"BETWEEN TUBAS and EUPHONIUMS...THOMAS BRUNMAYR"

Hello everyone. Today I bring you an interview with one of the young leaders of the Tuba in Germany and a recent colleague of a server. I hope and wish you enjoy your experience here today as much as I do.

Without further ado we begin. Let's start.

· Name and surname:

Prof. Thomas Brunmayr

· What instrument / s do you use?

F Tubas, BB flat Tubas and F Cimbasso for my work in the Orchestra. 

I also own a F Helikon, E flat Sousaphone, Valve Trombone, Bass Trumpet and Euphonium which I rarely use for different things  

· What manufacturer and model are the instruments you use:

I use 3 different F Tubas: Melton / Meinl Weston 4260 , Meister Walter Nirschl F Tuba, B&S F-Tuba from the early 80´s

I also have 3 different B-flat Tubas: 2 Melton/Meinl Weston 195 and a Meinl Weston/ Melton 197……. and looking forward to the new Nirschl 4/4 Bb flat tuba to receive soon

F Cimbasso by Lätzsch

F Helikon Bohland und Fuchs (pre WW 1), 4 valve E Flat Sousaphone by Conn (1924) goldplated, Getzen Valve trumpet and Getzen B Flat Bass Trumpet 

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

Franz Windhager W.H.F. / Austria 

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started to study the Tuba at our local music school in Attnang- Puchheim/ Austria in 1998

· At what age?

I was 13 at that time

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

All my brothers where, and still are, members of the local wind band of Attnang- Puchheim. One day my older brother came to me an said that the conductor of the windband asked him if I would like to play the tuba. At that time I had no Idea what a Tuba was but fortunately I said ok i will give it a try. A week later my brother brought an old Miraphone 4 valve F Tuba at home and than I realized what the Instrument looked alike. Actually the conductor was the same guy who teaches Tuba at the music school. I was really fortunate to have a good teacher in my early years. 

· Who were your main teachers?

Most influential:

Walter Krempl at Attnang-Puchheim Musicschool

Wilfried Brandstötter at Bruckner University Linz

And to name two Mentors, Jozsef Juhasz from Frankfurt Opera and Christian Penz from Bruckner Orchester Linz who had influenced me a lot

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´m a member of Stuttgart State Orchestra/ State Opera Stuttgart in Germany. Previously to that i had an internship at Frankfurt Opera. As a substitute player I played with many big orchestras in Germany as the Munich Philharmonic, Bavarian State Opera Munich, SWR Symphony,……

I'm still a member of an amateur Wind Band too. I owe them a lot….

· Metal Ensembles:

A few years ago we formed a group with 4 (female) Horn Players and 1 Tuba with my colleagues of the Opera. There is quite a repertoire  for this type of ensemble and the Horns and Tuba blends perfectly. 

We also have a more or less regular Brass Quintet from the opera which I really enjoy to play with. (last concert bevor corona closed everything on 9.3.2020 with the quintett)

I´m also member of the Austrian Brass Ensemble Sound In(n) Brass 

IN THE ORCHESTRA

· Concerts as Soloist:

I really enjoy playing in a Duet with my wife who is an organ player. Unfortunately there is not so much repertoire for this combination so we arranged a few pieces and commissioned 2 pieces from a friend to enlarge the small repertoire for tuba and organ. 

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

In Germany we are really really fortunate to have so many jobs for Orchestral musicians and so many good Orchestras. I really like the work in an Opera Orchestra because you have such a big repertoire from Opera to Ballett to Chamber Music and Symphony Concerts. In Stuttgart we have a world renowned Ballet and all the classical balletts where played many many times, it's a privilege to perform all these fantastic pieces. Sometimes you have to play Cimbasso in the morning in a rehearsal and play BB flat in the evening and next morning F Tuba. This can be challenging. I always try to figure my breathing out for every Instrument. Especially Cimbasso needs a differents type of playing in my opinion.

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?

Unfortunately the Euphonium has not a really big lobby in Germany and is not taught at German Universities in general. I think if you want to become an Orchestral Tuba player you have to focus totally on Bass and Contrabass Tuba. In my opinion it would be necessary for every Tuba Player who want to go in Pedagogy to play also Euphonium. I think in the future it would be wise to establish a 1 year binding euphonium studying for every pedagogy student in Germany. I don't want to go too much in this because it's controversial but we really have to discuss such things for future music teachers an pedagoges. 

