. necesitábamos un lugar de encuentro donde compartir nuestras experiencias e inquietudes.

En el ITEC de Julio de 2012 en Linz (Austria) surgió el embrión que poco a poco fue tomando forma hasta convertirse en la actual Asociación. Formamos un equipo de trabajo, establecimos unos objetivos prioritarios y marcamos unas pautas a seguir para la Asociación, que se convirtió en una realidad el día de Santa Cecilia de ese mismo año.

  

Luego de 4 años y 3 geniales Encuentros, ¿como ves el futuro de la Asociación?

SPANISH TUBA QUARTET
Izq. a Dcha. Pablo Fernandez, Eduardo Nogueroles, Oscar Abella y Sergio Fincas

Nuestro actual reto es el de consolidar los proyectos existentes, fomentando cualquier propuesta que beneficie el futuro de la Tuba y el Bombardino en España.

En los encuentros y festivales, hemos podido disfrutar de grandes solistas, ensembles, profesores, compositores, bandas, orquestas, concursos, estrenos, talleres, exposiciones, etc. y todo ello en un ambiente de participación increíble.

Desde el inicio, se está incitando la composición para Tuba y Bombardino con encargos y concursos, haciendo crecer así nuestro repertorio. Estamos animando la participación de los músicos amateurs en grandes eventos como parte importantísima de nuestro patrimonio musical con proyectos como ¿Y tú por qué no?. Se está publicando constantemente información variada y participativa en nuestra página web. Fomentamos la unión entre compañeros mediante los encuentros y festivales, ofreciendo un lugar donde disfrutar de nuestros instrumentos y mostrar los nuevos proyectos creativos. Promocionamos a nuestros jóvenes artistas con la realización de concursos y conciertos, etc.

Eduardo, Miguel Moreno y un servidor.

Creo que, entre todos, hemos conseguido logros inimaginables para el colectivo hace tan solo unos pocos años. Y que una vez establecida la infraestructura de la Asociación, y teniendo en el horizonte los Encuentros de 2017 y el Festival 2018 que celebraremos en Madrid, además de varios proyectos que se están gestando, nuestro futuro pasa por consolidar los valores que nos han hecho llegar hasta aquí, con el convencimiento de que juntos podemos hacer grandes cosas en beneficio de la Tuba y el Bombardino en nuestro país.

Que opinión te merece el auge de composiciones para nuestros instrumentos creados por compositores españoles?

Creo que tenemos una generación excepcional de compositores que tiene mucho que aportar a la Tuba y el Bombardino y a la cual debemos sacar provecho como instrumentistas.

El nivel de nuestros compositores es reconocido actualmente en todo el mundo con galardones en concursos internacionales, y es tarea nuestra animarles a componer para nuestros instrumentos, mostrándoles sus virtudes y posibilidades.

En el pasado Festival de Valencia los encargos a José Suñer, Jesús Santandreu, Pere Sanz y Amparo Edo para las finales de los concursos fueron un éxito. Las piezas premiadas en los concursos de composición fueron muy aplaudidas y tanto por el público como por los solistas que las interpretaron. Y composiciones recientes como las de Ferrer Ferrán, Andrés Alvarez, Enrique Hernandis, Angel Montes, Oscar Abella, Pascual Martínez o Ximo Cano ofrecen un nivel muy alto de composición.

Hablando de composiciones. Tú mismo eres de los más prolíficos y acertados compositores para Tuba y Bombardino en España actualmente. ¿Que te motivó a iniciar esta gratificante andadura compositiva?

Comencé muy tarde en el camino de la composición. Nunca había tenido un interés especial por escribir música, pero de repente sentí que necesitaba hacerlo. Así fue como en 2005 comencé a estudiar y a formarme para comenzar a componer. Ahora tengo ya un buen número de obras en catálogo, que se interpretan asiduamente en diversos lugares del mundo.

Algunas de sus obras editadas en Potenza Music.

