"ENTRE TUBAS Y BOMBARDINOS...RICARDO CARVALHOSO"

Olá a todos, é para mim um prazer e uma honra trazer-vos esta entrevista com um dos tubistas mais conceituados portugueses e agradeço-lhe a sua sincera amizade e a sua colaboração neste projecto de entrevista.

Em 2008, após concluir a licenciatura na Escola Superior de Música e das Artes do Espetáculo do Porto, inicia a sua pós-graduação na Universidade das Artes de Zurique que culmina com um mestrado em performance musical e um diploma solista. Atualmente é membro da Orquestra Filarmónica de Munique. 

A sua carreira destaca-se também pela obtenção de vários prémios em concursos como o Prémio Jovens Músicos, o Concurso Internacional de Metais do Vale d’Aosta e o Concurso Internacional de Tuba de Ville d’Avray. Foi ainda membro das orquestras da Ópera de Nice e da Ópera de Zurique entre 2012 e 2017.

Sem mais demoras, vamos começar.

· Nome e Sobrenome: Ricardo Carvalhoso

· Que instrumentos usas? 

Tuba em Fá, Tuba em Dó, Barítono em Si bemol

· Que marcas e modelos de instrumentos usas? 

Yamaha YFB-822S, Yamaha YCB-826S, Baritone-Tuba Alexander mod. 151

· Que marcas e modelos de bocais usas?

 Volare F-Solo, Laskey 30H

Vamos falar sobre a sua EDUCAÇÃO:

· Quando e onde iniciaste os teus estudos musicais?

Em Setembro de 2000, na Escola Profissional de Música de Viana do Castelo.

· Com que idade?

14

· Quais foram as razões ou circunstâncias que te levaram a estudar este instrumento?

Numa idade mais jovem aprendi a tocar trompete e mais tarde quando a trompete me começou a parecer demasiado pequena decidi experimentar a tuba. Não me arrependo! 😊

· Quem foram os teus professores?

Juan Carlos Diaz, Chris Lee, Eduardo Nogueroles, Sérgio Carolino e Anne Jelle Visser

Em relação à tua vasta experiência profissional:

Por favor, conta-nos a tua experiência como solista, membro de grupos de câmara, orquestra, banda etc.

· Em Orquestra e / ou Banda: 

Orquestra Filarmónica de Nice, Orquestra da Opera de Zurique, Orquestra Filarmónica de Munique

· Grupos de metais: 

Blechschaden

· Concertos como Solista: 

Concerto para Tuba e Orquestra de R. V. Williams com a Orquestra Filarmonica de Nice e o Maestro Walter Hilgers (2014)

· Conta-nos um pouco sobre a tua experiência e o impacto de teres ganho um lugar nu-ma orquestra alemã com uma Tuba Contrabaixo em Dó, num país onde ainda predo-mina o gosto pelo uso da Tuba Contrabaixo em Si bemol. 

A Orquestra Filarmónica de Munique é uma Orquestra com uma tradição particular no que diz respeito ao som que a caracteriza. O Tubista Tom Walsh, que me precedeu nesta Orquestra, tocou sempre Tuba Contrabaixo em Dó por mais de trinta anos, por isso eu não fiz nada de novo. Para além disso há algumas orquestras alemãs cujos tubistas usam também tubas con-trabaixo em Dó. 

· Que exercícios de aquecimento você costuma usar?

Notas longas, buzzing, escalas e arpejos, flexibilidade e articulação.

Tratando de outros tópicos de interesse.

Aqui na Espanha, em alguns centros de educação o Eufónio é considerado um instrumento que deve ter especialização própria, por outro lado, alguns acreditam que, como instrumentis-ta, deve-se conhecer e dominar tanto a Tuba como o Eufónio.

· Poderias nos dar a tua opinião e dizer como abordarias este tópico no interesse da edu-cação e da especialização necessária atualmente exigida em termos globais?  

Eu sou da opinião que o Eufónio é um instrumento único e que deve ser considerado uma especia-lidade e ensinado por eufonistas. O que não significa que os tubistas não possam tocar Eufónio e vice versa. Eu por exemplo utilizo um Barítono em Si bemol para determina-das situações.

· Como se encontra o ensino da tuba e do eufónio hoje e no futuro?

A tuba e o eufónio são instrumentos que tem muito potencial mas que precisam ainda de se afirmar no panorama musical. Felizmente a influencia de vários tubistas e eufo-nistas atuais está cada vez mais a convencer outros tipos de músicos e o publico em ge-ral.

A TUBA EM PORTUGAL.

