"BETWEEN TUBAS AND EUPHONIUMS....BENTE ILLEVOLD"

Hello everyone. Today's interviewee is undoubtedly one of the most important and interesting female euphonium players on the European and international music scene. It is an honor and a real pleasure to count on your friendship and sincere collaboration.

Without more, let's get to know her better.

· Name and surname:

Bente Illevold

· What instrument / s do you use?

Euphonium only, but I am looking into buying a baritone now as well. Sometimes I also touch other brass tenor instruments with valves. Especially historical instruments used in the military bands in Norway and Sweden, like the “ventilbasun” or an old E-flat tenor horn – I have those at home.

· What manufacturer and model are the instruments you use:

Shires Q41 euphonium. It's phenomenal!

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

I have a lot of mouthpieces, and has been on Bach 4G or 5G my entire career until last fall. Then I wanted to test something new and ended up with two different types from Doug Elliott. I really love them! At the moment I play on a variant of his Euph H-series, but I also have use a model from his Trombone-series. They are great mouthpieces that helps me in the entire register without changing my sound a bit! The response is amazing! 

Let us talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started on the euphonium when I was almost 15 years old. I had been playing trumpet in my local school band, and the band needed another euphonium player. I loved the instrument from the first moment, it sort of suited me well – both the register and the sound. It was also the role, or parts, the euphonium has in the band - obligates and melody lines. I didn't have much lessons on euphonium, but in High School I had a horn player and a trumpet player as my teachers. I didn't have a lesson with a real euphonium player before I was 20 years old. 

· At what age?

As I said I started on euphonium when I was almost 15 years old. But I had played the trumpet sine I was 10, I was not any good though – did not practice! LOL.

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

I attended a music high school, and it never really occurred to me that I should study anything else than music at college. I didn't really reflect a lot about it, but sort of thought I could always teach on a low level. I did had a hard time getting in to the Norwegian Academy of Music in Oslo though! But when I did, I was extremely motivated! 

· Who were your main teachers?

I basically only have one teacher I would refer to as my main teacher. That’s Sverre Olsrud, the euphonium player of the Staff Band of the Norwegian Armed Forces. He was my teacher almost my entire bachelor’s degree, and my whole Masters.

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:

When I studied at the Academy, I was lucky to be given the chance to substitute for some of the Military Bands on occasions. I also served as a military soldier at the Staff Band of the Norwegian Armed forces for a year. I sat in a played with the band on almost every production that year and got a 6 months contract as their euphonium soloist after that. I have been substituting in the Staff Band for some weeks every year on and off, except the last 2 – 3 years, when my own solo projects have been taken a lot of time. But I will say I have a good amount of experience from the Military Bands. Back when I was a student, I also wanted to be a military musician, but now I am happy with the way my career has turned out without being in the Army. In Norway we only have five professional Military Bands, so the level is good, and I have learned a lot from playing with them. I have also performed with a couple of professional orchestras and at the National Opera. But that only happens one every second year or so. I have had the chance to play Mahler’s 7^th symphony and Bydlo at least, and the Planets with an amateur orchestra – it was great!

· Metal Ensembles:

I have a duo called the Northern Lights Duo with Dr. David Earll, the professor of Tuba and Euphonium at Ithaca College in New York. We try to have 2 – 3 tours a year. I also cooperate a lot with Anders Kregnes Hansen, he is a percussionist. We perform mostly contemporary music and have just released an album « Klangen fra de dype skogen » on LAWO Classics. Please check it out ! As we speak I am also forming a quartet, with two trumpet players and a horn player – it will be a very flexible ensemble, doing a lot of light music and some classical stuff. These three ensembles in total is a great deal of my everyday work – I feel priveliged everyday when I think about that! For a couple of years I was also the 1st euphonium player in the tuba quartet All About That Bass, great experience and hard work! 

· Concerts as Soloist:

I try to do at least two projects as a soloist with a piano player each year. I sort of think it`s important to keep my classical skills at a certain level, and try to learn some new repertoire other than the stuff I commission myself 😊 

I am hoping to get some more solo gigs with wind band and brass band in the upcoming year. But since the level of the amateur bands in Norway also is high most of the best bands has great local soloists they can use. I have done some solo gigs on occasions, but mostly local bands from the region of the country where I grew up.

