"BETWEEN TUBAS AND EUPHONIUMS...STEVE ROSSÉ"

Dear readers. It gives me great pleasure to bring you today, in this series of "virtual chats", a tuba player who needs no introduction. His international recognition for his musical quality, his long orchestral experience and his brilliant project Tubamania, make words superfluous and I invite you to share the reading of this interesting interview.

Without further ado, I would like to thank Steve for his collaboration, patience and friendship.

Let's begin

· Name and surname: Steve Rossé

Back stage in Shanghai, Sydney Symphony Orchestra, 2015 tour

· What instrument / s do you use?  

Tubas in F, CC, and  BBb 

· What manufacturer and model are the instruments you use: 

Walter Nirschl York Model 6/4 CC, Miraphone 181 BelCanto F Tuba, Rudolf Meinl 5/4 4 rotor BBb Tuba, all silver plated 

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

Perantucci Gold Plated PT 64 and 86

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?  

High 8th Grade Greenfield then in High School Granite Hills HS El Cajon Ca USA.

· At what age? 

Started at age 14

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

Had braces, so trumpet was painful and I always loved the low sound of any ensemble

· Who were your main teachers?

High School: Private teachers Ted Bietz Grades 9-10, Brent Dutton grades 11-12.

University Daniel Perantoni and privately with Roger Bobo in California

Following University: Arnold Jacobs, Abe Torchinsky, Mel Culbertson, Robert Tucci

First picture on the steps of the Sydney Symphony Orchestra in 1990 

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:  

San Diego Symphony Sub Summer Contract 1987

New Mexico Symphony (USA) Principal Tuba 1987-89

RAI Torino Symphony Orchestra (Italy) 1989-1990 Principal Tuba

Sydney Symphony Orchestra Principal Tuba 1990- Present

Philadelphia and Boston Symphony Orchestras, Substitute & 2nd tuba

        (commuting from Sydney 2003-2011) 

Royal Concertgebouw Orchestra Visiting Principal Tuba ( 6 Months) 2018

· Concerts as Soloist:  

Vaughan Williams Concerto with Sydney Symphony Orchestra 1991 

Bozza Concertino with the Tasmanian and Concerto Soloist with ITEC Orchestras in USA and Hungary  (John Williams) 2002 & 2004 Adelaide Symphony Orchestras 1992

World Premier Rafael Marcelino Concerto “Art of Resonance” 1998

 6 month contract at the Royal Concertgebouw Orchestra
(Amsterdam 2018)

Please tell us about your experiences as an Opera Orchestra Tuba in Australia.

Performed the entire Wagner Ring Cycle in the Sydney Opera House, as well as Strauss Elektra, Gershwin Porgy & Bess, and other operas by Wagner, Berg, Berlioz, etc…all with the Sydney Symphony Orchestra, using BBb , CC and F tubas depending on the composer and opera. 

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?  

Any tuba player who also can play euphonium will have advantages including a stronger high register, faster fingers, and flexibility of employment in the commercial industry.  It is a good instrument to double on but should also have its own specialization for people who play only euphonium to specialize for top military band careers solo careers etc……All universities and conservatories should offer a euphonium degree. 

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

We need to be teaching our students in a way that when they win their professional band / orchestral positions they will contribute to the ongoing lifting of professional standards for the entire ensemble.  We also need to  teach them to be great teachers!  And to be teaching our students how to make independent careers as teachers, soloists, chamber musicians and contributors to online content (YouTube etc)as not all will win orchestral jobs.

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

Focus on the music, fundamentals, and be goal and project orientated.

Hosting my first TubaMania Conference in 1995 with guest soloists / master teachers
Roger Bobo and Mel Culbertson and the 3 prize winners

Let's talk about your EXPERIENCE IN TEACHING:

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

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

Sydney Conservatorium of Music ( 1993-present)

Australian National Academy of Music ( 2015-present)

Zurich ZHdK Switzerland (2014-2019) as Assistant Professor

I organize my lessons and courses by asking the students what are their goals, why are they there and what do they expect and dream to achieve during their time of studies.  I then format a plan for them giving the m the musical and fundamental foundations needed and teach them goal achieving strategies. 

· How long are your classes?  

Private lesson 1 hour to 1.5 hrs, group classes 2 hrs

· 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?  

