"BETWEEN TUBAS AND EUPHONIUMS...JANNICKE ELLINGSEN"

Hi all. The interview that I bring you today is very pleasant for me because it is with an excellent Euphonist whom I thank for her friendship and her collaboration in this interview project of mine entitled "Between Tubas and Euphoniums ..."

Let us begin. 

·      Name and surname:

Jannicke Ellingsen 

  ·      What instruments do you use?

Euphonium

·      That make and model are the tools you use:

Adams E1 Sterling 

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

MOMO mouthpiece M3

 

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

I did my bachelor and master degree at the Grieg Academy in Bergen and Hoschule Luzern in Switzerland. I finished my master degree in 2015. 

·      At what age?

I started my studies when I was 18 year old 

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

Tormod Flaten was my school band conductor. He normally did his practicing before band rehearsal, and I loved to listen to his playing. I changed from cornet to euphonium when I was 14 years old.   

·      Who were your main teachers?

Tormod Flaten, Grethe Tonheim and Thomas Rüedi

 

From my performance at VTEC during covid

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 played for Eikanger/Bjørsvik Musikklag (10 years) and Krohnengen Brass Band (5 years)

Now I am working as a euphonium player for the Norwegian Army Band in Harstad, Norway. 

As a soloist I have performed with different bands including The Royal Norwegian Naval Forces Band and Göteborg Wind Orchestra. I have also performed at several festivals in Norway and internationally. . 

·      Which uses warm-up exercises?

I always start with breathing exercises and buzzing the mouthpiece. My warm up is changing almost every day, but it normally includes long tones and flexibility. 

 

Trying other topics of interest.

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

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

 In Norway it is not normal to play both tuba and euphonium. But, many euphonium players also play the trombone. I had to audition with both euphonium and trombone in the army band. Trombone is just a very small part of my playing, so euphonium is definitely my main instrument. 

Soloist with Krohnengen Brass Band

 

Let's talk about your TEACHING EXPERIENCE:

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

Before I moved to play for the army band, I used to teach euphonium students in a conservatory. 

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

I want to make my students become independent of me, and to become their own teachers. I guide them to find repertoire and good exercises, and we often find the repertoire together. During lessons we normally do 10-20 min basics so I can help them develop on their instruments. 

·      How long are your classes?

60 minutes 

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

I think it is very important that the students perform. To work towards a performance makes them more focused and motivated to practice. And to handle the performance situation needs a lot of practice. My students normally performed 2-4 times a year. But we normally played for each other once a month. 

·      Is there another teacher with your same specialty in the center where you teach?

Me and the trumpet teacher at the school worked close together so that our students could play for each other and together in an ensemble. 

Soloist with Göteborg Wind Orchestra

 

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

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

My students did not play a lot of excerpts or orchestral repertoire. We focused on exercises and solos. There are only 5 professional euphonium positions in Norway, and before they started to study at any university I did not think that working on excerpts was important for them 

·      Please tell us about the admission process to get into the school where you studied.

You have to to an audition to be accepted at the school

·      What it is required repertoire in the entrance exam?

The students can choose a solo on their own. They have a 10 min audition 

·      Do you suggest any particular repertoire?

I think they should find something that shows what they do best. If their sound is beautiful, show that. If your technique is great, show that. And don't try to play something too difficult. 

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

They only have to play one solo

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

No 

Soloist with Eikanger Band

·      Approximately how long is the exam?

10 min

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

A good sound is important to me. That shows that the student is listening to what he/she is playing.

About your work during courses or masterclasses.

·      What kind of repertoire do you mainly work with your students: solo, with piano accompaniment, chamber music, ....?

Solos

·      Do the students select the works to be played or are they chosen by the teacher?

They just bring a solo, I normally don't know if the student or their teacher choose the piece 

 ·      Are there any works that you consider compulsory? So what?

In Norway students should perform Fantasia by Gordon Jacob since this is a piece often used at auditions here. 

From a concert with the Norwegian Naval Force Band

SPEAKING OF TECHNICAL ISSUES:

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

I think it is really important to know how you want to sound, and to work to find that sound every day. For literature the students should play in different styles and use music from different periods. They need to listen to recordings and get the knowledge needed to perform in the correct style.  

