"BETWEEN TUBAS AND EUPHONIUMS...BERND van ECHELPOEL "

 Hello, today's interview is very gratifying for me not only because he is an excellent tuba player but also because he is an interpretative reference and teacher of our instruments in his homeland, Belgium.

I am infinitely grateful for his collaboration and interest in my interview project and of course for his friendship.

Without further ado, let's begin.

Photo: Ieen Vandenhende

· Name and surname:

Bernd van Echelpoel

· What instrument / s do you use?

I play all kinds of tuba. Depending of the music I play, I try to choose the instrument that fits the best in my opinion. This makes me able to stay Flexible and making different colors as a musician.

Last years I mainly use the German rotary F and B tuba by B&S and Melton. Before I also played the 4/4 piston valves C Tuba and the 4/4 piston valve F Tuba. I always was sceptic about the big American York 6/4 C tuba. But recently I switched to the Eastman 6/4 C tuba wich is an instrument that sounds and plays much lighter compared to other York style tubas i tried before.

In Brassband and English music I use the Besson E-flat tuba because of its round and singing sound. Since I first used this instrument in the music by Elgar it felt like the perfect match.

For opera and Italian music I use a Cimbasso built by Lätzsch. This instrument adds a color to your sound what you never will get with a tuba.

· What make and model are the instrument you use:

E-Flat tuba: Besson Sovereign (straight leadpipe and exchangable mouthpiece reciever S, M or L)

F tuba: B&S JBL (with extra trigger on the mainslide and 5 valves)

Hirsbruner 389 

C tuba: Eastman 836 6/4

B tuba: Melton Fafner

Besson Sovereign (old model)

Cimbasso: Lätzsch

Testing your fafner Melton at the factory.

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

F tuba and cimbasso: Dillon Chris Olka CB2

C and B tuba: Dillon Chris Olka CB1 (European shank)

E-flat tuba: Bach 12

Let's talk about your EDUCATION:

· When and where their studies or tuba or euphonium started?

I started as a very young kid with playing percussion in the local wind band. This was not a great success and we decided to change to the trumpet soon after.

My first lessons where with Arthur Vanderhoeft in the Antwerp music academy. I was lucky to have my first lessons with a great pedagogue like him. He certainly planted the seed of my love for music. After a few years he made me change to the euphonium what suited me much better as trumpet.

At the age of 15 I decided to go for a career in music and I started my studies at “dé Kunsthumaniora” (preliminary conservatoire of Antwerp) with teachers Nick Ost and Bart Van Neyghem. Both working in the Symphonic Wind Band of the Belgian Guides at that time and playing with the famous Brassband Willebroek. I started playing still the euphonium, but after 1 year I switched completely to the tuba.

At the age of 18 I went to the Antwerp Conservatoire to study with the great Hendrik-Jan Renes, who is the principal tuba with the Rotterdam Philharmonic. Hendrik-Jan really was of a huge importance to change my mind about sound and projection. He gave me a clear idea about how to sound in a symphony orchestra and how to play in the big concert halls. 

· At what age?

I started to play music when I was 7 but the change to tuba came when I was 16.

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

The way this instrument sounds and the function of being the fundament in an ensemble made me loving this instrument so much. 

My physical abilities made the tuba more suitable for me. 

After listening a recording made by Hans Nickel, Tubaplayer with the German WDR orchestra, I really fell in love with the beautiful singing sound of this instrument. Many people still see our instrument as just the low brass instrument from the wind band. With no more qualities as just accompanying. Nothing more is true!

· Who were your main teachers?

Arthur Vanderhoeft

Nick Ost

Bart Van Neyghem

Hendrik-Jan Renes

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 started playing music in the local Music School Brassband, A.M.Brass conducted by my teacher Arthur Vanderhoeft. Shortly after I started to play in the local wind band of Edegem and Zwijndrecht, both close to my home.

With his colleagues from Antwerp Symphony Orchestra

When I started my studies in “dé Kunsthumaniora” I joined brassband Bacchus conducted by my teacher Bart Van Neyghem and the world famous Brassband Willebroek. For the moment I still play in one of the best brassbands of Europe, Festival Brassband for fun. Brassband gives me the extra challenge I need to stay in shape and keep working on my technical side. 