Como no podía ser de otra forma, parte de mi obra va dirigida a la Tuba y el Bombardino: Reload (para Bombardino ó Tuba con CD), la Sonata para Bombardino y Piano, el Concierto para Tuba y Percusión, Blues for All (para cuarteto de tubas), Un lugar de encuentro (para ensemble de Tubas y Bombardinos, dedicada a AETYB), La Tuba de Harvey (para Tuba y Banda ó Piano), Canela Fina (para Bombardino y Tuba), Duende (para Bombardino y Marimba) y The World of Dreams (que es el primer doble concierto escrito para Tuba y Bombardino), forman mi repertorio para nuestros instrumentos, aunque seguro que pronto habrán mas.

Donde se puede encontrar tu obra editada?

La mayoría de mis obras, especialmente las de instrumento solista y de música de cámara, están editadas en la editorial americana Potenza Music (www.potenzamusic.com), aunque también tengo algunas editadas en España. Por otro lado, siempre hay piezas que están en proceso de edición. En caso de tener dudas de donde conseguirlas, es fácil contactar conmigo a través de mi página web www.eduardonogueroles.com, por email ó en Facebook.

Tienes varios Cd´s como intérprete. ¿De donde surge la idea de tu último trabajo discográfico. “Una Mirada Atrás”?

El proyecto nace de la amistad y las ganas de hacer música que tienen todas las personas implicadas en el disco.

"Una mirada Atrás" "in Live" en las AETYB NIGHT de AETYB Valencia 2016

Allá por los años 90, coincidí con José Luís Martín, además de con otros fantásticos compañeros, en la clase de Miguel Moreno en el Real Conservatorio Superior de Música de Madrid, y nos hicimos buenos amigos. José, que es profesor de Tuba en el Conservatorio Municipal de Getafe, desarrolló una carrera paralela con la tuba y el bajo eléctrico, y se empeñó en que teníamos que hacer algo juntos.

Después de un tiempo valorando diversas posibilidades, le dimos forma a un proyecto atractivo para el público y totalmente novedoso para la Tuba, mezclándola con una voz femenina y una banda de pop. Una vez concebida la idea y hechos los arreglos para la banda, fue muy fácil trabajar con grandes músicos como Maite, Javier y Juan, y un lujazo contar con Manolo, Pepe y Vicky para la realización de la grabación y del precioso diseño del disco.

El resultado final, nos sorprendió a nosotros mismos por la frescura que desprende la música que tocamos y por la nueva visión de la tuba que ofrecemos al público, en un directo que disfrutamos mucho por la química creada entre nosotros.

Bueno, es evidente que no hemos podido comenzar mejor esta serie de entrevistas.

Mi mas sincera enhorabuena a Eduardo por sus éxitos presentes y futuros en todos los aspectos.

Un fuerte abrazo a todos y espero que la hayan disfrutado.

Hasta la próxima.

©HaroldTuba 2017

“BETWEEN TUBAS AND EUPHONIUMS”: EROS SABBATANI

Hi, my name is Harold Hernandez Lozano. I'm a Tuba / Euphonium, repertory orchestra and Chamber Music Professor at the Jaén Conservatory of Music in Spain and have been a member of ITEA since 1996.

This interview is part of the series "BETWEEN TUBAS AND EUPHONIUMS" made to a series of renowned instrumentalists to publish in my teaching blog where students and other people from all over the world interested in the subject have access to information about the tuba, the euphonium and other related topics.

 This time we interviewed Eros Sabbatani. Professor and Italian Interpreter.

Without further ado, let's start:

Name and Surname:

Eros Sabbatani

Which instrument/s do you use:

Bass Tuba in F, Contrabass Tuba in Bb,  Euphonium

Other: Cimbasso

Manufacturer and model of the instrument/s that you use:

Miraphone Elektra 5/4 F tuba with 6 rotary valves

Miraphone Siegfried 6/4 BBb tuba with 5 rotary valves

Miraphone Ambassador Bb Euphonium with 3+1 pistons

Rudolph Meinl Cimbasso in F with 5 rotary valves

Manufacturer and model of the mouthpiece/s that you use:

Miraphone TU 28 for F tuba

Bruno Tilz mod. Walter Hilgers for Bb flat contrabass tuba

Griego Mountpiece for F Cimbasso

Denis Wick Ultra n. 3 for Euphonium

EDUCATION:

When and where did you begin your studies of the euphonium or tuba?

