Hello everyone. It is a real pleasure for me to be able to have among my interviewees one of the most renowned Tubists in Europe and soloist of one of the most important orchestras in the world, the Vienna Philharmonic. It is an honor and a luxury to count on your friendship and sincere collaboration.
Without more I hope you enjoy your experience and opinions.Let's start.
· Name and surname:
My name is Christoph Gigler
· What instrument / s do you use?
F Tuba, B Tuba, Cimbasso and Austrian Akkordeon☺
· What manufacturer and model are the instruments you use:
F Tuba I play the model 4260 “Tradition” Melton (6 Valves/ Vienna Stil 3+3 and normal Stil 4+2) and
B Tuba I play an old instrument which has been renovated, I don´t know the name…(5,Valves)
Cimbasso/Lätzsch
Austrian Akkordeon ca. 62 Buttons☺))))
· What manufacturer and model are the mouthpiece / s you use:
Karl Breslmair XCG4L and X-33
Let's talk about your EDUCATION:
· When and where did you start your Tuba studies?
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| Meditation |
My first Tuba lesson was at 12 years with Thomas Gansch at a folk-music workshop. I asked him how to play the tuba, he said: just blow into the instrument and make music. I am now 36 years old and still adhere to this principle. Of course, I first studied at the music school in my hometown. Then I studied in Graz with Erich Bendl at the conservatory and then in Linz with Willfried Brandstötter, fortunately:-))) these were two wonderful professors for me
· At what age?
I moved to graz at the age of 16 and studied Austrian folk and classic music with the instruments; Tuba, Austrian accordion, diatonic/chromatic dulcimer and zither. I've lived from making music even then. Since there are few tuba gigs in churches and co... I have always played many music styles, classical, folk music, jazz, rock...
when I'm on tour with the orchestra now, I always visit jazz clubs in NY or look for real Cuban rhythm, there's living inside...:-)
· What reasons or circumstances led you to study this instrument?
It is the largest, longest, deepest and most beautiful wind instrument;-))) so I wanted to play the tuba. I've always been a bassman in my heart. I love to play rhythm and to be the fundamental in music...
· Who were your main teachers?
Main teacher is always to make music with other people ... best every day, but that's not possible right now... but we will all be able to make music together again.
The most importan Erich Bendl and Willfried Brandstötter
Regarding your vast PROFESSIONAL EXPERIENCE:
"So I say
Thank you for the music, the songs I'm singing
Thanks for all the joy they're bringing
Who can live without it? I ask in all honesty
What would life be?
Without a song or a dance, what are we?
So I say thank you for the music
For giving it to me
… ;-)"
Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.
Vienna Philharmonic Orchestra
Phil Blech
Art of Brass Vienna
Vienna Brass Connection
Bullhorns
Code 1842
MC Maryetta
Original Wolfsmilch Echo
Duo Schorn/Gigler
In the duo clarinet and tuba Matthias Schorn and I have already made a few commissioned compositions. eg a fugue for this cast, I send the notes with. We are also working on a short music film at the Albertina in Vienna. We have commissioned a composition for string quartet and clarinet/tuba solo with the theme "Passion" to images by Gottfried Helnwein.
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 don't know what's perfect... everyone is different and has other requirements when playing. but one thing is always important, listen to the music and the other players. I play several instruments and that's good for me, I need that. others only play one instrument and do it very well! important is always a rhythm instrumental and a chord instrument and don't forget the melody:-)))
• How do you see the tuba and euphonium teaching today and with a view to the future?
We must always try to make as good music as possible, whether with euphonium/tuba or only with tuba or just euphonium. it is important to understand how a wind instrument works physically, then you can learn both if you want to. James Morrison is a good example, he can do anything. But he has also certainly learned to listen to music exactly and also to understand it in a phylical way and to train all the right muscles. and make music with it. for me it is important to listen, understand, train and then make music. as often as possible.
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| In the Alps |
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 only teach privately and at work shops. I have taught in Austria, Germany, China at various work shops....
· How do you organize your classes and the topic in general?
I get a call or a mail, then I look if I have to show and if it is somehow possible I like to do workshops!:-))) I have also given a lecture about the history of the tuba in a museum where a wind instruments exhibition was, which was also very funny...but it is better with me if I just play:-)))))))
· How long are your classes?
Two hours, a week or more...
· 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?
Make music whenever possible
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?
Very important! above all you should learn this repertoir with scores, so that you can try to understand the music better. not just play his voice, learn as much as possible.
· 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?
…Identical…
In china I once had 8 trumpeters and 3 tubists together in a workshop:-))! chord cadenzas play together, rhythmically shift, modulate... composing together is also a possibility..
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| With Albert Wieder |
About your DAILY WORK.
· What type of repertoire do you mainly work in?
Stay sound fit (long tones) focus all dynamic levels, play solos, record as often as possible, learn new scales, just make music, find new ideas...
· What warm-up exercises do you use?
A little different every day. a mixture of all exercises, what you need
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?
Listen to the music, to the other musicians and play a solid bass tone. each orchestra/ensemble/band sounds different. you have to do what is necessary... and every day the orchestra/ensemble/band sounds a little different and always new... you have to listen and react. that's the fun of playing together
· 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 play my instruments and my mouthpieces of these companies because "I" can make music best with this music tool. but you still have to try every time to give the best if you are allowed to stand on a stage
You are a recognized interpreter in you country.
Please tell us something about of our instruments in your land.
Tuba is an instrument that comes from brass music. This is the same all over the world...thanks to the composers for using this beautiful instrument for their work and I hope to be a lot more
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| Folk Music Family |
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 try to make music as good as possible, whatever. thank you for the invitation and I wish everyone a lot of health!!!
Christoph, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.
I hope see you soon.
Thank you very much and best wishes.
A big hug.