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

I have played on an Adams euphonium for 3 years now. I really love the sound on the instrument. The high quality of the instruments makes the valves work really well, so I don't need to worry about it during performances. I also really like the intonation of the instrument. I almost never use the trigger. I started on a Adams E3, but decided to change to an E1 as this was better for me as a soloist and in the army band, 

  

Jannicke, you are a young performer recognized in your country and in other countries.

·      Please tell us something about the history of development of the woman low brass players our instruments in your land.

I often get questions about being a woman playing euphonium. In Norway I have always been surrounded by women playing euphonium. During my studies at the Grieg Academy my class consisted of 5 girls and no boys. 

Cover of the Adams magazine 

  

IN CONCLUSION:

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

 I think we have a lot to learn from each other across the borders. As the euphonium is a quite new instrument compared to other brass instruments, there is a lot of repertoire that needs to be written, and still some improvement that can be done on our instruments. I hope we will keep to develop the euphonium world more and more. 

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

Thank you very much and my best wishes.

A big hug.

 

 

"BETWEEN TUBAS AND EUPHONIUMS...JAMAL BOUKHNOUCH"

Hello everybody, It is a pleasure for me to bring you this interview with a great musician and friend from the "unknown" African continent. I am referring to the exceptional Moroccan tuba player Jamal Boukhnouch.

Without further ado, I thank you for your kind collaboration.

Let us begin.

• Name and surname: 

Jamal Boukhnouch

• What instrument / s do you use? 

F Tuba/ E-flat Tuba/ B-flat Tuba/ C Tuba.

• That make and model are the tools you use: 

Melton 4250-S, Melton 2141, Melton 197/2, Melton 5450-S Thor  and Eastman 836

• That manufacturer and model are the / s nozzle / s you use: 

Melton and Eastman

Let's talk about your EDUCATION:

• When and where their studies or tuba euphonium started?

I started to studies Music at the Air Force Conservatory of Music with the Euphonium and one year later with the Tuba.

• At what age? 

13 year old

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

In my country we don’t have a big Brass tradition like in Spain or other European country, that’s why my parents had no idea about Brass instruments.

So the reasons I am playing the tuba now, is that when I was very young I watched a movie with a Brass Band scene, as a kid I saw that I was in love with the French Horn, how it looks and how it is shining, and I asked my parents I want to learn this instrument, then my parents bring me to the Air Force Conservatory because in my city it was the best school for learn Brass instruments. at that time I was not lucky to start with French horn because the class was full of students, and the only free places was in the Flute or the Tuba class, that why I went for the Tuba because it was the closest to the French horn.

• Who were your main teachers? 

Valerie Biondi, Arnaud Boukhitine, Ulrich Hass and Alexander Kritikos

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:

Suzhou Symphony Orchestra

Cairo Opera Orchestra

Royal Symphony Orchestra

Philharmonischen Orchester Hagen

Deutsches Symphonie-Orchester Berlin

Bochumer Symphoniker

Essener Philharmoniker

Iceland Symphony Orchestra

Malaysian Philharmonic

Shanghai Opera orchestra

Nordwestdeutche Philharmonie

Bremer Philarmoniker

• Metal sets:

Air Force Brass Orchestra

Marinemusikkorps Wilhelmshaven

Concert tour in China with the World Master Orchestra

• Solo Concerts

Festival "AETYB" (Valencia-Spain)

Beijing Conservatory of Music (China)

Festival "Soest in Armony" (Germany)

Chang-Ang College of Music (Seoul- South Korea)

ITEC 2019 (Indiana - USA)

Festival "Kymi Brass Kovoula" (Finland)

Festival "Silver Trumpets of the Volga" (Russia)

Chamber Music Festival of the Zhejiang Conservatory of Music (China)

About your ORCHESTRAL EXPERIENCE:

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

The experience I had when I applied for my last Orchestra job, it was completely different process than the other auditions I did before, for example in Asia must of the Orchestra Audition you have to send a video audition first round, around 20 min and after you pass the video round you are invited for the final live Round.

• How was the selection process?

Video First round : Vaughan Williams , contemporary solo piece free of choice and Orchestral excerpts.