Yes throughout, it is important to get used to performing un public, but many dress rehearsals, and mock recitals should be given in private as well to insure the public outings represent the student the best. 

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 Euphonium 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?

The real life is an orchestra or band for most, but globally university programs are “solo degrees”, nearly everywhere.  Lessons should be broken up to say 2/3 what the university requires, and 1/3 or so on excerpts and foundations for them, hold mock auditions within the studio in addition to what is required. 

· 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?

Tuba because I play tuba.

Ride a unicycle as a teenager at the same time I learned tuba,
this photo Sydney Park, 2014 as a promotion for my Sydney International Brass Festival

About your DAILY WORK.

· What type of repertoire do you mainly work in?  

Orchestra

· What warm-up exercises do you use?  

Scales and arpeggios eventually hitting the full range and all dynamics and articulation styles, slurring, lip slurs and flexibility. Breathing and buzzing in the mix

Recording many movie soundtracks including the LEGO Movies, Happy Feet, Gods of Egypt
and more, fox studios Sydney 1999  to present

Part of performing Star Wars many times at the Sydney Opera House
means time with the robots, this taken in 2019.

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?

Language affects sound and articulation in a sense.  The sound needs to firstly be beautiful in the opinion of the musician and those that they play with.  It should have a nice center and vibrancy to enhance the ensemble. People should play the best instrument they can access and afford but be more focused on how they play more than what they play.

· 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?  

I like any manufacturer or mouthpiece that produces an instrument that brings out the best possible voice for the player, and that colleagues love playing with, especially the instruments that produce a great color, personality and blend without getting in the way of the ensemble, . For this reason I have always like Nirschl, B&S, Melton, Miraphone, but that is only my musical taste in how I experience these sounds. 

Steve, you are create the interesting project “TubaManía”. Please tell us about this

TubaMania began in 1993 as a tuba importing business for the Australian market then began hosting international conferences, competitions and festivals from 1995 and continued to 2019 throughout Australia and Asia.  Due to the pandemic of 2020/21, I created the TubaMania Online projects to motive us and inspire and connect us.  I am also creating my own online course ULTIMATE TUBA. This will be available in May 2021. Info at www.tubamania.com .

TubaMania festivals across Asia and Australia ,  Hong Kong (TubaMania 2017)

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.).

There is a general globalized trend of tuba and orchestral sounds, but there is still individuality.  For example, some American Orchestras like the big piston 6/4 tubas, while others prefer the B&S PT6 sound, or other.   

Nearly all of the German orchestras still want the BBb and F tuba combination, and in the British-influenced countries, there is a large movement of 3+1 upright piston Eb and BBb tubas.   On the high end of the solo circuit today, we have Oystein on a rotor Eb, and others on rotor or piston F, and some play a collection of these, such as James Gourlay.  

All very individual. Then when we get into the topic of opera, we have a traditional trend in Italy that influences opera houses globally to use cimbasso and here we have them as piston, rotor, and in multiple keys. 

Steve, it is a pleasure count on your experience and collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.

"TRA TUBE ed EUFONI...WOLFGANG RABENSTEINER"

Ciao a tutti. È un piacere per me potervi avvicinare a questo grande e pluripremiato suonatore di tuba italiano che ringrazio per l'amicizia e la collaborazione in questo progetto di intervista.

Spero e desidero che la sua esperienza vi piaccia tanto quanto piace a me.

Senza ulteriori indugi, iniziamo

Nome e cognome:

Wolfgang Rabensteiner

Con il Python Tuba

• Quale strumento / quali strumenti utilizzate?

Bassotuba e "Pythontuba"

• La marca e il modello sono gli strumenti che usate:

• Bassotuba in Fa: Rudolf Meinl 5/4 
• Contrabass Tuba in Sib: Melton Fafner 
• Bassotuba in Mib: Miraphone Ambassador 
• Python in Fa: Miraphone
• Python in Sib: Miraphone

• Il produttore e il modello del bocchino che usate:

• Per il Bassotuba in Fa: JK Exclusive 5E
• Per il Tuba in Sib: Perantucci PT 48+ e 50+ 
• Per il Bassotuba in Mib: Miraphone TU27

Parliamo della tua EDUCAZIONE:

• Quando e dove sono iniziati i loro studi di bassotuba?

