"BETWEEN TUBAS AND EUPHONIUMS...BERND van ECHELPOEL "

 Hello, today's interview is very gratifying for me not only because he is an excellent tuba player but also because he is an interpretative reference and teacher of our instruments in his homeland, Belgium.

I am infinitely grateful for his collaboration and interest in my interview project and of course for his friendship.

Without further ado, let's begin.

Photo: Ieen Vandenhende

· Name and surname:

Bernd van Echelpoel

· What instrument / s do you use?

I play all kinds of tuba. Depending of the music I play, I try to choose the instrument that fits the best in my opinion. This makes me able to stay Flexible and making different colors as a musician.

Last years I mainly use the German rotary F and B tuba by B&S and Melton. Before I also played the 4/4 piston valves C Tuba and the 4/4 piston valve F Tuba. I always was sceptic about the big American York 6/4 C tuba. But recently I switched to the Eastman 6/4 C tuba wich is an instrument that sounds and plays much lighter compared to other York style tubas i tried before.

In Brassband and English music I use the Besson E-flat tuba because of its round and singing sound. Since I first used this instrument in the music by Elgar it felt like the perfect match.

For opera and Italian music I use a Cimbasso built by Lätzsch. This instrument adds a color to your sound what you never will get with a tuba.

· What make and model are the instrument you use:

E-Flat tuba: Besson Sovereign (straight leadpipe and exchangable mouthpiece reciever S, M or L)

F tuba: B&S JBL (with extra trigger on the mainslide and 5 valves)

Hirsbruner 389 

C tuba: Eastman 836 6/4

B tuba: Melton Fafner

Besson Sovereign (old model)

Cimbasso: Lätzsch

Testing your fafner Melton at the factory.

· That manufacturer and model of the /s nozzle /s you use:

F tuba and cimbasso: Dillon Chris Olka CB2

C and B tuba: Dillon Chris Olka CB1 (European shank)

E-flat tuba: Bach 12

Let's talk about your EDUCATION:

· When and where their studies or tuba or euphonium started?

I started as a very young kid with playing percussion in the local wind band. This was not a great success and we decided to change to the trumpet soon after.

My first lessons where with Arthur Vanderhoeft in the Antwerp music academy. I was lucky to have my first lessons with a great pedagogue like him. He certainly planted the seed of my love for music. After a few years he made me change to the euphonium what suited me much better as trumpet.

At the age of 15 I decided to go for a career in music and I started my studies at “dé Kunsthumaniora” (preliminary conservatoire of Antwerp) with teachers Nick Ost and Bart Van Neyghem. Both working in the Symphonic Wind Band of the Belgian Guides at that time and playing with the famous Brassband Willebroek. I started playing still the euphonium, but after 1 year I switched completely to the tuba.

At the age of 18 I went to the Antwerp Conservatoire to study with the great Hendrik-Jan Renes, who is the principal tuba with the Rotterdam Philharmonic. Hendrik-Jan really was of a huge importance to change my mind about sound and projection. He gave me a clear idea about how to sound in a symphony orchestra and how to play in the big concert halls. 

· At what age?

I started to play music when I was 7 but the change to tuba came when I was 16.

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

The way this instrument sounds and the function of being the fundament in an ensemble made me loving this instrument so much. 

My physical abilities made the tuba more suitable for me. 

After listening a recording made by Hans Nickel, Tubaplayer with the German WDR orchestra, I really fell in love with the beautiful singing sound of this instrument. Many people still see our instrument as just the low brass instrument from the wind band. With no more qualities as just accompanying. Nothing more is true!

· Who were your main teachers?

Arthur Vanderhoeft

Nick Ost

Bart Van Neyghem

Hendrik-Jan Renes

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:

I started playing music in the local Music School Brassband, A.M.Brass conducted by my teacher Arthur Vanderhoeft. Shortly after I started to play in the local wind band of Edegem and Zwijndrecht, both close to my home.

With his colleagues from Antwerp Symphony Orchestra

When I started my studies in “dé Kunsthumaniora” I joined brassband Bacchus conducted by my teacher Bart Van Neyghem and the world famous Brassband Willebroek. For the moment I still play in one of the best brassbands of Europe, Festival Brassband for fun. Brassband gives me the extra challenge I need to stay in shape and keep working on my technical side. 

My first professional position was with the Netherlands Ballet and Symphony Orchestra “Holland Symfonia” when I was 21. 

3 years later I won the same position in the Netherlands Philharmonic Orchestra.

