"TRA TUBE ed EUFONI...WOLFGANG RABENSTEINER"

Ciao a tutti. È un piacere per me potervi avvicinare a questo grande e pluripremiato suonatore di tuba italiano che ringrazio per l'amicizia e la collaborazione in questo progetto di intervista.

Spero e desidero che la sua esperienza vi piaccia tanto quanto piace a me.

Senza ulteriori indugi, iniziamo

Nome e cognome:

Wolfgang Rabensteiner

Con il Python Tuba

• Quale strumento / quali strumenti utilizzate?

Bassotuba e "Pythontuba"

• La marca e il modello sono gli strumenti che usate:

• Bassotuba in Fa: Rudolf Meinl 5/4 
• Contrabass Tuba in Sib: Melton Fafner 
• Bassotuba in Mib: Miraphone Ambassador 
• Python in Fa: Miraphone
• Python in Sib: Miraphone

• Il produttore e il modello del bocchino che usate:

• Per il Bassotuba in Fa: JK Exclusive 5E
• Per il Tuba in Sib: Perantucci PT 48+ e 50+ 
• Per il Bassotuba in Mib: Miraphone TU27

Parliamo della tua EDUCAZIONE:

• Quando e dove sono iniziati i loro studi di bassotuba?

• 2004 - 2007 Diploma presso il "Conservatorio statale di musica E. F. dall'Abaco" a Verona da prof. G. Gatti
• 2007 - 2011 Laurea magistrale da prof. Andreas Hofmeir presso il Mozarteum Salisburgo (Master of Arts)
• 2011-2012 Corso di specializzazione da prof. Michael Pircher presso il conservatorio "C. Monteverdi“ a Bolzano

• A che età?

Prima di iniziare con il bassotuba mi sono laureato con la tromba a 18 anni. All’età di 21 anni ho iniziato a suonare il bassotuba (nel 2003)

• Quali ragioni o circostanze le hanno portato a studiare questo strumento?

Questa storia fa un po‘ ridere. Ero in montagna con i miei amici. Ci siamo portati dietro anche gli strumenti per suonare un po‘. Mio amico tubista mi ha chiesto di tenere un attimo suo strumento e così ho preso l‘occasione e l‘ho suonato. Ero sorpreso del bellissimo suono e il “feeling“ e mi sono innamorato subito. Il giorno dopo ha iniziato la mia vita da tubista.

• Chi erano i suoi insegnanti principali?

Oltre a prof. Gatti, prof. Hofmeir e prof. Pircher con cui mi sono laureato ho avuto diversi insegnanti con cui sono riuscito a migliorare ancora di più facendo degli masterclass. Alcuni di loro erano:

• Jens Björn Larsen
• Michael Lind
• Sergio Carolino
• Øystein Baadsvik
• Finn Schumacker
• Rex Martin
• James Gourlay
• Roland Szentpali
• Alexander Puttkamer
• Josef Steinböck
• Markus Theinert
• Jürgen Wirth
• Shoichiro Hokazono
• Stefan Ambrosius
• FabienWallerant

Per  quanto  riguarda  la  sua  ESPERIENZA PROFESSIONALE:

Ci lascia un piccolo resoconto della sua esperienza come solista, membro di formazioni cameristiche, orchestra, banda, ecc.

• In Orchestra e/o Banda:

• Orchestra "Tonkünstler Niederösterreich" (Austria)
• Philharmonisches Orchester Augsburg (Germania)
• Orchestra "RSO Wien" (Vienna-Austria)
• La Verdi Orchestra Milano (Italia)
• Scala di Milano (Italia) (idoneità all‘audizione)
• Orchestra Haydn di Bolzano e Trento (Italia)
• Symphonic Winds (Italia)
• Nationales Jugendblasorchester Österreich (Austria)
• Bläserphilharmonie Mozarteum Salzburg (Austria)
• Tanzorchester Music Motion (Italia)

• Brassband:

• European Youth Brass Band Belfast 2006
• Brass Band Frener Reifer Pfeffersberg (Primo premio presso il Brass Band European Contest a Birmingham nel 2007 e Stavanger nel 2008)
• Brass Band Fröschl Hall (Primo premio del campionato austriaco nel 2017)
• Brass Band Wipptal (Primo premio presso il Brass Band European Contest in Perth nel 2014 e primo premio del campionato italiano nel 2019)
• Brassband R.E.T.