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

A lot of things changed in the last 50 years, more highly educated players, less orchestral jobs. A lot of people get worried about this circumstances but what also changed are the fields of possibilities to work in music. There are way more possibilities to live as a musician than 50 years ago. In 1960 there was only one chance to have a good life as a classical (brass) musician, to be an Orchestral player. Nowadays there are so many field, establish a chamber music group, musical comedy, crossover ensembles, be a Tuba/ euphonium teacher, music production, all the internet stuff………. All my colleagues from my studying time in Linz are doing totally different things, so there is enough space for everyone to live as a musician. 

I think modern teaching should change a bit to focus not only on one thing. I think a wide spectrum of possibilities and creativity is necessary in modern times. I have to say that my teaching is naturally based on the orchestral style of playing because i'm an orchestral player and a lot of my knowledge comes from orchestral playing and from reach that goal of getting an orchestral job. Actually my teacher Will Brandtötter was not the typical Tuba Professor, they developed a completely new field for brass players with Mnozil brass.  

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 teached for 4 Years as a “Lehrbeauftragter” at Musikhochschule Stuttgart. Since 2019 I have my own class as professor for Tuba at Musikhochschule Freiburg. In 2015 I organized a big workshop with classes from Linz, Stuttgart, Augsburg and Vienna University. I also teach at various workshops and Masterclasses in Austria and Germany. I´m also try to establish a Tuba Day in South of Freiburg in Collaboration with a Music School in Waldshut-Tiengen. For me it's really important to have contact to the local music schools, wind bands and teachers and know whats going on there.

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

As an Orchestral musician and Professor for Tuba I have to organize my teaching with my orchestral schedule. I try to be in Freiburg 1-2 times per week. Normally I start in the morning with a Basics Group lesson with all members of the tuba class alternate B Flat and F Tuba from week to week. Then individual lessons. I also try to make regular audition training and mock auditions for the students. I'm really fortunate to have 2 wonderful pianists to work with my class and doing the Solo Repertoire with my students.  

· How long are your classes?

Normally 1 ½ - 2 hours basics and 1 ½ hours individual lessons

· 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´s essential! We are musicians, we have to play for audience, jurys, committees. That's our job nobody cares how good anybody can play in the practice room. I suggest to start with playing concerts immediately after starting to play the instrument. That should be de most natural thing, to play for people. If you are not used to play concerts try to play as much as you can, if you have no experience with auditions try to make as much mock auditions as possible.

At Freiburg University I try to organize 2 Concerts of the Tuba Class per Semester. I also want to go outside of the city into the countryside and present our Tuba Class to a different audience. 

IN CONCERT WITH "SOUND INN BRASS" AND ALLEN VIZZUTTI

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 many facts you have to master a big part of the repertoire for your own because there is not enough time to teach everything. But that has also a lot of positive aspects. You learn to be your own person and prepare for your own and present your own thoughts. That's really important as a musician. Everyone is his own Boss. I always force my students to search for pieces and not to play the mainstream pieces all the time. In my studying days I was, and still i am, always searching for interesting pieces.   

· 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?

Unfortunately there is no chance to study Euphonium in Freiburg

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Basics (Long tones, Intervals, tonguing, flexibilities, scales, loud and soft playing, Clark technical exercises ),  Kopprasch, Bordogni, I also try to stay in shape with the Orchestral excerpts to be ready in the lessons to play them, more or less Solo repertoire  

· What warm-up exercises do you use?

I  have my routines for B Flat and F tuba. With B Flat Tuba i try to do a lot of Long tones and connecting long tones one to another, i try to do a little bit of tongue - air flow coordination exercises as well. Also part of my basics is to make exercises for short high airflow rate in different dynamics.

with F tuba i do scales – air flow studies, interval training, flexibility, technical exercises,  

the goal is the same no matter which instrument – relaxed but full air flow  

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 preservation of the traditions is very important. Sometimes old traditions stands against physical and medical science. That's what i criticize about some traditions…. For me there is no problem to think about Arnold Jacobs or james stamps or emory remingtons thoughts and  serve the german tradition too. I'm sure that a lot of playing characteristics are based on language. 