At the age of 15, I was admitted at the Conservatory of Bologna (1986) after one year of my beginning with the tuba at the Civic School Band of Imola.  In that period it was possible to be admitted in Conservatory only in the trombone class because the first official tuba class was created in 1992.

During my studies in the trombone class at the Conservatories of Bologna and Milan, I had private lessons with Giuseppe Savazzi (tuba solo Turin Theatre Orchestra) who studied in the USA with Arnold Jacobs.

After earning my diploma at the Conservatory of Milan (1991) with Professor Bruno Ferrari (solo trombone at the Theatre Alla Scala Orchestra), I studied with the American tuba player and teacher, George Monch (Basel Theatre Orchestra), at the Musikochschule of Freiburg, Germany.

At what age?

My first instrument was the tuba at the age of 14.

What reasons or circumstances led you to study this instrument?

I have a very funny story… My mom Emy, when I was 6 years old, wanted me to play the violin but she found only a guitar teacher and I only studied “solfeggio”. The old teacher died in a short time but he said to my mom, “When your son is older, he needs to study music. Eros has a music talent”.

At the age of 14 years I moved from my native city of Ravenna to Imola and my mom, remembering the words of my first music teacher, applied for me at the violin class at the Civic Music School.

I did the audition and the commision said that I had no musical talent!

So my father Gian Piero told my story to a friend of his that played clarinet in the Band and, after a short time, I started with the free music course organized by the Civic Band of Imola.

It was time to choose the instrument.

I remember one evening, after my father was off of work, my father, his friend, and I were in an old big building without electricity. The band had to move to another location and all the instruments were piled up like a mountain.

Looking at that mountain with a flashlight, my attention was captured by a very old tuba made by “Desidera” (desire).

Who were your main teachers?

Rino Ferri (tuba at the theatre of Bologna Orchestra) my first tuba teacher prepared me for the admission at the Bologna Conservatory and several years later convinced me to buy an F tuba when all Italian tuba players used only the Bb contrabass  tuba.

Giuseppe Savazzi (tuba at the Theatre Regio of Tourin Orchestra) introduced me to the tuba literature.

Guido Corti (horn player and brass specialist) introduced me to the organisation of a study plan with basic techniques studies used from all brass players in the world.

Bruno Ferrari (first trombone at the Theatre Alla Scala of Milan) my teacher at the Conservatory of Milan, where I earned my diploma.

George Monch (tuba at the Theatre of Basel – Swiss) my teacher at the Musikochschule of Freiburg, Germany who took my natural talent and gave me a really characteristic tuba sound and international musicality.

PROFESSIONAL EXPERIENCE:

Please leave us a little account of your experience as a soloist, member of chamber groups, orchestra, band, etc:

My soloist experience can be translated in a few words: play the tuba like a violin!

When I was young, internet did not exist and it was very difficult to find tuba music in Italy but, I was hungry for music. I played every piece of music that I found in the library, works for violin, cello, bassoon, flute … This experience helped me find my musicality, opened my mind, and gave me no limit when playing.

I played with the most important Italian orchestras like Theatre Alla Scala of Milan, Santa Cecilia of Rome, RAI Sinfonic Orchestra of Tourin but it was not enough. I wanted more satisfaction from my own musicality. I prefer to have a dialogue with the public, to tell about my instrument, and to present my unique repertoire with cimbasso and organ for example.

TEACHING EXPERIENCE:

Please let us know what learning centers you have taught in (as a full time professor, visiting professor, courses, master classes, etc..)

I started to teach tuba at the Conservatory of Monopoli. I was very young, 25 years old. Several times the security personnel asked me: “Where are you going?” I replied, “I am not a student I am the new tuba professor” … “I'm sorry professor”

I think my teaching ability was born during my study in Germany. I had a Russian friend in my class and we practiced together. One time I remember when Igor had a lesson with George Monch and our teacher said “Igor you studied with Eros, right?”

After Monopoli, I taught for three years at the conservatory of Avellino and one year in Salerno. For 15 years, I was the tuba teacher at the Conservatory of Milan, the same Conservatory where I finished my study in Italy.