My first professional position was with the Netherlands Ballet and Symphony Orchestra “Holland Symfonia” when I was 21. 

3 years later I won the same position in the Netherlands Philharmonic Orchestra.

1 year later I switched to my current position with the Antwerp Symphony Orchestra in my hometown.

As freelancer I played with many of the big orchestras in the area like: Concertgebouw Orchestra, Radio Symphony Orchestra Frankfurt, Rotterdam Philharmonic, Philharmonie Zuid Nederland, Residentie Orchestra the Hague, Radio Philharmonic Orchestra, Brussels Philharmonic, Flemish Opera, symphony Orchestra of Flanders, …

· Metal sets:

I n the past I have been working a lot in Brass quintets and Brass ensembles. At the moment I don’t play in a fixed ensemble. In the Antwerp Symphony Orchestra we play lots of chamber music with the Low Brass section and Brass quintet.

I love playing chambermusic and I have lots of plans for the future. Stay tuned if you want to know more.

· Solo concerts:

As Besson, B&S and Melton artist I love to play solo concerts and to give masterclasses all arround the globe.

This brought me to Colombia, Brasil, USA, Spain, Germany, Netherlands, France, Finland, …

I recorded A solo CD with the Belgian AirForce Band called Berno with 2 new Belgian Compositions on it written for me by my Good Friends Steven Verhelst and Wim Bex.

About your ORCHESTRAL EXPERIENCE:

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

Playing as a professional musician in the Netherlands gave me a lot of experience. I loved my time in the Netherlands but I was living at the same time in Belgium. Every day I had to travel hours to my work. I never really wanted to move because my family and friends were all living in Belgium. As soon I heard the position of tuba was open in Antwerp I decided this position had to be mine. In the the end I can only be happy to be able to play in my hometown, close to my family and friends. Doing what I like the most. Playing beautiful music and connect to the Antwerp audience together with my lovely colleagues. 

• How was the selection process?

Like in almost every regular selection for orchestras there was an audition in 3 rounds. The first 2 behind a screen and a last one open for the jury to see us.

There were in total 39 people present that day to do audition. In the 2nd round 4 people were left and I entered the finals together with my dear friend David Kutz who is currently playing in my old orchestra the Netherlands Philharmonic Orchestra. 

In the orchestra

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

In the first round I had to play Lebedev Concerto on the contrabasstuba. In the 2nd round they asked me to play the Vaughan Williams Concerto on the bass tuba. The final round consisted of the major symphonic orchestral excerpts.

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

No there was no free choice piece. As far as I know this happens not so much in European orchestras.

In another sense:

• How is your current work in the orchestra?

I love to be able to work in the same city as I live with my family. I grew up as a kid 15 km away from Antwerp. So I can not be more happy to share my passion so close.

The work in the orchestra is every week different. We play lots of big symphonic repertoire. But as a Flemish orchestra we see it as our duty to perform less known music from our own composers in the past as also giving a stage to young and more established composers living at the present time.

Next to the regular work we have lots projects for kids, schools and what I like the most are the social projects we do. This way we connect with people who would never be able to come to us in the concert hall.

• Do you combine it with another musical group?

With his colleagues from Festival Brass band

I play for fun in one of the best Brass bands of Europe “Festival Brass band” conducted my close friend and colleague Steven Verhaert.

Playing in a brass band is the perfect way to keep challenging myself and not to forget where my roots are.

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

Look for your own sound and don’t try to copy the sound from somebody else. Maybe your sound is not suited for orchestra A but orchestra B might just be looking for somebody like you. 

Keep working to become everyday a better player as you were the day before. Don’t wait for magic to happen. The only person who can help you to become a better player is yourself! Be your own teacher! We as teachers are just a coach to help you reaching your goals.

When you prepare for auditions, exams, concerts, … keep working on a good sound, sense of rhythm,  Metrum, intonation and articulation. This is what can make the difference on the moment with other players.

Know that people in a jury for an audition are looking for a musician and they are not there to judge you as a person!

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.

In the school where i teach in Antwerp we have different teachers for both instruments. In my opinion this is the best way. A euphonium and tuba have similarities but also big differences.

The best way is like we teach in Antwerp. We are more a team of brass teachers instead of individual classes.

I don’t know many people who combine playing the tuba and euphonium on a high level. Both instruments are not easy to combine because of the difference in size of mouthpieces. I know people who can manage it very well. But most of the time 1 instrument is the primary choice.

