Let us begin.
· Name and surname:
Jannicke Ellingsen
· What instruments do you use?
Euphonium
· That make and model are the tools you use:
Adams E1 Sterling
· That manufacturer and model are the / s nozzle / s you use:
MOMO mouthpiece M3
Let's talk about your EDUCATION:
· When and where their studies or tuba euphonium started?
I did my bachelor and master degree at the Grieg Academy in Bergen and Hoschule Luzern in Switzerland. I finished my master degree in 2015.
· At what age?
I started my studies when I was 18 year old
· What reasons or circumstances led him to study this instrument?
Tormod Flaten was my school band conductor. He normally did his practicing before band rehearsal, and I loved to listen to his playing. I changed from cornet to euphonium when I was 14 years old.
· Who were your main teachers?
Tormod Flaten, Grethe Tonheim and Thomas Rüedi
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| From my performance at VTEC during covid |
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 played for Eikanger/Bjørsvik Musikklag (10 years) and Krohnengen Brass Band (5 years)
Now I am working as a euphonium player for the Norwegian Army Band in Harstad, Norway.
As a soloist I have performed with different bands including The Royal Norwegian Naval Forces Band and Göteborg Wind Orchestra. I have also performed at several festivals in Norway and internationally. .
· Which uses warm-up exercises?
I always start with breathing exercises and buzzing the mouthpiece. My warm up is changing almost every day, but it normally includes long tones and flexibility.
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?
In Norway it is not normal to play both tuba and euphonium. But, many euphonium players also play the trombone. I had to audition with both euphonium and trombone in the army band. Trombone is just a very small part of my playing, so euphonium is definitely my main instrument.
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| Soloist with Krohnengen Brass Band |
Let's talk about your TEACHING EXPERIENCE:
· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)
Before I moved to play for the army band, I used to teach euphonium students in a conservatory.
· How do you organize your classes and the subject in general?
I want to make my students become independent of me, and to become their own teachers. I guide them to find repertoire and good exercises, and we often find the repertoire together. During lessons we normally do 10-20 min basics so I can help them develop on their instruments.
· How long are your classes?
60 minutes
· Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?
I think it is very important that the students perform. To work towards a performance makes them more focused and motivated to practice. And to handle the performance situation needs a lot of practice. My students normally performed 2-4 times a year. But we normally played for each other once a month.
· Is there another teacher with your same specialty in the center where you teach?
Me and the trumpet teacher at the school worked close together so that our students could play for each other and together in an ensemble.
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| Soloist with Göteborg Wind Orchestra |
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?
My students did not play a lot of excerpts or orchestral repertoire. We focused on exercises and solos. There are only 5 professional euphonium positions in Norway, and before they started to study at any university I did not think that working on excerpts was important for them
· Please tell us about the admission process to get into the school where you studied.
You have to to an audition to be accepted at the school
· What it is required repertoire in the entrance exam?
The students can choose a solo on their own. They have a 10 min audition
· Do you suggest any particular repertoire?
I think they should find something that shows what they do best. If their sound is beautiful, show that. If your technique is great, show that. And don't try to play something too difficult.
· How many works are required and in what format (solo, with piano, studies, etc.)?
They only have to play one solo
· Is there a mandatory piece? If so, what is it?
No
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| Soloist with Eikanger Band |
· Approximately how long is the exam?
10 min
· What aspects you value most in deciding? ¿Musicality, intonation, rhythm, …?
A good sound is important to me. That shows that the student is listening to what he/she is playing.
About your work during courses or masterclasses.
· What kind of repertoire do you mainly work with your students: solo, with piano accompaniment, chamber music, ....?
Solos
· Do the students select the works to be played or are they chosen by the teacher?
They just bring a solo, I normally don't know if the student or their teacher choose the piece
· Are there any works that you consider compulsory? So what?
In Norway students should perform Fantasia by Gordon Jacob since this is a piece often used at auditions here.
From a concert with the Norwegian Naval Force Band
SPEAKING OF TECHNICAL ISSUES:
· Could you give us your opinion about different concepts of sound and what characteristics define, articulation, types of instruments, literature, if the influence of language and musical tradition in sound and way of playing is considered important ?
I think it is really important to know how you want to sound, and to work to find that sound every day. For literature the students should play in different styles and use music from different periods. They need to listen to recordings and get the knowledge needed to perform in the correct style.
· Talk a little about making snorkels and / or euphoniums and nozzles:
I have played on an Adams euphonium for 3 years now. I really love the sound on the instrument. The high quality of the instruments makes the valves work really well, so I don't need to worry about it during performances. I also really like the intonation of the instrument. I almost never use the trigger. I started on a Adams E3, but decided to change to an E1 as this was better for me as a soloist and in the army band,
Jannicke, you are a young performer recognized in your country and in other countries.
· Please tell us something about the history of development of the woman low brass players our instruments in your land.
I often get questions about being a woman playing euphonium. In Norway I have always been surrounded by women playing euphonium. During my studies at the Grieg Academy my class consisted of 5 girls and no boys.
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| Cover of the Adams magazine |
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.).
I think we have a lot to learn from each other across the borders. As the euphonium is a quite new instrument compared to other brass instruments, there is a lot of repertoire that needs to be written, and still some improvement that can be done on our instruments. I hope we will keep to develop the euphonium world more and more.
Jannicke, 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.