· Como se encontra o ensino da tuba e do eufónio em Portugal hoje em dia?

Portugal tal com Espanha tem visto imensas revelações nos últimos anos no mundo da Tuba e do Eufónio, e acho que esta valorização dos nossos instrumentos vai continuar a crescer nos próximos anos.

· Poderias falar-nos sobre o futuro dos nossos instrumentos em Portugal?

Um dos fatores mais importantes para o futuro da tuba e eufónio em Portugal são as oportunidades de trabalho. Infelizmente continua a haver falta de postos profissionais onde músicos que tocam tuba e eufónio possam desenvolver as suas carreiras.

· Na tua opinião, quais são os maiores exponentes da Tuba e do Eufónio em Portugal? 

Tuba: Sérgio Carolino, Henrique Costa, Filipe Queirós – Eufónio: Ricardo Antão , Mauro Martins

· Qual tem sido o percurso do desenvolvimento dos "nossos instrumentos" na educação musical em Portugal? 

Portugal é um pais que cresceu muito rápido em relação ao ensi-no musical. Há 20 anos atrás ninguém diria que os músicos portugueses se iriam espa-lhar pelo mundo como é possível ver hoje em dia. A iniciativa de estudar música no es-trangeiro deixou de ser tabu e obstáculo financeiro para a maioria dos músicos em Por-tugal e os resultados disso estão á vista.

Vamos falar sobre a tua EXPERIÊNCIA PEDAGÓGICA:

· Diz-nos em que centros de ensino deste aulas (como professor em período integral, pro-fessor visitante, cursos, master classes etc.) 

Masterclasses em Universidades de Musica: Porto, Castelo Branco, Lisboa, Zurique, Nuremberg, Bolzano, Viena.

· Como organizas as tuas aulas e o tópico em geral?

Ouvir cada aluno individualmente significa que não há uma forma só de ensinar. O importante é melhorar o produto final, dar motivação ao aluno e ajuda-lo a desenvol-ver-se a longo prazo.

· Quanto tempo duram as suas aulas?

Depende, é muito individual. Mas em media podem demorar entre 1h30 e 2h.

· Achas importante que o aluno faça apresentações públicas durante os anos de forma-ção? Em caso afirmativo, diz-nos com que regularidade e com que idade ou grau. Ele-mentar, Profissional, Superior?

Sim é recomendável fazer audições com frequência e gravar sempre para ouvir mais tarde e analisar. No entanto em idades jovens não de-vemos esquecer que tocar uma audição deve ser algo divertido em primeiro lugar e não uma causa de stress.

Uma parte importante do ensino dos nosso instrumentos é padronizada e baseia-se na ideia de que o aluno deve dominar o repertório solístico, às vezes em detrimento do repertório de gran-des grupos (orquestra e banda), quando na verdade a maioria dos estudantes de Tuba e Eu-fónio serão no futuro professores, membros de uma banda ou de uma orquestra.

· Na tua opinião, como é que esse problema deve ser tratado? Qual a importância de in-cluir a aprendizagem e o domínio do repertório orquestral como parte curricular?

É importante encontrar um equilíbrio entre repertório solístico, repertório orquestral e música de camara. No entanto cada um deve ter a liberdade de escolher aquilo que gos-ta mais de tocar. Todas universidades deveriam ter vertentes de estudo nas quais um aluno se possa especializar num tipo de repertório, seja orquestra, solista, música de camera ou pedagogia.

· Que aspetos valorizas mais na apresentação de um aluno nas tuas aulas? Musicalidade, afinação, ritmo, ...? 

Para mim a sonoridade é o elemento que mais caracteriza o nosso instrumento na maioria das ocasiões. Musicalidade e afinação são também muito importantes.

· Se tivesses de escolher (hipoteticamente), entre um aluno de Tuba ou um de Eufónio? 

Tuba, mas prefiro alunos interessados em música. 😊

FALANDO SOBRE QUESTÕES TÉCNICAS:

· Qual é a tua opinião sobre os diferentes conceitos de som e respetivas características tais como: articulação, tipos de instrumentos, literatura? Achas que a influência de uma determinada “escola” ou tradição musical no som e na performance é considerada importante? 

Eu acho que o conceito e tradição de uma determinada escola de som ou linguagem é uma questão de opinião pessoal. Um músico deve procurar criar o seu próprio conceito mesmo que esse conceito seja baseado nalguma escola ou tradição já existente e categorizada.

· Conta-nos um pouco sobre a construção de tubas, eufónios e bocais, e conta-nos as tuas experiências com e preferências por alguma marca específica. 

