"BETWEEN TUBAS AND EUPHONIUMS...GAIL ROBERTSON"

Dear followers. Hello everyone. Today's interviewee doesn't need much introduction. She is a reference in his country, United States, she is a renowned artist of the Willson, one of the most important tuba and euphonium manufacturers of the current scene and she is, of course, an excellent euphonium player and teacher to whom I am sincerely grateful for his friendship and collaboration in this interviews project.

· Name and surname: 

Gail Robertson

· What instrument do you use?

Euphonium

· That make and model are the tools you use: 

Willson 2950 Euphonium

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

Gail Robertson-Warburton mouthpiece 

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started? 

- Undergraduate degree: University of Central Florida – Roy Pickering (teacher)

- MM Degree: Indiana University – Harvey Philips (teacher)

- DMA Degree: Michigan State University – Phil Sinder (teacher)

· At what age? 

I was 18 years old when I began college.

"SymbiosisDuo" with the Dr. Stacy Baker

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

I loved the role that the euphonium has. I began as a saxophone player in the 6th grade. I continued to play while I was at Indiana during my MM degree. 

As for his PROFESSIONAL EXPERIENCE:

Please leave us a little account of she experience as a soloist, a member of chamber ensembles, orchestra, band, etc.

· In Orchestra and / or Band: 

- Brass Band of Battle Creek (1st baritone)

- Keith Brion’s New Sousa Band (Principal Euphonium/soloist)

- Athena Brass Band

- Pinnacle Brass Quintet (Faculty Brass Quintet at my university)

- I have been featured soloist with many bands across the United States.

- Symbiosis Duo (Dr. Stacy Baker – tuba and Dr. Gail Robertson – euphonium)

I have performed with The Detroit Symphony, Cincinnati Symphony, BostonSymphony,  and the Sarasota Orchestras as euphoniumist/bass trumpet.

In the Battle Creek Brass Band with B. Pierce, S. Mead and D. Thurman.

· Which uses warm-up exercises? 

I have a varied routine that I do. I do not like to do the same thing every day. 

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?

I feel that the euphonium is it’s own instrument, but it is important to double on tuba and or the trombone if you want to teach at a university. Most US colleges have tuba AND euphonium teachers. There are very few where the professor only teaches Euphonium. 

Let's talk about your TEACHING EXPERIENCE:

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

I am an Associate Professor of Tuba and Euphonium at the University of Central Arkansas.

With my student of the University of Central Arkansas a few years ago 

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

I build my schedule to be 4 days a week. I teach longer days to have Fridays’ off to practice and travel as needed. I teach 18-20 lessons a week, coach chamber ensembles, teach 3 graduate repertoire and pedagogy courses, have weekly masterclasses, and lead the UCA Tuba and Euphonium Ensemble each week. 

· How long are your classes? 

My lessons are 50 minutes for majors and 25 minutes for non-majors. 

· 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? 

It is important for students to perform on public performances once or more per semester. The younger they start, the better.

With my student in the University of Central Arkansas actually

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

I am the only Tuba and Euphonium professor at my university. 

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 teach Band and Orchestral repertoire as part of lessons. Many of my students compete for military positions each year. They also auditions for orchestras too. 

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

You must apply to the university as either an undergraduate or a graduate student. We do not offer a DMA degree. We do offer Graduate Certificates for players seeking intensive instrumental study without general education and music course demands. 

· What is it required repertoire in the entrance exam? 

Undergraduates may play solos, contrasting etudes, band/orchestra excerpts, or all-state required music from the state they live in. 

· Do you suggest any particular repertoire? 

I always suggest that they play what “they” are best at playing…to not pick must to try to impress others. To play what they do best!

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

 Usually two contrasting etudes or solos combined with sight-reading and a few scales. 

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

NO

In the International Women´s Brass Conference. Holiday Brass St. Louis. Missouri

· Approximately how long is the exam? 

Depends on if they set up a personal audition vs. come to the university on a planned audition day. Usually 15-20 minutes. More for graduate students. 

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

All of the above plus having a positive attitude/being open to suggestions.

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

NO – I have not preference. The students chose what they want to play and I value both instruments equally. 

About their work during the course.

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

Solos with and without piano. During the pandemic we focused on more unaccom-panied works and works with CD play-a-long accompaniment. 

We also work in method books each week such as Arban, Snedecor, Bordogni, Kopprasch, Blazevich, and more.

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

Each student must perform on ONE or more public performances each semester. 

