"ENTRE TUBAS Y BOMBARDINOS...MARIO TORRIJO"

Hola:

La entrevista de hoy es muy especial para mí pues fue al primer Tubista español que conocí al llegar a España hace algo más de un cuarto de siglo , que se dice pronto, y gracias a su mediación llegué a conocer al que era su maestro y luego lo fue mío en el RCSM de Madrid, Miguel Moreno.

JUNTO A JON SASS EN 1998
Izq. a Dcha. MARIO, JON y UN SERVIDOR

Referente en varias facetas y hermano sin dudas, es para mí un placer compartir con ustedes esta segunda entrega en formato video-entrevista de la serie "Entre Tubas y Bombardinos..."

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...MATTIAS JOHANSSON"

Hello everyone. Today I bring you an interview with one of the current leaders of the Tuba in the Nordic countries and a friend of a server. I hope and wish you enjoy your experience in your interview as much as I do. I thank you for your kind collaboration.

Without further ado we begin. 

Let's start.

· Name and surname: 

Mattias Johansson

· What instrument / s do you use?

I use a B/S F tuba, JBL model and I have two C tubas. Hirsbrunner, York model and a 4/4 piston valve. I also have a travel tuba.

My orchestra has a Rudolf Meinl cimbasso in F.

· What manufacturer and model are the instruments you use:

B/S, Hirsbrunner and Rudolf Meinl.

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

I use Scott Laskey 28 F for the F tuba and SL 28 H for the C tuba. Sometimes also a Conn Helleberg.

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started in my local music school in Sweden. 

· At what age? 

I was 13 when I started to play tuba.

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

I played violin since I was six years old, but the lack of a tuba in my orchestra and a persuading teacher, convinced med to switch the violin for tuba and electric bass.

It got me right away, to play in both wind band and big band.

· Who were your main teachers? 

Jens Bjørn-Larsen at the conservatory in Copenhagen. Periods with Mel Culbertsen, Bordeaux and Torbjørn Kvist, Oslo. Also important lessons with Rex Martin.

Regarding your vast PROFESSIONAL EXPERIENCE:

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

· In Orchestra and / or Band:

I am tuba player in Aalborg Symphony Orchestra, Denmark.

From 2002-2004 I had the tuba position at Malmo Opera orchestra, Sweden, and between 2008 to 2014 in Aarhus Symphony Orchestra.

· Metal Ensembles:

Brass quintets in the orchestras I have been working in.

· Concerts as Soloist:

I have had the opportunity to premier two tuba concertos with my orchestra:

Anders Koppel, ´Concerto for tuba and orchestra´in 2003 and 2009. Also recorded on CD for Da Capo records (cd8.226052), and Mogens Andresens ¨Colonial Concerto`in 2015.

In 2011 I performed R.Vaughan-Williams, Concerto with Aarhus Symphony Orchestra and in 2018, a double concerto for tuba and double bass, ´Rain, Wind, Fire and Death´, composed by Bo Gunge, with Aarhus Sinfonietta. 

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 believe euphonium needs the specialization as any other instrument. Here in Denmark it’s often trombone players, who switch to euphonium, when needed. Not so common with tuba players. 

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

I have only taught euphonium players in Spain, never in Denmark, but there is of course a lot of things in common. I think it would be good for tuba players to have some teaching on euphonium, and with that, wider the job opportunities afterwards.

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 teach tuba at the Music school in Aalborg an at the Royal Academy of Music in Aarhus.

Through Erasmus I have twice been visiting ESMUC in Barcelona for master classes, and I 2019, at CSM in Jaen.

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

Both with beginner students and conservatory students, I think it´s important to have a session with breathing/mouthpiece and basics in the start, and then go trough excercises etudes and solomusic. And of course orchestra parts.

· How long are your classes?

From 25 minutes with beginners to 1h15min with conservatory students.

· 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?

On every level it´s important to perform as often as possible. You learn a lot when performing and for students its important with experience, and if necessary, dealing with nervousness.

For tuba student, I also believe it is important to take every chance of playing chamber music and orchestra, to get the experience of playing with other musicians.  

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?

Orchestra parts is very good in studying the basics, rhythm, sound, sustaining notes and intonation. 

· 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.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Mostly modern music when I perform myself, and more standard repertoire for my students.

· What warm-up exercises do you use? 

At the moment I use Michael Davis:20 min Warm Up.