Tenho muito pouco a dizer sobre este tema. Tento ser o mais prático possível e uso material com o qual me identifico e que resulta para mim. 

PARA TERMINAR:

· Na tua experiência, achas que a diversidade de intérpretes, instrumentos e a oportunidade de treinar em várias escolas especializadas está sendo homogeneizada nos centros interpretativos já estabelecidos? (Exemplo: russo, americano, alemão-austríaco, inglês etc.). 

Sim, a globalização também existe na música. Nem todas as tradições sobrevivem à globalização mas em contrapartida a vantagem é que estamos a evoluir quando vemos algo novo e somos capazes de assimilar e integrar isso na nossa forma de tocar.

Ricardo, um prazer e uma honra contar com a tua amizade, experiência e colaboração nesta série de entrevistas.

Muito obrigado.

Um abraço forte.

"BETWEEN TUBAS and EUPHONIUMS...JEFF BAKER"

Hi. For many people, today's interviewee is a well-known tuba player and teacher in the USA. For others, outside of those lands, they may not even know him and this last is something we wish to remedy.

It is a pleasure for me to be able to bring you closer to this brilliant American tuba player whom I thank for his friendship and collaboration in this interview project.

I hope and desire that you enjoy his experience as much as I do.

Without further ado, Let us begin.

· Name and surname:   Jeff Baker

· What instrument / s do you use?

Tuba, Contrabass Trombone, Cimbasso, Euphonium

· That make and model are the tools you use:

Meinl Weston 2165 CC tuba

¾ Rudy Meinl CC tuba

Alexander F tuba

Adams F tuba

Meinl Weston Cimbasso

Holton Bass Trombone

Adams E1 Euphonium

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

Stofer Geib Mouthpiece

Laskey 30H Mouthpiece

Thein MCL contrabass trombone mouthpiece

Schilke 59 bass trombone mouthpiece

Griego BB1 euphonium mouthpiece

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started?

I joined the band program when I entered middle school (6th grade).  That first year, I was in a class with other first-year trombones, euphoniums, and tubas.  I also played tuba in a jazz band that rehearsed in the evenings.

· At what age?

I began playing tuba at the age of 11 and trombone at the age of 14.

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

One of my earliest music memories was when the Dallas Symphony Orchestra Brass Quintet came to my elementary school.  The tuba player was Ev Gilmore and I knew that’s what I wanted to play.  There was an after-school orchestra program at my elementary school, I began playing the cello in this program when I was 8 years old.  At the age of 10, I switched to contrabass and when I was 11 and entering middle school, I switched to tuba.

· Who were your main teachers?

I have had many great teachers throughout my musical studies, but my two primary tuba instructors were Don Little and Ted Cox.  I was fortunate to have the opportunity to study with students of Arnold Jacobs and Harvey Phillips.

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 perform regularly with the Dallas Opera on tuba, cimbasso, and bass trombone.  I have also performed with many of the orchestras in the area including the Dallas Symphony Orchestra, the Ft. Worth Symphony Orchestra, and the Dallas Winds.

· Metal sets:

I have very little Brass Band experience, it is not popular in this part of the country.  I have performed with the Texas Star Brass Band.

· Solo concerts:

I perform recitals every year and have been a soloist with bands and orchestras in the US and Brazil.    

With the Tatuí Conservatory Orchestra. Conducting James Gourlay

About your ORCHESTRAL EXPERIENCE:

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

I played in the opera orchestra as a substitute musician for a couple of years before serving as a long-term (full-season) substitute when Don Little retired from the orchestra.  Our music director retired during this time as well, and it wasn’t until the new music director’s second season that a tuba audition committee was created.

• How was the selection process?

I was fortunate that I was able to rehearse and perform with the Dallas Opera for almost 4 seasons before the audition committee was created.  Through a unanimous vote among the committee and the music director, they offered me the permanent position in lieu of a traditional audition.  

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

There was not an audition list, but by the time the committee met to discuss my permanent acceptance, I had performed a variety of works within the orchestra, many with little or no time to prepare.  I was called for Tristan und Isolde the day before the first rehearsal and I was called for Verdi’s La Traviata (on cimbasso) less than a week before the first rehearsal.  We performed a number of classics and family concerts, a rarely-performed 12-tone opera by Dominick Argento, a unique chamber opera called Death and the Powers, along with a variety of other productions by Puccini and Verdi.  

It was on opening night of Strauss’ Salome that the personnel manager and the audition committee met with me to let me know the position was mine.  The music director was sitting on the front row for most of those rehearsals and later told me that he was listening intently to my playing during Salome to help finalize his decision.   

In another sense:

• How is your current work in the orchestra?

