"BETWEEN TUBAS and EUPHONIUMS.....WALTER HILGERS"

Hello to all. It is for me an honor and a luxury to be able to count among my interviewees of this series with a recognized interpreter, teacher and director as it is the teacher Walter Hilgers. A reference of the Tuba not only in Germany and Europe but in the whole world and to which I thank him infinitely for his time and disposition for me.

Without further ado, let's begin.

Name and surname:

Walter Hilgers 

What instrument / s do you use?

I use the F and B flat tuba

That make and model are the tools you use, that manufacturer and model are the /s nozzle / s you use:

I used a Bohland & Fuchs contrabass tuba in Bb that was copied by the Melton company and is sold there as the 197 model.

In addition, I designed an F tuba that I played during my time with the Vienna Philharmonic. This tuba will be offered for sale as a new model at the Buffet Crampon Group in collaboration with B&S and this new model is now available and can be tested at the Showroom.

www.showroom-geretsried.de

In the German Brass

Let's talk about your EDUCATION:

When and where their studies or tuba euphonium started?

In 1968, I received my first baritone lesson from my grandfather. In the same year I received lessons from Mr. Fritz Huhn, a former tuba player of the Aachen Symphony Orchestra, who also became my first tuba teacher and mentor in 1970. Mr. Huhn was my discoverer and mentor for many years, and I owe him a lot. Mr. Huhn died on October 13, 2020 at the age of 97.

At what age you’ve started to play the baritone?

I was 9 years old

What reasons or circumstances led him to study this instrument?

My father had a brass band and my grandfather played the baritone in the orchestra, which made me curious to play the baritone. At the age of 11 it was already clear to me that I wanted to join the orchestra. That's why I switched to the tuba, as there is no fixed position for a baritone player in the symphony orchestra

Who were your main teachers?

Fritz Huhn and Hans Gelhar

Fritz Huhn

Hans Gelhar

I learned a lot from both teachers and took away a lot. Mr. Huhn taught me the basics, i.e. the right approach, the air flow, the technical skills, the rhythm, the various articulations on the instrument etc. but also the introduction to classical music, and he decisively promoted my talent. 

After Mr. Huhn had finished teaching in 1974, I was very fortunate to be able to study with Hans Gelhar at the University for music and dance Cologne, at the department in Aachen. A wonderful person, fantastic tuba player and an excellent teacher. 

From him, I got the tools for my career as a tuba player, especially with regard to the interpretation of the orchestral parts, and I was and still am very proud that I was allowed to play with him at the Bayreuth Festival for many years as his colleague and friend. He always laid a protective hand over me and always advised me well and correctly on all important questions.

With the great Tuba Melton 197

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.

· In Orchestra and / or Band:

2005-2007 Tuba-player at the Vienna State opera and Vienna Philharmonic Orchestra

1979- 2007 Tuba-player of the ensemble "German Brass"

1991-1995 Tuba-player at the NDR Elbphilharmonie Orchestra

1981-1991 Tuba-player at the Hamburg Philharmonic State Orchestra

1979-1995 Tuba-player at the Bayreuth Festival Orchestra

1978-1981 Tuba-player in the Düsseldorf Symphony

· Metal sets:

Hamburger Blechbläsersolisten (Hamburg Brass Soloists) and German Brass

Cd of the Hamburger Blechbläsersolisten

· Solo concerts:

I have played too much Solo- Concerts to list all of them here. I've played as a Soloist with wind bands, symphony orchestras, and I have performed a lot of recitals with tuba and piano.

I especially remember my beautiful concerts in Japan with Tomoko Sawano as the pianist!

Which warm-up exercises do you use? 

I use my own book "Tägliche Übungen" (Daily Exercises) and Bordogni Vocalises and Kopprasch Études as well. 

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Euphonium, 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?

I would very much appreciate it if euphonium / baritone lessons were offered as an independent subject at music schools and universities in Germany, as there are outstanding soloists and musicians on these instruments who can guarantee training at the highest level. All other solutions that are practised - for example, that trombonists or tuba players take over these lessons - I consider a possible compromise, but not the ideal solution!