· 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?

Every country has their own culture – tradition and every person has his own evolution. I would never judge what instrument is better. I´m used to Bb flat and F Tuba with rotary valves so thats my gear because i grew up with that. Others grew up with different experiences so they have a different sound picture in their head. It doesn't mean that my sound image changes with playing CC tuba but I feel more comfortable playing B Flat because I'm more used to it. I also grew up with a particular manufacturer that's why the playing habilites of these instruments are more of my taste.

AUDITION CLASS IN FREIBURG

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.).

It´s getting more and more global. I think it´s important that we all think global but also preserve the different cultures. Vienna, Dresden, Milano, are very important and where role models for many great composers. It would be really sad if all that would go away and every orchestra sound the same in a few years. But all the preserving doesn't mean that we are not allowed to think in a modern, scientific based way of thinking about the technical aspect of playing.

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

It was my pleasure. I want to thank you for doing your wonderful work with your blog and thank you for presenting my work in my class in Freiburg!

Thank you very much and best wishes.

A big hug.

"ENTRE TUBAS Y BOMBARDINOS...MARIO TORRIJO"

Hola:

La entrevista de hoy es muy especial para mí pues fue al primer Tubista español que conocí al llegar a España hace algo más de un cuarto de siglo , que se dice pronto, y gracias a su mediación llegué a conocer al que era su maestro y luego lo fue mío en el RCSM de Madrid, Miguel Moreno.

JUNTO A JON SASS EN 1998
Izq. a Dcha. MARIO, JON y UN SERVIDOR

Referente en varias facetas y hermano sin dudas, es para mí un placer compartir con ustedes esta segunda entrega en formato video-entrevista de la serie "Entre Tubas y Bombardinos..."

Sin más disfruten de la entrevista y les invito a seguirme en el blog. 

No dejen de seguir las próximas  entrevistas y artículos en mi blog.

Saludos a todos. 🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"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.

"ENTRE TUBAS Y BOMBARDINOS....PABLO FERNANDEZ"

Hola. Buenos dias.

La entrevista de hoy es especial para mí, pues es a un reconocido Tubista español además de un gran amigo desde hace años.

EN AETYB BARCELONA 2014

Esta entrevista tiene varias cuestiones que debo mencionar sin lugar a  dudas y son:

1ª-  Es la primera entrevista de esta serie que es audiovisual a petición expresa del entrevistado.

2ª- Por diversas razones de agenda hemos tardado más de lo deseado en llevarla a cabo, pero se ha conseguido y aquí se las brindo.

3ª- Con esta entrevista se inaugura el Canal de Youtube del blog.

No debo dejarles, sin antes hacer constar que el entrevistado lamenta por cuestiones del directo, los olvidos involuntarios a la hora de citar datos, fechas y nombres.

Sin más disfruten de la entrevista y les invito a seguirme en en el blog.

🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"BETWEEN TUBAS and EUPHONIUMS....CHRISTOPH GIGLER"

Hello everyone. It is a real pleasure for me to be able to have among my interviewees one of the most renowned Tubists in Europe and soloist of one of the most important orchestras in the world, the Vienna Philharmonic. It is an honor and a luxury to count on your friendship and sincere collaboration.

Without more I hope you enjoy your experience and opinions.Let's start.

· Name and surname:

My name is Christoph Gigler

· What instrument / s do you use?

F Tuba, B Tuba, Cimbasso and Austrian Akkordeon☺

· What manufacturer and model are the instruments you use:

F Tuba I play the model 4260 “Tradition” Melton (6 Valves/ Vienna Stil 3+3 and normal Stil 4+2) and 

B Tuba I play an old instrument which has been renovated, I don´t know the name…(5,Valves)

Cimbasso/Lätzsch

Austrian Akkordeon ca. 62 Buttons☺))))

https://www.melton-meinl-weston.com/en/instruments/f-tubas/4260-2/

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

Karl Breslmair XCG4L and X-33 

https://breslmair.com/mundstucke/page/2/?product_cat=tuba

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

Meditation

My first Tuba lesson was at 12 years with Thomas Gansch at a folk-music workshop. I asked him how to play the tuba, he said: just blow into the instrument and make music. I am now 36 years old and still adhere to this principle. Of course, I first studied at the music school in my hometown. Then I studied in Graz with Erich Bendl at the conservatory and then in Linz with Willfried Brandstötter, fortunately:-))) these were two wonderful professors for me

· At what age?