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

I prefer the students to select their own solos. However, I often suggest and help many of them. 

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

Nothing is required. I prefer a variety of repertoire each semester and try to not have too many players working on the same solo at the same time.  Sometimes this can’t be avoided if they are competing and must all play the required Works. 

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 import to develop YOUR sound. Listening to others to gain ideas and mold your sound as you grow. I prefer a Lip-jaw vibrato. All kinds of literature and I require diversity for each recital program. I teach them the importance of commissioning new music too. 

Walt Disney’s The Tubafours. With Chris Olka (Cincinnati Symphony Orchestra), Willie Clark (United States Air Force Ceremonial Band - Washington, D.C.) and Steven Carruthers. 

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

I currently play on a Gail Robertson mouthpiece I co-designed with Terry Warburton. It is made of Bronze and not Brass. The bronze metal is heavier and it makes it super responsive and I love it. I have played on it for 15 years or so! Prior to playing on it, I used a Dillon M2B that is very similar to what I currently use. Prior to that I was on a Dennis Wick 4am while I worked at Disney World. While I was a college student, I played on a Schilke 51D and a Doug Elliot Mouthpiece. I really have played on very few mouthpieces in my career. I prefer to pick something and stick with it. 

My current euphonium is a Willson 2950 with Martin Wilk valve-stems and finger buttons. The finger buttons are a little larger and that helps my small hands reach the 4th valve while working the main tuning slide tuning lever. The finger buttons and stems are much lighter and they allow me to use lighter springs for more ease with technical passages. Prior to my Willson 2950, I was playing a York Eminence 4052 for about 4 years. Prior to that I was on a Willson 2900 for about 22 years. My very first euphonium was a Yamaha 321s. I played on that for 3 years while a senior in High School and for my first 2 years of my undergraduate degree. 

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

I have always loved the Willson Euphoniums. I was a York artist for a short time, but prefer the Willson 2900 and 2950 euphoniums. 

Gail, you are a recognized interpreter and professor in your country.

Please tell us something about the history of development of the woman low brass players our instruments in your land.

There are very few women that teach full-time as university professors. However, there are 4 women that teach full-time in Arkansas!! 

The earliest woman that I know of to teach full-time was Constance Weldon – University of Miami. There is much growth in the women in low brass! This is great news!

Play the Bass Trumpet with the Detroit Symphony

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.). 

There is much need for more diversity everywhere. Let’s hope it continues to grow and grow. 

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

Thank you very much and my best wishes.

A big hug.

"ENTRE TUBAS Y BOMBARDINOS POR LATINOAMÉRICA...LUCAS FERNÁNDEZ"

Hola a todos. Es para mi muy grato poderles acercar a este excelente euphonista colombiano, profesor y director de orquesta que es Lucas Fernández, al que obviamente agradezco su amistad, colaboración e interés en mi proyecto de entrevistas.

Sin más, que lo disfruten.

"ENTRE TUBAS Y BOMBARDINOS POR LATINOAMÉRICA....FERNANDO DEDDOS"

 Hola a todos. La entrevista que les traigo hoy es con Fernando Deddos, el que quizás sea el más prominente eufonista y compositor para nuestros instrumentos de Brasil y puede que de latinoamérica actualmente, al cual le agradezco sinceramente su tiempo, colaboración y  amistad

Espero que disfruten de ella y les invito a seguir esta nueva serie de entrevistas, visualizando las anteriores,  las que están por llegar y por supuesto todo el blog.

Saludos.

"BETWEEN TUBAS and EUPHONIUMS.....MISA MEAD"

Hello good day. Today's interview is very interesting because it is a recognized figure of the euphonium, curiously and happily associated with another great name of this instrument, but who has earned her own place in the world of euphonium on an international level.

I appreciate your sincere friendship and collaboration for this interview project which I hope you enjoy as much as I do.

Without further ado, we begin

· Name and surname:

Misa Mead

· What instrument do you use?

Euphonium

· What manufacturer and model are the instruments you use:

Besson Soveregin 967T in Lacquered

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

Denis Wick SM4XR

Let’s talk about your EDUCATION:

· When and where did you start your Euphonium studies?

I started playing the euphonium when I was 9 years old in the school band in Japan.

· At what age?

9 years old.

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

My sister was playing alto horn. 

I wanted to play same instrument but she said “ alto horn plays always off-beats and it’s boring, I recommend euphonium because it looks similar but has more melodies.”

I think alto horn is good instrument!  But I chose the euphonium as she recommended.

· Who were your main teachers?

