"BETWEEN TUBAS and EUPHONIUMS.....WALTER HILGERS"

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 

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.

www.showroom-geretsried.de

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

Fritz Huhn

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.

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

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!

Melton F Tuba old model Walter Hilgers

Melton F Tuba new 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.

Conducting in Santa Fe. Argentina 

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? 

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.

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.

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

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.

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.

”BETWEEN TUBAS and EUPHONIUMS...STEFAN TISCHLER”

Hi all. There is no doubt that Stefan Tischler is one of the most important and renowned orchestral tubists in Europe.

It is a luxury to be able to count on your experiences and I take the opportunity to thank you infinitely for your time, your collaboration with this interview project and your friendship.

Without further ado let's get started.

· Name and surname:

Stefan Tischler

· What instrument / s do you use?

I use to play F-tubas and Bb-flat-tubas.

· What manufacturer and model are the instruments you use:

F-tuba: MELTON/MEINL-WESTON 4250

Bb-flat-tuba: MELTON/MEINL-WESTON 197/2

and on journeys and in hotel rooms I use MELTON/MEINL-WESTON 14 - Travel tuba in F.

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

I use mouthpieces of Franz Windhager, a fantastic and precise manufacturer from Vienna/Austria. For F-tubas I use mouthpieces of “his“ sizes 4-6 (depends on needs of piece and ensemble/orchestra), for Bb-flat-tubas I use a mouthpiece of “his“ size 8. Finding the perfect fitting mouthpiece is a very individual process every tuba player should spend some time on...

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

When I was a young boy I played the trumpet until I started to play the tuba at the age of 15. My teacher was Eckhard Vincke (a fantastic teacher for brass instruments at my hometowns’ music school) who helped me to prepare for conservatory.

· At what age?

At the age of 15...

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

Those days on a trip to Berlin I visited a concert of a youth orchestra. They performed the Vaughan-Williams-Concerto. Suddenly I was completely enthusiastically thrilled by this great instrument...

· Who were your main teachers?

When I was 16 years old Professor Klemens Pröpper became my tuba teacher at Musikhochschule Detmold and later at Musikhochschule Hannover.

3 years later Professor Walter Hilgers became my teacher, when I started my studies at Musikhochschule «Franz Liszt» in Weimar.

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 am the principal tuba player of the BAVARIAN RADIO SYMPHONY ORCHESTRA since 2010. 2006-2010 I was a tuba player at the BAYERISCHE STAATSOPER, before 2006 I was a tuba player at the ESSENER PHILHARMONIKER.

As a guest tuba player I had the chance to play with some famous European Orchestras like the BERLIN and VIENNA PHILHARMONIC ORCHESTRAS, the CONCERTGEBOUW ORKEST AMSTERDAM and the ORCHESTRA OF THE BAYREUTH FESTIVAL...

· Metal Ensembles:

With colleagues of my orchestra we founded and established the Brass Quintet «NoPhilBrass» 10 years ago. Playing with this Brass Quintet is very important for me - it’s more than a job, it’s a passion - and of course big fun!

· Concerts as Soloist:

As a soloist I performed with my orchestra (BAVARIAN RADIO SYMPHONY ORCHESTRA) and several orchestras like ESSENER PHILHARMONIKER,  WEETFÄLISCHE KAMMERPHILHARMONIE and several youth orchestras. My favorite tuba concertos are LANDSKAP for tuba and strings by Lundquist and the VAUGHAN-WILLIAMS-CONCERTO.

About your ORCHESTRAL EXPERIENCE:

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

When I was a tuba player at the BAYERISCHE STAATSOPER I played as a guest in BRSO, because of BRSO‘s vacant tuba position. I was very happy and felt very comfortable being the tuba player of the opera house, that’s the reason why I was hesitant and shy in applying for BRSO’s vacant tuba position. During some auditions colleagues couldn’t find a tuba player. After a couple of months I was very honored when Maestro Jansons and colleagues of BRSO’s brass section asked me to apply. In December 2008 I applied and took part in an audition for my current job.

• How was the selection process?

In German Orchestras you apply for a job if you feel comfortable to meet its demands. If your c.v. looks interesting you get an invitation for an audition. During this audition a lot of musicians play for the members and chief conductor of the orchestra.

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

Usually tuba players play the Vaughan-Williams-Concerto and one piece of their own choice. After playing those concert pieces applicants are asked to play orchestral excerpts for "Basstuba" and „Kontrabasstuba“ (usually these excerpts are some well-known passages for tuba from orchestra literature).