1 year later I switched to my current position with the Antwerp Symphony Orchestra in my hometown.

As freelancer I played with many of the big orchestras in the area like: Concertgebouw Orchestra, Radio Symphony Orchestra Frankfurt, Rotterdam Philharmonic, Philharmonie Zuid Nederland, Residentie Orchestra the Hague, Radio Philharmonic Orchestra, Brussels Philharmonic, Flemish Opera, symphony Orchestra of Flanders, …

· Metal sets:

I n the past I have been working a lot in Brass quintets and Brass ensembles. At the moment I don’t play in a fixed ensemble. In the Antwerp Symphony Orchestra we play lots of chamber music with the Low Brass section and Brass quintet.

I love playing chambermusic and I have lots of plans for the future. Stay tuned if you want to know more.

· Solo concerts:

As Besson, B&S and Melton artist I love to play solo concerts and to give masterclasses all arround the globe.

This brought me to Colombia, Brasil, USA, Spain, Germany, Netherlands, France, Finland, …

I recorded A solo CD with the Belgian AirForce Band called Berno with 2 new Belgian Compositions on it written for me by my Good Friends Steven Verhelst and Wim Bex.

About your ORCHESTRAL EXPERIENCE:

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

Playing as a professional musician in the Netherlands gave me a lot of experience. I loved my time in the Netherlands but I was living at the same time in Belgium. Every day I had to travel hours to my work. I never really wanted to move because my family and friends were all living in Belgium. As soon I heard the position of tuba was open in Antwerp I decided this position had to be mine. In the the end I can only be happy to be able to play in my hometown, close to my family and friends. Doing what I like the most. Playing beautiful music and connect to the Antwerp audience together with my lovely colleagues. 

• How was the selection process?

Like in almost every regular selection for orchestras there was an audition in 3 rounds. The first 2 behind a screen and a last one open for the jury to see us.

There were in total 39 people present that day to do audition. In the 2nd round 4 people were left and I entered the finals together with my dear friend David Kutz who is currently playing in my old orchestra the Netherlands Philharmonic Orchestra. 

In the orchestra

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

In the first round I had to play Lebedev Concerto on the contrabasstuba. In the 2nd round they asked me to play the Vaughan Williams Concerto on the bass tuba. The final round consisted of the major symphonic orchestral excerpts.

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

No there was no free choice piece. As far as I know this happens not so much in European orchestras.

In another sense:

• How is your current work in the orchestra?

I love to be able to work in the same city as I live with my family. I grew up as a kid 15 km away from Antwerp. So I can not be more happy to share my passion so close.

The work in the orchestra is every week different. We play lots of big symphonic repertoire. But as a Flemish orchestra we see it as our duty to perform less known music from our own composers in the past as also giving a stage to young and more established composers living at the present time.

Next to the regular work we have lots projects for kids, schools and what I like the most are the social projects we do. This way we connect with people who would never be able to come to us in the concert hall.

• Do you combine it with another musical group?

With his colleagues from Festival Brass band

I play for fun in one of the best Brass bands of Europe “Festival Brass band” conducted my close friend and colleague Steven Verhaert.

Playing in a brass band is the perfect way to keep challenging myself and not to forget where my roots are.

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

Look for your own sound and don’t try to copy the sound from somebody else. Maybe your sound is not suited for orchestra A but orchestra B might just be looking for somebody like you. 

Keep working to become everyday a better player as you were the day before. Don’t wait for magic to happen. The only person who can help you to become a better player is yourself! Be your own teacher! We as teachers are just a coach to help you reaching your goals.

When you prepare for auditions, exams, concerts, … keep working on a good sound, sense of rhythm,  Metrum, intonation and articulation. This is what can make the difference on the moment with other players.

Know that people in a jury for an audition are looking for a musician and they are not there to judge you as a person!

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.

In the school where i teach in Antwerp we have different teachers for both instruments. In my opinion this is the best way. A euphonium and tuba have similarities but also big differences.

The best way is like we teach in Antwerp. We are more a team of brass teachers instead of individual classes.

I don’t know many people who combine playing the tuba and euphonium on a high level. Both instruments are not easy to combine because of the difference in size of mouthpieces. I know people who can manage it very well. But most of the time 1 instrument is the primary choice.

• 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 a professional musician of the 21st century. We need to be much more open for different styles and work options. It is almost impossible to earn a living with only one job. Most of us will combine playing in orchestra, ensemble, solo and teaching.