Actually, I had many teachers.

Noriaki Okamoto, Shoichiro Hokazono, Takashi Yamamoto, Ayano Iwakuro, Philippe Legris, Philippe Fritsch, Anthony Caillet, David Maquet, Jacques Mauger, Roger Bobo.

Concierto con la Banda del Conservatorio de Tatuí en Brasil

Regarding your vast PROFESSIONAL EXPERIENCE:

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

· Metal Ensembles:

Spiel Kammerensemble (2012-2013, Japan)

· Concerts as Soloist:

More than 20 countries and with more than 40 ensembles.

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 think it depends on the countries. For example, people can specialise in euphonium in most universities of music in Japan.

As a country of wind bands, there are so many school bands in Japan and so many euphonium players too.

Also, as a county of brass bands, people can study specialist in euphonium in many music colleges in the UK too.

I think the countries where you can’t study specialise in euphonium where the dominates.

In these years, more countries started to put euphonium class in the university of music as same as more people play euphonium.

Tuba and Euphonium are really different and I think no many teachers has enough knowledge for both and play both as a professional level.

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

I think it’s getting better. Because there are more euphonium players than before and more competitive. Also we can get so many information easily by internet now. I don’t know for the future but maybe better again.

Master Class

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 normally travel to other countries and do masterclasses or individual lessons.

I also do internet lessons.

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

I search which levels students will come and make the plan.

It’s depends of the students.

· How long are your classes?

Normally, one hour for an individual lesson.

Masterclasses are normally 90 minutes to 2 hours.

· 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?

I’ve never think about it before. Maybe once a year is good.

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?

I think the important point is a good balance. I think it’s good to study the standard repertories for every student for any music job for the future.

And also I hope students are interested in many other categories and study voluntarily.

· 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?

I’m happy to teach both Tuba and Euphonium.

Mostly, my students are Euphonium but sometimes I teach Tuba too.

Master Class. AETYB Madrid 2018

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Euphonium solo repertory as I’m a soloist.

· What warm-up exercises do you use?

Breathing, Buzzing, Long tone, Lip slur, Arpeggios, etc.

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?

I think it’s connected our talking and playing. So when I visit different countries, I can find the characteristic of the language and playing.

I think when we play the piece, we have to search where it’s from, when it’s written, which style, etc… then we can get ideas about how to play.

· Tell us a bit about the manufacture of Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I play Besson instrument. For me, Besson is the best sounds euphonium. And other things are good too, for example, valves, tuning which I use trigger, etc.

I use Soveregin 967T it’s lighter and easier to play than Prestige. 

With Besson instrument, Denis Wick mouthpiece is the best combination for me. I use SM4XR, it make bigger sounds and easier to play for high notes. I used SM4X, it has warm sound, SM5 is keep my stamina longer.

You are a big woman player of the euphonium in Europe and Japan another places.

Please tell us about you experience and about our instruments en your born country and adopted country

In Japan, there are many female euphonium players so I haven’t think about gender for instrument until I started traveling for other countries. We have two famous professional wind band in Tokyo and both euphonium players are women. Also, these years Japanese female euphonium players won some international solo competitions, ITEC, Falcone, Lieksa, all different players.

I think normally women has less vital capacity and muscles so harder to play than men but euphonium is still ok for women’s capacity. I know some great female euphonium players are work so hard, have passions and wonderful musicality. 

I can see there are no many female professional euphonium players in the world but why not, euphonium is open to everyone.

In the Debate about the Differents School of Tuba in the World. AETYB Madrid 2018

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 don’t know. Because when I do my classes in different countries, normally euphonium players do the interpreter.

Interpreter for the music needs special knowledge about the music and instruments so we can’t really have like great interpreter but doesn’t know any about the music and instruments.

Misa, it is a big pleasure and an a great honor to count on your experience and

collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS...THOMAS BRUNMAYR"

Hello everyone. Today I bring you an interview with one of the young leaders of the Tuba in Germany and a recent colleague of a server. I hope and wish you enjoy your experience here today as much as I do.

Without further ado we begin. Let's start.

· Name and surname:

Prof. Thomas Brunmayr

· What instrument / s do you use?

F Tubas, BB flat Tubas and F Cimbasso for my work in the Orchestra. 