Final round live performance, Concerto and Orchestral Excerpts (without curtain)

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

Prokofiev Symphony No. 5 

Prokofiev Romeo & Julia 

Wagner Die Walküre 

Wagner Lohengrin

Wagner Meistersinger von Nürnberg 

Berlioz The Damnation of Faust 

Berlioz Symphonie Fantastique 

Mahler Symphony No. 1

Respighi Fountains of Rome 

Mussorgsky pictures (Bydlo)

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

Yes for the Video first round I chose a solo piece Capriccio Penderecki for Solo Tuba

In another sense:

• How is your current work in the orchestra?

I am Principal Tuba with my Orchestra, I perform Symphonies repertoire, Ballet, Operas, Film Music, and also contemporary Music.

• Do you combine it with another musical group?

Yes we also do Chamber Music, and we performing local music with traditional instruments, and also sometimes play Jazz and Rock Music.

Europe tour with SZSO concert at the Elbphilharmonie Hamburg

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

My recommendations to the young generation tuba players is to Keep hard working and always dream, and love what you do it will always pays.

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?

It is always great when someone can play both perfectly. But in my opinion, the Tuba and the Euphonium are completely different and have different technic, that why I think the Euphonium should have its own specialization and degree.

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

In our days I think almost all the young player plays great and the level is really hight, I think this due to the quality of the teachers and development of the instrument, but we as teachers we have to teach student to be creative and special and not to try to copy someone or be like someone and be unique, and think always about Music.

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

Keep hard working, focus in your way and never give up your dreams and not to be afraid to try new things.

Let's talk about your EXPERIENCE IN TEACHING:

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

Master Class at the Kymi Brass festival in Kovoula (Finland)

Master Class at the Beijing Conservatory of Music (China)

Master Class at the Chang-Ang College of Music (Seoul- South Korea)

Master Class at the Zhejiang Conservatory of Music (China)

Master Class at the Chung Ang College of Music (South Korea)

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

I organize my lesson in 3 parts: 1. breathing gym and relaxation/ 2. Instrument technique warm up playing in mode ( legato, staccato, flexibility) / 3. Playing Etudes and solo pieces .

· How long are your classes?

I think Individual lesson One and half hours it’s a good time

· 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?

Yes it is important to perform for public during the years of study, even after the first or second year of learning tuba, if they can of course, like this student have always a goals to practice hard and preparing something to share with the audience.

 

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?

I think learning only the solo repertoire, is not a good think for a student also when a tuba player think he is goes in the way of being a teacher so he needs only to learn the solo repertoire.

Because also as teacher you might need to master the orchestra repertoire, and know how to teach to the student, and try to help them to prepare the Orchestra Auditions.

We have to think that not everyone can be a teacher or Orchestra Musician that’s why we need to be flexible and able in our study time to learn everything.

· 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?

No I don’t have any preference between a Tuba student or Euphonium student, but if I can suggest him or her later if they like and want to switch to the Tuba, because as a teacher I can see that he or she may has more chance to be better the Tuba player then a Euphonium player.

Master Class at the Chung Ang College of Music (South Korea)

About your DAILY WORK.

· What type of repertoire do you mainly work in? 

Orchestral repertoire, and solo repertoire

· What warm-up exercises do you use?

Breathing exercises, Mouthpiece Buzzing, long notes with different dynamics, Flexibility, scales with slurs and articulation, usually not more than 45 min.

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?

The author and Jamal
after Jamal´s Concert in the
AETYB Valencia 2016

I think the literature helps us to master the sound, and the influence of language as an impact on our articulation, I believe that no matter how good we master the tuba everyone will have his own sound exactly like a human voice, each of us will have his unique sound.

· 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 personally prefer to play with Tubas and mouthpieces Manufacturers from Germany because it has a long history and tradition. I was always playing Melton Tubas and I fond that it has an unique Sound and also the quality work and material they use on the Tuba.

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

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

In Morocco and Africa in general, sadly we don’t have a big tradition for Brass, when I was young I was lucky to have a French teacher who helped me a lot, and after that I went to Europa to different teacher to study and master my instrument.

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).