Therefore it is important to have knowledge of different instruments and styles. For a tuba player it can be interesting to know more about the euphonium. For a euphonium player it can be interesting to know more about trombone, tuba, tenor horn and baritone. This to be a better teacher to the future generation of young musicians and to have more options in your career.

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

The quality of teachers is always increasing but the quality of time we get to teach young musicians is always decreasing. This is something we see in Belgium very good the last decade.

Because of this we have to be much more inventive to get our message to our students. We have to be much more flexible but please never lower the level of your teaching. We have the future of music in our own hands and this this is a big responsability!

• Please tell us anything else that you consider of interest on this topic

Any good brass student should have a very well balanced practice routine. Never just play what you like but also what you less like. Probably you donˋt like it because it feels difficult to you. Practice makes you a better musician. Try every day to be a better musician as the day before.

For me a good practice diet exists of: warming up, basics, lyrical playing, orchestral playing and repertoire. All of this topics you should handle every day depending of what you have to do professionally that day. If you had a rehearsal in the orchestra you should maybe not handle that topic to much but more of the lyrical etc.

The Royal Conservatoire of Antwerp.

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 have been teaching in all levels of music in Belgium. Today I only teach in the Royal Conservatoire of Antwerp.

I used to teach in the local music school of Antwerp and in the middle school of music of Antwerp till last year.

For masterclasses i visited many places in the world but mainly Europe. I gave masterclasses in the USA, colombia, Brasil, Poland, Germany, the Netherlands, France and Spain.

As a Besson, B&S and Melton artist I can visit many places. Next to this we are participating as school in the Erasmus Program of Europe. This system makes it easy for teachers to exchange between schools for masterclasses en for students to study abroad. Please contact me if you are interested to work with me in your school or if you would like to come and study in Antwerp.

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

My teaching day is normally on Monday. I start at 9.00 in the morning with a warming-up for the whole class. After this we go to individual classes and chamber music classes.

Every 2 weeks we try to organise a rehearsal with piano and we try to organise every (2) months a concert for our class. Every time with a different topic going from preparation auditions to repertoire concerts. In the brass department we organise each month a moment where the students play for each other and to give comments to the fellow students.

Every Wednesday the students play together in the brass ensemble or orchestral repertoire classes. In this classes we do not only touch the symphonic repertoire but also wind orchestra and brass band.

• How long are your classes?

The classical warming up usually is 1,5 hour. The individual classes between 1 and 1,5 hour.

• 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?

Every concert or exam I ask my students to present themselves. This has several reasons. First of all it is the best way to connect with your audience and next to this it makes sure you have to know the background of what you play.

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 Euphonium 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?

As I already mentioned before we have different view on this topic in Antwerp. We have 2 types of masters available. One for the performing artist and one for the teaching artist. This way the student can choose which path they want to follow. They can also choose to do first the performing masters and after that a shorter educational master.

In the orchestral repertoire class and audition training we use repertoire from the symphonic orchestra, wind band and brass band. This because the reality in Belgium is indeed that many of our students win jobs in wind bands or teach and play in brass bands.

A musician in the 21st century can not only do 1 thing, they probably have to combine more jobs and be flexible to do them. The conservatoire is there to prepare the students for this changing world.

· 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?

This is all depending of what you would like to do and where your heart is. This is not up to me to judge. As a euphonium player you have less chances to play in symphony orchestra but more to play solo and teach. You would have a more leading role in ensembles.

As a tuba player you have more chances to play in symphonic orchestra and you can teach also. You would have a more supportive role in ensembles. It is all a matter of choice and taste.

Next to all this there is something like physics. Not everybody is made to play tuba or euphonium.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

My daily work is in a symphony orchestra. So mainly I play the classical music written for big orchestra.

To challenge myself technically and also because I just like it, I play in a brass band called Festival Brass band (current national champions of Belgium).

I love playing solo and chamber music but there a not so many chances to do this often.

· What warm-up exercises do you use?

I try to have a basic routine to lean on every day and to add new ideas from time to time.

I use a combination of ideas from my teachers, my own and books i have. A good routine should have at least breathing, physical, tone excercises, flexibility, scales, range, Flow excercises, …

There is so much fun stuff out there. Go and explore them and do not just stick to what you know. Learn by trial and error what works and does not work for you.

In the record studio

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?

Sound is something in your mind. Like Arnold Jacobs said. Sing the melody in your mind and play it.

I try to vary my sound for every style and piece of music. This one of the main reasons I use 5 instruments in the orchestra. They all have a different characteristic and sound. Next to all of this I try to differ the different articulations and sound I want.