• 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?

As a professional musician of the 21st century. We need to be much more open for different styles and work options. It is almost impossible to earn a living with only one job. Most of us will combine playing in orchestra, ensemble, solo and teaching.

Therefore it is important to have knowledge of different instruments and styles. For a tuba player it can be interesting to know more about the euphonium. For a euphonium player it can be interesting to know more about trombone, tuba, tenor horn and baritone. This to be a better teacher to the future generation of young musicians and to have more options in your career.

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

The quality of teachers is always increasing but the quality of time we get to teach young musicians is always decreasing. This is something we see in Belgium very good the last decade.

Because of this we have to be much more inventive to get our message to our students. We have to be much more flexible but please never lower the level of your teaching. We have the future of music in our own hands and this this is a big responsability!

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

Any good brass student should have a very well balanced practice routine. Never just play what you like but also what you less like. Probably you donˋt like it because it feels difficult to you. Practice makes you a better musician. Try every day to be a better musician as the day before.

For me a good practice diet exists of: warming up, basics, lyrical playing, orchestral playing and repertoire. All of this topics you should handle every day depending of what you have to do professionally that day. If you had a rehearsal in the orchestra you should maybe not handle that topic to much but more of the lyrical etc.

The Royal Conservatoire of Antwerp.

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 have been teaching in all levels of music in Belgium. Today I only teach in the Royal Conservatoire of Antwerp.

I used to teach in the local music school of Antwerp and in the middle school of music of Antwerp till last year.

For masterclasses i visited many places in the world but mainly Europe. I gave masterclasses in the USA, colombia, Brasil, Poland, Germany, the Netherlands, France and Spain.

As a Besson, B&S and Melton artist I can visit many places. Next to this we are participating as school in the Erasmus Program of Europe. This system makes it easy for teachers to exchange between schools for masterclasses en for students to study abroad. Please contact me if you are interested to work with me in your school or if you would like to come and study in Antwerp.

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

My teaching day is normally on Monday. I start at 9.00 in the morning with a warming-up for the whole class. After this we go to individual classes and chamber music classes.

Every 2 weeks we try to organise a rehearsal with piano and we try to organise every (2) months a concert for our class. Every time with a different topic going from preparation auditions to repertoire concerts. In the brass department we organise each month a moment where the students play for each other and to give comments to the fellow students.

Every Wednesday the students play together in the brass ensemble or orchestral repertoire classes. In this classes we do not only touch the symphonic repertoire but also wind orchestra and brass band.

• How long are your classes?

The classical warming up usually is 1,5 hour. The individual classes between 1 and 1,5 hour.

• 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?

Every concert or exam I ask my students to present themselves. This has several reasons. First of all it is the best way to connect with your audience and next to this it makes sure you have to know the background of what you play.

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?

As I already mentioned before we have different view on this topic in Antwerp. We have 2 types of masters available. One for the performing artist and one for the teaching artist. This way the student can choose which path they want to follow. They can also choose to do first the performing masters and after that a shorter educational master.

In the orchestral repertoire class and audition training we use repertoire from the symphonic orchestra, wind band and brass band. This because the reality in Belgium is indeed that many of our students win jobs in wind bands or teach and play in brass bands.

A musician in the 21st century can not only do 1 thing, they probably have to combine more jobs and be flexible to do them. The conservatoire is there to prepare the students for this changing world.

· 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?

This is all depending of what you would like to do and where your heart is. This is not up to me to judge. As a euphonium player you have less chances to play in symphony orchestra but more to play solo and teach. You would have a more leading role in ensembles.

As a tuba player you have more chances to play in symphonic orchestra and you can teach also. You would have a more supportive role in ensembles. It is all a matter of choice and taste.

Next to all this there is something like physics. Not everybody is made to play tuba or euphonium.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

My daily work is in a symphony orchestra. So mainly I play the classical music written for big orchestra.

To challenge myself technically and also because I just like it, I play in a brass band called Festival Brass band (current national champions of Belgium).

I love playing solo and chamber music but there a not so many chances to do this often.

· What warm-up exercises do you use?

I try to have a basic routine to lean on every day and to add new ideas from time to time.