In another sense:

• How is your current work in the orchestra?

My orchestra - Bavarian Radio Symphony Orchestra - is a big concert orchestra of Bavarian Broadcasting Services (BAYERISCHER RUNDFUNK). We play concerts for our audiences and subscribers, usually in Munich and Bavaria, but quite often on international stages worldwide, visiting the most important capitals of culture.

BRSO collaborates with internationally known conductors and soloists. Supplementary all concerts are broadcasted by radio and internet streaming services. All these profiles make my job so attractive: I really enjoy the international orientation.

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

ENJOY THE MUSIC AND NEVER GIVE UP LEARNING!

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

Euphonium and tuba are completely different instruments. Usually and in fact trombone players and tuba players share those students of Euphonium, very often “this system” does not support the Euphoniums’ unique character and exigencies.

In Germany military-wind-bands and police-wind-bands collaborate with just a few conservatories which employ teachers for Euphonium, Baritone or Tenorhorn.

Today and for the future it seems to be very important to educate and qualify students of Euphonium to become good teachers especially for those instruments. Many schools of music are in need of qualified teachers.

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

Currently I am teaching Tuba at MUSIKHOCHSCHULE NÜRNBERG. There I coach  my fine and small tuba-class.

In the past I was a guest teacher at conservatories and masterclasses in many European countries, Japan, USA, Brazil, Russia, Argentina, Korea... some conservatories invited me as a guest professor, like MANHATTAN SCHOOL OF MUSIC in NYC, YONSEI UNIVERSITY in Seoul, TOHO GAKUEN UNIVERSITY in Tokyo..., some orchestras invited me as a coach of its brass-section, like SHANGHAI PHILHARMONIC ORCHESTRA....

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

During masterclasses time very often is limited to get in contact with students. If I have the chance to teach in private lessons, very fast I concentrate on noticeable problems and topics to afford success and new perspectives for the student I am working with. Those may be a special topic of music or even sometimes a small technical problem.

With my own students at Musikhochschule Nürnberg I have the chance to achieve sustained success due to the possibility to create a concept of teaching that is based on long-term considerations.

· 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?

For every student it is important to play concerts for a public audience, especially young musicians need to learn to get in contact WITH and to play FOR an audience. That’s a physical experience every musician should deal and grapple with, independently of his/her age and individually “operating experiences” on stage.

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?

Every student should get in contact with a versatile development during his/her education or studies irrespective of his/her intended career. If you will become a teacher you should have learned all basics about most important literature and orchestral excerpts of your instrument. If a student aspires to become a tuba player in an orchestra he/she should have learned basics about pedagogical issues.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

After practicing my daily routines, I try to spend some time in practicing those pieces and programs, I need to prepare for future concerts and productions, including those concerts and etudes my students are working with actually.

· What warm-up exercises do you use?

I like and prefer exercises which effect a very natural way of playing the tuba and producing sound. The ideas and exercises of famous brass pedagogues like STAMP, CLARKE or JACOBS are very common even today. I use their ideas daily.

· 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?

Relationship between musician and manufacturer of instruments is characterized by confidence and mutual knowledge about each other.

Since ever I cooperate with MELTON/MEINL-WESTON-manufacturers who exactly know my preferences and demand of sound and response. In my opinion those instruments uniquely and exactly provide myself the special conditions and qualifications to create different “colors“ and possibilities of “transportations” of sound.

You are a recognized interpreter in you country.

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

Traditionally in Germany tuba players play F- and Bb-flat-tubas. When Mr. Wieprecht and Mr. Stölzel buildet their first tuba around 1830 in Berlin, it was a Basstuba in F.  To produce bigger tubas for military bands instrument makers created C- and Bb-flat-Tubas.

Later Wagner, Bruckner, Mahler and Strauss asked for a KONTRABASSTUBA and for them it was a big Bb-flat-tuba due to its perfect and natural ability to sound together and to cooperate with the sections of trombones and wagnertubas (all in F or Bb-flat). Even almost 150 years later nothing has changed - and if you listen to big orchestras in Germany or Austria with their deep, dark and rich sound obviously Bb-flat-tubas perfectly and naturally enrich and complement those orchestras.

IN CONCLUSION:

· In your experience, do you think that the diversity of interpreters, instruments and the opportunity to be trained in various specialized schools is becoming homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).