 

Concorso Europeo di Brassband 2018 in Utrecht

• Concerti da solista:

• 2009 Tournée con la Brassband Frener Reifer Pfeffersberg
• 2009 Prima esibizione del "Concerto für Tuba und Orchester" di Hermann Pallhuber presso "7. Internationalen Musiktagen Vöcklabruck"
• 2009 Solista del "Landesblasorchesters Tirol" nel "Kongresshaus Innsbruck"
• 2009/2010 Solista del "Intermusica Orchesters Birkfeld"
• 2009 Tournée con l’orchestra "Symphonic Winds"
• 2010 Solista del "Orchestra Giovanile della Valle d’Aosta" condotta da Stephanie Praduroux
• 2011 Solista della "Brixner Bläserharmonie"
• 2012 Solista del "Ensembles Brass Gala"
• 2014 Tournée con la "Brassband Überetsch"
• 2016, 2017 e 2018 Tournée con la "Brass Band Wipptal"
• 2016 Tournée con l’orchestra "Sonoton Orchester" della Val Gardena
• 2016 Tournée con l’orchestra "Symphonic Winds"
• 2017/2018 Tournée con la "Brass Band Fröschl Hall"
• 2018 Solista della „Stadtmusikkapelle Amras“ (Congress Innsbruck)
• 2018 Special Guest presso "5 Jahre Brass Buebe" Festival

• Premi di concorsi da solista

• Primo Premio "Borsa di Studio" Accademia Filarmonica di Verona 2007
• Premio speciale “Marco Allegri” al concorso dei migliori diplomati d’Italia 2008 “XIIa rassegna musicale migliori diplomati dei conservatori e degli istituti musicali pareggiati d'Italia” in Castrocaro Terme (Vorsitz: M° Monaldo Braconi)
• Primo premio al concorso per Bassotuba delle università musicali tedesche a Linz (presidente: Wilfried Brandstötter)
• Secondo premio presso il “3° Concorso Internazionale per ottoni Valle d`Aosta” 2010 (presidente: Gene Pokorny) in Italia
• Vincitore “Gold Award” presso “International Competition and festival for soloists and chamber music groups Svirel” a Stanjel (Slovenia) 2011 (presidente: Øystein Baadsvik)
• Premio speciale presso “1st Albert Mamriev International Music Competition” a Braunschweig 2011
• Premio speciale per il finale "13th Osaka International Music Competition" a Vienna 2012
• Secondo premio presso "13th Osaka International Music Competition“ in Giappone 2012
• Finalista presso ITEC ("Internationale Tuba and Euphonium Konferenz") 2012 a Linz
• Qualificato per il "TIM Wettbewerb" ("Torneo Internazionale Di Musica") 2014 a Parigi

• Quali esercizi di riscaldamento usa?

Durante il mio percorso, soprattutto durante al preparazione per i concorsi da solista, ho scoperto che suonando i brani solistici e studiando più ore al giorno non è necessario fare degli esercizi di riscaldamento specifici, perché già nei brani si possono trovare scale, esercizi di tecnica, flessibilità, articolazione e dinamica e tutti i registri dal grave al acuto, etc...

Provare altri argomenti di interesse.

Qui in Spagna, in alcuni centri si ritiene che l'Euphonium, sia uno strumento che dovrebbe avere una propria specializzazione e, d'altra parte, alcuni ritengono che, come strumentista, si debba conoscere e padroneggiare la tuba e l'eufonio.

• Potrebbe darci la sua opinione in merito e come affronterebbe la questione nell'interesse di un'educazione e di una formazione adeguata alle necessarie competenze richieste oggi?

Da noi in Alto Adige ogni trombonista laureato suona automaticamente anche l‘Euphonio. Ma credo che l‘Euphonio ha più caratteristiche in comune con il bassotuba, pensando solo ai cilindri che il trombone non ne ha. Anche il flusso d'aria è più simile a quello per bassotuba che a quello per trombone. Per me l‘ Euphonio è un piccolo bassotuba. Credo che come tubista hai dei vantaggi che rendono lo studio del Euphonio più facile. Però considerando tutto sono dell'opinione che l‘Euphonio è uno strumento per sè e sarebbe sbagliato credere che un tubista è in grado di suonare l‘Euphonio in automatico. Di conseguenza è assolutamente necessario, soprattutto nel livello professionale, studiare l‘Euphonio come strumento per sè e laurearsi proprio con l‘Euphonio e non come secondo strumento con un altro strumento principale.