I moved to graz at the age of 16 and studied Austrian folk and classic music with the instruments; Tuba, Austrian accordion, diatonic/chromatic dulcimer and zither. I've lived from making music even then. Since there are few tuba gigs in churches and co... I have always played many music styles, classical, folk music, jazz, rock... 

when I'm on tour with the orchestra now, I always visit jazz clubs in NY or look for real Cuban rhythm, there's living inside...:-)

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

It is the largest, longest, deepest and most beautiful wind instrument;-))) so I wanted to play the tuba. I've always been a bassman in my heart. I love to play rhythm and to be the fundamental in music...

· Who were your main teachers?

Main teacher is always to make music with other people ... best every day, but that's not possible right now... but we will all be able to make music together again. 

The most importan Erich Bendl and Willfried Brandstötter

Regarding your vast PROFESSIONAL EXPERIENCE:

"So I say

Thank you for the music, the songs I'm singing

Thanks for all the joy they're bringing

Who can live without it? I ask in all honesty

What would life be?

Without a song or a dance, what are we?

So I say thank you for the music

For giving it to me

… ;-)"

Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.

Vienna Philharmonic Orchestra

Phil Blech

Art of Brass Vienna

Vienna Brass Connection 

Bullhorns

Code 1842

MC Maryetta

Original Wolfsmilch Echo

Duo Schorn/Gigler

In the duo clarinet and tuba Matthias Schorn and I have already made a few commissioned compositions. eg a fugue for this cast, I send the notes with. We are also working on a short music film at the Albertina in Vienna. We have commissioned a composition for string quartet and clarinet/tuba solo with the theme "Passion" to images by Gottfried Helnwein.

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 don't know what's perfect... everyone is different and has other requirements when playing. but one thing is always important, listen to the music and the other players. I play several instruments and that's good for me, I need that. others only play one instrument and do it very well! important is always a rhythm instrumental and a chord instrument and don't forget the melody:-)))

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

We must always try to make as good music as possible, whether with euphonium/tuba or only with tuba or just euphonium. it is important to understand how a wind instrument works physically, then you can learn both if you want to. James Morrison is a good example, he can do anything. But he has also certainly learned to listen to music exactly and also to understand it in a phylical way and to train all the right muscles. and make music with it. for me it is important to listen, understand, train and then make music. as often as possible.

In the Alps

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 only teach privately and at work shops. I have taught in Austria, Germany, China at various work shops....

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

I get a call or a mail, then I look if I have to show and if it is somehow possible I like to do workshops!:-))) I have also given a lecture about the history of the tuba in a museum where a wind instruments exhibition was, which was also very funny...but it is better with me if I just play:-)))))))

· How long are your classes?

Two hours, a week or more...

· 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?

Make music whenever possible

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?

Very important! above all you should learn this repertoir with scores, so that you can try to understand the music better. not just play his voice, learn as much as possible.

· 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?

…Identical…

In china I once had 8 trumpeters and 3 tubists together in a workshop:-))! chord cadenzas play together, rhythmically shift, modulate... composing together is also a possibility..

With Albert Wieder

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Stay sound fit (long tones) focus all dynamic levels, play solos, record as often as possible, learn new scales, just make music, find new ideas...

· What warm-up exercises do you use?

A little different every day. a mixture of all exercises, what you need

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?

Listen to the music, to the other musicians and play a solid bass tone. each orchestra/ensemble/band sounds different. you have to do what is necessary... and every day the orchestra/ensemble/band sounds a little different and always new... you have to listen and react. that's the fun of playing together

· 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 play my instruments and my mouthpieces of these companies because "I" can make music best with this music tool. but you still have to try every time to give the best if you are allowed to stand on a stage

You are a recognized interpreter in you country.

Please tell us something about of our instruments in your land.

Tuba is an instrument that comes from brass music. This is the same all over the world...thanks to the composers for using this beautiful instrument for their work and I hope to be a lot more

Folk Music Family

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 try to make music as good as possible, whatever. thank you for the invitation and I wish everyone a lot of health!!!

Christoph, 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.