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?

This is a hard one. Personally, I think it's hard to be a world class performer on more than one instrument, you get to a certain medium level, but a true expert is hard. At the same time, you have some crazy individuals that prove this to be totally wrong! Mostly in jazz though, but I think we have a lot to learn from that genre in general.

In Norway it's common to play both trombone and euphonium at a professional level. I think the Military Bands often want their euphoniumist to play trombone. I studied trombone as a second instrument for two years, but I was not any good. For me, the euphonium is the whole reason I am a musician, I think. The sound and the role. So, I have sort of made it my mission to prove that it`s possible to make a living as a freelance euphoniumist. Creating my own work, projects, and ensembles. For me that is important, and I think it's important for the instrument as well. If we are going to have quality composer write for us, both solo and in the serious orchestra literature, we need to be serious and thinking artist. We must stand up for our instrument and tell that we matter on the same level as other brass players. If not I am afraid we will end up as the same status as the E-flat tenor horn (no affiance, I know fantastic musician on that horn, just talking about how the instrument is accepted in the classical music world).  

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

For me that lives and work the most in Norway I have to look outside the country, or outside my own industry to get impulses. The tuba and euphonium environment is small in Norway, and it's easy to keep track off. But what I sence is that it's a lot of the same thing going on around the tuba/euph world. And for the most part people seems happy with it. I am just not sure that its enough. If you live in a big country, and can attend festivals for only tuba/euph people with 500 participants two times a year I think it's hard to remember that this is not the real life, or the real world where you`re going to make a living. What I want to point out is that our world and socitiy is changing, everything is changing – we live in a world where time, as we knew it before the ipad and internett, sort of doesn't exist anymore and people demands immediate response etc. So, I think we have to change the way we teach to reflect the kind of live we`re living. And make sure the youth is better suited to survive and make a living as creative musicians.

I also feel that the amount of world class players on tuba and euphonium is growing a lot, that is awesome! But I also see people struggeling to survive after they finished school. I think we are lacking some crucial skills in our education system. Like entrepreneurship and creativitiy. Hope to write good applications for funding project, how to get your artistic project to be relevant outside the tuba/euph world etc. I think it is room for everyone, but not as copycat – as true and creative artist! 

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

This is a huge topic, and an interesting debate I think it's important to discuss. Where are we going and why? I think we need to tear down some walls between genres, instruments and subjects in the education. How to make all courses in the education more relevant for each other, and how to cooperate closer between genres and instruments. Basically learn form each other! 

Let us talk about your EXPERIENCE IN TEACHING:

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

I had masterclasses and recitals in several of the Universities for music in Norway, a few in the US and some in Spain. I have been the euphonium teacher at the University of Oslo and have some high school teaching on regular bases. I also teach one 11-year-old kid once a week and have some private students on weekly bases and some more seldom. I have worked as a conductor in school bands and amateurs wind bands, taught at summer band camps etc. I basically think I teach at absolutely all levels during a school year. Mostly freelance, but some more regular to make sure I can pay my bills! I don't really care so much about the level I teach at, that was one thing I learned when I studied for my educational diploma; to be a really good teacher you need to put yourself away, and focus all your energy to make the person in front of you succeed and develop. Where you start out is not so interesting really. It's where you end out that matters!

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

It depends what people want, and if I know the teachers or students in advanced. Typically, I will introduce my new warm-up routine for euphonium and tuba. I have also a booklet of daily drills I usually present to more advanced performers. I also do lectures on practicing habits and how to make a career as a freelancer. I like to do my lecture before the masterclass, because then I can pick relevant topics from my lecture and remind them how it will affect your daily practice habits or way of thinking, using their performance as an example.   

· How long are your classes?

That depends on the time we have available, and the students, both age and level. For private lessons I do everything from 30 – 70 minutes. These days when I do a lot of teaching online using ZOOM one lesson is usually 50 - 60 minutes.