I use a combination of ideas from my teachers, my own and books i have. A good routine should have at least breathing, physical, tone excercises, flexibility, scales, range, Flow excercises, …

There is so much fun stuff out there. Go and explore them and do not just stick to what you know. Learn by trial and error what works and does not work for you.

In the record studio

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?

Sound is something in your mind. Like Arnold Jacobs said. Sing the melody in your mind and play it.

I try to vary my sound for every style and piece of music. This one of the main reasons I use 5 instruments in the orchestra. They all have a different characteristic and sound. Next to all of this I try to differ the different articulations and sound I want.

The most important thing is what nature gave us, our ears! Always listen and adapt to what is happening around you.

· 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?

Again is this something of taste. Do you prefer piston valves or more into the German rotary valve system?  Both have pro and contra. 

I am big fan of the instruments made by the Buffet Crampon group. They have everything I like and especially they make top quality instruments. My f tuba B&S JBL has a warm round sound with lots of core. My besson E-flat has a dark round and singing sound which blends well with the other tubas in the brass band. My Melton Fafner has everything an orchestral tuba needs to have. A deep dark sound with lots of projection and core.

For my c-tuba I went to an American 6/4 Eastman. This is something different. Dark warm and very flexible. Perfect when you want to make a carpet beneath the orchestra and blend in with the double basses.

My cimbasso by Laetsch is amazing when you play Italian opera repertoire. Easy to play in tune and with a singing projecting sound blending very well with the trombones.

For my mouthpieces I have been searching long time to find the perfect gear and I am still looking. Perfection does not exist! It is all matter of searching and taste.

On my C and B-flat i think I finally found almost perfection. I use the Dillon Chris Olka cb1. The perfect combination between good clear articulation and a deep dark projecting sound.

On my e-flat I play a Bach 12 what gives me a good articulation and easy to blend sound.

On my f-tuba I use a perantucci 65. Till now the best working mouthpiece, but i keep looking.

Photo: Ieen Vandenhende

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

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

In Belgium we have a mixture of 3 main languages and cultures Dutch, French and German. You see this also in the musical world. We have influences of all countries surrounding us what makes us a very rich country.

I like to call myself a mixture of German, French en English influences. I see the same in my orchestra. We have so many different cultures and we have a long tradition of being flexible in service of the music. After playing professionally in many other countries this is the thing that defines us in Belgium the most, i guess.

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).

In the past you had orchestras with mainly people from around that area who played in orchestras. This is changing for long now to a more versatile combination of nationalities in each orchestra. But I don’t believe that they are losing their identity because of this. When you look to orchestras like Concertgebouw, Berlin, Vienna, Chicago, … They still have their own way of making sound. This is something we have to treasure for the future! We have to play intelligent, with knowledge of the music and add our own taste to the recipe. There is not something as a standard recipe for the perfect standard orchestral sound. 

Bernd, 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.

PD.  Here is the link to Bernd's youtube channel. It's really great. Enjoy it. 🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"BETWEEN TUBAS AND EUPHONIUMS...BETH CHOUINARD "

Hello everybody. Today's interviewee is a reference in her country, USA, a recognized, excellent and multi-instrumentalist to whom I sincerely thank her for her friendship and collaboration in this interview project.

Let us begin.

· Name and surname:  

o Beth Chouinard-Mitchell

· What instrument / s do you use? 

o C and F tubas, cimbasso, serpent, euphonium, bass trombone

· That make and model are the tools you use: 

o I am an Eastman Artist, so I play the Eastman BBC 836 and the Eastman BBC 832.  Eastman is a partner with Wilson so I also enjoy playing the Wilson Merlin F Tuba 

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

o My mouthpiece is made by Warburton and is the “Beth Mitchell Model” Mouthpiece

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

o I really like Eastman Winds.  They have an excellent product and stellar customer service.

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started? At what age?

o I started playing tuba when I was 14 in Dallas Texas.  For university I went to the Peabody Conservatory of Music of the Johns Hopkins University, and then continued at the University of Southern California for my Masters and Doctorate Degrees, Majoring in Tuba, minoring in Musicology, Conducting, and Arts Leadership

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

o I was a clarinetist for many years, and my brother needed a tuba for his brass quintet.  He convinced me it would be fun. He was right!