Melton F Tuba old model Walter Hilgers

Melton F Tuba new model Walter Hilgers

Let's talk about your TEACHING EXPERIENCE:

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

I have given many courses and master classes at home and abroad over the past few decades. That gave me a lot of pleasure, because I like to teach and because I also like to visit other countries. I have very fond memories of my master classes in Japan, Colombia, Argentina, Mexico, but also in Spain and Italy. In recent years, however, I haven't found the time for it, as my full-time work as professor for tuba and wind chamber music at the Liszt School of Music in Weimar, as well as my conducting obligations and my family, are more than enough for me.

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

Tuba lessons consist of 1.5 hours of main subject lessons, 30 minutes of double bass tuba lessons and additional time for orchestral studies.

· 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?

The pupils and students should have practical experience on stage as early as possible and as often as possible. This is indispensable and the best performance training, and it should also be considered to involve performance coaches from time to time.

Conducting in Santa Fe. Argentina 

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? 

At the universities, orchestral studies must be given in addition to the weekly main subject lessons, as knowledge of the repertoire and the associated way of interpreting the orchestral passages is essential for the success at orchestra auditions. But also, in the amateur field it makes sense to rehearse the pieces with the students, which are then on the program, for example in a wind orchestra.

With Bohland and Fuchs and Melton 197 Tubas

Many questions about your class

· Tell us what is the admission process to access your class?

· What it is required repertoire in the class?

· Do you suggest any particular repertoire?

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

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

These are the actually requirements for the entrance exams for the winter semester 2021/22 during the pandemic situation, they will be published at the website of the university of music Franz Liszt Weimar very soon.Entrance exam tuba - multi-stage process

Tuba - Bachelor of Music

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year. The duration of the video is 10-15 minutes including a personal introduction.

All works are played one after the other in a link without editing. The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible. The technical quality of the video recording does not have to be professional.

Presentation of the following works:

1. A Vocalise by Marco Bordogni (free choice)

2. Alexander Lebedev: Concerto in one movement

2nd stage - attendance test (invitation after passing the preselection)

Henry Eccles: Sonata for tuba and piano (Edition Billaudot)

Paul Hindemith: Sonata for bass tuba and piano, 1st movement

Anthony Plog - Nocturne for tuba and piano

Entrance exam tuba - multi-stage process

Master of Music

Artistic professionalization (2 semesters, 60 CP)

Artistic professionalization with profile (4 semesters, 120 CP)

Two-subject master's (4 semesters, 120 CP)

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year.

The duration of the video is 10-15 minutes including a personal introduction.

All works are played one after the other in a link without editing.

The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible.

The technical quality of the video recording does not have to be professional.

Walter Hilgers' s  Tuba Method

Presentation of the following works:

Thomas Stevens: Variations in Olden Style

Ralph Vaughan Williams: Concerto for tuba and piano, 1st movement with cadenza and 2nd movement up to number 3

2nd stage attendance test (invitation after passing the preselection)

Anthony Plog - Three Miniatures for tuba and piano

Alexander Arutiunian - Concerto for tuba and piano

Entrance exam tuba - multi-stage process

Artistic postgraduate studies - concert exam

1st stage video pre-selection

Requirements for the video:

At the time of the application deadline, the admission should not be older than one year.

The duration of the video is 15-20 minutes including a personal introduction.

All works are played one after the other in a link without editing.

The camera distance is 3 - 5 meters, camera view a little from the side.

Applicants can be seen completely, at least their face and hands must be visible.

Presentation of a program with works of your own choice

2nd stage attendance test (invitation after passing the preselection)

A program of 50 - 60 minutes duration must be submitted

Works after the selection of the examination committee in the time frame of approx. 30 minutes

Accompanying pianists  are not available and must be brought by the candidates themselves

With the Georg Enescu Philarmonic in Romania

· What aspects you value? ¿Musicality, intonation, rhythm, …?