The orchestra performs approximately 20 weeks out of the year, during those weeks, it is very busy.  It is not uncommon to rehearse and perform on many different instruments within the same week.  A typical week is 20 hours of rehearsals and performances.    

• Do you combine it with another musical group?

I used to freelance around the metroplex and play a variety of gigs, but I don’t have the time anymore.  I have a full-time teaching position at a university in the area and a young family.

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

Listen to recordings, buy scores, and learn the music.  It’s okay to practice the excerpts, but if you don’t know the music, the committee will figure that out very quickly.

• Be nice to people, it doesn’t matter how well you play if nobody likes you.

We don’t get many opportunities in life, you must be prepared to step into a position and immediately be successful.  If you wait until the opportunity and then begin preparing, it’s too late.  I spent years studying opera music and preparing for an opportunity like the one I had.  I bought a cimbasso mouthpiece and practiced Verdi excerpts on my F tuba long before I ever had a chance to play in the opera orchestra, I went to orchestra and opera concerts regularly, I practiced excerpts on bass trombone, and I took every band and orchestra audition that I could.

 

With my partners of the Dallas Opera Orchestra.

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 there must be a balance.  If a school has the students and the finances to support both a tuba and euphonium teacher, that’s great, but that’s very rare.  I have always played multiple instruments, so I feel I have a unique perspective when it comes to teaching and I encourage my students to study multiple instruments for this reason.  While tuba and euphonium are similar, a teacher will be more effective if they understand the nuances of both instruments through their own personal experiences.  I am happy that I can teach and play both instruments at my university.

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

In the USA, there are more tuba and euphonium jobs now than ever.  In the Dallas area, it is possible to make your entire living from teaching tuba and euphonium private lessons.  I think this is wonderful, we’re also seeing many musicians challenging composers to write more difficult repertoire.  Sergio Carolino and Roland Szentpali come to mind, these musicians have created a paradigm shift that ultimately raises the level for all musicians.

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 a faculty member at Texas A&M University-Commerce, Cameron University, and the University of North Texas.  I have taught masterclasses throughout the USA and Brazil and online as well.

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

Regarding masterclasses, this all depends on where I am teaching, who I will be teaching, and how much time we have.  I focus on fundamentals, mainly tone, breathing, and ear training.  I have also presented clinics on college preparation, audition preparation, and performance anxiety.

· How long are your classes?

Private lessons are one hour in length, masterclasses are usually two hours in length.  If a student that I don’t work with on a regular basis wants a lesson, we will usually go a little longer than a standard lesson.

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

Absolutely.  We are performers and many people are not comfortable with sitting in the spotlight.  Only through experience can we master our doubts and fears.  I encourage my students to perform early in their career and often.  I like for my performance majors to perform a recital each year they are in school.  My music education majors are required to perform one recital before graduation, but I encourage them to do more.

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 encounter students that only want to work on excerpts.  Harvey Phillips and Arnold Jacobs both believed that if a tubist only practices band and orchestra music, they will be limited as a musician. We must study all great musicians and aspire to perform all types of music at a high level. 

I think if we only practice solo literature, we will also be limited as a musician and the reality is most tuba players do not earn their living as a soloist.  There needs to be a balance and the student should be willing to learn as much music as they can from many styles and genres.  

· 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 have no preference, they are both musicians and the goals are the same.  An ideal student for me is curious, hard-working, and willing to try new approaches.

With the Contrabass Trombone

About your DAILY WORK.

· What type of repertoire do you mainly work in?

My repertoire varies throughout the year.  During months where I perform with the opera orchestra, I am focused on what we will be performing.  If I am preparing for a recital, I may not play my 6/4 CC tuba and spend extra time on bass trombone and F tuba.  

I have a variety of etudes and solos on my music stand at home, this is the type of music that will help force you to maintain a high-level of playing.

· What warm-up exercises do you use?

I play different instruments every day, I don’t always warm up on my 6/4 CC, in fact, I haven’t played it in a while!  Regardless of the instrument that is in my hands, I am trying to create a consistent sound throughout the low, middle and high range, and I am trying to ensure that I am in tune in all keys.  I play a lot of flow studies and songs in all key signatures.  

Long tones are always beneficial, so are scales and arpeggios.  I used to play a specific routine, the same exercises every day in the same order.  While I believe that is useful for younger musicians, I now play what I feel I need for each day.  If my connections are not smooth in my flow studies, I play more lip slurs or possibly switch to a different instrument that requires more attention in the area I am trying to fix.  I do this a lot with tuba and cimbasso because the cimbasso requires much more air and control.  I will often play ear training exercises on bass trombone which will help my intonation on euphonium.    

