"BETWEEN TUBAS and EUPHONIUMS...MIEL ADAMS"

Hello everyone. 

Today's interview is with the representative of one of the references in the manufacture of musical instruments in the world and since about 10 years ago specifically of brass instruments and I sincerely thank him for his time, friendship and collaboration in this interview project.

Without further ado, let's begin

• Name and surname: Miel Adams

• Do you play or have you played any wind instrument? 

Yes.  I played the oboe and baritone saxophone as a child and teenager. I stopped when I was 23, which was the time that I became more dedicated to learning to become a repair technician.  

• What instrument manufacturer do you own, CEO or representative?

I work in the company that my uncle, Andre Adams, founded.  Adams Musical Instruments is now owned by Andre’s son-in-law Frans Swinkels and his Lison Swinkels-Adams.  

• What instruments do you make?

Adams manufactures many members of the brass family of instruments.  Beginning with the flugelhorn many years ago, the firm expanded to trumpets, cornets, trombones, euphoniums, and tubas.  

Of course, Adams is also a well-known percussion instrument manufacturer

• What models?

15 trumpet models, 6 Flugelhorns, 2 Cornets, 4 Trombones, 4 Euphoniums, 6 Tubas, and a series of Marching Brass instruments primarily for the US market. 

• What type of Tubas and / or Euphoniums are manufactured in your company? Professionals, for students, beginners?

Adams manufactures primarily professional, handmade euphoniums and tubas.  

•        Do you manufacture nozzles in your company?

Adams does not manufacture mouthpieces.  

Let's talk about your company:

• When it was founded?

Adams was founded in 1970.  The company began as an instrument repair shop, and then grew into a retail store and percussion manufacture.  Brass manufacture began in a serious way in 2004.

The bell

• In what city or country?

Adams began in Thorn, the Netherlands. 

• Who was the founder?

Andre Adams, my uncle.  

• Since when do you manufacture Tubas and / or Euphoniums?

The first euphoniums were developed in 2008, and tubas began in 2010.  

• What reasons or circumstances led you to manufacture Tubas and / or Euphoniums?

Developing low brass instruments was a natural extension of the Adams product line. 

• Who were its main designers?

I was the main designer, and have regularly consulted and worked with many musicians as part of the ongoing process.  

Regarding the vast experience of your brand in the market:

Please let us have a count of some of the artists that appear in your catalog broken down as follows:

The list of our artist of tuba and euphonium appear in our web.

See 3 examples in this videos.

•  Perry Hoogendijk 

• Mauro Martins

• Fernando Deddos soloist and composer too

TALKING ABOUT TECHNICAL ISSUES:

• Could you give us your opinion on the different concepts of sound and what characteristics define it, according to the different types of instruments, that your brand manufactures?

Adams aims for free-blowing instruments with superior intonation and slotting. To achieve this, we create the bell, lead pipe, tuning slide and bows from sheet metal and craft them through a traditional process of seaming, hand hammering, and finishing by spinning or drawing. These old world techniques combined with modern machinery make Adams Custom Series Brass instruments special and unique.  

Part of process

• Please tell us a bit about the actual manufacture of brass instruments based on your experience?

We make all of the major parts from the receiver to the bell in house, and also have our own lacquering and silver plating facilities.  Through this dedication of resources, we have been able to extensively learn and grow as a company, and it also allows us complete control over consistency and quality. 

Each of the instruments in the custom series is available in a selected model that has specifications that are the ideal concept of the model, and these will meet the needs of most musicians. Additionally, most models are available in many choices of bells, material thicknesses, and finishes, allowing the musician to create a custom instrument to their own sonic preferences.

In the work

IN CONCLUSION:

• In your experience, do you think that the diversity of interpreters, instruments and training opportunities in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.)

As part of designing instruments, I have worked with many musicians from all over the world. I feel that musicians bring their unique musical and viewpoints with them, and these are all different. Even within a given country, different teachers at different conservatories produce students with different styles and viewpoints.