The most important thing is what nature gave us, our ears! Always listen and adapt to what is happening around you.

· 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?

Again is this something of taste. Do you prefer piston valves or more into the German rotary valve system?  Both have pro and contra. 

I am big fan of the instruments made by the Buffet Crampon group. They have everything I like and especially they make top quality instruments. My f tuba B&S JBL has a warm round sound with lots of core. My besson E-flat has a dark round and singing sound which blends well with the other tubas in the brass band. My Melton Fafner has everything an orchestral tuba needs to have. A deep dark sound with lots of projection and core.

For my c-tuba I went to an American 6/4 Eastman. This is something different. Dark warm and very flexible. Perfect when you want to make a carpet beneath the orchestra and blend in with the double basses.

My cimbasso by Laetsch is amazing when you play Italian opera repertoire. Easy to play in tune and with a singing projecting sound blending very well with the trombones.

For my mouthpieces I have been searching long time to find the perfect gear and I am still looking. Perfection does not exist! It is all matter of searching and taste.

On my C and B-flat i think I finally found almost perfection. I use the Dillon Chris Olka cb1. The perfect combination between good clear articulation and a deep dark projecting sound.

On my e-flat I play a Bach 12 what gives me a good articulation and easy to blend sound.

On my f-tuba I use a perantucci 65. Till now the best working mouthpiece, but i keep looking.

Photo: Ieen Vandenhende

Bernd, you are a renowned performer in your country and in other countries on the European continent.

Please, if possible, tell us about the history and teaching of our instruments in your land and in neighbouring countries.

In Belgium we have a mixture of 3 main languages and cultures Dutch, French and German. You see this also in the musical world. We have influences of all countries surrounding us what makes us a very rich country.

I like to call myself a mixture of German, French en English influences. I see the same in my orchestra. We have so many different cultures and we have a long tradition of being flexible in service of the music. After playing professionally in many other countries this is the thing that defines us in Belgium the most, i guess.

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, English, French).

In the past you had orchestras with mainly people from around that area who played in orchestras. This is changing for long now to a more versatile combination of nationalities in each orchestra. But I don’t believe that they are losing their identity because of this. When you look to orchestras like Concertgebouw, Berlin, Vienna, Chicago, … They still have their own way of making sound. This is something we have to treasure for the future! We have to play intelligent, with knowledge of the music and add our own taste to the recipe. There is not something as a standard recipe for the perfect standard orchestral sound. 

Bernd, 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.

PD.  Here is the link to Bernd's youtube channel. It's really great. Enjoy it. 🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"ENTRE TUBAS Y BOMBARDINOS: CONVERSANDO CON JÓVENES PROMESAS...RAÚL SABIOTE"

Hola a todos.

Para mí es muy grato poder entrevistar a jóvenes talentos de la Tuba y el Bombardino del panorama español que tantos loas  están obteniendo tanto a nivel nacional como internacional.

Esta vez se da el caso de que se trata de un talentosisimo bombardinista y próximo director andaluz que con toda seguridad continuará cosechando éxitos y dejado muy en alto al bombardino español.

Sin más comencemos...

Nombre y apellido:

Raúl Sabiote Sánchez

¿Qué instrumento / s usas?

Bombardino

·De que fabricante y modelo son los instrumentos que utilizas.

Llevo utilizando desde hace unos años un bombardino Besson modelo BE2052-8G-0. Tras probar diferentes modelos y marcas, es el instrumento con el que me siento más cómodo, tanto por el sonido como por el control y la claridad que este me ofrece.

De que fabricante y modelo son la / s boquilla / s que usas

Utilízo la boquilla Denis Wick SM3. A lo largo de mi carrera, he tenido la oportunidad de probar una gran cantidad de boquillas, pero desde hace unos dos años trabajo con esta. Es una boquilla grande, sin embargo, esta característica no ha sido un impedimento en absoluto. De hecho, me ha brindado una increíble versatilidad para explorar diferentes planos sonoros y colores.

Hablemos de tu EDUCACIÓN:

¿Cuándo y dónde comenzaste tus estudios del bombardino?

Comencé a los 8 años en el Conservatorio Profesional de Música de Almería. 

¿Qué razones ó circunstancias le llevaron a estudiar este instrumento? 