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?

Regarding sound, I believe that a student must have a strong idea of what they want to sound like.  We model or mimic others, in the same way that babies learn to talk from hearing their parents.  Depending on the instrument, ensemble and the repertoire, my ideal sound models are Michael Lind, Warren Deck, Floyd Cooley, and Brian Bowman.

I’m fortunate to perform with singers, I try to take a singing approach in my own studies and it is the cornerstone of how I teach musicians.  We have to communicate with the audience, like a great singer.

The influence of language is something I also discuss with my students, we perform German, Italian, and English songs and often discuss how the text relates to our articulation and breathing.  We should mimic singers in articulation and phrasing.  We should be creative and expressive storytellers.

· 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?

My first CC tuba was an Alexander and that influenced me in many ways.  There is no other sound like an Alex, it’s beautiful and despite its 4/4 size, a well-played Alex can be heard easily inside any ensemble.   Handmade instruments like Alexander, Rudy Meinl, and Adams use thinner metal since there are not any machines used to form the parts.  I think this thinner metal allows the instrument to respond better, it also allows me to play softer with more control, which is much more difficult than playing loud.

I have a variety of equipment that allows me to adjust my sound and presence depending on the repertoire.  For example, my trombone colleagues prefer that I play bass trombone on La Boheme, but for other works by Puccini, I use cimbasso.    

I use medium-sized mouthpieces on all my instruments, I feel that I have more control, more endurance, better intonation, and it requires less air to create an ideal sound.

You are a recognized interpreter in you country.

Please tell us something about the history of our instruments in your land.

The tuba sound in the United States has changed over the last 30 years.  Americans used to perform on 4/4 rotary tubas, much like Roger Bobo, Chester Schmitz, and Ron Bishop.  Large 6/4 piston tubas became popular in the late 1980s and early 1990s primarily due to the success of Arnold Jacobs and Gene Pokorny in the Chicago Symphony.  My Meinl Weston 2165 is a copy of a 6/4 Holton, like the one Floyd Cooley used in the San Francisco Symphony.  It was made famous by Warren Deck in the New York Philharmonic and now there are numerous versions of 6/4 piston CC tubas available.  I don’t know that this is good or bad, it’s mainly just a change in what tuba players wanted which led to many new models and styles.

In the United States, beginner tuba students learn BBb tuba first.  I encourage all of my university students to learn CC tuba, I feel this makes them a more effective musician and teacher if they understand BBb and CC.  I do not requre them to own a CC tuba and if they prefer BBb, I am happy to support them.  There are some fantastic BBb tubas available and many of the top tuba players in Europe don’t own a CC tuba.  I do believe that CC tuba responds better than BBb, probably due to the shorter length of tubing, moreover, currently in the United States, there are more professional-level CC tubas available.

Tuba/Euphonium studio at Texas A&M University-Commerce in the Music Building's Concert Hall with the adjunct tuba teacher Dr. Ken Drobnak and an adjunct euphonium teacher Brian Davis.

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).

Of course, how could it not be?  Music education in Germany is quite different than in the United States, the same could be said for most countries.  If you are not from Germany but travel there to study, you must do what they tell you in the style they tell you.  Politics, history, economics, and how the arts are valued at a national level all affect these varied styles of pedagogy and performance. 

In our lifetime, I think we have seen, and will continue to see, more diversity and acceptance due to a more interconnected world created by the internet.  Youtube videos, zoom lessons, digital concert subscriptions, this is all wonderful and allows for a wider acceptance of ideas.  This can also be a way to educate our students on different approaches to music.  When I am working on Berlioz excerpts with a student, I encourage them to find recordings of French orchestras and French conductors.  There are many fine recordings by the Montreal Symphony with Charles Dutoit conducting, these sound very different than the Chicago Symphony.  When we are preparing Wagner excerpts, my students must listen to German recordings, Bayreuth sounds very different than the New York Philharmonic.     

Jeff, 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.

Thank you for inviting me to participate Harold, stay safe and I look forward to seeing you when we can all get together again!

"ENTRE TUBES et EUPHONIUMS.....GÉRARD BUQUET"

L'interview que je vous apporte aujourd'hui est sans aucun doute très importante et très intéressante, étant donné que c'est l'actuel professeur qui est considéré comme le plus important conservatoire de musique en Europe pour les joueurs de vent traditionnellement et je veux dire le Conservatoire National de Musique de Paris.

Je ne veux pas approfondir sa carrière, je vous laisse ici une petite esquisse de sa Biographie et de son vaste catalogue de composition et bien sûr je le remercie pour sa sincère collaboration et amitié.