Coll‘ orchestra "La Verdi" Milano

Parliamo della sua ESPERIENZA DI INSEGNAMENTO:

• Ci dica che cosa insegna nei centri di apprendimento (professore a tempo pieno, visiting professor, corsi, lezioni, ecc.)

Credo che durante una lezione non bisogna mai avere una routine, perchè si lavora con individui. Ogni uno ha delle esigenze diverse e risponde in maniera diversa agli consigli dati.

Cerco di comprendere i mei studenti e trovare una soluzione individuale per ogni uno.

Nella maggior parte dei casi funziona facilmente, ma in certi casi può essere difficile e faticoso comprendere lo studente e trovare una via adatta. Cerco di insegnare ogni studente in maniera diversa. È molto importante sapere la motivazione dello studente e sapere che interessi ha per il suo futuro musicale per dargli la direzione giusta e dargli il migliore aiuto.

• Come organizza le sue lezioni e la materia in generale?

Come già detto non ho uno svolgimento fisso, però cerco di coprire tutti i settori. Cerco di accogliere ogni studente al punto dove sta e cerco di farlo migliorare nelle sue esigenze. L‘ importante è sapere gli obbiettivi dello studente e sostenerlo.

• Quanto durano le sue lezioni?

La durata delle lezione varia e dipende se sto insegnando bambini, adulti o gruppi; se sto insegnando musicisti amatoriali, studenti o professionisti. Dipende anche se la lezione è una lezione settimanale o se è una lezione specifica per la preparazione per un concorso o concerto importante. Ma innanzitutto dipende quanto lo studente è in grado di dare e apprendere.

• Ritiene importante che gli studenti facciano delle apparizioni pubbliche durante i loro anni di formazione? Se sì, consiglia quante volte lo ritiene opportuno e di quale età o corso. Elementare, professionale, superiore?

Fare delle apparizioni pubbliche è molto importante. Non è necessario fare un concerto professionale. L‘importante è suonare davanti alla gente, indifferentemente se si suona davanti ad amici, famigliari o una sala piena di gente, perchè suonare davanti ad altri è sempre una situazione diversa come suonare a casa da soli e bisogna esercitarsi a farlo.

La difficoltà più grande è essere in grado di dimostrare il proprio livello anche davanti ad altri e per quello è importante farlo regolarmente, indifferentemente dall'età e dal livello.

Una parte importante del curriculum del corso è standardizzata e si basa sull'idea che gli studenti padroneggiano il repertorio da soli, a volte a scapito del repertorio dei grandi gruppi (Orchestra e Banda), quando in realtà, la maggior parte degli studenti Tuba ed eufonio saranno insegnanti e/o membri di una banda e, in misura minore, di un'orchestra nel caso di Tuba.

• Secondo lei, come si dovrebbe affrontare questo problema?

Cerco di non creare diverse categorie. Parliamo sempre di musica, indifferentemente se il musicista suona in un'orchestra, ensemble o come solista. C'è sempre un palco scenico e il pubblico e noi decidiamo cosa prova il pubblico.

Credo che sia importante conoscere certi programmi standardizzati durante il percorso di studio, perchè hanno anche un valore didattico. Dall‘altra parte però è anche importante che ogni studente abbia le sue libertà di scegliere programmi al suo gusto.

• Quanto pensi sia importante includere l'apprendimento e la padronanza del repertorio orchestrale come parte del currículum del corso?

Credo che sia importante per ogni studente o musicista aver suonato al meno un minimo di passi d'orchestra per la sua crescita musicale, anche se lo studente/musicista ha scelto di fare altro nella sua vita musicale.

Se uno non ha interessi di suonare in orchestra consiglio di specializzarsi di quello che ha scelto.

• Se potessi scegliere (in una situazione ipotetica) tra uno studente di Tuba o Euphonium, chi preferisce?

