Hello to all. It is for me an honor and a luxury to be able to count among my interviewees of this series with a recognized interpreter, teacher and director as it is the teacher Walter Hilgers. A reference of the Tuba not only in Germany and Europe but in the whole world and to which I thank him infinitely for his time and disposition for me.
Without further ado, let's begin.
Name and surname:
Walter Hilgers
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What instrument / s do you use?
I use the F and B flat tuba
That make and model are the tools you use, that manufacturer and model are the /s nozzle / s you use:
I used a Bohland & Fuchs contrabass tuba in Bb that was copied by the Melton company and is sold there as the 197 model.
In addition, I designed an F tuba that I played during my time with the Vienna Philharmonic. This tuba will be offered for sale as a new model at the Buffet Crampon Group in collaboration with B&S and this new model is now available and can be tested at the Showroom.
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| In the German Brass |
Let's talk about your EDUCATION:
When and where their studies or tuba euphonium started?
In 1968, I received my first baritone lesson from my grandfather. In the same year I received lessons from Mr. Fritz Huhn, a former tuba player of the Aachen Symphony Orchestra, who also became my first tuba teacher and mentor in 1970. Mr. Huhn was my discoverer and mentor for many years, and I owe him a lot. Mr. Huhn died on October 13, 2020 at the age of 97.
At what age you’ve started to play the baritone?
I was 9 years old
What reasons or circumstances led him to study this instrument?
My father had a brass band and my grandfather played the baritone in the orchestra, which made me curious to play the baritone. At the age of 11 it was already clear to me that I wanted to join the orchestra. That's why I switched to the tuba, as there is no fixed position for a baritone player in the symphony orchestra
Who were your main teachers?
Fritz Huhn and Hans Gelhar
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| Fritz Huhn |
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| Hans Gelhar |
I learned a lot from both teachers and took away a lot. Mr. Huhn taught me the basics, i.e. the right approach, the air flow, the technical skills, the rhythm, the various articulations on the instrument etc. but also the introduction to classical music, and he decisively promoted my talent.
After Mr. Huhn had finished teaching in 1974, I was very fortunate to be able to study with Hans Gelhar at the University for music and dance Cologne, at the department in Aachen. A wonderful person, fantastic tuba player and an excellent teacher.
From him, I got the tools for my career as a tuba player, especially with regard to the interpretation of the orchestral parts, and I was and still am very proud that I was allowed to play with him at the Bayreuth Festival for many years as his colleague and friend. He always laid a protective hand over me and always advised me well and correctly on all important questions.
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| With the great Tuba Melton 197 |
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:
2005-2007 Tuba-player at the Vienna State opera and Vienna Philharmonic Orchestra
1979- 2007 Tuba-player of the ensemble "German Brass"
1991-1995 Tuba-player at the NDR Elbphilharmonie Orchestra
1981-1991 Tuba-player at the Hamburg Philharmonic State Orchestra
1979-1995 Tuba-player at the Bayreuth Festival Orchestra
1978-1981 Tuba-player in the Düsseldorf Symphony
· Metal sets:
Hamburger Blechbläsersolisten (Hamburg Brass Soloists) and German Brass
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| Cd of the Hamburger Blechbläsersolisten |
· Solo concerts:
I have played too much Solo- Concerts to list all of them here. I've played as a Soloist with wind bands, symphony orchestras, and I have performed a lot of recitals with tuba and piano.
I especially remember my beautiful concerts in Japan with Tomoko Sawano as the pianist!
Which warm-up exercises do you use?
I use my own book "Tägliche Übungen" (Daily Exercises) and Bordogni Vocalises and Kopprasch Études as well.
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 would very much appreciate it if euphonium / baritone lessons were offered as an independent subject at music schools and universities in Germany, as there are outstanding soloists and musicians on these instruments who can guarantee training at the highest level. All other solutions that are practised - for example, that trombonists or tuba players take over these lessons - I consider a possible compromise, but not the ideal solution!
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| Melton F Tuba old model Walter Hilgers |
Let's talk about your TEACHING EXPERIENCE:
· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)
I have given many courses and master classes at home and abroad over the past few decades. That gave me a lot of pleasure, because I like to teach and because I also like to visit other countries. I have very fond memories of my master classes in Japan, Colombia, Argentina, Mexico, but also in Spain and Italy. In recent years, however, I haven't found the time for it, as my full-time work as professor for tuba and wind chamber music at the Liszt School of Music in Weimar, as well as my conducting obligations and my family, are more than enough for me.
· How do you organize your classes and the subject in general and how long are your classes?
Tuba lessons consist of 1.5 hours of main subject lessons, 30 minutes of double bass tuba lessons and additional time for orchestral studies.
· 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?
The pupils and students should have practical experience on stage as early as possible and as often as possible. This is indispensable and the best performance training, and it should also be considered to involve performance coaches from time to time.
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| Conducting in Santa Fe. Argentina |
· 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?
At the universities, orchestral studies must be given in addition to the weekly main subject lessons, as knowledge of the repertoire and the associated way of interpreting the orchestral passages is essential for the success at orchestra auditions. But also, in the amateur field it makes sense to rehearse the pieces with the students, which are then on the program, for example in a wind orchestra.