· 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! I think this is important from the first day you pick up the horn as a kid! I think the teachers at all levels have the responsibility to arrange class concert with their students, at least once a year. If you teach kids encourage them to play concert for their families, also with all the preparations: Making a stage, do program and flyers, sell tickets etc. That will help them develop their entrepreneur skills as well – that is almost as important as your skills on the instrument these days. A goal for me as a teacher is that my students will love to perform! To get them there they need to feel safe and secure, my job is to guide them to find that in themselves. 

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?

I think this is a very important issue, and for me is a part of the same problem I talked about earlier: How is our education and focus mirroring the world of the 21st century? I think we are far behind, and some of the problem is that we are sort of creating borders between different topics in our educations. I experience that students are either in performance, education, theory/writing, conducting or composing/arranging. And my point is, how do I make a living as a freelancer? I do all of this! I am a bit of everything – and unfortunately most of it I have not learned at school... I had to figure it out for my self after I was done with my studies. 

The education has to be suitable for the marked, that's a fact. We can like it or not, but it doesn't matter – it's a fact. We have to get out of this “romantic fantasy” about the classical musician reproducing the same repertoire and excerpts over and over, and start to bring more creativity and diversity to the table. While that said I think this is changing in Norway now. Younger teacher with more diverse experience, not only Orchestras or Military Bands are coming in as profesor etc. So I believe and hope I was the last generation who only got the traditional stuff out of my education. 

· 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?

I have to answer euphonium student here, off cause. But if I was looking for more easy gigs; definitely a tuba player!

About your DAILY WORK.

· What type of repertoire do you mainly work in?

This varies about what`s on my agenda. This last months with no events coming up I have done a lot of basic. I have some recording session coming up this summer, both solo and with piano, so now I must start digging into that. As major works I am working on Kevin Day`s euphonium concerto, and in September I will premiere a brand-new concerto for euphonium, string quartet and percussion by the Norwegian composer Stig Nordhagen. So, I must start working on that now.

· What warm-up exercises do you use?

I mainly use stuff I have developed myself. I try not to do the exact same exercises every day, but do exercises in the topics of flexibility, tongue, scales, and register every day. I try to be creative and try new variants each day. If I get an hour with that, I feel happy!

I also don't like the term warm up, I see everything from my first note as practicing. For me “warm up” is getting the body ready. When I pick up the horn every note and every second count, no time to waste on warmups😉 

I also use Arban a lot – it's so great! Every day I discover some new approaches or way to use this book, and it fascinate me a lot that it`s so old - Respect! I also use “How brass players do it” and some etudes by Bordogni, Blazevitch and Clarke. 

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?

This is a big topic, with some many opinions, and a lot of them highly personal. For me it's about to figure out what “your sound” is like – not try to sound like others. That's not art to me, that's being a copycat and has nothing unique to it. It's sort of the same thing when you listen to people perform, do you want perfect playing or passionate playing? We off cause want both, but I hear a lot of player with great technical skills but without the real passion or understanding of the music. That makes me sad. It's only notes, or only a game. I remember when I was a student, I could stay 6 hours with no break in a practice room just experimenting with how to phrase this little one-minute Bach menuet.

This might sound silly, but I think music has a deeper impact on us than just fast, high, or low. And reflecting on this topic is crucial to develop a personal and unique sound and artistic profile – if that is your goal. If you want to get a position in a military band you might need to do things different, and adobe the sound and maybe instrument suitable for that purpose.

· 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?

It's sort of the same as I answered to the last question. What do you want/need from your horn? Ensemble, traditions and history will often affect your choice, I think. But for me as a freelancer it`s only my personal taste – some will like it, and some will not.

To be specific I like the clear and well-articulated sound with a well centered tone. I like a horn with good response in the way “you get what you give”. Then the horn must have room for you to shape your sound the way you want, so you are able to make different colors. I want to sound like me, not to be forced into the “sound sphere” of a specific brand or model. I am lucky to have found all this in the Shires Q41. 

You are a big woman player of the euphonium in Europe and especially in north Europa. 

• Please tell us about you experience and about our instruments en your country.