Sans plus tarder, commençons.

• Nom et prénom: 

 Gérard Buquet

• Quel instrument / s utilisez-vous?

Tuba

• Ce marque et le modèle sont les outils que vous utilisez:

Miraphone F Tuba Elektra argenté

• Ce fabricant et le modèle sont la buse / s / s que vous utilisez:

Yamaha Roger Bobo Symphonic Mouthpiece 

Parlons de votre éducation:

• Quand et où leurs études ou euphonium tuba ont commencé?

En 1969 à Valenciennes ( Nord de la France)

• A quel âge?

15 ans 

• Quelles sont les raisons ou les circonstances l'a amené à étudier cet instrument?

Passion pour la musique, le professeur de tuba n’avait plus d’élèves alors j’y suis allé 

• Qui étaient vos principaux professeurs?

Joseph Vaillant professeur de tuba à Strasbourg

Quant à son expérience professionnelle:

• S'il vous plaît laissez-nous un peu compte de son expérience en tant que soliste, membre d'ensembles de chambre, orchestre, bande, etc.

• Dans Orchestra et / ou Band: 

Soliste de l’Ensemble Intercontemporain ( P Boulez) de 1976 à 2000

• Ensembles métalliques: 

A fait partie plusieurs années du Quintette de cuivres JB Arban 

• Concerts en solo: 

Beaucoup de concerts et créations en soliste dans le répertoire contemporain

• Qui utilise des exercices d'échauffement ?

Exercices issus de ma pratique du Tai Chi ( Professeur Jacques Dropsy) 

Essayer d'autres sujets d'intérêt.

• Ici, en Espagne, dans certains centres, il est considéré que le Bombardino, est un instrument qui doit avoir sa propre spécialisation et, d'autre part, certains pensent que, comme instrumentiste, il faut connaître et maîtriser le tuba et euphonium.

• Pourriez-vous nous donner votre avis sur ce sujet et comment aborder cette question dans l'intérêt de l'éducation et de la formation adaptée à l'expertise nécessaire nécessaire aujourd’hui?

En France les deux instruments sont séparés et il y a des spécialistes pour le saxhorn et euphonium dont certains sont très actifs et de grands virtuoses ! certains tubistes jouent également du saxhorn et de l’euphonium mais pas au niveau des spécialistes 

In the class

Parlons de votre expérience de l'enseignement :

• Dites-nous ce que les centres d'apprentissage a enseigné (professeur à temps plein, professeur invité, cours, conférences, etc.

-  De 1997 à 1999 a enseigné la Musique de chambre au CNSM de Paris

-  Depuis 1999 est  professeur de tuba au CMNSM de Paris . 

- De 2001à 2018 a dirigé l’Ensemble de musique contemporaine à la Musikhochschule de Karlsruhe.

- Depuis septembre 2013 professeur de lecture à vue au CNSM de Paris pour les instruments à vent pour le répertoire contemporain.

• Comment organisez-vous vos cours et le sujet en général?

1/ Warming up collectif.

2/Travail technique collectif. 

3/cours individuel avec piano.

4/travail du répertoire solo 

5/ traits d’orchestre au tuba en Fa 

• Combien de temps vos cours?

6h par semaine pour 6 étudiants 

• Pensez-vous qu'il est important que les élèves font des apparitions publiques au cours de ses années de formation?

Oui , c’est très important ! Nous essayons d’en réaliser le plus possible notamment en collaboration avec d’autres classes en Espagne , Allemagne, Suisse…)

• Y at-il un autre enseignant avec votre même spécialité dans le centre où vous enseignez? 

J’ai la chance d’avoir un assistant (Sébastien Rouillard) qui est responsable du contre tuba en ut et sib 

Une partie importante du programme de cours est normalisée et est basée sur l'idée que les élèves maîtrisent le répertoire seul, parfois au détriment du répertoire de grands groupes (orchestre et bande), alors qu'en fait, la plupart des étudiants Tuba et euphonium sera enseignants et / ou les membres d'une bande et, dans une moindre mesure, d'un orchestre dans le cas de tubas.

• À votre avis, comment ce problème doit être résolu? Quelle est l'importance pensez-vous inclure l'apprentissage et la maîtrise du répertoire d'orchestre dans le cadre du programme du cours?