Musicality, rhythm and intonation are the three essential pillars for training as a musician. If there is additional the necessary talent and ambition, then those are very good prerequisites.

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

I have never been faced with the question because I am a professor for tuba.

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 ?

· Talk a little about making snorkels and / or euphoniums and nozzles:

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

Choosing the right tool is very important and individual. Of course, this also depends on the schoolchildren's or their parents' wallet, and it is of course also a matter of taste and a question of the sound conception, which is of course often influenced by the teaching teacher.

It is important that you take plenty of time to test mouthpieces and instruments and that you also call in specialist colleagues and experts.

You are a great recognized interpreter in your country and the world, in recent times you are developing a career as a conductor. Could you tell us about your experiences and what led you to this new facet?

I have been working as a conductor with professional orchestras since 1995 and I have had genuinely nice experiences as a conductor over the past 25 years, and I am incredibly happy that I can travel now around the world - after my successful career as a tuba player- and that I could already collaborate with many orchestras all over the world. And I am also incredibly happy and grateful that I’ve had the privilege to lead the symphony orchestra of the Province Santa Fe in Argentina for 3 years as a chief conductor. It was a wonderfully valuable and very educational experience for me that I wouldn't want to miss. Many contacts with the orchestras and the invitations came about thanks to the support of former colleagues and students, who actively supported me. I am incredibly grateful for that and I very much hope that the orchestras and opera houses will soon be revitalized and that I will soon be able to become active again as a conductor.

In Wiener Philarmoniker

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.).

It is generally a very good thing that students today through various exchange programs, such as the Erasmus program during their studies at different universities and get to know different schools. And of course, in the age of the Internet, students also have the opportunity to get to know the diversity of orchestras worldwide and to listen to and watch the best soloists and orchestras. As a student, but also as a professional musician, you can be inspired and motivated by this. I think it is very important and valuable that there is tonal and interpretational diversity and the different orchestral schools and, in my opinion, these differences between the orchestras should be preserved.

Master Hilgers, it´s a big pleasure and an honor to count on your experience, collaboration in this series of interviews and friendship.

Thank you very much and my best wishes.

A big hug.

Harold.

"BETWEEN TUBAS and EUPHONIUMS....BEN PIERCE"

Any Tubist who is affiliated with ITEA or who is simply aware of what is happening with the Tuba internationally, knows at least by name the interviewee that I bring you today.

It is a real pleasure and honor for me to be able to count on your friendship for many years, and I appreciate your sincere collaboration on this interview project.

Without further ado let's get started

·       Name and surname:

Benjamin Pierce

· What instrument (s) do you use?

Miraphone 5050 Ambassador Euphonium, Elektra 481 F tuba

That manufacturer and model are the nozzles you use:

Symphony and Solo Models by Hauser Sellmansberger

Let's talk about your EDUCATION:

· When and where did you start your tuba euphonium studies?

New York State, 4th grade band.

·       At what age?

  9 on the trumpet

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

My dad had been in the band and my older brother played the trumpet, so I did the same. I switched to the euphonium a year later.

· Who were your main teachers?

The director of my high school band was a trombone and was a good teacher. So I had a great instruction. Even my teachers in my younger years were strong musicians and they really cared, so they got me off to a great start.

In undergraduate and graduate school, I studied with David Saygers, Velvet Brown, Fritz Kaenzig, and Wesley Jacobs.

Regarding your PROFESSIONAL EXPERIENCE:

Leave us a little account of your experience as a soloist, member of chamber ensembles, orchestra, band, etc.

In Orchestra and / or Band:

    

Of course, I grew up playing in concert bands every year, as well as all state bands, etc. I played in the Toledo Concert Band, which was the summer version of the Toledo Symphony.

My first experience with the orchestra was gaining positions with the University of Michigan Symphony Orchestra and the Ann Arbor Symphony. I did some supplemental and extra work at the Detroit Symphony, and played in the local orchestra here in Northwest Arkansas for several years.