I must say it is definitely a good things to do if we have the possibility and the opportunity to learn with different teachers and schools, this bring us always to the best level.

Jamal, 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.

"BETWEEN TUBAS AND EUPHONIUMS...STEVE ROSSÉ"

Dear readers. It gives me great pleasure to bring you today, in this series of "virtual chats", a tuba player who needs no introduction. His international recognition for his musical quality, his long orchestral experience and his brilliant project Tubamania, make words superfluous and I invite you to share the reading of this interesting interview.

Without further ado, I would like to thank Steve for his collaboration, patience and friendship.

Let's begin

· Name and surname: Steve Rossé

Back stage in Shanghai, Sydney Symphony Orchestra, 2015 tour

· What instrument / s do you use?  

Tubas in F, CC, and  BBb 

· What manufacturer and model are the instruments you use: 

Walter Nirschl York Model 6/4 CC, Miraphone 181 BelCanto F Tuba, Rudolf Meinl 5/4 4 rotor BBb Tuba, all silver plated 

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

Perantucci Gold Plated PT 64 and 86

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?  

High 8th Grade Greenfield then in High School Granite Hills HS El Cajon Ca USA.

· At what age? 

Started at age 14

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

Had braces, so trumpet was painful and I always loved the low sound of any ensemble

· Who were your main teachers?

High School: Private teachers Ted Bietz Grades 9-10, Brent Dutton grades 11-12.

University Daniel Perantoni and privately with Roger Bobo in California

Following University: Arnold Jacobs, Abe Torchinsky, Mel Culbertson, Robert Tucci

First picture on the steps of the Sydney Symphony Orchestra in 1990 

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:  

San Diego Symphony Sub Summer Contract 1987

New Mexico Symphony (USA) Principal Tuba 1987-89

RAI Torino Symphony Orchestra (Italy) 1989-1990 Principal Tuba

Sydney Symphony Orchestra Principal Tuba 1990- Present

Philadelphia and Boston Symphony Orchestras, Substitute & 2nd tuba

        (commuting from Sydney 2003-2011) 

Royal Concertgebouw Orchestra Visiting Principal Tuba ( 6 Months) 2018

· Concerts as Soloist:  

Vaughan Williams Concerto with Sydney Symphony Orchestra 1991 

Bozza Concertino with the Tasmanian and Concerto Soloist with ITEC Orchestras in USA and Hungary  (John Williams) 2002 & 2004 Adelaide Symphony Orchestras 1992

World Premier Rafael Marcelino Concerto “Art of Resonance” 1998

 6 month contract at the Royal Concertgebouw Orchestra
(Amsterdam 2018)

Please tell us about your experiences as an Opera Orchestra Tuba in Australia.

Performed the entire Wagner Ring Cycle in the Sydney Opera House, as well as Strauss Elektra, Gershwin Porgy & Bess, and other operas by Wagner, Berg, Berlioz, etc…all with the Sydney Symphony Orchestra, using BBb , CC and F tubas depending on the composer and opera. 

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?  

Any tuba player who also can play euphonium will have advantages including a stronger high register, faster fingers, and flexibility of employment in the commercial industry.  It is a good instrument to double on but should also have its own specialization for people who play only euphonium to specialize for top military band careers solo careers etc……All universities and conservatories should offer a euphonium degree. 

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

We need to be teaching our students in a way that when they win their professional band / orchestral positions they will contribute to the ongoing lifting of professional standards for the entire ensemble.  We also need to  teach them to be great teachers!  And to be teaching our students how to make independent careers as teachers, soloists, chamber musicians and contributors to online content (YouTube etc)as not all will win orchestral jobs.

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

Focus on the music, fundamentals, and be goal and project orientated.

Hosting my first TubaMania Conference in 1995 with guest soloists / master teachers
Roger Bobo and Mel Culbertson and the 3 prize winners

Let's talk about your EXPERIENCE IN TEACHING:

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

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

Sydney Conservatorium of Music ( 1993-present)

Australian National Academy of Music ( 2015-present)

Zurich ZHdK Switzerland (2014-2019) as Assistant Professor

I organize my lessons and courses by asking the students what are their goals, why are they there and what do they expect and dream to achieve during their time of studies.  I then format a plan for them giving the m the musical and fundamental foundations needed and teach them goal achieving strategies. 