I think I've touched this topic already. As a euphonium player we have a job to do working on our position and status in the world of both contemporary and classical music. I don't think it will help with more people playing variations solos and Brass Band solos. We need to develop new musical contexts, expressions, groups, sounds and repertoire – all with high quality! I see The Opus 333 quartet and Anthony Caillet as great ambassadors for this! And I try to be one too!  

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 hope we keep our differences! It's not interesting to hear musicians sounding the same and playing the same music over and over. I think the euphonium, and maybe tuba, is in the best position of the brass instrument regarding this. As a trombonist or trumpet player you can study in Norway and get a orchestra job in almost every other country in the world, or the other way around. The sound and art is sort of globalised. But for a euphonium player – still a lot of small military ensembles only have one player, and even if they have preferences of sound and style you can win an audition with any horn and sound (at least I hope) because you will serve as a soloist!

 I love the fact I can be a totally free artist in all aspect of it. But I admit I pick up some excerpts and standard repertoire sometimes, to make sure I still got it😉 

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

Thank you, very much and best wishes.

A big hug.

Thank you so much for having me on this series! A great honor! 

"ENTRE TUBAS Y BOMBARDINOS...DAVID ZAMBON"

Hola a todos. Hoy les traigo una entrevista con uno de los más importantes Tubistas y profesores franceses de la actualidad el cual ha tenido la deferencia de mostrar su experiencia y conocimientos  en español.

Muchas gracias a este colega y amigo al que sin más dilación les presento.

Comencemos.

• Nombre y apellido:

David Zambon

• ¿Qué instrumento / s usas?

Tuba en Do, en Fa, Eufonio y Saxhorn.

• De que fabricante y modelo son los instrumentos que utilizas:

Melton y Besson

Melton Meinl Weston F-Tuba model 46SLP 

Melton Meinl Weston CC-Tuba model 2145

Eufonio Besson Sovereign

• De que fabricante y modelo son la / s boquilla / s que usas:

Boquillas de Tony Romera

Modelo David Zambon DZ4 para la tuba en fa

Modelo Mel Culbertson 7 para la tuba en do

Modelo Mel Culbertson 5 para el eufonio 

Hablemos de tu EDUCACIÓN:

• ¿Cuándo y dónde comenzó sus estudios del bombardino o tuba?

En el conservatorio regional de Niza con mi padre que era el profesor de tuba y el tubista solista de la Orquesta de Niza.

• ¿A qué edad?

Tenía como 14 años.

• ¿Qué razones o circunstancias le llevaron a estudiar este instrumento?

Quería tocar tuba desde el principio, pero mi padre no quería. Entonces he empezado por el piano y un poquito de corneta. No podía soportar más a mi profesora de piano, alcohólica y muy rara, y dejé el piano (que fue una tontería en ese entonces… la juventud…). Tenía que ponerme les retenedores dentales y la tuba resultó siendo el único instrumento posible…

• ¿Quiénes fueron sus principales maestros?

Bruno Zambon, Mel Cubertson y Fernand Lelong. He aprovechado mucho también de los cursos de Roger Bobo, de Hervé Brisse, Bernard Neuranter, Victor Letter, Gérard Buquet; de los consejos de Józef Baszinka. Los dos últimos años que pasé en el conservatorio superior de París, en la clase de perfeccionamiento donde los laureados pueden escoger el profesor con quien desean trabajar, elegí hacerlo con el violinista Jean Mouillères y el fagotista Gilbert Audin.

En cuanto a tu vasta EXPERIENCIA PROFESIONAL:

Por favor déjanos un recuento de tu experiencia como solista, miembro de grupos de cámara, orquesta, banda, etc.

• En Orquesta y/o Banda:

He pasado 9 años, desde los 15 con una banda semi-profesional en Niza, y después he trabajado mucho con orquestas en Francia (Ópera de París, Orquesta Filármonica de Radio-France, Orquesta de Niza…) como free-lance. 

He hecho una parte de interino en la Orquesta del Capitolio de Toulouse y después he entrado en la Orquesta de la Ópera de Cagliari en Italia hasta 2006, también tuve la experiencia con la Orquesta de Ulster, una prueba que confirmó mi idea de no querer repetir la vida de mi papá.