It is a pleasure and an honor to count on your experience and knowledge in my work as well as your sincere friendship.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS...PERRY HOOGENDIJK "

Hello everyone. Any musician with a little curiosity and information knows the Amsterdam Royal Concertgebouw Orchestra and any Tubist has heard of the genius of our interviewee who I thank for his friendship and exquisite collaboration in this series of interviews for you about the Tuba and the Euphonium.

Let's start.

· Name and surname:

Perry Hoogendijk

· What instrument / s do you use?

Main instruments: Adams piston F tuba, Hirsbrunner “York CC Tuba

Side instruments: Melton Fafner B-flat, Melton 182 F tuba, Rudolf Meinl Cimbasso

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

Laskey 28H/Laskey 30G/ Laskey 30 F

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

At the age of 9 years old, I started playing the euphonium. There was a very early desire to become a professional musician. My Father played Euphonium in the Dutch Royal Military Band. Once a year he played in the Concertgebouw in Amsterdam. As a young boy I was immediately stunned by the magic of the Hall and it’s unbelievable acoustic. In a way, I think this is where the seeds were planted. 

For sure, I was going to go to the Conservatory, but on what instrument? In those days Euphonium was not an option. Therefore I moved to the trombone for some years. Then a desire emerged to go for the deepest tones and support the sound of a (wind)band.

· Who were your main teachers?

Herman Bekkers, Hans Nickel, Roger Bobo and Rex Martin. Many visits to Jens Björn Larssen and Gene Pokorny too,....

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: 

In 1996 I became member of the North Holland Philharmonic Orchestra. Then in 2004, I won the position in the Royal Concertgebouw Orchestra.

· Metal Ensembles: 

Through the years I played in many Brass Quintets. Especially Brass Quintets with RCO members. In the last 2 years we have started a new ensemble again after the arrival of our amazing new solo trumpets.

· Concerts as Soloist:

My CD project Quicksilver was designed around having composers write new Solo pieces for Tuba with different Wind Band settings as a tribute to my Roots. I enjoyed this intens period of recording and performing these new pieces with the best Wind Bands of the Netherlands and Belgium.

In April 2019 a big wish came true in playing and recording the Vaughan Williams Tuba Concerto with my own Royal Concertgebouw orchestra. Digital recording is expected to be released soon in 2020.

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.

Since some years my former Euphonium student Rodin Rosendahl( member of the Wind Band of the Royal Navy) has become me co-teacher at the Conservatory in Amsterdam. To a certain degree I can teach and coach young Euphonium players, but I can never bring the same approach  in the specific, instrument related details of the instrument and knowledge of the repertoire. In the Netherlands most young Euphonium Students combine their studies with Wind Band conducting and are able to build up a prospering music life.

• 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? 

It is my believe that at some main Conservatories there should be team teaching with a Euphonium Top player. As a teaching team there can be different aspects of importance in the development of the students. I also believe that these Euphonium students should thoroughly selected and highly motivated.

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

As mentioned before, I think there are not many positions to be filled. It is only those players that have the intrinsic motivation to give all they have to become the best players in the business. Then there can be time and focus on all mental aspects that students have to deal with in finding their path of succes.

Let's talk about your EXPERIENCE IN TEACHING:

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

Alongside my teaching at the Amsterdam Conservatory I have been doing many international masterclasses and private lessons during the Orchestra’s Touring Countries. Just recently I did a masterclass in Tokyo, which was impressively hosted by two of my Japanese Tuba colleagues and Friends. During this Tour, masterclasses in Taiwan, Korea and Thailand. Also, I make an annual visit to Alfonso Molla’s Class in Oviedo. Most of the time, three to four days.