Sinceramente, fue pura casualidad. El día en que teníamos que elegir instrumento en el Conservatorio de Almería me encontraba en la fila con la intención de escoger entre el fagot o el contrabajo.  Pero cuando llegó mi turno y el profesor me preguntó qué instrumento quería, solté sin pensarlo: "¡La tuba!”. En ese momento, no tenía ni idea de qué instrumento había escogido ni cómo sonaría. Pero bueno, supongo que al final tuve suerte con la elección…

¿Quiénes han sido tus principales maestros?

Alejandro Marco, Manuel González, Fco. José Pérez, Elohim Porras, Josep Burguera y Thomas Rüedi.

En cuanto a tu EXPERIENCIA PROFESIONAL:

Por favor déjanos un recuento de tu experiencia como solista, miembro de grupos de cámara, orquesta, banda, etc.

En Orquesta y/o Banda:

He tenido la suerte de haber podido formar parte de la European Union Youth Wind Orchestra «EUYWO», así como colaborar con la Orchestra di Fiatti Città de Ferentino y la Luzerner Sinfonieorchester, entre otras.

Conciertos como Solista:

Como solista, he tenido la oportunidad de tocar con diversas agrupaciones como la Banda Municipal de Palma de Mallorca «SimfoVents», la Málaga Brass Band o la Banda Municipal de Alicante. 

OTROS TEMAS DE INTERÉS. EL BOMBARDINO EN ESPAÑA.

Aquí en España, en algunos centros se considera que el Bombardino, es un instrumento que debería tener su propia especialización y, por otro lado, algunos creen que, como instrumentista, uno debe conocer y dominar la Tuba y el Bombardino.

¿Podrías darnos tu opinión sobre esto y sobre cómo abordarías este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad a nivel mundial?

En mi opinión, en el contexto actual de la enseñanza musical, es beneficioso tener un conocimiento básico de ambos instrumentos, pero no es necesario profundizar más allá de eso. La tuba y el bombardino son instrumentos muy distintos en términos de técnica y repertorio. Sería ideal considerar al bombardino como una especialidad aparte. Cada instrumento requiere un enfoque y habilidades específicas, y sería injusto esperar que todos sean expertos en ambos. Es importante reconocer y valorar la singularidad de cada instrumento, permitiendo que los intérpretes se especialicen en lo que más les guste. 

¿Cómo ves la enseñanza de el Bombardino en España actualmente y de cara al futuro?

Uno de los principales desafíos actuales es encontrar un centro de educación superior que cuente con especialistas de bombardino. Como he mencionado antes, hay notables diferencias tanto en la técnica como en el repertorio, así como en las oportunidades laborales. Actualmente, son pocos los centros que ofrecen la especialización en este instrumento. Personalmente, considero que tuve la inmensa suerte de contar con Pep Burguera como profesor en el CSMIB de Palma de Mallorca, lo cual me abrió los ojos a las increíbles posibilidades del instrumento.

En mi opinión, lo ideal sería tener dos profesores, uno dedicado a la tuba y otro al bombardino. Sin embargo, soy consciente de los desafíos que esto implica a nivel laboral y de organización en el sistema educativo. 

Creo que sería genial que los conservatorios superiores tuvieran un profesor experto en dicho instrumento para ofrecer una educación de calidad y ampliar las oportunidades profesionales. La diversidad y la especialización en cada instrumento enriquecen el panorama musical y permiten a los intérpretes explorar todo su potencial. Es un desafío que espero que en el futuro se pueda superar, para que más músicos interesados en el bombardino tengan acceso a una formación adecuada.

¿Podrías hablarnos sobre el devenir del bombardino en España?

Es cierto que el bombardino ha experimentado un notable aumento en su popularidad en los últimos años. Sin embargo en España, si comparamos con otros países como Francia, Inglaterra o Suiza, este crecimiento ha sido menos marcado. En estos países, el bombardino ha dejado una huella significativa en formaciones como las Brass Bands, donde desempeña un papel fundamental. Además, se han creado importantes grupos de cámara, como Opus 333, que han ayudado a mejorar el nivel artístico del instrumento.

A pesar de los avances, aún lidiamos con problemas en España en relación al bombardino.  Una de las dificultades es la falta de especialistas y docentes especializados en este instrumento. En comparación con otros instrumentos de viento metal, la formación académica y las oportunidades de estudio especializadas son muy limitadas.

Aún así, es alentador observar cómo el interés y la demanda por el bombardino siguen creciendo. Su sonido y las posibilidades no solo expresivas, sino también técnicas, son cada vez más atractivas para los jóvenes músicos. Además, la participación en eventos como festivales o concursos también está en aumento, lo que contribuye a su difusión y reconocimiento en el panorama musical español.