· Who were your main teachers?

o David Fedderly, Tommy Johnson, Roger Bobo, Jim Self

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:

o I have played with the World Famous Disneyland Band, subbed with various groups in Los Angeles including the Opera, and the Pacific Symphony.  I also play in the film studios in Los Angeles and used to play with the Women’s Philharmonic in San Francisco.

· Chamber Music: 

o I play with several profesional chamber music groups in Los Angeles.  I also have a brass quartet called Music Matters Global which takes profesional concerts and masterclasses around the world to disadvantaged countries and áreas.

· Solo concerts: 

o I am an international solo recital artist with Eastman Winds. I give between 10-25 solo recital concerts each year.

· Which uses warm-up exercises?  

o I like the Arnold Jacobs 20 minute warm up, found in the back of the Hal Leonard Advanced Band Method for TUBA which is available on Amazon (the blue book)

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?  

o I am personally primarily a tuba player.  I think to teach, it is essential to know both tuba and euphonium and to be familiar with the repertoire.  I think to perform, it is up to the performer and what they are best with.

Let's talk about your TEACHING EXPERIENCE:

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

o I teach at Azusa Pacific University and also Pasadena City College.  I have about 15 tuba and euphonium players in my studios.  I also teach chamber music and music appreciation. 

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

o In lessons students must play etudes, solo literature, excerpts, and anything special they might be working on.

· How long are your classes?

o Lessons are once a week 45 minutes to an hour, depending on the school requirements.

o Lecture classes are 2-1/2 hrs 2 times a week.

· 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?

o Yes.  Playing in public is an acquired skill for many and it is helpful to play many concerts and performances  at every age.

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

o No, there are many brass teachers, but I am the tuba and euphonium specialist at my schools.

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? 

o It is important to have a balanced diet of solos, etudes, band or orchestral excerpts, especially if the musician desires to get a job after university.  A teacher who only teaches one thing is not preparing their students well to work after school.

· Do you suggest any particular repertoire?

o I suggest repertoire that fits the student in addition to required repertoire.  There is much standard repertoire that is important for the development of the student. These are hoops that each student must jump through in order to gain the necessary skills as an instrumentalist and musician.  In my studio, each students personality and their personal goals also play a role in the repertoire assigned.

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

o In my studio, the student must have two pieces for their final jury.  One will always be a piece of standard repertoire.  The second piece they can choose and play if I approve it.

About their work during the Master Class.

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

o Students bring many things into masterclasses.  It is a safe place for them to perform in front of their peers and get feedback.  They are welcome to bring anything into the masterclass for evaluation.   We will work on the details of what they bring in.  Students work on everything in masterclass! =)

SPEAKING OF TECHNICAL ISSUES:

• From your experience, could you give us your opinion on the different concepts of sound and what characteristics in your opinion define it, articulation, types of instruments, literature?

o Sound is your first impression as a musician.  Sound is created with good buzz and good air.  Both are necessary elements of a great sound.

o In Pasadena, one of the main struggles is articulation.  Music educators in lower grades have taught tuba players to articulate with "HooHoo" or "PooPoo" which are both incorrect.  It should be "TuTu" ESPECIALLY on Tuba.  It takes students a long time to unlearn these ideas and get to a point where they can articulate notes correctly.  Poor articulation limits what a student can do on the instrument.

• Do you consider the influence of the language and musical tradition of a country on the sound and playing of a performer to be important?

o I think so, but traditions can also be learned and shared. I don’t think that only a musician of a particular country is particularly qualified just because they are of the correct nationality and language.  Musicians of all races, nationalities, and genders can bring many positive influences into music of another musical tradition. 

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

o Many teachers push their mouthpieces on students.  I do not. There is not only one right answer.  Every person has a different teeth and mouth setup that influences what works best for them in a mouthpiece.  There is not one right answer for everyone, which is why there are so many options for mouthpieces.

· Talk a little about making your singular Tuba:

o I have never actually MADE tubas, but I have tested them for different companies.  I would give instrument companies feedback on their instruments, which allowed them to change designs in ways that were good for musicians.  Sometimes they listened to my comments, sometimes not.  It is great however to be a part of the planning process.

Beth, you are a recognized interpreter, in your country and another countries.