• 2004 - 2007 Diploma presso il "Conservatorio statale di musica E. F. dall'Abaco" a Verona da prof. G. Gatti
• 2007 - 2011 Laurea magistrale da prof. Andreas Hofmeir presso il Mozarteum Salisburgo (Master of Arts)
• 2011-2012 Corso di specializzazione da prof. Michael Pircher presso il conservatorio "C. Monteverdi“ a Bolzano

• A che età?

Prima di iniziare con il bassotuba mi sono laureato con la tromba a 18 anni. All’età di 21 anni ho iniziato a suonare il bassotuba (nel 2003)

• Quali ragioni o circostanze le hanno portato a studiare questo strumento?

Questa storia fa un po‘ ridere. Ero in montagna con i miei amici. Ci siamo portati dietro anche gli strumenti per suonare un po‘. Mio amico tubista mi ha chiesto di tenere un attimo suo strumento e così ho preso l‘occasione e l‘ho suonato. Ero sorpreso del bellissimo suono e il “feeling“ e mi sono innamorato subito. Il giorno dopo ha iniziato la mia vita da tubista.

• Chi erano i suoi insegnanti principali?

Oltre a prof. Gatti, prof. Hofmeir e prof. Pircher con cui mi sono laureato ho avuto diversi insegnanti con cui sono riuscito a migliorare ancora di più facendo degli masterclass. Alcuni di loro erano:

• Jens Björn Larsen
• Michael Lind
• Sergio Carolino
• Øystein Baadsvik
• Finn Schumacker
• Rex Martin
• James Gourlay
• Roland Szentpali
• Alexander Puttkamer
• Josef Steinböck
• Markus Theinert
• Jürgen Wirth
• Shoichiro Hokazono
• Stefan Ambrosius
• FabienWallerant

Per  quanto  riguarda  la  sua  ESPERIENZA PROFESSIONALE:

Ci lascia un piccolo resoconto della sua esperienza come solista, membro di formazioni cameristiche, orchestra, banda, ecc.

• In Orchestra e/o Banda:

• Orchestra "Tonkünstler Niederösterreich" (Austria)
• Philharmonisches Orchester Augsburg (Germania)
• Orchestra "RSO Wien" (Vienna-Austria)
• La Verdi Orchestra Milano (Italia)
• Scala di Milano (Italia) (idoneità all‘audizione)
• Orchestra Haydn di Bolzano e Trento (Italia)
• Symphonic Winds (Italia)
• Nationales Jugendblasorchester Österreich (Austria)
• Bläserphilharmonie Mozarteum Salzburg (Austria)
• Tanzorchester Music Motion (Italia)

• Brassband:

• European Youth Brass Band Belfast 2006
• Brass Band Frener Reifer Pfeffersberg (Primo premio presso il Brass Band European Contest a Birmingham nel 2007 e Stavanger nel 2008)
• Brass Band Fröschl Hall (Primo premio del campionato austriaco nel 2017)
• Brass Band Wipptal (Primo premio presso il Brass Band European Contest in Perth nel 2014 e primo premio del campionato italiano nel 2019)
• Brassband R.E.T.

 

Concorso Europeo di Brassband 2018 in Utrecht

• Concerti da solista:

• 2009 Tournée con la Brassband Frener Reifer Pfeffersberg
• 2009 Prima esibizione del "Concerto für Tuba und Orchester" di Hermann Pallhuber presso "7. Internationalen Musiktagen Vöcklabruck"
• 2009 Solista del "Landesblasorchesters Tirol" nel "Kongresshaus Innsbruck"
• 2009/2010 Solista del "Intermusica Orchesters Birkfeld"
• 2009 Tournée con l’orchestra "Symphonic Winds"
• 2010 Solista del "Orchestra Giovanile della Valle d’Aosta" condotta da Stephanie Praduroux
• 2011 Solista della "Brixner Bläserharmonie"
• 2012 Solista del "Ensembles Brass Gala"
• 2014 Tournée con la "Brassband Überetsch"
• 2016, 2017 e 2018 Tournée con la "Brass Band Wipptal"
• 2016 Tournée con l’orchestra "Sonoton Orchester" della Val Gardena
• 2016 Tournée con l’orchestra "Symphonic Winds"
• 2017/2018 Tournée con la "Brass Band Fröschl Hall"
• 2018 Solista della „Stadtmusikkapelle Amras“ (Congress Innsbruck)
• 2018 Special Guest presso "5 Jahre Brass Buebe" Festival