• Conjuntos de Metal:

Quinteto de metales, banda de metales y cuarteto de tubas. Hacer unos conciertos con el Quinteto francés Magnífica fue una de las experiencias más bonitas que he tenido en la música de cámara con metales. 

• Conciertos como Solista:

Es lo que me apasiona, y sigo haciendo conciertos como solista, con piano, orquesta, o en el trío Innova, con el acordeonista Jean-Marc Fabiano y el pianista Patrick Zygmanowski.

• ¿Qué ejercicios de calentamiento utilizas?

Hago una diferencia entre calentar y trabajar técnica. Calentar, para mi, es despertar el cuerpo, preparar la máquina a empujar aire, la flexibilidad de la cara y conectar el cuerpo con el cerebro. 

Entonces está hecho de cosas simples, pero en 4 octavas y media. Hago unas escalas que me ensegnó Józef Baszinka para practicar la flexibilidad de los músculos de la cara : empezando por ejemplo desde el Fa (cuarta línea suplementaria inferior de la clave de Fa), subir hasta el Fa (cuarta línea de la clave de Fa) y descender hasta el Fa una octava abajo del Fa con el que se empezó y subir hasta el Fa inicial, todo esto tratar de hacerlo con una sola respiración e ir cambiando las diferentes articulaciones, hacerlo por todas las escalas de manera cromática, es decir, seguiría la escala de Fa# y así sucesivamente hasta lograr un amplio registro.

Y hago los ejercicios de Walter Smith para trompeta, en sib, aquí se hace un trabajo también de flexibilidad, pero con los armónicos de cada digitación. 

Tratando OTROS TEMAS DE INTERÉS.

Aquí en España, en algunos centros se considera que el Bombardino, es un instrumento que debería tener su propia especialización y, por otro lado, algunos creen que, como instrumentista, uno debe conocer y dominar la Tuba y el Bombardino.

• ¿Podrías darnos tu opinión sobre esto y sobre cómo abordaría este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad a nivel mundial?

El bombardino no es la tuba. Además, el nivel de las obras escritas en relación con el nivel cada vez más alto de los solistas como Bastien Baumet o Steven Mead, y se desarolla de igual manera. 

Creo, al menos para los profesores, los tubistas tienen que tocar el bombardino como los bombardinistas deben tocar la tuba, porque los jóvenes empiezan (la mayoría de las veces) con el bombardino y después pueden tener ganas de cambiar por la tuba.  Pero también creo, que la especialización del repertorio, y el nivel de cada instrumento de manera natural, lleva a que se vuelvan dos especializaciones instrumentales distintas, entonces, dos tipos de profesores, sobre todo para los estudiantes de los niveles superiores. 

• ¿Cómo ves la enseñanza de la Tuba y el Bombardino actualmente y de cara al futuro?

Veo que cada vez hay más profesores especializados en cada instrumento, lo que posibilita un trabajo más preciso y detallado en la técnica y en el repertorio. Me doy cuenta también que las escuelas “inglesa”, “francesa”, “alemana” etc, y sus diferencias cada vez van siendo menos evidentes. Puede ser que en un futuro, exista una única escuela de enseñanza para estos instrumentos, gracias a la globalización.

• Por favor coméntanos cualquier otra cosa que consideres de interés sobre este tema

Cada vez veo más mujeres llegar hasta niveles muy altos como tubistas y eufonistas, además están siendo reconocidas internacionalmente, y no solo eso, tocar es muy corporal y la música es una conexión íntima entre el cuerpo y el alma. Puede ser que por esos siento que las mujeres tienen una percepción y una concepción diferente de la tuba y eso es muy importante, porque enriquece el paisaje musical. También se interesan en la pedagogía, esto hace que más niñas se sientan interesadas en estos instrumentos al momento de elegir, cuando empiezan sus estudios musicales. 

Hablemos de tu extensa y valiosa EXPERIENCIA EN LA ENSEÑANZA:

• Indícanos en qué centros de aprendizaje has impartido clases (como profesor a tiempo completo, profesor visitante, cursos, clases magistrales, etc.)