Three years ago I decided to move from Milan and now I am a full time tuba and euphonium professor at the Rossini Conservatory of Pesaro.

As a visiting professor, I have been in several Spanish conservatories like Castellon, Valencia and La Coruna but also Portugal – Oporto.

Recently, I received the nomination to be the euphonium teacher for the University of Texas at San Antonio Department of Music's study abroad program in Urbino.

More than 20 years of teaching and I find there is always something new to teach and to learn, which is very exciting for me.

TAKING OTHER ITEMS OF INTEREST.

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

Could you give us your opinion on this and on how you would approach this issue in the interest of an education and training tailored to the necessary specialization that is required today?

Personally, I play bass tuba, contrabass tuba, euphonium and cimbasso. I started to play euphonium when I created the Italian Miraphone Tuba Quartet. At the beginning I had the feeling that the mouthpiece was too little but I like the sound of the euphonium. I can play with no problem on the same range with my Elektra in F but with the Euphonium the colour of the tuba quartet is more stereophonic and the technical passages are clearer because the bell is smaller.

In Italy the students can choose to study and play tuba at the Conservatory but at the same time they can add an exam with euphonium on their graduation plan.

From my experience it's very interesting to see the student's approach on a new instrument. A student normally with his instrument has a lot of goals but with a new one the approach is more free, without stress. Just fun!

If your current work takes place mainly as a teacher, please answer the following questions:

How do you organize your classes and the subject in general?

With my students in the Conservatory, my classes are one-on-one and the organisation depends of the level of the student. I try to introduce the student to the right way to practice. Sometimes, we need to bypass the brain's automatic control and work the opposite way. My opinion is that problems do not exist, solutions exist!

Many teachers demand the education on studies written from others musician. Why you practice studies? Will you play a study during a recital in your future? Why do you practice it?

I prefer that the students will be able to play everything that is written and that it is very important to practice extremely basic tecniques.

My idea is that when a student plays something extremely difficult, an example being the very high range, very pianissimo, very fortissimo, the student will find be able to find the right way to do it. In the middle range, in the middle dynamic there are a lot of chances to do something wrong but only one way to play it correctly. In the extreme range, the difference between correct and incorrect is more evident. When you can do it, it's right!

How long are your classes?

My classes are a minimum of 90 minutes for each student, we work together on basic tecnique and then solo work, orchestral excerpts or duets. The notes are not important for me, there are 12 of them. It's important how you play the music, you need to find the right musical idea even during a simple scale.

How often do they occur? Weekly, biweekly, several times a week?

My class occurs one time a week from the 3rd of November to the 15^th of June. Normally, a student will take 45 hours of lessons per year but I think I do more.

Do you think it is important that the student does public performances during his training years? If so, could you recommend how many times you think it appropriate and from what age or course. Elementary, Professional, Superior?

I remember my first recital with piano. I was very well prepared and it was a strong program but it was very difficult for me to present my program to the audience. I almost couldn't find the right words... a concert is a show, and speaking and presence on the stage are part of it.

The student need to be confident with the stage and playing in front of a public is like playing in front of a jury. I think it's very important for every musician.

Music is an international language. We need to speak with our instrument. We need to transmit emotions.

For the students, it is very important to create this habit of public performance. At the beginning, just play for the family, then for friends, for the class, for the public. Also, playing music on the street is very good. The people don't know what you are playing but they understand the emotions and the student can understand how important it is to communicate and not just play the right note or stop after a wrong note.

The music is created by a sequence of notes but the right sequence of notes is not always music … it depends on the musician. The famous american teacher Arnold Jacobs said: “The student is a musician that performs easy pieces”.

Is there another professor with your same specialty at the center where you teach?

 NO

A major part of the course curriculum is standardized and based on the idea that the student should master the solo repertoire, sometimes to the detriment of large group repertoire (Orchestra and Band), when in fact, the majority of tuba and euphonium players go on to be teachers and/or members of a band and to a lesser extent, an orchestra in the case of tubas.

In your opinion, how should one address this issue? How important do you think it is to include the learning and mastering of orchestral repertoire as part of the  course curriculum?