• Premi di concorsi da solista

• Primo Premio "Borsa di Studio" Accademia Filarmonica di Verona 2007
• Premio speciale “Marco Allegri” al concorso dei migliori diplomati d’Italia 2008 “XIIa rassegna musicale migliori diplomati dei conservatori e degli istituti musicali pareggiati d'Italia” in Castrocaro Terme (Vorsitz: M° Monaldo Braconi)
• Primo premio al concorso per Bassotuba delle università musicali tedesche a Linz (presidente: Wilfried Brandstötter)
• Secondo premio presso il “3° Concorso Internazionale per ottoni Valle d`Aosta” 2010 (presidente: Gene Pokorny) in Italia
• Vincitore “Gold Award” presso “International Competition and festival for soloists and chamber music groups Svirel” a Stanjel (Slovenia) 2011 (presidente: Øystein Baadsvik)
• Premio speciale presso “1st Albert Mamriev International Music Competition” a Braunschweig 2011
• Premio speciale per il finale "13th Osaka International Music Competition" a Vienna 2012
• Secondo premio presso "13th Osaka International Music Competition“ in Giappone 2012
• Finalista presso ITEC ("Internationale Tuba and Euphonium Konferenz") 2012 a Linz
• Qualificato per il "TIM Wettbewerb" ("Torneo Internazionale Di Musica") 2014 a Parigi

• Quali esercizi di riscaldamento usa?

Durante il mio percorso, soprattutto durante al preparazione per i concorsi da solista, ho scoperto che suonando i brani solistici e studiando più ore al giorno non è necessario fare degli esercizi di riscaldamento specifici, perché già nei brani si possono trovare scale, esercizi di tecnica, flessibilità, articolazione e dinamica e tutti i registri dal grave al acuto, etc...

Provare altri argomenti di interesse.

Qui in Spagna, in alcuni centri si ritiene che l'Euphonium, sia uno strumento che dovrebbe avere una propria specializzazione e, d'altra parte, alcuni ritengono che, come strumentista, si debba conoscere e padroneggiare la tuba e l'eufonio.

• Potrebbe darci la sua opinione in merito e come affronterebbe la questione nell'interesse di un'educazione e di una formazione adeguata alle necessarie competenze richieste oggi?

Da noi in Alto Adige ogni trombonista laureato suona automaticamente anche l‘Euphonio. Ma credo che l‘Euphonio ha più caratteristiche in comune con il bassotuba, pensando solo ai cilindri che il trombone non ne ha. Anche il flusso d'aria è più simile a quello per bassotuba che a quello per trombone. Per me l‘ Euphonio è un piccolo bassotuba. Credo che come tubista hai dei vantaggi che rendono lo studio del Euphonio più facile. Però considerando tutto sono dell'opinione che l‘Euphonio è uno strumento per sè e sarebbe sbagliato credere che un tubista è in grado di suonare l‘Euphonio in automatico. Di conseguenza è assolutamente necessario, soprattutto nel livello professionale, studiare l‘Euphonio come strumento per sè e laurearsi proprio con l‘Euphonio e non come secondo strumento con un altro strumento principale.

Coll‘ orchestra "La Verdi" Milano

Parliamo della sua ESPERIENZA DI INSEGNAMENTO:

• Ci dica che cosa insegna nei centri di apprendimento (professore a tempo pieno, visiting professor, corsi, lezioni, ecc.)

Credo che durante una lezione non bisogna mai avere una routine, perchè si lavora con individui. Ogni uno ha delle esigenze diverse e risponde in maniera diversa agli consigli dati.

Cerco di comprendere i mei studenti e trovare una soluzione individuale per ogni uno.

Nella maggior parte dei casi funziona facilmente, ma in certi casi può essere difficile e faticoso comprendere lo studente e trovare una via adatta. Cerco di insegnare ogni studente in maniera diversa. È molto importante sapere la motivazione dello studente e sapere che interessi ha per il suo futuro musicale per dargli la direzione giusta e dargli il migliore aiuto.

• Come organizza le sue lezioni e la materia in generale?