· How long are your classes?  

Private lesson 1 hour to 1.5 hrs, group classes 2 hrs

· 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?  

Yes throughout, it is important to get used to performing un public, but many dress rehearsals, and mock recitals should be given in private as well to insure the public outings represent the student the best. 

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?

The real life is an orchestra or band for most, but globally university programs are “solo degrees”, nearly everywhere.  Lessons should be broken up to say 2/3 what the university requires, and 1/3 or so on excerpts and foundations for them, hold mock auditions within the studio in addition to what is required. 

· 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?

Tuba because I play tuba.

Ride a unicycle as a teenager at the same time I learned tuba,
this photo Sydney Park, 2014 as a promotion for my Sydney International Brass Festival

About your DAILY WORK.

· What type of repertoire do you mainly work in?  

Orchestra

· What warm-up exercises do you use?  

Scales and arpeggios eventually hitting the full range and all dynamics and articulation styles, slurring, lip slurs and flexibility. Breathing and buzzing in the mix

Recording many movie soundtracks including the LEGO Movies, Happy Feet, Gods of Egypt
and more, fox studios Sydney 1999  to present

Part of performing Star Wars many times at the Sydney Opera House
means time with the robots, this taken in 2019.

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?

Language affects sound and articulation in a sense.  The sound needs to firstly be beautiful in the opinion of the musician and those that they play with.  It should have a nice center and vibrancy to enhance the ensemble. People should play the best instrument they can access and afford but be more focused on how they play more than what they play.

· 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 like any manufacturer or mouthpiece that produces an instrument that brings out the best possible voice for the player, and that colleagues love playing with, especially the instruments that produce a great color, personality and blend without getting in the way of the ensemble, . For this reason I have always like Nirschl, B&S, Melton, Miraphone, but that is only my musical taste in how I experience these sounds. 

Steve, you are create the interesting project “TubaManía”. Please tell us about this

TubaMania began in 1993 as a tuba importing business for the Australian market then began hosting international conferences, competitions and festivals from 1995 and continued to 2019 throughout Australia and Asia.  Due to the pandemic of 2020/21, I created the TubaMania Online projects to motive us and inspire and connect us.  I am also creating my own online course ULTIMATE TUBA. This will be available in May 2021. Info at www.tubamania.com .

TubaMania festivals across Asia and Australia ,  Hong Kong (TubaMania 2017)

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.).

There is a general globalized trend of tuba and orchestral sounds, but there is still individuality.  For example, some American Orchestras like the big piston 6/4 tubas, while others prefer the B&S PT6 sound, or other.   

Nearly all of the German orchestras still want the BBb and F tuba combination, and in the British-influenced countries, there is a large movement of 3+1 upright piston Eb and BBb tubas.   On the high end of the solo circuit today, we have Oystein on a rotor Eb, and others on rotor or piston F, and some play a collection of these, such as James Gourlay.  

All very individual. Then when we get into the topic of opera, we have a traditional trend in Italy that influences opera houses globally to use cimbasso and here we have them as piston, rotor, and in multiple keys. 

Steve, it is a pleasure count on your experience and collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS AND EUPHONIUMS...DIRK HIRTHE"

Hello everyone. Today's interviewee doesn't need much introduction. He is a reference in his country, Germany, he is a renowned artist of one of the most important tuba manufacturers of the current scene and he is, of course, an excellent tuba player and teacher to whom I am sincerely grateful for his friendship and collaboration in this interview project.

Without further ado, let's get started.

· Name and surname: Prof. Dirk Hirthe

· What instrument / s do you use?

F Tuba

B Flat Tuba

· What manufacturer and model are the instruments you use:

Miraphone Elektra F481

Miraphone Hagen 497

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

Miraphone TU 28 F Tuba

Miraphone Elektra 481

Miraphone TU 43 B Flat Tuba 

Miraphone Hagen 497

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

My first lesson I got from Jörgen Welander a swedish Jazz Tuba Player who played with Howard Johnson's Gravity on there European Tour in the 1990's. He lives with his family in Freiburg where i am grown up. That was just luck for me.