While I was busy with my family, I took a break from orchestral performance. I have also been playing with the Battle Creek Brass Band, mainly euphonium, since about 2002.

Solo concerts:

Solo recitals are what has really kept me busy as a player since I started working as a professor in 2003.  I have tried to play recitals every year, and usually I’ll go out on the road and visit other universities to play.  I have been fortunate to travel and perform in some really interesting places—Finland, Hong Kong, Korea, Spain, Germany, Italy, Austria... as well as all over the USA.

·      Which uses warm-up exercises?

I have a big pile of books, and I try to rotate and do different exercises so I don’t get bored.  I love flexibility work—Bai Lin is a favorite.  I also frequently make up my own exercises; I try to create challenges that will help me with specific issues that I encounter in solos or excerpts.  Lately I have been doing lots of long tones.  

I never used to, but I am finally (after 33 years of playing) understanding the benefits.

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Euphonium, 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?

In my field, college teaching in the USA, it is generally beneficial to have good working knowledge of both the tuba and the euphonium.  Playing both is perhaps not essential, but understanding the pedagogy and knowing the repertoire is vital, because most of our teaching positions are for tuba and euphonium both.  

Also, many college positions might be for tuba and euphonium as well as trombone, concert or athletic bands (or both), music theory, music history, etc.  Being well rounded as a musician and not “just” a tuba or euphonium player is pretty vital. 

I like to think of the euphonium as its own separate instrument, not an offshoot of the tuba.  In my opinion it is the greatest brass solo instrument, truly the cello of the brass family, and underrated in the musical world.  But our opinions don’t generate income, and most everyone needs a job.  So it is important to consider the real life opportunities that exist.

Let's talk about your TEACHING EXPERIENCE:

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

I am really fortunate to teach only tuba and euphonium.  I am a full time professor, nine months out of the year.  In the summer I generally relax, though sometimes there are gigs.  In addition to teaching lessons I usually coach several tuba/euph quartets, though that is not possible currently due to Covid-19.

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

It’s almost always one on one lessons.  I assign etudes, exercises, excerpts, and solos, tailored of course to the goals and needs of each student. 

·      How long are your classes?

Lessons are most often one hour, sometimes 30 minutes.

·      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?

Yes.  Every student should strive to perform at the highest level they can, even if they are not interested in a performance career.  It is about caring about what you do, having a good work ethic, and being disciplined, and also about understanding that rewarding music making takes work.  My most motivated students will take every performance opportunity they can get.  We should appreciate the opportunity to have an audience! 

I was fortunate in my childhood to have many opportunities to perform—yearly solo contest, honors recitals in the spring, chamber music.  I fear that with music education cuts, not as many programs offer as great an experience anymore.

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

No, that would be very rare.  In the USA, even the largest music schools typically have only one tuba/euphonium professor (with a few exeptions). 

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?

Different students have different interests and goals.  Therefore, I don’t see the curriculum as being set.  Not all students will study the same solos or excerpts.  However, I like to think of orchestral excerpts as inroads into exposure to great music.  It’s one thing to try to play “Ride of the Valkyries”; it’s another thing completely to listen to a great recording of it and to have your mind blown!  For performance-geared students who want to have a career performing, of course the excerpts take on a higher level of importance.  The detail and consistency that has to go into performing them is both a science and an art.  The same is true for band excerpts. 

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

We are as inclusive as possible.  Auditions are required, but I am always looking for a “diamond in the rough.”  The fact is, in our region there are many small programs and under-exposed students.  If we give them a chance, many of them will shine.

·      What it is required repertoire in the entrance exam?

There is no required repertoire.  Most auditioning students will perform their all-region or all-state audition music.  This is generally fine.  It’s how they play that matters, not what they play.  Sometimes students who study with a private teacher will have a solo, and that is even better (especially if they play it well). 

·      Do you suggest any particular repertoire?