Come già detto non ho uno svolgimento fisso, però cerco di coprire tutti i settori. Cerco di accogliere ogni studente al punto dove sta e cerco di farlo migliorare nelle sue esigenze. L‘ importante è sapere gli obbiettivi dello studente e sostenerlo.

• Quanto durano le sue lezioni?

La durata delle lezione varia e dipende se sto insegnando bambini, adulti o gruppi; se sto insegnando musicisti amatoriali, studenti o professionisti. Dipende anche se la lezione è una lezione settimanale o se è una lezione specifica per la preparazione per un concorso o concerto importante. Ma innanzitutto dipende quanto lo studente è in grado di dare e apprendere.

• Ritiene importante che gli studenti facciano delle apparizioni pubbliche durante i loro anni di formazione? Se sì, consiglia quante volte lo ritiene opportuno e di quale età o corso. Elementare, professionale, superiore?

Fare delle apparizioni pubbliche è molto importante. Non è necessario fare un concerto professionale. L‘importante è suonare davanti alla gente, indifferentemente se si suona davanti ad amici, famigliari o una sala piena di gente, perchè suonare davanti ad altri è sempre una situazione diversa come suonare a casa da soli e bisogna esercitarsi a farlo.

La difficoltà più grande è essere in grado di dimostrare il proprio livello anche davanti ad altri e per quello è importante farlo regolarmente, indifferentemente dall'età e dal livello.

Una parte importante del curriculum del corso è standardizzata e si basa sull'idea che gli studenti padroneggiano il repertorio da soli, a volte a scapito del repertorio dei grandi gruppi (Orchestra e Banda), quando in realtà, la maggior parte degli studenti Tuba ed eufonio saranno insegnanti e/o membri di una banda e, in misura minore, di un'orchestra nel caso di Tuba.

• Secondo lei, come si dovrebbe affrontare questo problema?

Cerco di non creare diverse categorie. Parliamo sempre di musica, indifferentemente se il musicista suona in un'orchestra, ensemble o come solista. C'è sempre un palco scenico e il pubblico e noi decidiamo cosa prova il pubblico.

Credo che sia importante conoscere certi programmi standardizzati durante il percorso di studio, perchè hanno anche un valore didattico. Dall‘altra parte però è anche importante che ogni studente abbia le sue libertà di scegliere programmi al suo gusto.

• Quanto pensi sia importante includere l'apprendimento e la padronanza del repertorio orchestrale come parte del currículum del corso?

Credo che sia importante per ogni studente o musicista aver suonato al meno un minimo di passi d'orchestra per la sua crescita musicale, anche se lo studente/musicista ha scelto di fare altro nella sua vita musicale.

Se uno non ha interessi di suonare in orchestra consiglio di specializzarsi di quello che ha scelto.

• Se potessi scegliere (in una situazione ipotetica) tra uno studente di Tuba o Euphonium, chi preferisce?

Se potessi scegliere, sceglierei uno studente di bassotuba. Io mi sono laureato di bassotuba, e per quello posso dare più consigli a un tubista che a uno studente d‘Euphonio.

Promozione

PARLANDO DI QUESTIONI TECNICHE:

• Potrebbe darci la sua opinione sui diversi concetti di suono e quali caratteristiche definiscono, articolazione, tipi di strumenti, letteratura, se l'influenza del linguaggio e della tradizione musicale nel suono e nel modo di suonare è considerata importante?

Il concetto di suono varia molto in ogni paese. Non si può dire cosa sia giusto o sbagliato, è solo una questione di gusto.

Durante il mio percorso di studio ho avuto la fortuna di poter suonare in diversi paesi e diversi orchestra. Così ho conosciuto dei mondi diversi della interpretazione del suono. Già la scelta degli strumenti varia da un paese all’altro. Per esempio in Italia il basso tuba in Fa e Do e molto più usato, rispetto alla Germania e Austria; lì si usa il basso tuba in Fa e Sib. Gli strumenti con il sistema Perinet sono molto più usati in Italia che in Germania.

In Germania e Austria si cerca di suonare con un attacco chiaro e diretto, mentre in Italia questo modo "tedesco" sembra già aggressivo.

Esempi come questi esistono parecchi, ma sarebbe troppo elencarli tutti.