Nous essayons de faire les deux : tous les étudiants participent aux concours internationaux et aux concours d’orchestre. En ce qui concerne le travail d’orchestre le Conservatoire avec ses 3 orchestres proposent des projets avec des chefs renommés et la proximité du Conservatoire avec la Philharmonie permet aux étudiants de jouer régulièrement avec les orchestres professionnels ( orchestre de Paris, orchestres de radio France, Ensemble Intercontemporain…)

• Dites-nous quel est le processus d'admission pour accéder à votre centre d'apprentissage: 

Sur concours au mois de Février en deux épreuves : admissibilité et admission avec un jury extérieur composé de tubistes professionnels 

• Ce qu'il est nécessaire répertoire à l'examen d'entrée?

Classique et contemporain 

• Proposez-vous tout répertoire particulier?

Le Conservatoire grâce notamment à Pierre Boulez a inclus le répertoire contemporain dans à tous les niveaux du cursus 

• Combien d'œuvres sont obligatoires et dans quel format (en solo, avec piano, études, etc.)?

4 œuvres en solo et avec piano 

• Y at-il un morceau obligatoire? Si oui, quel est-il?

Oui, 2 morceaux obligatoires un classique et un contemporain

• Combien de temps est l'examen?

40 mn en tout 

• Quels sont les aspects que vous chérissez le plus pour décider? ¿Musicalité, l'intonation, le rythme, ...?

La musicalité qui est très difficile de transmettre à un étudiant si elle n’est pas déjà présente 

• Si je devais choisir (dans une situation hypothétique), serait de préférence entre étudiants Tuba ou euphonium un?

Notre classe est consacrée exclusivement au tuba basse et au tuba contrebasse ainsi que le cimbasso

A propos de leur travail au cours.

• Quel genre de répertoire que vous travaillez principalement avec vos élèves? Solo, avec accompagnement de piano, musique de chambre, ....?

Nous travaillons un répertoire très large incluant par exemple le théâtre musical, la musique électro-acoustique… 

• Quel format examine LIMIT? concert solo, récital de piano ...?

L’examen final est un récital de 50 mn environ composé de pièces solo, avec piano, avec électronique, avec ensemble de cuivres, quatuor à cordes , orchestre symphonique selon les années et les étudiants

• L'élève choisit les œuvres à jouer? ou ils sont choisis par l'enseignant?

Une partie par l’étudiant et une partie par les professeurs 

• Y at-il le travail qu'il juge obligatoire? Alors quoi?

Les traits d’orchestre sont inclus dans les examens de fin d’année sauf pour le Master 2 

In the recording studio

PARLER DES QUESTIONS TECHNIQUES:

• Pourriez-vous nous donner votre opinion sur différents concepts de son et ce caractéris-tics définissent, l'articulation, les types d'instruments, de la littérature, si l'influence de la langue et de la tradition musicale dans le son et le mode de jeu est considéré comme important ?

La langue a effectivement un rôle important pour les articulations et pour le son mais elle doit s’harmoniser avec le style musical des compositeurs que l’on interprète. 

• Parlez-nous un peu de faire tubas et / ou euphonium et buses:

J’ai choisi le chemin de l’expérimentation de nouvelles techniques au tuba et le travail de création avec les compositeurs d’aujourd’hui ainsi que le chemin de la composition musicale comme complément de mon travail comme instrumentiste

• Parlez-nous de vos expériences et les goûts d'un fabricant particulier et pourquoi?

Je joue un Miraphone Elektra argenté depuis plusieurs années et auparavant un Firebird : ces deux instruments ont une très bonne projection sonore et un jeu direct qui convient très bien pour la musique contemporaine 

• Avant de terminer, faites-nous part de votre expérience en tant que compositeur et chef d'orchestre.

Comme compositeur : 

• A composé notamment pour l’Ensemble Intercontemporain, l’Ensemble Modern de Francfort, le Klangforum de Vienne, le RSO de Stuttgart, le Klangforum de Heidelberg, l’Ensemble Nomos,  l’Ensemble Aleph, l’Ensemble Slowind…

• Ses œuvres solistes ont été interprétées notamment par  Marcus Weiss : saxophone, Vincent David : saxophone, Eva Böcker : violoncelle, Delphine Biron : violoncelle  Frédérique Cambreling : harpe, Elisa Humanes : percussions, Claude Barthélémy : guitare

• A également composé des œuvres pédagogiques pour Ensemble, pour trombone,  pour tuba…..

J'ai composé entre autres œuvres

Œuvres solistes : 

"Voix Captives" pour Tuba et bande

"Zwischen" pour trombone contrebasse à 2 pavillons

"Adverb" pour  violoncelle solo et électronique 2001/2002

"L’astre échevelé" pour saxophone soprano et dispositif électronique (2008-2009). 