• Please tell us something about the history and development of the Tuba and euphonium woman players in your land.

o Women have played tuba and euphonium from the very beginning. Like most other countries, they have not been allowed to be in professional ensembles until recently because men thought that women did not have the skills to play these instruments.  This is not true.  Women are very excellent on tuba and euphonium and are breaking into professional orchestras and groups as they are given fair auditions. 

IN CONCLUSION:

The research carried out and contrasted agree that there are five historically recognised methodologies for teaching the tuba and euphonium in the world. The American, the English, the French, the German and the Russian.

• In your experience, do you think that the diversity of players, instruments and the opportunity to train in various specialised schools enriches and homogenised the way of playing our instruments?

o Perhaps.  Although there are different national schools of playing, I think this is more about national pride and tradition.  Playing in different countries with different musical traditions isn’t very different for tuba, which is why successful musicians in orchestras all over the world can train in America or other places.  Tuba is not very complex, it is not rocket science.  It is just tuba.  Our goal should be to listen carefully, match the styles and sounds we hear, and to make great music.

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

• Thank you for allowing me to interview with you!  All the very best to you!  Beth

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....DANIELLE VanTUINEN"

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 ..."

Without further ado, let's get started. 

·      Name and surname:

  Danielle Duron-VanTuinen

·      What instrument / s do you use?

-       Euphonium: Shires Q40

-       Eb-Tuba: Eastman 853

-       CC-Tuba: Eastman 832

·      That make and model are the tools you use:

-       Euphonium: Shires

-       Both Tubas: Eastman

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

-       Euphonium Mouthpiece: DC3

-       Eb-Tuba Mouthpiece: Alliance Neish

-       CC-Tuba Mouthpiece: Shires 4E

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

-       Euphonium: Central Michigan University (2009) (Bachelor of Music Performance)

-      Tuba: Arizona State University (2013) (Master of Music in Euphonium) & (Doctorate in  

        Musical Studies in Tuba and Euphonium)

-   I initially started University in 2007 as a Biology Major and found Euphonium to by my passion and started studying music in 2009.

·      At what age?

-        I started playing euphonium at 18 and tuba at 24

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

-     I initially started college as a Biology major and after realizing that I couldn’t imagine myself sticking with it as a career and decided to try my hand at music. For a year I took private lessons from one of the tuba/euph majors at my University and was accepted the following year. Prior to studying I had participated in marching band at Central Michigan where I initially became interested in playing the euphonium.

-   I felt that music and the euphonium provided me with the type of career that would be fulfilling in a professional standpoint but also very rewarding from an emotional and personal standpoint.

·      Who were your main teachers?

-       Dr. Mark Cox (Central Michigan University)

-       Dr. Eric Dluzniewski (Central Michigan University before I joined the studio)

-       Professor Scott Hanson (Sabbatical teacher at Central Michigan University

-       Dr. Deanna Swoboda (Arizona State University)

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 really learned how to play the euphonium while in Brass Bands in my early years of studying. I continued this throughout graduate school. Throughout school I participated in all of the standard large and chamber ensembles.

-    As a professional I actively participate in our faculty brass quintet. This ensemble goes out into the community and interacts will large populations of individuals throughout Florida.

-   I also get the pleasure of performing within Orchestras throughout the US as either a euphonium player or additional tubist on certain pieces. 

·      Solo concerts:

-    My largest “solo” experience actually comes from my duo. The Moreau | VanTuinen Duo is an ensemble comprised of Dr. Danielle Moreau (Percussion) and myself on both tuba and euphonium….occasionally if I’m feeling squirrelly I’ll pull out a trombone, but nobody wants to hear that! This ensembles allows us to travel all over the world presenting brand new chamber works as well as solo pieces. We get to perform in various venues and in front of such a diverse collection of people.

·      Which uses warm-up exercises?

-     I tend to really dive into “The Brass Gym” and the “20 Minute Warm-up” by Michael Davis. That’s typically if I need a sense of schedule at the beginning of my practice session. That being said, I love playing long tones and playing short melodies with a drone. It’s a time that I just to zone out and really feel/see the sound that comes out of my instrument.

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?

-    You know, this is a hard question…When I was younger I would have said that learning the euphonium should be enough as it is. Though, since being more immersed in the “work force” I’ve realized how important and crucial it is to be as multi-faceted as possible. I feel that I honestly would not be where I am had I not picked up the tuba and began studying at a high level. I think in order to be relevant in today’s musical environment you need to have your hands in many pots.