I try to include the practice of the orchestral repertoire from the first year of study with me. I think it's very important for tuba. We have 20 very important orchestral excerpts frequently requested on auditions and I tell my students that with a good performance at the first round, normally a concerto with piano, you can go to the second round. However, the final round will be won by the better orchestra player, especially with contrabass tuba. The goal during the orchestral excerpt playing is to give to the audience the orchestra's musical idea and it is important to not only know your part but how it would sound with the orchestra.

Please tell us what the admittance process is to enter your learning center

What repertoire is required on the entrance exam?

The repertoire depends on the grade of study. In conservatory, we do not have a fixed program from grade 1 to grade 8. The student can choose.

To be admitted to the Triennio Superiore (university level degree) the student needs to prepare one concert chosen from a list and play 2 different studies drawn from a pool of 12 obligatory studies (Peretti and Kopprasch). They must also sight-read a piece.

Do you suggest any particular repertoire?

I think the students need to show their quality and everyone has their own personal quality.

Just find the work that you like and that you can play with comfort. Be flexible and listen to the jury requests. It is important for me understand the learning capacity of the student and I might ask them to play more staccato or more pianissimo … 

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

Two work or studies from different styles would be perfect.

Is there an obligatory piece? If so, what is it?

Personally, I prefer when a student plays something originally written for our instrument but is not obligatory.

About how long is the exam?

About 15 minutes

What aspects do you value most when deciding? Musicality, intonation, rhythm, ...?

For me it's very important to value the following elements in this order:

    1)    RHYTHM you can play everything correctly but if you are out of rhythm you don't have a chance to play with a group

    2)    INTONATION you can play exactly together with other musicians but if you are out of tune it will be a long rehearsal

    3)    DYNAMIC CONTRAST you can play all notes with perfect attention to rhythm and intonation but if you play “ff” when your collegue plays “pp” you will destroy the music.

    4)    ARTICULATION you can play all notes with perfect attention to rhythm, intonation and dyamic contrast but if you play staccato and the section plays legato, the conductor will not say something good about you in front of the orchestra

    5)    SOUND QUALITY if you have perfect rhythm, intonation, dynamic contrast, and articulation I am sure that you have a good sound. The sound is very personal and changes with time. It's like eating, maybe you like Pizza Margherita but after 1 year of eating the same pizza every day you automatically will change taste and you will start to order a pizza with different ingredients or maybe pasta.

6)    MUSICALITY I think this is independent from the first five elements. A student could have musicality but at the same time have ryhthm problems. They can be a musician that plays perfectly with all 5 points but don't communicate with the music, don't have musicality. To have musicality, a musician need to have fantasy, without fantasy the world is grey, the performance for me is boring!

If you had to choose (in a hypothetical situation,) would you have a preference between a tuba player or a euphonium player?

I think the instrument is a way to communicate, in that case I will choose the musician that gives me emotion.

WORK DURING THE COURSE TRAINING

What kind of repertoire do you mostly work on with your students? Solo, with piano accompaniment, chamber music, ....?

We have a big repertoire, most of  it is unknown. I try to choose a piece that is a little more difficult than the student's capability. Solo tuba or with piano are indifferent, also duo with percussion is very interesting. In Conservatory, we have a chamber music teacher but I prefer to do tuba quartet lessons myself.

I am very flexible about the music repertoire, I like everything from baroque music to contemporary music, I think there are only two classifications: beautiful or ugly music!

What format does the graduate exam have? Solo concert, Recital with piano, ...?

Normally recital with piano only because is easier to organize it but during my career I had students that played work for tuba alone, solo concert with brass quintet, with wind band or string orchestra. The program is free. 

What programing does it have? Works of different styles and periods, ...?

Does the student select the works to be played? or are they chosen by the professor?

The final exam needs to be a recital, the student need to demonstrate that they are a musician and a musician chooses their concert's repertoire. Of course, I know more music than my students so I can help them find the right mix. Building musical energy is important but preserving the body's ability to play for the entire recital is also fundamental. 

Is there any work you would deem mandatory? If so, what?

