"BETWEEN TUBAS and EUPHONIUMS.....GERHARD MEINL"

Hello everyone.


We continue with this series of interviews with owners, founders or senior managers of the most relevant manufacturers of Tubas and Euphonium in the current scene.


Today I bring you to a benchmark in the manufacture of our instruments that comes from a long saga of manufacturers.


From their factory came the first Tuba that I had the pleasure of owning and playing, and that I still have.


Without further delay, I invite you to meet him and enjoy his experience.


I appreciate your kind collaboration.


Let us begin.


• Name and surname: 

Gerhard A. Meinl

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

Trumpet and I took lessons for Tuba and Saxophone.

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

My family is Wenzel Meinl in Geretsried = Melton-Meinl Weston

In 1991 I took B&S private and in 2012 we merged both with Buffet Crampon in France . Now I am a minority shareholder and member of the supervisory board.

• What instruments do you make?

With Buffet Crampon all wind instruments.

Buffet Crampon Group

• What models?

Tubas

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

Pro B&S , Melton-Meinl Weston , Besson, student and beginners with the brands Besson

• Do you manufacture nozzles in your company?

No

Let's talk about your company:

• When it was founded?

1810 the oldest with Wenzel Meinl in Graslitz , Bohemia

• In what city or country?

In Graslitz , Bohemia , then Austrian Hungarian Monarchy

• Who was the founder?

Daniel Langhammer

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

Since the invention in Berlin Tubas , Euphoniums in oval shape since 1810

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

Because they existed

• Who were its main designers?

After beeing expelled and reinstallation in Geretsried with MeltonMeinlWeston my father Anton Meinl and today Ferdinand Kleinschmidt.

At B&S Herbert Fischbach with Bob Tucci.

Regarding the vast experience of your brand in the market:

Please leave us a count of the most relevant artists on Tuba/Ephonium in your catalog broken down as follows:

•      In Orchestra and / or Band:

      Alan Baer, NY Phil

      Norm Pearson ,  LA Phil

      Roland Szentpali , Hungarian Phil Orchestra

      Fabien Wallerand , Paris Opera

      Alexander von Puttkamer, Berlin Phil

• Metal Set
  
  
  Melton Tuba Quartett

•     Soloist:

         Jens Björn Larsen

         Andreas Hofmeier

         Steven Mead

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?

It is three dimensional with Sound, Response and Intonation resulting from the overall cutting pattern, when does the leadpipe hit the disturbance of the valves, are these piston or rotary.

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

Make the instruments consistent and this even by more handwork, be innovative.

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.).

Of course there might be a coca cola sound tendency, but the orchestras that understand differenciate on instruments, interpretation , sound  according to composer or tradition.

A important question is whether they play also opera in  pitt.

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.... JAMES GOURLAY"

Hello everyone. It is a real pleasure and an honor for me to have this living legend of the Tuba in this series of interviews on my blog that I invite you to visit.

I hope this little interview is to your liking and you enjoy it as much as I do. Without further delay let us begin.

·  Name and surname:

James Gourlay

·  What instrument / s do you use?

Besson Eb 980, Rudolph Meinl CC 5/4, Eastman 4/4 CC, Melton Fafner Bb, Schiller Euphonium, Beuscher Sousaphone

· That manufacturer and model are the / s nozzle / s  you use:

Perantucci, 48 and 50 Dennis Wick 3

Let's talk about your education:

·  When and where their studies or tuba  euphonium started?

In Scotland

·  At what age?

10 years old

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

I couldn’t play football, so had to be in the school band. I had no choice.

·  Who were your main teachers?

William J. Ross, Bruce Fraser, John Jenkins

As for his PROFESSIONAL EXPERIENCE:

·   Please leave us a little account of his experience as a soloist, a member of chamber ensembles, orchestra, band, etc.

Willian Ross was a janitor, Bruce Fraser a school band director and John Jenkins played for the Philharmonia in London.

·      Metal sets:

John Jenkins played sometimes for the Philip Jones Brass Ensemble

Trying other topics of interest.

·  Here in Spain, in some centers it is considered that the Bombardino, is an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one must know and master the tuba and euphonium.

· Could you give us your opinion on this and how would address this issue in the interests of education and training adapted to the necessary expertise required today?

There are some excellent specialist euphonium teachers. I teach both instruments and that works too. It’s not necessary for students to be able to play both in my opinion.

Let's talk about your teaching experience:

· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)

I have taught full time at the London College of Music, The Conservatory in Bern, The Royal Northern College of Music and the Royal Scottish Academy of Music and Drama. I have also given masterclasses all over the world.

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

There are individual lessons and weekly studio classes. In the studio class we do one week excerpts, technique and scales. The second week, we play and critique solo repertoire.

·    How long are your classes?

Individual lessons are 1 hour. The studio class is two hours.

·   Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?

They should be performing every week if they can and at every level.

·    Is there another teacher with your same specialty in the center where you teach?

Yes

An important part of the course curriculum is standardized and is based on the idea that students master the repertoire alone, sometimes to the detriment of the repertoire of large groups (Orchestra and Band), when in fact, most students Tuba and euphonium will be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of Tubas.

· In your opinion, how should this problem be addressed? How important do you think is include learning and mastery of the orchestral repertoire as part of the curriculum of the course?

I think it’s very important to educate flexible musicians who can play anything. The orchestral repertoire is important, but as most students will never get a job in an orchestra, I don’t solely focus on it.

·   Tell us what is the admission process to access your learning center:

Audition and interview

·  What it is required repertoire in the entrance exam?

Two pieces of the candidate’s choice and a set piece.

·  Do you suggest any particular repertoire?

Yes

·  How many works are required and in what format (solo, with piano, studies, etc.)?

Three with or without piano.

·  Is there a mandatory piece? If so, what is it?

Yes. I change it every year. Last year it was the Malcolm Arnold Fantasy

· Approximately how long is the exam?

20 minutes

·  What aspects you value most in deciding? ¿Musicality, intonation, rhythm, ...?

Sound and Musicality

· If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

Probably tuba

About their work during the course.

·   What format is examining LIMIT? Solo concert, piano recital ...?

     For the final examination, we have a recital of 45 minutes for Bachelors and 60 minutes for Masters.

·   Does the student selects the works to play? or they are chosen by the teacher?

They are chosen by the student guided by me.

·   Is there any work it deems mandatory? So what?

No

SPEAKING OF TECHNICAL ISSUES:

· Could you give us your opinion about different concepts of sound and what characteristics define, articulation, types of instruments, literature, if the influence of language and musical tradition in sound and way of playing is considered important ?

I’m not sure I understand the question, but certainly language plays an important role in articulation and sound.

·   Tell us about your experiences and tastes of a particular manufacturer and why?

I like Besson Eb tubas because they are well made and sound great (to me)

IN CONCLUSION:

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

I think we are mostly sounding the same because we all use the same types of instruments and mouthpieces (B&S, Melton, Miraphone, Yamaha etc).

Thanks James for attending me. It´s a pleasure. 

Keep in touch with my best wishes.