-   I personally choose the route of learning the tuba in addition to the euphonium. I don’t personally feel that that is the right decision for everyone but I do think as a euphonium player (with very few career options) there needs to be either another area or instrument that a person is proficient in.

-    As for how education can reflect this idea. I personally feel that as the music industry evolves, the University experience needs to mimic the real world. Thus requiring students to be a little more self-sufficient, experimental and exploratory. I feel that most Universities tend to be too stuck in “what has always work will work today”. I think that encouraging students to think out of the box and explore areas outside of the classical world are crucial for development!

Let's talk about your TEACHING EXPERIENCE:

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

-     I’m currently the Assistant Professor of Tuba and Euphonium at the University of Florida.

-   Before moving to Florida I taught at Plymouth State University and the University of New Hampshire in New Hampshire. Portland Conservatory, Westbrook School District and New Horizons Adult Music Learning up in Maine.

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

-    Most of the classes I’m currently teaching are in relation to the tuba/euph. We currently have lessons, studio, tuba/euph ensemble, Pedagogy, Repertoire and chamber ensembles. In addition to studio related classes I’m teaching a course titled, “ Women Changing Society Through Music” which is designed to discuss how women throughout history played an important role in music in order to effect the environment they were immersed in.

    

·      How long are your classes?

-   Each class runs in 50 min periods with 15 minutes of transition time due to the size of the University

·     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’s extremely important for students of all abilities and ages to perform or present in various situations. The experience alone is such a valuable teaching and learning tool. We try to get the studio out into a large array of audience types, whether they are kids concerts at an elementary school introducing students to these larges instruments early on to performing in nursing and retirement communities. The value comes from the connection that the students make with every audience type.

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

-     I am the only professor at my University that is teaching Tuba and Euph!

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 don't teach the audition excerpts in a such a traditional way. I value overall good musicianship so I talk often about knowing and understanding the score and seeing the music through the eyes of the composer.

-   I honestly feel that in order to be well rounded both tuba and euphonium students need to immerse themselves in large ensemble repertoire as well as solo literature. I try to implement various listening/score study assignments within my studio class from the beginning so they can essentially have an early exposure to pieces that they may not choose to listen or study on their own.

-    Learning Orchestral and Band excerpts is a crucial part applied lessons here at UF. Not for the singular purpose of an audition but rather to learn how to blend and mold ones sound with various groups of people. We challenge the students to learning an excerpt with precision clarity, and still learn to adapt their sound to various groups and ensembles.

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

-     At the University of Florida we hold multi-layered audition process. Once the student applies to both the University and the School of Music they will schedule an audition. These auditions take place in front of the entire brass department. Throughout audition day students will go through various meetings and interviews. These interviews serve as a tool to decide if the student will not only survive a degree in music but rather thrive and grow as a person. Once the students have been evaluated at each level they are then given a decision with an financial award package.

·      What it is required repertoire in the entrance exam?

-       Undergraduate Requirements for Tuba:     

1) Two Contrasting pieces (one can be an etude)

                - Grigoriev: Studies for Tuba

                - Bordogni: Lento Etudes Vol. 1

                - Blazhevich: 70 Studies for Tuba

                - Tyrell: 40 Advanced Studies

                - Arbans: Characteristic Studies

Solo Examples:

·       Haddad: Suite for Tuba

·       Hindemith: Sonata for Bass Tuba

·       Vaughan Williams: Concerto for Bass Tuba

·       Holmes: Lento

·       Marcello: Sonata in F-Major

·       Marcello: Sonata in A-Minor

2) All major scales in two octaves

3) Sight reading

-       Undergraduate Requirements for Euphonium:

1)     Two Contrasting Pieces (One can be an etude)

o   Voxman: Selected Studies for Baritone

o   Tyrell: 40 Studies for Euphonium

o   Fink: Studies in Legato

o   Rochut: Melodious Etudes for Trombone

Solo Examples:

·       Morceau Symphonique - Guilmant

·       Rhapsody for Euphonium – Curnow

·       Beautiful Colorado – DeLuca

·       Sonata for Unaccompanied Euphonium – Clinard

2)     All major scales in two octaves

3)     Sight Reading

-       Graduate Requirements for Tuba:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Orchestral Excerpts