I also own a F Helikon, E flat Sousaphone, Valve Trombone, Bass Trumpet and Euphonium which I rarely use for different things  

· What manufacturer and model are the instruments you use:

I use 3 different F Tubas: Melton / Meinl Weston 4260 , Meister Walter Nirschl F Tuba, B&S F-Tuba from the early 80´s

I also have 3 different B-flat Tubas: 2 Melton/Meinl Weston 195 and a Meinl Weston/ Melton 197……. and looking forward to the new Nirschl 4/4 Bb flat tuba to receive soon

F Cimbasso by Lätzsch

F Helikon Bohland und Fuchs (pre WW 1), 4 valve E Flat Sousaphone by Conn (1924) goldplated, Getzen Valve trumpet and Getzen B Flat Bass Trumpet 

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

Franz Windhager W.H.F. / Austria 

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started to study the Tuba at our local music school in Attnang- Puchheim/ Austria in 1998

· At what age?

I was 13 at that time

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

All my brothers where, and still are, members of the local wind band of Attnang- Puchheim. One day my older brother came to me an said that the conductor of the windband asked him if I would like to play the tuba. At that time I had no Idea what a Tuba was but fortunately I said ok i will give it a try. A week later my brother brought an old Miraphone 4 valve F Tuba at home and than I realized what the Instrument looked alike. Actually the conductor was the same guy who teaches Tuba at the music school. I was really fortunate to have a good teacher in my early years. 

· Who were your main teachers?

Most influential:

Walter Krempl at Attnang-Puchheim Musicschool

Wilfried Brandstötter at Bruckner University Linz

And to name two Mentors, Jozsef Juhasz from Frankfurt Opera and Christian Penz from Bruckner Orchester Linz who had influenced me a lot

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´m a member of Stuttgart State Orchestra/ State Opera Stuttgart in Germany. Previously to that i had an internship at Frankfurt Opera. As a substitute player I played with many big orchestras in Germany as the Munich Philharmonic, Bavarian State Opera Munich, SWR Symphony,……

I'm still a member of an amateur Wind Band too. I owe them a lot….

· Metal Ensembles:

A few years ago we formed a group with 4 (female) Horn Players and 1 Tuba with my colleagues of the Opera. There is quite a repertoire  for this type of ensemble and the Horns and Tuba blends perfectly. 

We also have a more or less regular Brass Quintet from the opera which I really enjoy to play with. (last concert bevor corona closed everything on 9.3.2020 with the quintett)

I´m also member of the Austrian Brass Ensemble Sound In(n) Brass 

IN THE ORCHESTRA

· Concerts as Soloist:

I really enjoy playing in a Duet with my wife who is an organ player. Unfortunately there is not so much repertoire for this combination so we arranged a few pieces and commissioned 2 pieces from a friend to enlarge the small repertoire for tuba and organ. 

Please tell us about your experiences as an Opera Orchestra Tuba in Germany.

In Germany we are really really fortunate to have so many jobs for Orchestral musicians and so many good Orchestras. I really like the work in an Opera Orchestra because you have such a big repertoire from Opera to Ballett to Chamber Music and Symphony Concerts. In Stuttgart we have a world renowned Ballet and all the classical balletts where played many many times, it's a privilege to perform all these fantastic pieces. Sometimes you have to play Cimbasso in the morning in a rehearsal and play BB flat in the evening and next morning F Tuba. This can be challenging. I always try to figure my breathing out for every Instrument. Especially Cimbasso needs a differents type of playing in my opinion.

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?

Unfortunately the Euphonium has not a really big lobby in Germany and is not taught at German Universities in general. I think if you want to become an Orchestral Tuba player you have to focus totally on Bass and Contrabass Tuba. In my opinion it would be necessary for every Tuba Player who want to go in Pedagogy to play also Euphonium. I think in the future it would be wise to establish a 1 year binding euphonium studying for every pedagogy student in Germany. I don't want to go too much in this because it's controversial but we really have to discuss such things for future music teachers an pedagoges. 

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

A lot of things changed in the last 50 years, more highly educated players, less orchestral jobs. A lot of people get worried about this circumstances but what also changed are the fields of possibilities to work in music. There are way more possibilities to live as a musician than 50 years ago. In 1960 there was only one chance to have a good life as a classical (brass) musician, to be an Orchestral player. Nowadays there are so many field, establish a chamber music group, musical comedy, crossover ensembles, be a Tuba/ euphonium teacher, music production, all the internet stuff………. All my colleagues from my studying time in Linz are doing totally different things, so there is enough space for everyone to live as a musician. 