• Parlaci un po' della sua esperienza di bocchini per tuba:

Un bocchino è sempre un compromesso. Non esiste un bocchino che aiuta per tutto. Un bocchino buono dovrebbe aiutarmi a risolvere le mie difficoltà. I due criteri più importanti nella scelta del bocchino per me sono:

- devo sentirmi bene e devo trovarmi bene con il bocchino

- Il suono mi deve piacere. Non sarò mai contento con un bocchino se non mi piace il suono, anche se mi aiuterebbe a suonare tutto tecnicamente.

• Raccontaci le tue esperienze e i gusti di un particolare costruttore e perché?

Esistono tanti costruttori e belli strumenti diversi. Ogni strumento ha delle caratteristiche diverse. Mi piace tanto il suono morbido e rotondo dei bassotuba Meindl, la brillantezza dei bassotuba B&S, ma anche la leggerezza dei basso tuba Miraphone, per nominare solo alcuni.

Lo strumento è come un partner che ti dovrebbe aiutare in ogni fase di vita.

Wolfgang. Lei è il creatore del curioso Python Tuba made in Germany con il marchio Miraphone.

Miraphone Python Tuba

• Può dirci cosa l'ha portata a immaginare questo strumento? 

Nel 2013 è nata l‘idea di creare uno strumento per suonare in banda. L‘idea era di creare uno strumento che garantisce più libertà nel movimento e abilisce di suonare direttamente verso il pubblico come la tromba e il trombone.

• Com'è stato il suo processo di fabbricazione?

Avendo avuto questa idea mi sono riferite a Peter Oberrauch, titolare della manifattura strumentale a Bolzano e in collaborazione abbiamo creato il primo prototipo in Sib. All'inizio questo strumento era pensato più come strumento da divertimento, ma negli ultimi anni è stato migliorato in collaborazione con il costruttore "Miraphone" e nel 2016 è stato costruito il primo

"Python“ in Fa per un tournée per solita e orchestra sinfonico. Adesso il "Python" in Fa è in vendita e disponibile per tutti.

È stato elaborato anche un "Python" in Sib.

con il Prof. Michael Pircher (professore dell‘ Univesitá di Musica a vienna)

• Quanto è stato utile e qual è stata la sua richiesta?

Il "Python" è uno strumento che si può usare in tutti i settori musicali. Un grande vantaggio è la possibilità di muoversi meglio e sentire meno il peso dello strumento.

Un altro vantaggio è che la campana si rivela verso il pubblico e non in alto come un bassotuba normale. A causa di questa caratteristica il suono del "Python" e molto più presente. In più si riceve molto più attenzione perchè l‘apparizione di questo strumento è speciale.

Patricio Cosentino,Elke Niedermüller ( Pianista - Mozarteum Salzburgo) e me

IN CONCLUSIONE:

• Nella sua esperienza, pensa che la diversità degli esecutori, degli strumenti e la possibilità di formarsi in varie scuole specializzate si stia omogeneizzando in centri interpretativi già istituiti? (Esempio: russo, americano, tedesco, inglese e francese)

Credo che si sta omogenizzando tutto ed è un andamento che non si riesce a bloccare. È anche un effetto positivo se si riesce a conoscere diversi modi e accettarli, però è molto importante che ogni paese, istituzione, orchestra e strumento, etc... si mantengono le sue caratteristiche e tradizioni.

Wolfgang, è un grande piacere e un onore poter contare sulla tua esperienza, sulla tua collaborazione in questa serie di interviste e sulla tua amicizia.

Grazie mille e i miei migliori auguri. Un grande abbraccio.

Ti ringrazio per l‘intervista. È stato un onore farlo.

Era molto interessante per me farmi dei pensieri per questi argomenti.

Grazie mille e un forte abbraccio 

Wolfi

"BETWEEN TUBAS and EUPHONIUMS...MATTIAS JOHANSSON"

Hello everyone. Today I bring you an interview with one of the current leaders of the Tuba in the Nordic countries and a friend of a server. I hope and wish you enjoy your experience in your interview as much as I do. I thank you for your kind collaboration.

Without further ado we begin. 

Let's start.

· Name and surname: 

Mattias Johansson

· What instrument / s do you use?

I use a B/S F tuba, JBL model and I have two C tubas. Hirsbrunner, York model and a 4/4 piston valve. I also have a travel tuba.

My orchestra has a Rudolf Meinl cimbasso in F.

· What manufacturer and model are the instruments you use:

B/S, Hirsbrunner and Rudolf Meinl.