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?

From sitting at some tuba auditions, and teaching students from different parts of Europe, I certainly can hear difference in the articulation and that many times has to do with language.

I think it´s a spice to the music, as long as it doesn´t interfer with the sound.

We all, more or less, play the same brands and same sizes of tubas.

The difference in literature, where You can hear the countries musical language is very interesting.

· 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 have all the time been playing B/S and I love the sound of it.

For C tuba it´s the same. For me, the Hirsbrunner sound is great in orchestra.

Both tubas has the dark warm sound I like, and the B/S can also really shine if necessary.

For many years I played Conn Helleberg on both instruments, but changed to Scott Laskey. I now I have used that for some years. I guess I don’t experiment so much with mouthpieces.

The last years I have tried Miraphone, Elektra and Firebird on different occasions, and like them a lot to.

You are a recognized interpreter in you country.

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

Since Michael Lind came to Sweden in the mid 1970, it has been a lot of fantastic, both solo and chamber music written for tuba.

Great teachers like Jens Bjørn-Larsen and Torbjørn Kvist, has made the standard of tuba playing in the nordic countries very high.

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.).

With the high level of teaching there is most places, I think You can go almost anywhere, for  teaching, and get the personality from that specific country on top, whether it´s Spain, Russia or Denmark.

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

My pleasure. Hugs from Denmark:)

I hope see you soon.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS.....GERHARD MEINL"

Hello everyone.


We continue with this series of interviews with owners, founders or senior managers of the most relevant manufacturers of Tubas and Euphonium in the current scene.


Today I bring you to a benchmark in the manufacture of our instruments that comes from a long saga of manufacturers.


From their factory came the first Tuba that I had the pleasure of owning and playing, and that I still have.


Without further delay, I invite you to meet him and enjoy his experience.


I appreciate your kind collaboration.


Let us begin.


• Name and surname: 

Gerhard A. Meinl

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

Trumpet and I took lessons for Tuba and Saxophone.

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

My family is Wenzel Meinl in Geretsried = Melton-Meinl Weston

In 1991 I took B&S private and in 2012 we merged both with Buffet Crampon in France . Now I am a minority shareholder and member of the supervisory board.

• What instruments do you make?

With Buffet Crampon all wind instruments.

Buffet Crampon Group

• What models?

Tubas

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

Pro B&S , Melton-Meinl Weston , Besson, student and beginners with the brands Besson

• Do you manufacture nozzles in your company?

No

Let's talk about your company:

• When it was founded?

1810 the oldest with Wenzel Meinl in Graslitz , Bohemia

• In what city or country?

In Graslitz , Bohemia , then Austrian Hungarian Monarchy

• Who was the founder?

Daniel Langhammer

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

Since the invention in Berlin Tubas , Euphoniums in oval shape since 1810

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

Because they existed

• Who were its main designers?

After beeing expelled and reinstallation in Geretsried with MeltonMeinlWeston my father Anton Meinl and today Ferdinand Kleinschmidt.

At B&S Herbert Fischbach with Bob Tucci.

Regarding the vast experience of your brand in the market:

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

•      In Orchestra and / or Band:

      Alan Baer, NY Phil

      Norm Pearson ,  LA Phil

      Roland Szentpali , Hungarian Phil Orchestra

      Fabien Wallerand , Paris Opera

      Alexander von Puttkamer, Berlin Phil

• Metal Set
  
  
  Melton Tuba Quartett

•     Soloist:

         Jens Björn Larsen

         Andreas Hofmeier

         Steven Mead

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?

It is three dimensional with Sound, Response and Intonation resulting from the overall cutting pattern, when does the leadpipe hit the disturbance of the valves, are these piston or rotary.

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

Make the instruments consistent and this even by more handwork, be innovative.

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.).

Of course there might be a coca cola sound tendency, but the orchestras that understand differenciate on instruments, interpretation , sound  according to composer or tradition.

A important question is whether they play also opera in  pitt.

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.

"BETWEEN TUBAS AND EUPHONIUMS....DEANNA SWOBODA"

Hi. Today's interview is very special for me because it is someone who I consider a great interpreter of the Tuba and an excellent person. She was the first woman tubista that I met there in 97 in Madrid with the late Prof. Pilafian and since then our friendship lasts.

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

Let us begin.

• Name and surname: 

Deanna Swoboda

• What instrument / s do you use? 