I think modern teaching should change a bit to focus not only on one thing. I think a wide spectrum of possibilities and creativity is necessary in modern times. I have to say that my teaching is naturally based on the orchestral style of playing because i'm an orchestral player and a lot of my knowledge comes from orchestral playing and from reach that goal of getting an orchestral job. Actually my teacher Will Brandtötter was not the typical Tuba Professor, they developed a completely new field for brass players with Mnozil brass.  

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 teached for 4 Years as a “Lehrbeauftragter” at Musikhochschule Stuttgart. Since 2019 I have my own class as professor for Tuba at Musikhochschule Freiburg. In 2015 I organized a big workshop with classes from Linz, Stuttgart, Augsburg and Vienna University. I also teach at various workshops and Masterclasses in Austria and Germany. I´m also try to establish a Tuba Day in South of Freiburg in Collaboration with a Music School in Waldshut-Tiengen. For me it's really important to have contact to the local music schools, wind bands and teachers and know whats going on there.

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

As an Orchestral musician and Professor for Tuba I have to organize my teaching with my orchestral schedule. I try to be in Freiburg 1-2 times per week. Normally I start in the morning with a Basics Group lesson with all members of the tuba class alternate B Flat and F Tuba from week to week. Then individual lessons. I also try to make regular audition training and mock auditions for the students. I'm really fortunate to have 2 wonderful pianists to work with my class and doing the Solo Repertoire with my students.  

· How long are your classes?

Normally 1 ½ - 2 hours basics and 1 ½ hours individual lessons

· 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?

It´s essential! We are musicians, we have to play for audience, jurys, committees. That's our job nobody cares how good anybody can play in the practice room. I suggest to start with playing concerts immediately after starting to play the instrument. That should be de most natural thing, to play for people. If you are not used to play concerts try to play as much as you can, if you have no experience with auditions try to make as much mock auditions as possible.

At Freiburg University I try to organize 2 Concerts of the Tuba Class per Semester. I also want to go outside of the city into the countryside and present our Tuba Class to a different audience. 

IN CONCERT WITH "SOUND INN BRASS" AND ALLEN VIZZUTTI

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?

In many facts you have to master a big part of the repertoire for your own because there is not enough time to teach everything. But that has also a lot of positive aspects. You learn to be your own person and prepare for your own and present your own thoughts. That's really important as a musician. Everyone is his own Boss. I always force my students to search for pieces and not to play the mainstream pieces all the time. In my studying days I was, and still i am, always searching for interesting pieces.   

· 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?

Unfortunately there is no chance to study Euphonium in Freiburg

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Basics (Long tones, Intervals, tonguing, flexibilities, scales, loud and soft playing, Clark technical exercises ),  Kopprasch, Bordogni, I also try to stay in shape with the Orchestral excerpts to be ready in the lessons to play them, more or less Solo repertoire  

· What warm-up exercises do you use?

I  have my routines for B Flat and F tuba. With B Flat Tuba i try to do a lot of Long tones and connecting long tones one to another, i try to do a little bit of tongue - air flow coordination exercises as well. Also part of my basics is to make exercises for short high airflow rate in different dynamics.

with F tuba i do scales – air flow studies, interval training, flexibility, technical exercises,  

the goal is the same no matter which instrument – relaxed but full air flow  

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 preservation of the traditions is very important. Sometimes old traditions stands against physical and medical science. That's what i criticize about some traditions…. For me there is no problem to think about Arnold Jacobs or james stamps or emory remingtons thoughts and  serve the german tradition too. I'm sure that a lot of playing characteristics are based on language. 

· 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?

Every country has their own culture – tradition and every person has his own evolution. I would never judge what instrument is better. I´m used to Bb flat and F Tuba with rotary valves so thats my gear because i grew up with that. Others grew up with different experiences so they have a different sound picture in their head. It doesn't mean that my sound image changes with playing CC tuba but I feel more comfortable playing B Flat because I'm more used to it. I also grew up with a particular manufacturer that's why the playing habilites of these instruments are more of my taste.

AUDITION CLASS IN FREIBURG

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.).

It´s getting more and more global. I think it´s important that we all think global but also preserve the different cultures. Vienna, Dresden, Milano, are very important and where role models for many great composers. It would be really sad if all that would go away and every orchestra sound the same in a few years. But all the preserving doesn't mean that we are not allowed to think in a modern, scientific based way of thinking about the technical aspect of playing.

Thomas, it is a pleasure count on your experience and collaboration in this series of interviews.

It was my pleasure. I want to thank you for doing your wonderful work with your blog and thank you for presenting my work in my class in Freiburg!

Thank you very much and best wishes.

A big hug.