"Surimpressions" pour percussion et électronique (2006). 

"Con Voce " 2019 pour tuba solo, 

Musique de Chambre : 

"Buckbarthblues"pour Tuba et guitare électrique

"Zwischen 3 " (Juillet 2003 ) pour trombone contrebasse à 2 pavillons  et Quintette de cuivres 

"Les danses du temps" pour flûte, clarinette, harpe, alto et violoncelle. 

´Théâtre musical, concert scénique :

"Un Concert imaginaire"Pour contrebasse à cordes, Tuba et bande avec Frédéric Stochl

"Enjeux" (commande d’Etat) Spectacle musical, Texte : Guy Lelong, mise en scène : Patrice Hamel

Dijon, Festival « Nouvelles scènes », Paris « Centre Georges Pompidou », 1993.

Co production Ircam et festival « Nouvelles scènes ».

"Fluxus temporis "(2017)": performance avec l'artiste Anja Michaela, 

Helmut Lachenmann tuba concerto Harmonica in Helsinki with the Philharmonia

Pour Orchestre et Ensemble :

"l’enclume des forces" : (2010) pour clarinette basse principale et quintette à vent,  

"Die Malerin von Bellevue" (2009/2010) pour 6 voix de femme trio à cordes (vl, alto, vlc)  et trio à vent (clarinette, cor et fagott),  

« l’horizon et la Verticale » (2012 pour 2 harpes solo et orchestre. 

"les navigateurs immobiles" (2014) pour 12 violoncelles 

"les navigateurs immobiles : le retour (2017) pour 12 violoncelles. 

Œuvres pédagogiques :  

Solo : 

"Trois Miniatures"pour trombone solo (éditions Lemoine)

Pour Ensemble : 

"Nonobstant" 2018 pour soprano, violon, saxophone, claviers, percussions et électronique. 

"Fiction" : spectacle musical pour ensemble instrumental

"Images de passage" Clip musical pour Ensemble instrumental créé en mai 2003 au ZKM (Medientheater) de Karlsruhe avec les étudiants de la Musikhochschule.

"Transitoire « G » "pour Ensemble de 23 musiciens.

Comme chef d’orchestre :

• De 2001 à 2018 : direction musicale de l’ensemble für Neue Musik de la Musikhochschule de Karlsruhe (Allemagne).

• a dirigé de nombreuses œuvres des étudiants de la classe de composition de W. Rihm et de Marcus Hechtle ainsi que le répertoire contemporain

• Octobre 2007 a dirigé « les Etudes d’après Séraphin » de W. Rihm, spectacle associant musique danse et création lumière (réalisée par l’artiste Rosalie) pour le 10ème anniversaire du ZKM de Karlsruhe, (coproduction Staatstheater de Karlsruhe, ZKM, HFM Karlsruhe.

• Il a invité des solistes à se joindre à l’Ensemble für Neue Musik (notamment F. Cambreling, Garth Knox, M. Weiß, Mario Caroli, J. Geoffroy ……).

• A dirigé en Mars 2012 à Karlsruhe, le concert « Konzertante Plastiken » pour les 60 ans de Wolfgang Rihm, un concert mis en espace, comprenant 5 créations (R. Saunders, O. Neuwirth, P. Dusapin, M. Hechtle), Ensemble Tema et Ensemble für Neue Musik de la HFM de Karlsruhe  (Coproduction HFG et SWR). 

• En janvier 2012, a enregistré au ZKM, une œuvre de Matthias Ockert réunissant des musiciens de l’EIC et de l’Ensemble Modern. (Production CD du Deutscher Musikrat).

• A dirigé, en 2012 l’Österiche Ensemble für Neue Musik pour un concert « carte blanche à Pascal Dusapin «  à Salzbourg.

• A dirigé en 2015/ 2016 "zwei Gefühle " d'Helmut Lachenmann à Karlsruhe et à Strasbourg.

With the Hessische Rundfunk Francfort

POUR FINIR:

• Selon votre expérience, pensez-vous que la diversité des artistes, des instruments et la possibilité de former dans diverses écoles spécialisées est homogénéisant dans les centres d'interprétation déjà mis en place? (Exemple: russe, américain, allemand-autrichien, anglais, etc.).

Il faut de la diversité de style et de son dans le monde musical et tous les orchestres ne doivent pas sonner pareil ! Un vin espagnol, italien ou français est différent et c’est tant mieux !

Gérard, c'est un grand plaisir et un honneur de compter sur votre expérience, votre collaboration dans cette série d'entretiens et votre amitié.

Merci beaucoup et mes meilleurs voeux.

Un gros câlin.