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| With Bohland and Fuchs and Melton 197 Tubas |
Many questions about your class
· Tell us what is the admission process to access your class?
· What it is required repertoire in the class?
· Do you suggest any particular repertoire?
· How many works are required and in what format (solo, with piano, studies, etc.)?
· Is there a mandatory piece? If so, what is it?
These are the actually requirements for the entrance exams for the winter semester 2021/22 during the pandemic situation, they will be published at the website of the university of music Franz Liszt Weimar very soon.Entrance exam tuba - multi-stage process
Tuba - Bachelor of Music
1st stage video pre-selection
Requirements for the video:
At the time of the application deadline, the admission should not be older than one year. The duration of the video is 10-15 minutes including a personal introduction.
All works are played one after the other in a link without editing. The camera distance is 3 - 5 meters, camera view a little from the side.
Applicants can be seen completely, at least their face and hands must be visible. The technical quality of the video recording does not have to be professional.
Presentation of the following works:
1. A Vocalise by Marco Bordogni (free choice)
2. Alexander Lebedev: Concerto in one movement
2nd stage - attendance test (invitation after passing the preselection)
Henry Eccles: Sonata for tuba and piano (Edition Billaudot)
Paul Hindemith: Sonata for bass tuba and piano, 1st movement
Anthony Plog - Nocturne for tuba and piano
Entrance exam tuba - multi-stage process
Master of Music
Artistic professionalization (2 semesters, 60 CP)
Artistic professionalization with profile (4 semesters, 120 CP)
Two-subject master's (4 semesters, 120 CP)
1st stage video pre-selection
Requirements for the video:
At the time of the application deadline, the admission should not be older than one year.
The duration of the video is 10-15 minutes including a personal introduction.
All works are played one after the other in a link without editing.
The camera distance is 3 - 5 meters, camera view a little from the side.
Applicants can be seen completely, at least their face and hands must be visible.
The technical quality of the video recording does not have to be professional.
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| Walter Hilgers' s Tuba Method |
Presentation of the following works:
Thomas Stevens: Variations in Olden Style
Ralph Vaughan Williams: Concerto for tuba and piano, 1st movement with cadenza and 2nd movement up to number 3
2nd stage attendance test (invitation after passing the preselection)
Anthony Plog - Three Miniatures for tuba and piano
Alexander Arutiunian - Concerto for tuba and piano
Entrance exam tuba - multi-stage process
Artistic postgraduate studies - concert exam
1st stage video pre-selection
Requirements for the video:
At the time of the application deadline, the admission should not be older than one year.
The duration of the video is 15-20 minutes including a personal introduction.
All works are played one after the other in a link without editing.
The camera distance is 3 - 5 meters, camera view a little from the side.
Applicants can be seen completely, at least their face and hands must be visible.
Presentation of a program with works of your own choice
2nd stage attendance test (invitation after passing the preselection)
A program of 50 - 60 minutes duration must be submitted
Works after the selection of the examination committee in the time frame of approx. 30 minutes
Accompanying pianists are not available and must be brought by the candidates themselves
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| With the Georg Enescu Philarmonic in Romania |
· What aspects you value? ¿Musicality, intonation, rhythm, …?
Musicality, rhythm and intonation are the three essential pillars for training as a musician. If there is additional the necessary talent and ambition, then those are very good prerequisites.
· If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?
I have never been faced with the question because I am a professor for tuba.
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 ?
· Talk a little about making snorkels and / or euphoniums and nozzles:
· Tell us about your experiences and tastes of a particular manufacturer and why?
Choosing the right tool is very important and individual. Of course, this also depends on the schoolchildren's or their parents' wallet, and it is of course also a matter of taste and a question of the sound conception, which is of course often influenced by the teaching teacher.
It is important that you take plenty of time to test mouthpieces and instruments and that you also call in specialist colleagues and experts.
You are a great recognized interpreter in your country and the world, in recent times you are developing a career as a conductor. Could you tell us about your experiences and what led you to this new facet?
I have been working as a conductor with professional orchestras since 1995 and I have had genuinely nice experiences as a conductor over the past 25 years, and I am incredibly happy that I can travel now around the world - after my successful career as a tuba player- and that I could already collaborate with many orchestras all over the world. And I am also incredibly happy and grateful that I’ve had the privilege to lead the symphony orchestra of the Province Santa Fe in Argentina for 3 years as a chief conductor. It was a wonderfully valuable and very educational experience for me that I wouldn't want to miss. Many contacts with the orchestras and the invitations came about thanks to the support of former colleagues and students, who actively supported me. I am incredibly grateful for that and I very much hope that the orchestras and opera houses will soon be revitalized and that I will soon be able to become active again as a conductor.
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| In Wiener Philarmoniker |
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.).
It is generally a very good thing that students today through various exchange programs, such as the Erasmus program during their studies at different universities and get to know different schools. And of course, in the age of the Internet, students also have the opportunity to get to know the diversity of orchestras worldwide and to listen to and watch the best soloists and orchestras. As a student, but also as a professional musician, you can be inspired and motivated by this. I think it is very important and valuable that there is tonal and interpretational diversity and the different orchestral schools and, in my opinion, these differences between the orchestras should be preserved.
Master Hilgers, 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.
Harold.