Se potessi scegliere, sceglierei uno studente di bassotuba. Io mi sono laureato di bassotuba, e per quello posso dare più consigli a un tubista che a uno studente d‘Euphonio.

Promozione

PARLANDO DI QUESTIONI TECNICHE:

• Potrebbe darci la sua opinione sui diversi concetti di suono e quali caratteristiche definiscono, articolazione, tipi di strumenti, letteratura, se l'influenza del linguaggio e della tradizione musicale nel suono e nel modo di suonare è considerata importante?

Il concetto di suono varia molto in ogni paese. Non si può dire cosa sia giusto o sbagliato, è solo una questione di gusto.

Durante il mio percorso di studio ho avuto la fortuna di poter suonare in diversi paesi e diversi orchestra. Così ho conosciuto dei mondi diversi della interpretazione del suono. Già la scelta degli strumenti varia da un paese all’altro. Per esempio in Italia il basso tuba in Fa e Do e molto più usato, rispetto alla Germania e Austria; lì si usa il basso tuba in Fa e Sib. Gli strumenti con il sistema Perinet sono molto più usati in Italia che in Germania.

In Germania e Austria si cerca di suonare con un attacco chiaro e diretto, mentre in Italia questo modo "tedesco" sembra già aggressivo.

Esempi come questi esistono parecchi, ma sarebbe troppo elencarli tutti.

• Parlaci un po' della sua esperienza di bocchini per tuba:

Un bocchino è sempre un compromesso. Non esiste un bocchino che aiuta per tutto. Un bocchino buono dovrebbe aiutarmi a risolvere le mie difficoltà. I due criteri più importanti nella scelta del bocchino per me sono:

- devo sentirmi bene e devo trovarmi bene con il bocchino

- Il suono mi deve piacere. Non sarò mai contento con un bocchino se non mi piace il suono, anche se mi aiuterebbe a suonare tutto tecnicamente.

• Raccontaci le tue esperienze e i gusti di un particolare costruttore e perché?

Esistono tanti costruttori e belli strumenti diversi. Ogni strumento ha delle caratteristiche diverse. Mi piace tanto il suono morbido e rotondo dei bassotuba Meindl, la brillantezza dei bassotuba B&S, ma anche la leggerezza dei basso tuba Miraphone, per nominare solo alcuni.

Lo strumento è come un partner che ti dovrebbe aiutare in ogni fase di vita.

Wolfgang. Lei è il creatore del curioso Python Tuba made in Germany con il marchio Miraphone.

Miraphone Python Tuba

• Può dirci cosa l'ha portata a immaginare questo strumento? 

Nel 2013 è nata l‘idea di creare uno strumento per suonare in banda. L‘idea era di creare uno strumento che garantisce più libertà nel movimento e abilisce di suonare direttamente verso il pubblico come la tromba e il trombone.

• Com'è stato il suo processo di fabbricazione?

Avendo avuto questa idea mi sono riferite a Peter Oberrauch, titolare della manifattura strumentale a Bolzano e in collaborazione abbiamo creato il primo prototipo in Sib. All'inizio questo strumento era pensato più come strumento da divertimento, ma negli ultimi anni è stato migliorato in collaborazione con il costruttore "Miraphone" e nel 2016 è stato costruito il primo

"Python“ in Fa per un tournée per solita e orchestra sinfonico. Adesso il "Python" in Fa è in vendita e disponibile per tutti.

È stato elaborato anche un "Python" in Sib.

con il Prof. Michael Pircher (professore dell‘ Univesitá di Musica a vienna)

• Quanto è stato utile e qual è stata la sua richiesta?

Il "Python" è uno strumento che si può usare in tutti i settori musicali. Un grande vantaggio è la possibilità di muoversi meglio e sentire meno il peso dello strumento.

Un altro vantaggio è che la campana si rivela verso il pubblico e non in alto come un bassotuba normale. A causa di questa caratteristica il suono del "Python" e molto più presente. In più si riceve molto più attenzione perchè l‘apparizione di questo strumento è speciale.