· At what age? 

12

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

I was so impressed by the Gravity Band of Howard Johnson that the only instrument to learn for me was the Tuba. 

· Who were your main teachers?

Jörgen Welander

George A. Monch

Prof. Jens Björn-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: 

Badische Staatskapelle, Museumsorchester FRankfurt, Bayerische Staatsoper, SWR Sinfonieorchester etc…..

· Metal Ensembles: as guest: 

Grand Ensemble de Cuivre d'Alsace, Lucerne Festival Brass Ensemble, Stockholm Chamber Brass

· Concerts as Soloist: 

Museumsorchester Frankfurt, Badische Staatskapelle, Mid Europe Festival, Ungarische Kammerphilharmonie, Blasorchester der Stadt Düren, Bochumer Sinfoniker

In the Orchestra. Badische Staatskapelle

About your ORCHESTRAL EXPERIENCE:

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

It was written out. Then i applied and got an invitation to play the audition. Normal process in Germany. 

• How was the selection process?

I did an audition and won. 

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

1. Round Vaughan Williams 1. and 2. movement and Ride of Wallküre

2. Round B Flat Tuba: Bruckner 7 4th movement, Rheingold Wurm Motiv, Prokofiev Symphony No 5 and I don't remember

3. Round F Tuba: Mahler 1, Lohengrin, Meistersinger, Coppelia

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

Yes to play all the chamber music stuff and give solo concerts and to pla recitals is absolutely free choice. 

In another sense:

• How is your current work in the orchestra?

When theres is a tuba part in the orchestra I have to play it. Sometimes it is more sometimes less. 

• Do you combine it with another musical group?

No 

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

If you want to get an orchestra job. Practice as hard as you can to win an audition. Good luck! 

In the Orchestra. Badische Staatskapelle

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?

For me Euphonium is a own thing. In Germany you can't study Euphonium. So i don't know much about this instrument. For me it should be normal to have own Euphonium teachers like Tuba teachers. 

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

We need more teachers for both Instruments. Not one Teacher for low brass in general. 

It's getting better in these days but still a long way to go. 

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

I think each government should understand that saving money for culture in general is always the wrong way. Education is the solution for many things on our planet. 

Let's talk about your EXPERIENCE IN TEACHING:

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

Vilnius , Krakow ,Vienna,  Graz,  Linz,  Salzburg, Paris, Brno, Budapest, Pecz, Szeged,  

Debrecen, Leksand, Strasbourg, Valencia, Varasdin, München, Hannover, …….

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

I asked what the students want. And then we do it. The topic can be very different depends on what the students and the teacher need. 

· How long are your classes?

Depends on how much students and how much time i have. Normally i stay 3 days at one destination. 

In class. Karlsruhe Music University

· 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?

Of course it is important for any level. Just respect the level of the student and then all is ok. 

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?

In Germany it is already a part. We have 3 different parts of exams.

Chamber Music, Solo Recital and Orchestral Excerpts. 

· 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?

Yes! Tuba Student because i don't know so many things about Euphonium and i don't have to in Germany. 

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Solo Pieces , Chamber Music and Orchestra Pieces, depends what is on the schedule. 

· What warm-up exercises do you use?

Different one: I Have my daily routine programm plus the things I need to be perfectly prepared. 

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?

Each language and each country has it's own tradition in a way. Of course there are some influence countries like the states or Germany or France but the all in all the tradition and environment where the people started to make music plays the main role in my opinion. I think there is right way how to play. When you are good and love what you do than other people will like it too. 

· 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 am a Miraphone Artist. I Love this factory because they do all themselves with love and there are good. I never met people in a factory who are so heartfull and nice. 

You are a recognized interpreter in you country.

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

In Germany the Tuba was mainly an Orchestra and Chamber Music Instrument and still is it. But more and more people see that we can also play Solo Stuff. But for me it's not so important how other people see me as a tuba player. I love what i do and try to get better every day. 

Playing

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.).

No. We still have many different ways to play even in Europe. and that's good and interesting for me. I like when not all people doing the same things

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

I hope see you soon.

Thank you very much and best wishes.

A hug.