·       Two Selections from the Following

o   A Transcription written prior to 1800

o   Unaccompanied work of equal difficulty to Encounters II (Kraft) or Capriccio (Penderecki)

o   Concerto of equal difficult to Concerto for Bass Tuba (Vaughan Williams)

-       Graduate Requirements for Euphonium:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Six Band/Orchestral Excerpts

·       Two Selections from the Following:

o   Charlier: 36 Etudes: Transcendantes

o   Arban: Characteristic Studies

o   James Curnow: Symphonic Variants

o   Ponchielli: Concerto

o   Bourgeois: Concerto, Op. 114

o   Cosma: Concerto

·      Do you suggest any particular repertoire?

-   I provide general examples of what can be used as an audition piece for the undergraduate students. For graduate auditions I tend to be a bit more specific.

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

-    Undergraduate students are requires to prepare two contrasting pieces and Graduate students are required to prepare two pieces in addition to excerpts.

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

-     As of right now I haven’t mandated a particular piece. I’ve recently thought of revamping the way that I choose audition material for the future.

·      Approximately how long is the exam?

-   Undergraduate auditions tend to be around 15-20 minutes in length with the brass faculty, whereas the graduate auditions tend to be around 30 min in length. I like to chat with each student to really gain a good idea of their interests and goals.

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

-   You know, this is a really tricky questions…I think my biggest deciding factor is whether or not I can work well with the student. If they are open to suggestions and various styles of teaching. You can teach Musicality, Intonation and Technique but if you don’t click with the student and they don’t learn well from your teaching style there is no hope! Ideally I would love an even playing field with a stellar personality!~

·      If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

-    Hmmmm, you know this is difficult because I would hate to have to choose but if I had to I think I would choose euphonium.

About their work during the course.

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

-    We work a wide array of pieces ranging from the standard solo with piano, unaccompanied, chamber, solo with electronics, solo with interactive electronics. Duos, trios…you name it!

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

-       For any of the examinations we tend to stick to solos with piano or unaccompanied works.

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

-    I think it’s a pretty even combination of the two. Every now and then I have to tell a student that they need to wait to perform a piece but it rarely comes up.

·      Is there any work it deems mandatory? So what?

-    There are certain pieces that the students at least need to know about, whether it’s score study and listening logs or actually working up the piece.

-    For example: Tubas need to “know” the Vaughan Williams and Euphoniums need to know the Horovitz Euphonium Concerto.

Talking about other topics.

You have recently done an interesting project with the Tuba Player and teacher of  the Arizona University  Deanna Swoboda.

·      Do you think you can tell us a bit about it, its development and future projection?

-    First off I need to start by saying that Deanna Swoboda is amazing, not only as a performer, musician and mentor but she is a wonderful human and friend. We recently published a new book for Euphonium that acts as a companion book for her “Lip Slurs for Tuba” book. I can honestly hope that we will continue to work together creatively. As of right now we don’t have anything planned but who knows!

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 honestly think that all of those concepts all start in your mind. If you don’t have any idea of how you want something to sound then the act of playing will be very labor intensive. The concept of sound usually starts by us mimicking other players and then needs to evolve into how we want to “see” our sound and how it interacts with others.

-     When it comes to articulation, it’s all about how we “voice” notes inside of our mouth. Where our tongue is placed and how high or low it is in our mouth. There are certain physical traits that people can possess that make articulation something that they have to work around but it general we have to work with what we have! I’m a firm believer in voicing notes before they come out into the horn. Kind of like a vocalist. My students are encouraged to listen to vocalist recordings in order to develop their own unique sound and how they want each note to begin and end.

-    I’ve always wondered how various languages help people to perform on their instruments. I can only imagine that they more Germanic languages tend to approach their sound a little more squared off as opposed to some of the romantic languages just based off of the way that words are pronounced and emphasized.

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

-     I’m currently performing on Shires and Eastman instruments. Through the years I’ve been on various instruments and I can honestly say that these to instrument makers provide extremely easy instruments to play and maneuver! I love the overall sound and color that I’m able to get on each of the instruments. 

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.).

-    You know, I think the straight forward answer is sadly, “No”…though I do see institutions and areas of the world that are beginning to embrace diversity and inclusivity. I think we have such a long way to go but we are slowly making strides.

  

Danielle, 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.