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

Well, most of the time, beforehand I will have intens contact with the organizing side about their wishes. When I get card blanche I prefer starting masterclasses with a group warm up and/or basic followed by some instruction and explanation of breathing and common misbelieves. Also, I prefer to focus on some essential different approaches to technical and mental aspects. Then...in individuals lessons trying to make new approaches realistic. Also, in masterclass situation I really enjoy coaching on Solo repertoire and Excerpts and audition training. If possible and available conducting Tuba or Brass Ensemble is a great enjoyment for me.

· How long are your classes?

That is totally up to the organisation,...I can do a two hour “speed” course and (like in Oviedo) I have been doing teaching marathons.....(luckily always followed by a mind boggling diner!!!)

· 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?

Of course,...this is extremely important. I would say as much as is possible in all kinds of degrees,....playing for audience, fellow students, Family, colleagues etc etc...The only thing that is important is that a teacher (or student himself) should be smart enough to create a string of success experiences.

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?

It is my believe that Students these days should be trained as broad as possible. The Orchestral repertoire is an important guideline to tackle playing difficulties (both physical as mental), the solo repertoire demands technical and musical expansion of the student. The student should be involved with the more contemporary repertoire and technical (special effect) demands too, evolving in learning in how to deal with making use of electronics.

· 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?

So, in any case I would choose for a Tuba Student, unless the Euphonium candidate is very determined and talented. This happened many years ago with my current colleague Rodin Rosendahl…..I didn’t want to take an euphonium player in, but he kept on insisting. It was the right decision to take him in, because he has evolved tremendously and I am happy he is now my co-teacher at the CVA.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Classical repertoire

· What warm-up exercises do you use?

It is Impossible to list this in a blog...there are many and I vary as much as I can in my routines. Essentially Breathing, Stretching Buzzing and Basics, Music learning/listening..... I have let go of the idea that I need a one hour warm up to function on stage,....When I practice, I practice for the “next day”. I hope you understand what I mean by that.

TALKING ABOUT TECHNICAL ISSUES:

· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?

The influence of language is extremely important in my believe. In my teaching all over the world I have experienced big differences in articulation and sound production because of a specific vowel sound unconsciously used in the brain. When a player is aware of this he can transfer his sound in the desired sound concept. The acoustic of the Concertgebouw demands a specific approach of articulation and sound production. The timing of the orchestra is pretty late for a wind player and needs delicate controlled articulations. Also when you play with a harsh sound the Hall will “punish you” for this.

· 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?

The Adams company have started to build instruments out of the Hirsbrunner Molds.  Since two years I have been giving them input in possible improvements and changes. This has resulted in the return of the “Hirsbrunner Soul” into these high quality instruments and a impressively stabilized production process. The Adams company is tirelessly continuing trying to improve on any model.

You are a recognized interpreter in you country.

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

For many years the E-flat tuba and B flat Tuba were the most common. For professionals a C Tuba was the only standard instrument and many solo pieces like V.Williams Concerto, Gregson concerto, Hindemith were played on C tuba. 

The Miraphone C Tuba( please forgive,... don’t know type number) was a very all round instrument for many years. The Dutch Tuba players have always been pretty quick in adapting to instrument styles or/and playing styles to other big music countries.  

Now you can see that different instrument types are common.

IN CONCLUSION:

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

I think there are a couple of schools of Brass/Tuba playing. To me, it always has been interesting and, in fact, my main goal, to learn and adapt from all styles. I believe, this makes me a better and all round musician. Of course, in these days of global communication, the differences are not so big anymore. And of course,…Students have become teachers and pass on their collective knowledge. I do appreciate though, a strong sense of tradition in how specific music is to be played in certain countries. Just listen to how a Russian orchestra plays Tchaikovsky, a German Orchestra plays Wagner, a French orchestra plays Berlioz etc etc…..

The beautiful thing of the Royal Concertgebouw Orchestra is that we always strive to get close to a specific sound from a country, as close as we possibly can, without losing our own identity.

Perry, 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.

Good luck with your great work and hope to meet you in real life in the future 

Perry