He empezado en el conservatorio regional de Montpellier donde he creado la clase de tuba en 1999. Tenía tiempo completo. Luego he creado la clase de tuba del conservatorio regional de Versalles en 2004, donde tengo todavía un poco menos de medio tiempo y casi solamente alumnos en Licenciatura, Máster y Perfeccionamiento. 

Hago clases magistrales regulares en China, Japón, Corea del sur, Brasil, y he hecho también clases en Israel, Indonesia, Italia y España….

• ¿Cómo organizas tus clases y el tema en general?

Empezamos todos calentando y después repertorio solístico. Cada problema que encontramos lo utilizamos par trabajar una técnica específica, los mismos pasajes difíciles sirven de ejercicio técnico, en una sola frase se puede trabajar por ejemplo, una articulación, en otra una frase una respiración expresiva, etc. Terminamos con repertorio orquestal. Hacemos también cursos de tuba contrabajo, sobre el repertorio orquestal. 

• ¿Cuánto duran tus clases?

Es una hora por cada alumno.

• ¿Crees que es importante que el alumno haga presentaciones públicas durante sus años de entrenamiento? De ser así, recomiende cuántas veces lo considere apropiado y de qué edad o curso. ¿Elemental, Profesional, Superior?

Sí claro, pero siempre con este sentimiento de que, el escenario se merece. No es un problema de nivel sino de actitud. Cuando tocamos en público, imponemos nuestra presencia a los otros. Tenemos el deber de estar conscientes del nivel que queremos llevar al escenario. 

• ¿Hay otro profesor con tu misma especialidad en el centro donde enseñas?

El profesor de Serpentón, Patrick Wibart, solista de gran nivel y que toca también Oficleido y Saxhorn.

Una parte importante del currículo del curso está estandarizada y se basa en la idea de que el alumno domine el repertorio solo, a veces en detrimento del repertorio de grupos grandes (Orquesta y Banda), cuando de hecho, la mayoría de los estudiantes de Tuba y Bombardino van a ser profesores y / o miembros de una banda y, en menor medida, de una orquesta en el caso de las Tubas.

• En tu opinión, ¿Cómo debería abordarse este problema? ¿Qué tan importante crees que es incluir el aprendizaje y el dominio del repertorio orquestal como parte del plan de estudios del curso?

Es indispensable pero tampoco hay plazas para todos en las orquestas. Entonces tenemos que dar incluir repertorio solista, música de cámara y repertorio orquestal para dar lo máximo de posibilidades a los alumnos de encontrar un camino tubístico profesional o amateur. 

• Dinos cuál es el proceso de admisión para ingresar a tu centro de aprendizaje:

Hay un concurso en mayo donde los alumnos tienen que tocar un programa libre u obras a elegir en una lista, respecto al nivel presentado. Los alumnos que necesitan Visa pueden enviar un video, si son aceptados, se les manda por correo la atestación de la institución avalando su cupo en la clase. Así hacen sus respectivos procesos para obtener una Visa de estudiante para poder llegar en septembre y no tener que hacer el viaje dos veces. 

• ¿Qué repertorio se requiere en el examen de ingreso?

Este es el programa de la sección antes del nivel “profesional” (perfección, licenciatura y máster) de este año: 

https://crr.versaillesgrandparc.fr/fileadmin/user_upload/Le_CRR/PDF_2019_2020/Programme_tuba_01.pdf

Para el nivel « profesional » el programa es libre.

• ¿Sugieres algún repertorio en particular?

Los conciertos mayores (V. Williams, J. Williams, Broughton, Gregson, Szentpali, Sparke, Boccalari, Cosma, Curnow, Horowitz …) sonatas  (Madsen, Hindemith, Castérède, Butterworth, …) y transcripciones (Telemann, Vivaldi, Schumann, Weber, Marin Marais, Fauré…), Solos (Penderecki, Alarum -Gregson-, Monolog 9 -Koch-, Forbes, Blue Lake fantasy -Gillinham-, …)

• ¿Cuántas obras se requieren y en qué formato (solo, con piano, estudios, etc.)?