Para garantizar un futuro prometedor para el bombardino en España, es esencial continuar promoviendo iniciativas que fomenten su difusión, capacitación y reconocimiento. 

¿Cuales son, a tu parecer, los máximos exponentes históricos de la Tuba y el Bombardino en España? 

Esta es una pregunta difícil… Los que me han servido personalmente como inspiración han sido sobre todo Pep Burguera, David Abellán, Juanjo Munera, Óscar Abella, José Martínez, Elohim Porras y Alex Marco.

Hablemos de tu EXPERIENCIA EN LA ENSEÑANZA:

Indícanos en qué centros de aprendizaje haz impartido clases (como profesor a tiempo completo, profesor visitante, cursos, clases magistrales, etc.)

Mi experiencia en la enseñanza es bastante reciente. Hace poco tuve la oportunidad de impartir clases en el aula de tuba y bombardino de CPM "Músico Ziryab” de Córdoba, donde sus profesores titulares Elohim Porras y Carlos Puche me recibieron de manera excepcional. Fue una experiencia magnífica, tanto por la pasión y dedicación de los alumnos del curso como por la ciudad en sí (y, por supuesto, su increíble gastronomía!!).

Indícanos en que centros o eventos haz tenido la oportunidad de recibir clases (a tiempo completo, cursos, clases magistrales, etc.)

En el Real Conservatorio de Música de Almería solían ser 60 minutos semanales. Después, en el CSMIB (Conservatorio Superior de las Islas Baleares) teníamos 90 minutos individuales más 30 minutos de repertorio contemporáneo. 

Actualmente, en la Hochschule Luzern (HSLU), tenemos 90 minutos semanales.

¿Cómo organizas tus clases y el tema en general?

Organizo mis clases en dos partes para optimizar el tiempo. Comenzamos con una breve sesión de técnica básica, que suele durar entre 10 y 20 minutos, donde trabajamos en ejercicios fundamentales para desarrollar nuevas habilidades técnicas y fortalecer los fundamentos del instrumento. Después de esta sesión inicial, nos sumergimos en el repertorio y las piezas solistas. Intento adaptarme al plan de cada alumno, enfocándome en los estudios y las piezas que haya estado practicando.

¿Cuánto duran tus clases?

Creo que lo ideal es una hora.

¿Crees que es importante que el alumno haga presentaciones públicas durante sus años de entrenamiento? 

Si, sin ninguna duda. Al final somos “narradores de la música” como me dijo en su día Pep Burguera y, al igual que los actores, es fundamental que prestemos también especial atención a nuestra presencia en el escenario y a la forma en que interactuamos con el público. Estos aspectos son clave para que el público pueda sumergirse por completo en la performance.

Nuestra presencia física, expresión facial y gestualidad pueden comunicar emociones y captar la atención de la audiencia. La manera en que interactuamos con el público, ya sea a través de palabras o de la comunicación no verbal, puede generar un ambiente acogedor y hacer que los espectadores se sientan parte de la experiencia musical.

Sé que para los estudiantes de música puede ser un desafío hablar en público… ya son suficientes los nervios que se acumulan durante la actuación como para también tener que hablar delante de la gente! 

Pese a ello, he de admitir que durante estos últimos años, el simple hecho de hablar en público durante mis actuaciones no solo me ha dado más confianza en mí mismo, sino que también me ha ayudado a crear una conexión más profunda con el público y con la obra misma. Además, no olvidemos que ese ratito de hablar durante el concierto también te brinda un descanso algunas veces muy necesario! Más que un rato de vergüenza invitaría a considéralo como una pausa estratégica para ayudarnos a mantener el ritmo y la energía durante la actuación.

De ser así, recomiende cuantas veces lo consideras apropiado y de qué edad o curso. Elemental, Profesional, Superior?

Creo que cuanto antes se interiorice y automatice el simple hecho de hablar en público, más fácil resultará a posteriori.

Una parte importante de la programación de los cursos está estandarizada y se basa en la idea de que el alumno domine el repertorio solo, a veces en detrimento del repertorio de grupos grandes (Orquesta y Banda), cuando de hecho, la mayoría de los estudiantes de Tuba y Bombardino van a ser profesores y / o miembros de una banda y, en menor medida, de una orquesta en el caso de las Tubas. En tu opinión :

¿Cómo debería abordarse este problema? ¿Qué tan importante crees que es incluir el aprendizaje y el dominio del repertorio orquestal como parte del plan de estudios del curso?

