"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.