I play the Eastman CC tuba – EBC836 and the Eastman F tuba EBF864

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

Eastman Winds 

Let's talk about your education:

• When and where their studies or tuba euphonium started?

I studied at University of Idaho for undergraduate, Northwestern University (Chicago) for my Masters degree and Arizona State University for my Doctorate. 

• At what age? 

I began playing the tuba in grade 8, around age 12

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

My first instrument was the clarinet. I chose the clarinet because my mother and my sister played the clarinet. I changed to the tuba in grade 8 because we needed atuba and I got to sit next to a boy that I liked. It was for love! But then I fell in love with playing the tuba also.

• Who were your main teachers?

My main teachers were Robert Spevacek, Rex Martin, Sam Pilafian

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.

Before joining the music faculty at Arizona State University, I was an associate professor of Tuba and Euphonium at Western Michigan University, where I was a full-time member of the Western Brass Quintet. Before WMU, I was a tubist for the Dallas Brass, a group of 6 musicians who traveled the United States and Europe presenting hundreds of concerts each year and working extensively in public schools and colleges and universities. I have also created a motivational video and music recruiting workshop called "Band Blast Off".

In addition I have taught at the University of Nevada Las Vegas, at the University of Northern Iowa, University of Idaho.

As an international and clinical interpreter, I have been invited to the Royal Conservatory of Music in Madrid (Spain), Deutschen Tubaforum - Hammelberg (Germany), the Higher School of Arts in Porto, Portugal, and the Saint Petersburg Conservatory in Saint Petersburg, Russia. among others. As a  performer, I have performed and presented clinics at national and regional conventions of the National Conference of Music Educators (MENC) on numerous occasions, the Midwest Band and Orchestra Clinic, Brass International Conference for Women, Conference of Army Band Euphonium Tuba, International Tuba-Euphonium Conferences, and for state associations of music educators. 

I am a past president of I.T.E.A., the International Tuba Euphonium Association.

• Which uses warm-up exercises?

I like variety for my warm up. My warm up includes many different exercises for long tones, lip slurs, scales, ear training, playing melodies. I incorpórate some of Roger Bobo’s materials, Chris Olka materials, Arnold Jacobs materials, Sam Pilafian materials, Clark Studies, and Arban and my own.

International Women's Brass Conference 2019 at Arizona State University, Monarch Brass Tuba Euphonium section. Left to Right: Gretchen Renshaw James, Gail Robertson, Velvet Brown, Deanna Swoboda, Stacy Baker

Trying other topics of interest.

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

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

I think it is possible for someone to only play the Bombardino and not have to master the tuba and euphonium first. They are related instruments but can do different things. If someone imagines themselves as a player of the Bombardino only, I think it would be fine. Maybe they imagine to be a jazz player on the Bombardino? It is different – but sometimes different is good! In the USA the Bombardino is not played. There is no place in the band or the orchestra for the instrument. If someone chooses to play the instrument they might only play solo or a small chamber group or a jazz ensemble. 

Let's talk about your teaching experience:

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

I teach at Arizona State University in Tempe, Arizona (near Phoenix). I teach tuba, euphonium, chamber ensembles, music entrepreneurship and have taught music education low brass methods clases.

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

For every year of private lessons, the students must perform required pieces for the instrument, scales, technical studies, excerpts. Also they must learn some improvisation and other styles of playing. 

The students must play standard Concertos and Sonatas originally for the instrument and also perform transcriptions. During their studies at the university they will also compose or arrange music for the tuba or euphonium.

• How long are your classes?

Each private lesson with me is one hour per week. My students also have 30 minutes lesson with the teaching assistant. Studio class are three times per week, one hour each class. Performance class, excerpt class, tuba euphonium ensemble, or improvisation class.

• 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?

Public performance is very important even from the beginning. Maybe the student will only play children’s songs for the family, but a performance of what is learned is important. The more we perform, the better we get at performing. I encourage my students to perform a recital every year, from the beginning of college. They might share a recital with a friend or perform a full recital solo. It depends on the strength and preparedness of the student and their ability. 

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

I am the only tuba euphonium professor at Arizona State University. I have two graduate students who also teach the younger students. 

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? 