Con piano y sin piano pero no quiero poner estudios porque hay bastante repertorio solístico. Los estudios los hacemos en el trabajo de clase. 

• ¿Aproximadamente cuánto dura el examen?

Entre 15’ (Perfeccionamiento) y 40’ (Máster).

• ¿Qué aspectos valoras más a la hora de decidir? ¿Musicalidad, entonación, ritmo, ...?

Los problemas técnicos se oyen rápido en las obras. Pero lo que quiero oír es una personalidad, una intención musical. Digamos que el ritmo, las notas, la entonación, son cosas normales. Pero lo que me interesa es cómo tocan entre las notas, el fraseo. 

• Si tuviera que elegir (en una situación hipotética), ¿Tendría preferencia entre un alumno de Tuba o uno de Bombardino?

Me gustan sobre todo los alumnos determinados, que no se detienen delante del primer problema que se les presenta y que tienen mucha pasión y fuerza de carácter. 

Acerca de tu TRABAJO DURANTE EL CURSO.

• ¿En qué tipo de repertorio trabajas principalmente con tus alumnos? Solo, con acompañamiento de piano, música de cámara, ...?

En todo lo que me presentan y completo yo con lo que pienso necesario para la dirección profesional que deseen seguir (orquesta, música de cámara, pedagogía, concursos internacionales, etc…)

• ¿Qué formato tiene el examen de FIN DE ESTUDIOS? Concierto en solitario, Recital con piano, ...?

Son recitales con piano y otros instrumentos.

• ¿El estudiante selecciona las obras para tocar? o son elegidos por el profesor?

Lo hacemos juntos por una parte y hay una parte que decido yo y que anunció unas semanas antes.

• ¿Hay alguna obra que consideres obligatoria? ¿Cuál sería?

Las suites de Bach, es la base y luego obras de repertorio « clásicas » y las más contemporáneas. 

HABLANDO DE CUESTIONES TÉCNICAS:

• ¿Podría darnos su opinión sobre los diferentes conceptos de sonido y qué características lo definen, la articulación, los tipos de instrumentos, la literatura, si se considera importante la influencia del lenguaje y la tradición musical en el sonido y la forma de tocar?

Creo en que el sonido que cada uno tiene es muy intimamente relacionado con su forma de cantar (fraseo), su forma de hablar (articulación), su idioma (ataques), y su cultura (cómo se escucha, qué es un sonido bueno par él, tradiciones interpretativas...).

Lo que creo también es que, de manera general, el sonido está bien, cuando tenemos el doble equilibrio aire/vibración y esfuerzo/resultado óptimo. 

• Háblanos un poco sobre la fabricación de Tubas y / o Bombardinos y boquillas y cuéntanos sobre tus experiencias y gustos de un fabricante en particular y por qué?

He tenido la fortuna de conocer los instrumentos BS y Melton con mi profesor Mel Culbertson. Y luego he tenido la honra de ser un artista Melton. He visitado tres veces la fábrica y es impresionate en precisión y en tecnología. Los modelos que me gustan para la tuba en fa son los que tienen mucha proyección y poco metal para obtener también armónicos. Me gusta mucho el timbre y la capacidad de hacer muchas dinámicas desde el ppp hasta el ff. Por eso toco una 46 SLP customizada para mi. 

Me gusta mucho el trabajo de Romera, es muy amable y un artesano de alto nivel, que busca siempre lo mejor para nosotros.

PARA CONCLUIR:

• En su experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas se está homogeneizando en los centros interpretativos que ya están establecidos? (Ejemplo: ruso, estadounidense, germano-austríaco, inglés, etc.).

La diversidad, en la tuba y en todo, es la cosa más importante para entendernos y relacionarnos, aprendiendo de los otros y compartiendo sus culturas. En eso, los concursos internacionales de tuba son muy importantes, para ir a descubrir otros modos de tocar, de solucionar problemas técnicos, y de oír otros fraseos. Enriquecimiento personal en los saberes.

David, un placer y un honor poder contar con tu experiencia y colaboración en esta serie de entrevistas.

Muchas gracias y mis mejores deseos.

Un abrazo fuerte.