Para abordar esta pregunta, me gustaría mencionar la respuesta de José Manuel Vázquez en su entrevista. Como él mencionó, uno de los aspectos más positivos de la enseñanza en el ámbito de la interpretación musical son las lecciones individuales, las cuales considero que deberían ser personalizadas y adaptadas a cada estudiante.

Es fundamental que los estudiantes en programas de grado tengan claridad sobre sus objetivos futuros o al menos una idea de la dirección en la que desean enfocarse en el mundo de la música. A partir de ahí, el profesor puede ajustarse de acuerdo con las necesidades y metas del estudiante.

Es importante tener presente que intentar estandarizar la enseñanza en un campo tan diverso sería un error. Cada estudiante posee sus propias particularidades, necesidades y aspiraciones, por lo que es fundamental considerar esa individualidad a la hora de brindar una formación musical completa y enriquecedora.

¿Qué repertorio se requeriría en el examen de ingreso?

Para abordar esta pregunta, me gustaría citar nuevamente a José. En el contexto de las pruebas de ingreso, donde los aspirantes están muy motivados para aprender y mejorar, creo que lo peor que se puede hacer es fomentar la competencia entre ellos. La competición se centra en un solo día, pero ¿qué pasa si ese día no ha sido el mejor para esa persona y no ha podido aprovechar todo su potencial?

Creo que es contraproducente imponer una mentalidad competitiva durante los años de estudio. No se me malinterprete: es importante destacar que competir y buscar la mejora son aspectos positivos, pero deben realizarse siempre de manera "saludable". Con ello coincido plenamente con la frase de José: "En la escuela se deberían buscar intérpretes, no ejecutantes”. A mi parecer, es un error inculcar en el estudiante la idea de que no puede cometer ningún fallo y, que esa es su máxima prioridad es un error que socavará sus habilidades y confianza. 

Es crucial enseñar a los estudiantes la necesidad de expresarse musicalmente, tener una conexión emocional con la música y transmitir su propia interpretación. Esto va más allá de la mera ejecución técnica y permite que la música cobre vida. El objetivo debe ser formar intérpretes creativos que sepan comunicar a través de su arte, en lugar de enfocarse únicamente en la competición.

La partitura no es solo un conjunto de notas y símbolos; es un texto que debe leerse y comprenderse por completo. Es esencial prestar atención al contexto y a la coherencia general de la obra al interpretarla. Lo que realmente perdurará en la mente del oyente es la integridad y profundidad del mensaje en su conjunto, no importa si hay pequeños “tropiezos” o errores. 

¿Sugerirías algún repertorio en particular?

Esto variará del nivel y las preferencias del estudiante.

¿Qué aspectos valorarías más a la hora de decidir? ¿Musicalidad, entonación, ritmo, ...?

La técnica con el instrumento es la base para hacer música. Esto incluye desde lo más básico, como el ritmo y la entonación, hasta la articulación, la flexibilidad y el sonido. Se podrá comenzar a trabajar en la musicalidad una vez que esos pilares sean lo suficientemente estables. 

Sí tuvieras que elegir (en una situación hipotética), ¿Tendrías preferencia entre un alumno de Tuba ó uno de Bombardino?

Honestamente trataría a ambos por igual.

¿En qué tipo de repertorio trabajarías principalmente con tus alumnos? Solo, con acompañamiento de piano, música de cámara, ....?

Cada aspecto tiene su punto positivo. El repertorio solo es crucial porque permite explorar todas las cualidades del instrumento, desde la variedad de colores hasta nuevas técnicas. Por otro lado, el repertorio camerístico (incluyendo obras con acompañamiento de piano) mejora la comunicación, así como el desarrollo auditivo en términos de afinación. Ambos tipos de repertorio son muy útiles para el desarrollo y la capacitación musical.

¿Qué formato debería tener el examen de FIN DE CARRERA? Concierto en solitario, Recital con piano, ...?

Creo que el examen final de carrera debería ser lo más completo posible y abordar el máximo de estilos y/o aspectos del repertorio posibles. Con ello me refiero a una obra a solo, para comenzar, por ejemplo y después obras con acompañamiento de piano o alguna con grupo de cámara. Lo más importante es que el alumno pase un buen rato sobre el escenario y guarde un buen recuerdo de este concierto tan especial. 

¿El estudiante seleccionaría las obras para tocar? o son elegidas por el profesor?

