"BETWEEN TUBAS and EUPHONIUMS....DANIEL RIDDER"

Hello everyone. Here I bring you a very interesting interview with the Tuba Soloist of the Music Band of the German Army, Daniel Ridder. I hope and wish that you enjoy it to the fullest.

I invite you to follow him on his social networks YouTube and  Facebook

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

Let's start.

· Name and surname:

Daniel Ridder

· What instrument / s do you use?

I play all kinds of Tuba- F, Eb, CC and BBb and Euphonium

· What manufacturer and model are the instruments you use:

I'm an Adams Artist!

My main Instruments are:
F Tuba – Adams Model Solo (Frontaction)

F Tuba – Miraphone Elektra (Rotary)

BBb Tuba -  Miraphone 6/4 Hagen (Rotary)

CC Tuba – I wait for the new Adams York 6/4 CC (Front action)

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

I play long years on Franz Windhager Mouthpieces (Austria)

and Josef Klier – I have my own serie there under the Name Daniel Ridder

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

As is was a teenager (13) I start with Bass trombone. After a short time I start with Euphonium to. I start with Tuba in 2001 because Bass trombone was not low enough ;-)

· At what age?

Trombone 13 and Tuba 19. I play Tuba now around 20 Years

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

Thats easy: I was always fascinated from the sound of a Tuba. Thats up to today my favorite work every day. SOUND! The most important for me...

· Who were your main teachers?

In my Community Band: Stefan Dornseifer (Principal Trombone)

Music school: Johannes Leitner from Dortmund Philharmonic

Conservatory: Professor Ullrich Haas ( Duisburg Symphony Orchestra)

Professor Hans Gelhar (Gürzenich Cologne Symphony Orchestra)
I made my Master in Music with Professor Hans Nickel (WDR Symphony Orchestra Cologne)

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 a Military musician and in Germany, it´s not easy to find contact and respect in civil    orchestras. They think: Ah, a military musician can´t play Brucker, Wagner or Mahler...
That a stupid. We visit a normal Conservatory, like every other. But if you won an Audition (Like me 2012 in Oldenburg Symphony Orchestra) or play a rehersal and they listen to you everything is good.  I have enough to play with my Symphonic Concert band of German Armed Forces (I play principal Tuba, i'm section leader for the Tuba group and I play in the Brass Quintett and the ten brass ensemble. In my free time I play very regularly in many Symphony and Opera orchestras in may area and more...

· Metal Ensembles:

As i told you one question before i play in our Brass Quintet. And i have a private Brass Quintet in my free time.

· Concerts as Soloist:

During my time at the Conservatory (Robert-Schumann Hochschule Düsseldorf) I play in many orchestras as a Soloist.  Actually my Conductor, Lieutenant Colonel Christoph Scheibling And his predecessor Professor Walter Ratzek, gave and give me the chance for a lot of Solomusic! Thats Amazing and im very Honored! As well in the Brass Quintet and other      orchestra forms. Many CD recording prove the high quality of the orchestra and soloist!

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?

Absolutely. Both are different instruments! Tuba and Euphonium have very own characteristics. Its important to find the best teacher for every instrument. Like me, I study Euphonium as an second instrument at the conservatory. I went to professor Ullrich Hass (Member and 1. Euphonium player of the famous Melton Tuba Quartet) to pick up tips for this great Instrument! 

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

Fo me is the personal teaching very important! Tutorials on YouTube or where else are not good for the student. So is now and in the future a face to face teaching most important!

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

Good Instruments, good mouthpieces, good teaching literature are most important!
The student has to come to class in own wile and not because the parents want it...

Let's talk about your EXPERIENCE IN TEACHING:

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

In a lot of different places. Next year I have invitations to Spain and Netherlands.  I teach in Brazil.  In Sao Paulo at the Conservatory of my friend Dante Capacla.  And a lot of places in Germany of course...

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

Mostly i get an invitation and they organizate  everything. 

ADAMS Master Class

· How long are your classes?

That depends from the organizer. Mostly one whole day.

· 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?

Absolutely YES! In every age and every case of performance! Younger students a small concert with parents and friends... thats enough. Advanced with more public and professionals at nice places like Concert halls or Churches... It is important to prove yourself in case of stage fright and to learn how to deal with the situation!

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?

Yes. Our mission is to teach the student for this situation. Help him with good excercises for all kind of orchestra repertoire!

· 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 Students

Master Class in Brazil

About your DAILY WORK.

· What type of repertoire do you mainly work in?

I have a standard of four exercises which I made every day: Sound, flexibility, endurance and technic 

I find a good compilation of all everyday. 

· What warm-up exercises do you use?

I look to left and right to other instruments and adjust exercises for myself and my masterclasses. I have compilation from many colleagues from all over the world.
R. Bobo, Walter Hilgers, Stefan Heimann, Stamp, Bordogni, Clarke... and many more 

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?

Music is a language. Its together with breathing, articulation, phrases... so it does´t matter if you talk, sing or play your instrument. Its the same for me...  Try to bring your own soul to the the audience.

In the ADAMS Factory

· 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?

In Europe and all over the world we have so many different preferences. BBb, CC, Eb or F Tubas...
You need instruments and mouthpieces for of this Instrumentalists. I play in a Symphonic Wind Band and I choose between the literature which instrument I play. Piston or rotary...
I like the sound of a York CC Tuba and of course the strong german Kaiser Tuba sound as well! I fell at home on all Instruments. But mostly on my beloved Adams F Tuba !

You are an interpreter with pleasure to recover old instruments and play with them. 

• Please tell us about the instruments you have found and the sensations they have produced.

Yes, thats right. I am very interested in Tuba history and I love the old and historic instruments. I like the restoration and the felling of every instrument when i play it  .My oldest tuba is from 1850. Only 15 years after the first tuba ever where build. Thats Amazing! This instrument sounds nearly like an modern tuba. I like special forms of Instruments with special valves or tuba body forms... I work on a video with some of my historic tubas, We will see in a couple of weeks.

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 hope so. As i told in one questions before, all offer the world they play different instruments. Top action, front action, compensated, rotary or what ever. You need specialists to teach this different types and form the best sound and musicality for everyone! 

Because only music keeps us alive! Forever and ever!

Daniel, it is a pleasure and an honor to count on your experience and collaboration in this series of interviews.

Dear Harold thank you for asking me! I fell honored. Take care and I hope to meet you after this pandemic time! 

Thank you very much and best wishes.

A big hug.