The tuba and euphonium are very young instruments and I think the repertoire evolves every day. In Spain there are a new generation of composers that do very interesting works to improve our repertoire. If you look at the program of international competitions you can see a generalization of the repertoire, USA, Germany, Italy, Korea … it's almost the same. However, in Spain, you can find something new every competition.

The music will go on! We need to evolve with the music and be flexible to understand the direction. This concept is also valid for the interpretation of famous works like R. V. Williams, P. Hindemith that a student needs to know. 

SPEAKING OF TECHNICAL ISSUES:

Could you give us your opinion about:

The different concepts of sound and what characteristics define it, articulation, the types of instruments, literature, if you consider the influence of language and musical tradition important in the sound and way of playing?

Music is an art, and the arts always change. The paint and the architecture are a mirror of the contemporary society. I think all musicians are influenced from the places that they live.

P. Hindemith is a famous German composer, and when he wrote the Tuba Sonata he was in the USA and the first five notes of his work are a perfect sequence of a blues scale in C, is that a coincidence?

How can the native language influence the musicality?

The Italian people are famous throughout the world for the “Bel canto” because our language is very melodic. This natural aptidute of the Italian people is a fantastic way to find ideas for the melodic line but not so good for playing with perfect attention to the rhythm. We need to work more on this musical aspect.

To have many short melodic line with considerable high point is a natural Italian tendence that you can also find in real life. If you go to an open air market or in a restaurant in Italy you will listen to the same “sound effect”.

I studied in Germany and I was impressed when I have been in a public location, all people spoke at the same dynamic level with a dark sound.

This natural German aptitude found a way into the classical orchestra music style, a section needs to play at the same dynamic level and one of the most important German Orchestras in the world, Berliner Philarmoniker, is famous for its special dark sound.

I think  that the native language also influences the position of the tongue on the oral cavity and the opening of the jaw. I am sure that the brass player's sound is influenced by these aspects.

  

Talk a little about the making of tubas and / or euphoniums and mouth pieces:

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

My first professional tuba was the historic model F tuba 3100 by B&S with 6 rotary valves. After 20 years, the instrument no longer had as rich of harmonics and it was time to change it. In an Italian music shop, I found a great deal for a used B&S. I drove 300 km to test this instrument but it was not so good. In the shop they also had a new Firebird by Miraphone and it was incredible, I bought it immediately!

At that time I was tuba teacher at the Conservatory of Milan, and I created a tuba quartet. We needed to find a name for the quartet and I realized that we all played Miraphone instruments. I wrote to the Miraphone manager Norbert Nold to have the permission to use the name Italian Miraphone Tuba Quartet and, in a short time, I became Miraphone artist.

My Firebird was very good but after 20 years of playing with a 6 valve system, it was difficult for me to change fingerings so I decided to find another instrument.

I went to the Miraphone firm in Waldkraiburg to choose a new tuba for me and I fell in love with an old model's F181. It had a very nice sound but some intonation problems.

Then I said: I'll order this old model and all of the staff was surprise and told me “ It's been a long time since we produced this model, too many intonation problems”.

Isayd “Don't worry. We will resolve it together” and after 9 months, we presented at the Frankfurt Messe the new model Belcanto.

During these 9 months, I remember one time when I visited the firm where I had seen a very big horn. It was a new prototype produced with an old bell found in the cellar. It had an incredible sound and it was similar to my old Hirsbrunner Keiser Bb contrabass tuba but larger. We worked together on this project and the first BBb 6/4 tuba by Miraphone was born, the Siegfried model. 

TO CONCLUDE:

In your experience, do you believe that the diversity of performers, instruments, and the opportunity to train in various specialized schools is becoming homogenized in the interpretative centers that are already established? (Example Russian, American, Germano-Austrian, English, etc).

I think it's a natural process of globalisation and fast communication but our culture, our language will be reflected in the music and I find this aspect very interesting.

Learning different languages, living in a different country, and meeting musicians from all over the world are, for me, ways to increase everyone's musicality.    

I am very grateful for your kind attention and for answering my questions.

All will be posted on the blog http://inbbflat.blogspot.com.es/

You are invited to visit the page and colaborate if you are interested.

Again, thank you very much.