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

I use Scott Laskey 28 F for the F tuba and SL 28 H for the C tuba. Sometimes also a Conn Helleberg.

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started in my local music school in Sweden. 

· At what age? 

I was 13 when I started to play tuba.

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

I played violin since I was six years old, but the lack of a tuba in my orchestra and a persuading teacher, convinced med to switch the violin for tuba and electric bass.

It got me right away, to play in both wind band and big band.

· Who were your main teachers? 

Jens Bjørn-Larsen at the conservatory in Copenhagen. Periods with Mel Culbertsen, Bordeaux and Torbjørn Kvist, Oslo. Also important lessons with Rex Martin.

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 tuba player in Aalborg Symphony Orchestra, Denmark.

From 2002-2004 I had the tuba position at Malmo Opera orchestra, Sweden, and between 2008 to 2014 in Aarhus Symphony Orchestra.

· Metal Ensembles:

Brass quintets in the orchestras I have been working in.

· Concerts as Soloist:

I have had the opportunity to premier two tuba concertos with my orchestra:

Anders Koppel, ´Concerto for tuba and orchestra´in 2003 and 2009. Also recorded on CD for Da Capo records (cd8.226052), and Mogens Andresens ¨Colonial Concerto`in 2015.

In 2011 I performed R.Vaughan-Williams, Concerto with Aarhus Symphony Orchestra and in 2018, a double concerto for tuba and double bass, ´Rain, Wind, Fire and Death´, composed by Bo Gunge, with Aarhus Sinfonietta. 

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 believe euphonium needs the specialization as any other instrument. Here in Denmark it’s often trombone players, who switch to euphonium, when needed. Not so common with tuba players. 

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

I have only taught euphonium players in Spain, never in Denmark, but there is of course a lot of things in common. I think it would be good for tuba players to have some teaching on euphonium, and with that, wider the job opportunities afterwards.

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 teach tuba at the Music school in Aalborg an at the Royal Academy of Music in Aarhus.

Through Erasmus I have twice been visiting ESMUC in Barcelona for master classes, and I 2019, at CSM in Jaen.

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

Both with beginner students and conservatory students, I think it´s important to have a session with breathing/mouthpiece and basics in the start, and then go trough excercises etudes and solomusic. And of course orchestra parts.

· How long are your classes?

From 25 minutes with beginners to 1h15min with conservatory 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?

On every level it´s important to perform as often as possible. You learn a lot when performing and for students its important with experience, and if necessary, dealing with nervousness.

For tuba student, I also believe it is important to take every chance of playing chamber music and orchestra, to get the experience of playing with other musicians.  

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?

Orchestra parts is very good in studying the basics, rhythm, sound, sustaining notes and intonation. 

· 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? 

Tuba.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Mostly modern music when I perform myself, and more standard repertoire for my students.

· What warm-up exercises do you use? 

At the moment I use Michael Davis:20 min Warm Up.

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?

From sitting at some tuba auditions, and teaching students from different parts of Europe, I certainly can hear difference in the articulation and that many times has to do with language.

I think it´s a spice to the music, as long as it doesn´t interfer with the sound.

We all, more or less, play the same brands and same sizes of tubas.

The difference in literature, where You can hear the countries musical language is very interesting.

· 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?

I have all the time been playing B/S and I love the sound of it.

For C tuba it´s the same. For me, the Hirsbrunner sound is great in orchestra.

Both tubas has the dark warm sound I like, and the B/S can also really shine if necessary.

For many years I played Conn Helleberg on both instruments, but changed to Scott Laskey. I now I have used that for some years. I guess I don’t experiment so much with mouthpieces.

The last years I have tried Miraphone, Elektra and Firebird on different occasions, and like them a lot to.

You are a recognized interpreter in you country.

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

Since Michael Lind came to Sweden in the mid 1970, it has been a lot of fantastic, both solo and chamber music written for tuba.

Great teachers like Jens Bjørn-Larsen and Torbjørn Kvist, has made the standard of tuba playing in the nordic countries very high.

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.).

With the high level of teaching there is most places, I think You can go almost anywhere, for  teaching, and get the personality from that specific country on top, whether it´s Spain, Russia or Denmark.

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

My pleasure. Hugs from Denmark:)

I hope see you soon.

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