"ENTRE TUBAS Y BOMBARDINOS POR LATINOAMERICA...FREDY ROMERO"

Hola a todos. Esta nueva entrega de mis entrevistas a tubistas y bombardinistas o eufonistas da comienzo a una nueva propuesta de acercamiento a la labor ingente que se realiza en esa zona poco apreciada y reconocida para nuestros instrumentos como es latinoamerica.

Sin más les invito a visionar la entrevista con Fredy Romero Nieto. Tubista de la Orquesta Filarmónica de Bogotá y profesor de la Universidad Nacional de Colombia.

Que la disfruten.

"BETWEEN TUBAS and EUPHONIUMS...MIEL ADAMS"

Hello everyone. 

Today's interview is with the representative of one of the references in the manufacture of musical instruments in the world and since about 10 years ago specifically of brass instruments and I sincerely thank him for his time, friendship and collaboration in this interview project.

Without further ado, let's begin

• Name and surname: Miel Adams

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

Yes.  I played the oboe and baritone saxophone as a child and teenager. I stopped when I was 23, which was the time that I became more dedicated to learning to become a repair technician.  

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

I work in the company that my uncle, Andre Adams, founded.  Adams Musical Instruments is now owned by Andre’s son-in-law Frans Swinkels and his Lison Swinkels-Adams.  

• What instruments do you make?

Adams manufactures many members of the brass family of instruments.  Beginning with the flugelhorn many years ago, the firm expanded to trumpets, cornets, trombones, euphoniums, and tubas.  

Of course, Adams is also a well-known percussion instrument manufacturer

• What models?

15 trumpet models, 6 Flugelhorns, 2 Cornets, 4 Trombones, 4 Euphoniums, 6 Tubas, and a series of Marching Brass instruments primarily for the US market. 

• What type of Tubas and / or Euphoniums are manufactured in your company? Professionals, for students, beginners?

Adams manufactures primarily professional, handmade euphoniums and tubas.  

•        Do you manufacture nozzles in your company?

Adams does not manufacture mouthpieces.  

Let's talk about your company:

• When it was founded?

Adams was founded in 1970.  The company began as an instrument repair shop, and then grew into a retail store and percussion manufacture.  Brass manufacture began in a serious way in 2004.

The bell

• In what city or country?

Adams began in Thorn, the Netherlands. 

• Who was the founder?

Andre Adams, my uncle.  

• Since when do you manufacture Tubas and / or Euphoniums?

The first euphoniums were developed in 2008, and tubas began in 2010.  

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

Developing low brass instruments was a natural extension of the Adams product line. 

• Who were its main designers?

I was the main designer, and have regularly consulted and worked with many musicians as part of the ongoing process.  

Regarding the vast experience of your brand in the market:

Please let us have a count of some of the artists that appear in your catalog broken down as follows:

The list of our artist of tuba and euphonium appear in our web.

See 3 examples in this videos.

•  Perry Hoogendijk 

• Mauro Martins

• Fernando Deddos soloist and composer too

TALKING ABOUT TECHNICAL ISSUES:

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

Adams aims for free-blowing instruments with superior intonation and slotting. To achieve this, we create the bell, lead pipe, tuning slide and bows from sheet metal and craft them through a traditional process of seaming, hand hammering, and finishing by spinning or drawing. These old world techniques combined with modern machinery make Adams Custom Series Brass instruments special and unique.  

Part of process

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

We make all of the major parts from the receiver to the bell in house, and also have our own lacquering and silver plating facilities.  Through this dedication of resources, we have been able to extensively learn and grow as a company, and it also allows us complete control over consistency and quality. 

Each of the instruments in the custom series is available in a selected model that has specifications that are the ideal concept of the model, and these will meet the needs of most musicians. Additionally, most models are available in many choices of bells, material thicknesses, and finishes, allowing the musician to create a custom instrument to their own sonic preferences.

In the work

IN CONCLUSION:

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

As part of designing instruments, I have worked with many musicians from all over the world. I feel that musicians bring their unique musical and viewpoints with them, and these are all different. Even within a given country, different teachers at different conservatories produce students with different styles and viewpoints.

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

Thank you very much and best wishes.

A big hug.