I believe that overall excellent musicianship is most important. I teach the excerpts so the student has a foundation and knowledge of the repertoire and through the study of the excerpts they develop better technique. Excerpt study is only one part of building good musicianship. I want my students to be well rounded in their ability to read a score, to hear well when leading an ensemble and to make good choices about how to improve everything they do. 

Deanna Swoboda testing the Eastman F piston tuba prototype
with Chuck Kerrigan, Eastman Music Co. Representative

• Tell us what is the admission process to access your learning center:

Students apply to the university and are accepted or not depending on their grade point average and test scores. They also apply to the school of music and perform an audition and an interview. The audition for undergraduate is 10 minutes (includes solo, excerpts, scales and sight reading). The Masters degree is 20 minutes (includes solo, excerpts, scales and sight Reading, interview). The doctorate is 30 minutes (includes solos, excerpts, and interview)

• What it is required repertoire in the entrance exam?

For tuba: undergraduate :  https://music.asu.edu/admissions/undergraduate-auditions

Two contrasting movements from works comparable in difficulty to the following representative samples: 

• Grigoriev: Studies for Tuba
• Bordogni: Legato Etudes Vol. 1
• Blazhevich: 70 Studies for Tuba
• Haddad: Suite for Tuba
• Hindemith: Sonata for Bass Tuba
• Vaughn Williams: Concerto for Bass Tuba, Mvmt. 1
• Holmes: Lento
• Wilder: Suite No. 1 for Tuba
• Marcello: Sonata in F–Major
• Marcello: Sonata in A–Minor

For euphonium: https://music.asu.edu/admissions/undergraduate-auditions

• Etudes chosen from the following or comparable collections:
• Voxman: Selected Studies
• Bordogni and Rochut: Melodious Studies, Vol. 1
• Arban: Characteristic Studies.
• Two contrasting movements from works comparable in difficulty to the following representative samples: 
• Curnow: Rhapsody for Euphonium
• Arban: Carnival of Venice and Variations on a Tyrolean Song
• DeLuca: Beautiful Colorado
• Clinard: Sonata for Unaccompanied Euphonium.

• Do you suggest any particular repertoire?

Yes – if a student contacts me, we discuss what they are working on currently and decide what repertoire they should audition with

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

No piano accompaniment is required. The audition is based on time (10, 20, 30 minutes).

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

No

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

Musicality, ear development (matching pitch with the piano, playing in tune)

About their work during the course.

• What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ....?

Solo with piano, unaccompanied, all styles, jazz and improvisation, excerpts (orchestra and military band), entrepreneurship and career design

• What format is examining LIMIT? Solo concert, piano recital ...?

Jury at the end of the semester. Perform a solo with piano, excerpts. If a student performs a recital they do not have to perform a jury.

• Does the student selects the works to play? or they are chosen by the teacher?

Both – I choose repertoire that the student should know. The student selects music they want to play. It is a combined effort. 

• Is there any work it deems mandatory? So what?
• For example:

Vaughan Williams, Gregson, Broughton Concertos for tuba

Wilhelm, Horowitz, Cosma Concertos for euphonium

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 ?

It is important for the student to have a personal concept of sound in their mind/ear. I teach the student to have a full, rich, warm, dark sound with clarity and focus. It is also important to have many ways to play different articulations. There is not one staccato or one way to play marcato. It depends on the composer, the style, the ensemble or solo setting which style of articulation that will be used. I play Eastman tubas (CC and F). 

Language is a big consideration. Depending on the language a person speaks, it effects their ability to form the right shape in the oral cavity for good sound on the tuba. It takes extra work sometimes for someone to grasp the concept, depending on the language. 

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

I make breathing tubes out of PVC piping

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

I am an Eastman Tuba Artist and I play Eastman tubas. I love them very much! There are many instruments to choose from and it is very personal. It is important for the player to try many tubas before purchasing. Attend a conference that features the industry and try the instruments first. It has to be right for the person. 

At the AETYB Madrid Festival 2018 performing "Relentless Grooves: Cuba" by Sam Pilafian.
(Work that I thank you for dedicating to me in your Concert.)

IN CONCLUSION:

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

It is most important to be a great musician. If you are a great musician, you can play in any style. You can learn any style. It is special to study with someone who teaches a certain style and it is important to have many concepts. Study with as many people as possible – more tools in your belt for playing and for teaching!

Deanna, it's a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and long time friendship.

Thank you very much and my best wishes.

A big hug.

A big hug to you! Thank you for including me.