Generally I enjoy all colorful differences and diversities in music and culture.  There are so many different possibilities to interpret music in interesting variations.

We all should keep our ears and eyes and our mind open to notice all differences in interpretation and sound. And especially with tuba and it’s sound we can notice quite many different ways to create sound - somewhere on earth tuba players use to play with more vibrato than somewhere else (perhaps a question of cultural imprint)...

Some orchestras have a great history and experience in playing special repertoire. It is remarkable how teamwork in sound and phrase is growing if musicians are used to play together for a long period of time.

As a teacher you should invite your students to listen and remark all those different varieties in culture and music. And of course you should learn them to enjoy those varieties and possibilities in interpreting music in different ways.

Stefan, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.

I hope see you soon.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS.....SIEGFRIED JUNG"

Hi. Today's interview is with a tuba player who is well known in his country for being a great interpreter among other things and for his work as a "teaching follower" of a great man such as Walter Hilgers.

I am infinitely grateful for your friendship and collaboration with this interview project that I hope you enjoy as much as I do.

Without further ado we begin.

· Name and surname: 

Siegfried Jung

· What instrument / s do you use? 

F – Tuba and Bb- Tuba and Cimbasso

· What manufacturer and model are the instruments you use: 

Melton/Meinl Weston “Buffet Crampon Group”

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

My own Model of my Serie S. Jung Exklusiv F, B and Solo https://www.siegfriedjung.de/mouthpiece-s-jung-exklusiv/

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies? 

I started playing the Trumpet in 1987 and changed to Tuba in 1991. I played in a Windband in my town.

· At what age? 

Tuba with 12 years old

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

There was no Tuba player

· Who were your main teachers? 

Oswald Windrich, Prof. Walter Hilgers

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: 

Bayreuther Festspielorchester

BR Sinfonieorchester

Münchner Philharmoniker

· Concerts as Soloist: 

Filarmonica “George Enescu” Bucharest

Filarmonica Banatul Timisoara

Capella “St. Petersburg”

3 Solo-CDs  

1. Paesaggio “Works for Tuba and Orchestra”
2. El Inmortal “Works for Tuba Piano and Harp”
3. Kaleidoscope ”Works for Tuba by Willi März”

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 do not play Euphonium. In my opinion the Euphonium is a completely different Instrument and should be treated very special. Its sound is completely specific and it has to be created in studying. 

For me it is like Basstuba and Contrabasstuba. You should study these Instruments as completely different. Sound, Lips, Mouthpiece, etc.

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

At the moment the style of Sound-Creation, in Germany, is going to loose character. Also the selection of Material is changing completely. Size of Mouthpieces, size of F-Tubas.

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

It needs a lot of knowledge to change things, when you are alone with your opinion

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

Musikhochschule Mannheim, Musikhochschule Frankfurt/Main

Masterclasses in Romania, Russia, Argentina, Germany, Austria

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

The sound is the most important thing. I like individual lessons

· How long are your classes? 

Depends on the level of the students

· 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 is very important for everybody!!!

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 my opinion it is important to get experience in the Opera. There you become highly flexible

· 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?

My preference would be with the Tuba student. 

About your DAILY WORK.

· What type of repertoire do you mainly work in? 

Mixed. Exercises for flexibility, Etudes, long Notes

· What warm-up exercises do you use? 

Walter Hilgers”Tägliche Übungen”, Vaclav Hoza, Bordogni, 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 prefer a brilliant sound with many harmonics in it and dark character. It depends on the selection of Instrument, Mouthpiece and the”Idea” of soundcreation. Also a very clear and a hard articulation I like very much! Old school (international)….

· 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?

Tubas: For over 20 years now I play Melton Tubas. It is like driving an Upperclass-Car. Last year we created together a new Model. Melton 45”Seni”

Mouthpieces: After many different stations I found a Factory which creates my  S. Jung Exklusiv Mouthpiece Serie in best quality of Materials. 

I do not name the Factory, because I sell the products exclusive without a special Brand. Only my Name.

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.).

The biggest difference I see in the Valves and the Contrabass- Tubas.

A very good development I see in many people using a Bb- Tuba, against the tradition of using Cc Tubas in their country. USA, Japan, Italy, Spain etc. And Russia has left its way of using only St. Petersburg Bb Tuba. Many russian students have F-Tubas now.

Siegfried, it is a pleasure and an honor to count on your experience and collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.