"BETWEN TUBAS AND EUPHONIUM: CHRIS OLKA"

Hello everyone

My name is Harold Hernandez Lozano. I'm a tuba / euphonium, repertory orchestra and chamber music profesor at the Jaén Conservatory of Music in Spain and have been a member of ITEA since 1996.

Almost at the end of this teaching period and approaching the more than certain successful Supraregional Event that AETYB is organizing with the help and approval of ITEA, I leave this interview with one of the most recognized Tubists in the instrumental panorama of the Orchestra in the USA. I mean Christopher Olka, Tuba Soloist of the Cincinatti Orchestra in Ohio.

Chris Olka

Without further ado, let's start:

Which instrument/s do you use:

Low Tuba, Euphonium, Sousaphone, Tenor Tuba.

Other: Cimbasso

Manufacturer and model of the instrument/s that you use:

 2 Yamaha 826S CC tubas,  2 Miraphone Petruschka F tubas,  1  Dillon/Jin Bao F Cimbasso

Manufacturer and model of the mouthpiece/s that you use:

Dillon Olka CB1 and CB2 and B1 models

EDUCATION:
When and where did you begin your studies of the euphonium or tuba?

1986 (Highschool), 1990-1996 University of Central Florida(B.M.), 1996-1998 Juilliard School (M.M.)

At what age?

14

What reasons or circumstances led you to study this instrument?

Band director made me play tuba because I was biggest boy in band!

Who were your main teachers?

Warren Deck, Abe Torchinsky, Joe Alessi

PROFESSIONAL EXPERIENCE:
Please leave us a little account of your experience as a soloist, member of chamber groups, orchestra, band, etc:

Worked as musician for Walt Disney Company 1989-1996, New York Freelance 1996-1999, Seattle Symphony 1999-2015, Cincinnati Symphony 2015 at present.

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

Play the CC Tuba Yamaha 826S

There was an international announcement and the orchestra received 250+ resumes. They then invited 146 candidates to the live audition. After listening to all 146 players, they narrowed down to 12 candidates in the semi-final round. Then down to 4 players in the Final round, and 3 in the Super-Final round. I was selected from the last 3 players. Every note of every round by all 146 players was played annonomously behind a blind-screen.

How was the selection process?

Extremely difficult, see last answer above.

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

C Minor Sarabande from the Bach Cello Suite played down 1 octave was required solo piece as well as Vaughn Williams concerto. The orchestral repertoire excerpts included all of the major works. I do not have the list anymore basically every major work by every composer A-Z!

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

No free choice repetoire was included.

In another sense:

How is your current work in the orchestra?

Extremely busy and very high level. We usually work 5-6 days per week for 52 weeks with 5-6 weeks of vacation. Most weeks have 2-3 concerts of different repertoire. We also play all of the Pops, Opera, and Ballet concerts for those companies in Cincinnati. National and International touring is regular. Last season we toured China and Europe.

Do you combine it with another musical group?

Currently I also perform in a brass quintet of the Principal Brass players for CSO.

With Joe Alessi and other Trombonists

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

Spend every day practicing fundamentals as well as solos and orchestral excerpts. While most players spend much time practicing loud playing, it is probably more important to learn soft playing, especially for the tuba. Loud playing may get you hired...soft playing will KEEP you hired!

TEACHING EXPERIENCE:
Please let us know what learning centers you have taught in (as a full time professor, visiting professor, courses, master classes, etc..)

Instructor of Tuba and Euphonium at University of Washington 2001-2015

TAKING OTHER ITEMS OF INTEREST.
Here in Spain, in some centers it is considered that the bombardino / 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 the euphonium.

Could you give us your opinion on this and on how you would approach this issue in the interest of an education and training tailored to the necessary specialization that is required today?

I believe that the euphonium is a specialized instrument and should be taught and played by a specialist. Larger schools and conservatories should have a teacher for both tuba and separately.

With some instruments.

How does he/she organize his/her classes?

A major part of the course curriculum is standardized and based on the idea that the student should master the solo repertoire, sometimes to the detriment of large group repertoire (Orchestra and Band), when in fact, the majority of tuba and euphonium players go on to be teachers and / or members of a band and to a lesser extent, an orchestra in the case of tubas.

In your opinión, how should one address this issue? How important do you think it is to include the learning and mastering of orchestral repertoire as part of the  course curriculum?

SPEAKING OF TECHNICAL ISSUES:
Could you give us your opinion about:

the different concepts of sound and what characteristics define it,

articulation, the types of instruments, literature, if you consider the influence of language and musical tradition important in the sound and way of playing?

My concept of sounds depends on the type of playing I’m doing. When in the orchestra (my primary job) I look for a large, clear, and resonant sound that will support the orchestra and easily project. Because of this, I choose to play larger instruments such as 6/4 Contrabass tubas in both CC and BBb depending on the repertoire.

When playing solo or chamber music I look for a smaller, clear, and brighter sound. As such, I usually look for 4/4-5/4 size F tubas and smaller CC tubas. Again, depending on the repertoire.

For either type of playing, articulation is the same. Clear, light, and supported with lots of air behind the lips.

I believe that the native language of a brass player can influence their ability to articulate. Spanish speakers tend to have excellent rapid articulation, for instance.

Talk a little about the making of tubas and / or euphoniums and mouth pieces:

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

Recital

I am very interested in the many makers of tubas currently. Most interesting is the new wave of instruments being produced and designed in China. They are making great instruments for a very good price! Chinese mouthpieces….still not good!

My choice is currently going towards Eastman and Wessex, along with Miraphone.

Please, tell me about your warm up exercise, experience and all about this.

Please see my Youtube Channel (Chris Olka)

TO CONCLUDE:
In your experience, do you believe that the diversity of performers, instruments, and the opportunity to train in various specialized schools is becoming homogenized in the interpretative centers that are already established? (Example Russian, American, Germano-Austrian, English, etc).

I feel that there is a move to becoming more uniform in brass playing styles and traditions internationally. However, I don’t think this is entirely positive. There are many great national styles and traditions (German F and BBb use, British Eb use, etc) that are slowly being lost as time goes by. I think that National Conservatories in each country should teach international standards but ALSO teach traditions of the native country.

I am very grateful for your kind attention and for answering my questions.
Again, thank you very much.

Thanks to you