A mi parecer, debería ser una decisión del estudiante con la supervisión y consejo del profesor

¿Hay alguna obra que consideres obligatoria? ¿Cuál sería?

Aunque considero que no deberían haber obras obligatorias en el sentido estricto, es comprensible que, como profesionales, tengamos cierta admiración por obras que consideramos excepcionales.

Estas piezas pueden ser una fuente de inspiración y una oportunidad para que los estudiantes exploren diferentes estilos y técnicas musicales. Creo que sería de utilidad para el alumnado ofrecerles una selección de obras permitiendo cierta flexibilidad para que elijan las piezas que más les inspiren y despierten su interés. De este modo, se podría conseguir un equilibrio entre guiarles hacia las obras significativas del repertorio, así como de darles la oportunidad de explorar su propia identidad musical.

HABLANDO DE CUESTIONES TÉCNICAS:

¿Podrías darnos tu opinión sobre los diferentes conceptos de sonido y qué características lo definen, la articulación, los tipos de instrumentos, la literatura, si se considera importante la influencia del lenguaje y la tradición musical en el sonido y la forma de tocar?

La pregunta que planteas es realmente interesante y difícil de responder. El sonido que producimos en nuestro instrumento es comparable a nuestra voz, ya que forma parte de nuestra identidad como intérpretes. Cada uno de nosotros tiene un sonido distintivo y existen numerosos factores que pueden influir en su variación, como las boquillas, el tipo de instrumento, los materiales utilizados en su construcción y accesorios adicionales como los resonadores. Además, factores más subjetivos, como las influencias de otros intérpretes o incluso de nuestros maestros, también pueden dejar huella en nuestro sonido.

Aunque, al fin y al cabo, esto es un aspecto identitario nuestro como intérpretes y requiere de un constante trabajo y exploración para desarrollarlo y controlarlo de manera consciente.

COSECHANDO EXITOS.

Eres un joven talento multipremiado en varios eventos de gran nivel internacional dentro del mundo de la Tuba y el Bombardino. ¿Podría compartir con nosotros, algunas de tus experiencias en dichos eventos?

Creo que el concurso que recuerdo con más cariño es el del AETyB de Málaga 2022. Hacía muchísimo tiempo que no veía a grandes amigos y fue la excusa perfecta para volver a vernos. Además tuve la oportunidad de conocer a músicos excepcionales y hacer nuevas amistades. 

A pesar de esto, he de admitir que fue un concurso muy intenso y en cierto modo hasta estresante. Si no recuerdo mal fueron 3 días de ensayos y rondas del concurso, además de asistir al resto de actividades como conciertos o clases magistrales. Aún así, he de decir que fue una muy bonita experiencia y me permitió aprender muchísimo de los comentarios que me hicieron los expertos.

PARA CONCLUIR:

En tu experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas se está homogeneizando en los centros interpretativos que ya están establecidos? (Ejemplo: ruso, estadounidense, germano-austríaco, inglés, etc.).

Si bien es cierto que existen tradiciones y estilos característicos en diferentes países, también es importante reconocer que cada intérprete tiene su voz y enfoque personal. La diversidad de influencias y formación puede enriquecer aún más la interpretación musical, ya que permite una mayor variedad de perspectivas y estilos individuales. Aunque es posible que ciertos centros interpretativos tengan una mayor influencia de determinadas tradiciones, considero que la diversidad sigue siendo valorada y apreciada en general.

Sino es repetitivo, ¿Cómo ves esta influencia de escuelas en España?

Si se habla de la tuba u otros instrumentos con un mayor desarrollo y, por supuesto, con mucha más historia, esta cuestión tiene un impacto significativo, ya que el tiempo ha dado lugar a que existan una amplia variedad de opciones y escuelas. Sin embargo, en el caso del bombardino, la oferta es  todavía muy limitada en España.

Raúl, un placer y un honor poder contar con tu experiencia y colaboración en este nuevo proyecto de entrevistas a jóvenes talentos e intérpretes de la Tuba y/o el Bombardino. 

Muchas gracias y mis mejores deseos.

Un abrazo fuerte.

"ENTRE TUBAS Y BOMBARDINOS POR LATINOAMÉRICA...LUCAS FERNÁNDEZ"

Hola a todos. Es para mi muy grato poderles acercar a este excelente euphonista colombiano, profesor y director de orquesta que es Lucas Fernández, al que obviamente agradezco su amistad, colaboración e interés en mi proyecto de entrevistas.

Sin más, que lo disfruten.

"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.....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.