It depends on the student.  A difficult part of being a teacher is assigning music that will challenge the individual student and make them grow, but not overwhelm them and cause bad habits.  Students’ learning curves are all different.  They all take off at different times.  Some never do, but that comes down to their level of dedication.  So a student auditioning with very simple music, but with good sound and good rhythm, I think it’s easy to see the potential.

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

Just solo, usually two contrasting pieces or etudes.  We also listen to a couple of scales.

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

Nope.

·      Approximately how long is the exam?

About 15 minutes.  Maybe 5-7 minutes of playing, and then we just chat with them.  I want to know why each student is auditioning, why they want to major in music.

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

I would say, in this order: rhythm, sound, and some sense of music making, even if it’s crude.

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

No preference.

About their work during the course.

·      What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ...?

All of the above!  I really try to have each student working on a variety of music.  Some students go through repertoire very quickly and are eager for more; other students require more time.  We’re fortunate to have fine pianists to work with, so the students do lots of playing with piano.

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

Each undergraduate student plays a senior recital with piano.  Masters students play two recitals.  One is with piano, the other is mixed chamber music

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

We choose the music together.  I make suggestions, the student comes with ideas, and we agree on a reasonable program.

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

Our repertoire is young.  Unfortunately, we do not have many masterpieces.  So there are not many pieces that I consider essential, from a musical standpoint.  However, there are a few, especially for tuba.  Students should at least be exposed to the Vaughan Williams and the Hindemith, the Penderecki, the John Williams Concerto...  I think for euphonium, it’s a bit tougher, because for euphonium we have no Vaughan Williams, we have no Hindemith.  It’s just been a sadly overlooked instrument.

Therefore, it is vital to find great music, regardless of what instrument it was written for.  That means transcripions—cello music, clarinet music, anything.  There is wonderful music out there, in addition of course to all the exciting new pieces being written for us nowadays. 

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 ?

There is so much variety in sound concept for both the tuba and euphonium.  Sound is part of our musical personality.  Part of it is regional, part of it is what interests each of us in our listening.  And, of course, part is directed toward the career we want to pursue.  For instance, an ochestral tuba player’s concept of sound is different from a soloist’s.  But within that, there are so many nuances!  

Of course, the style period of the music we’re playing should inform the sound concept as well.  (Mozart shouldn’t be played with the same palette of sounds as, say, the Kraft Encounters III.)

·      Talk a little about making snorkels and / or euphoniums and nozzles:

I’m not sure about snorkels and nozzles?  I think something got lost in translation there.  Sounds like SCUBA gear. 

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

I’ve been delighted to work with the Miraphone company.  They are a wonderful company owned by the workers, and they have been making top quality instruments since the early 20th C. 

Ben. You have been doing a commendable job for years on the ITEA board. Could you tell us a little about our organization? Something about its history, founders, number of current members and its approximate geographical distribution, election process in the organization, etc.?

Well, it would be difficult to sum up the whole history here, but in short, it is an organization that promotes brotherhood and sisterhood amongst tuba and euphonium playing musicians.  Over the decades, TUBA/ITEA has been responsible for commissioning repertoire, holding countless conferences, publishing through our Press, and printing the quarterly Journal, for which I am responsible.  Of course, we also have our online presence through the website, which features the Journal electronically, has a huge archive of content, and serves as a portal for competition and conference registrations, among much more.

I am not sure of the current number of members; I would estimate it at around 2,000 worldwide.  Most members are American, however we have a sizable presence in Japan, Spain, and Brazil.  We like to think of the ITEA as a liaison to other tuba/euphonium organizations all around the world.

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.).

Certainly, there has been some melding of styles due to the internet, the proliferation of recording, and the ease (before Covid) of international travel.  But there are still many cultural differences!  Some that come to mind are the differences between British brass band style and American military bands, for example, or the difference between many American tuba solists versus German solists.  Those diverse cultural sounds and styles have not homogenized, and hopefully they won’t!  That would be like having only one style of food.  🙁 

Ben, it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and longtime friendship.

Thank you, sir.  It’s my pleasure.

Muchas gracias y mis mejores deseos.

Un fuerte abrazo.