Patricio Cosentino,Elke Niedermüller ( Pianista - Mozarteum Salzburgo) e me

IN CONCLUSIONE:

• Nella sua esperienza, pensa che la diversità degli esecutori, degli strumenti e la possibilità di formarsi in varie scuole specializzate si stia omogeneizzando in centri interpretativi già istituiti? (Esempio: russo, americano, tedesco, inglese e francese)

Credo che si sta omogenizzando tutto ed è un andamento che non si riesce a bloccare. È anche un effetto positivo se si riesce a conoscere diversi modi e accettarli, però è molto importante che ogni paese, istituzione, orchestra e strumento, etc... si mantengono le sue caratteristiche e tradizioni.

Wolfgang, è un grande piacere e un onore poter contare sulla tua esperienza, sulla tua collaborazione in questa serie di interviste e sulla tua amicizia.

Grazie mille e i miei migliori auguri. Un grande abbraccio.

Ti ringrazio per l‘intervista. È stato un onore farlo.

Era molto interessante per me farmi dei pensieri per questi argomenti.

Grazie mille e un forte abbraccio 

Wolfi

"BETWEEN TUBAS and EUPHONIUMS...JEFF BAKER"

Hi. For many people, today's interviewee is a well-known tuba player and teacher in the USA. For others, outside of those lands, they may not even know him and this last is something we wish to remedy.

It is a pleasure for me to be able to bring you closer to this brilliant American tuba player whom I thank for his friendship and collaboration in this interview project.

I hope and desire that you enjoy his experience as much as I do.

Without further ado, Let us begin.

· Name and surname:   Jeff Baker

· What instrument / s do you use?

Tuba, Contrabass Trombone, Cimbasso, Euphonium

· That make and model are the tools you use:

Meinl Weston 2165 CC tuba

¾ Rudy Meinl CC tuba

Alexander F tuba

Adams F tuba

Meinl Weston Cimbasso

Holton Bass Trombone

Adams E1 Euphonium

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

Stofer Geib Mouthpiece

Laskey 30H Mouthpiece

Thein MCL contrabass trombone mouthpiece

Schilke 59 bass trombone mouthpiece

Griego BB1 euphonium mouthpiece

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started?

I joined the band program when I entered middle school (6th grade).  That first year, I was in a class with other first-year trombones, euphoniums, and tubas.  I also played tuba in a jazz band that rehearsed in the evenings.

· At what age?

I began playing tuba at the age of 11 and trombone at the age of 14.

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

One of my earliest music memories was when the Dallas Symphony Orchestra Brass Quintet came to my elementary school.  The tuba player was Ev Gilmore and I knew that’s what I wanted to play.  There was an after-school orchestra program at my elementary school, I began playing the cello in this program when I was 8 years old.  At the age of 10, I switched to contrabass and when I was 11 and entering middle school, I switched to tuba.

· Who were your main teachers?

I have had many great teachers throughout my musical studies, but my two primary tuba instructors were Don Little and Ted Cox.  I was fortunate to have the opportunity to study with students of Arnold Jacobs and Harvey Phillips.

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: 

I perform regularly with the Dallas Opera on tuba, cimbasso, and bass trombone.  I have also performed with many of the orchestras in the area including the Dallas Symphony Orchestra, the Ft. Worth Symphony Orchestra, and the Dallas Winds.

· Metal sets:

I have very little Brass Band experience, it is not popular in this part of the country.  I have performed with the Texas Star Brass Band.

· Solo concerts:

I perform recitals every year and have been a soloist with bands and orchestras in the US and Brazil.    

With the Tatuí Conservatory Orchestra. Conducting James Gourlay

About your ORCHESTRAL EXPERIENCE:

• Tell us your experiences to access the orchestra place you currently occupy:

I played in the opera orchestra as a substitute musician for a couple of years before serving as a long-term (full-season) substitute when Don Little retired from the orchestra.  Our music director retired during this time as well, and it wasn’t until the new music director’s second season that a tuba audition committee was created.

• How was the selection process?

I was fortunate that I was able to rehearse and perform with the Dallas Opera for almost 4 seasons before the audition committee was created.  Through a unanimous vote among the committee and the music director, they offered me the permanent position in lieu of a traditional audition.  

• What works and / or orchestral solos were there as mandatory in the tests?

There was not an audition list, but by the time the committee met to discuss my permanent acceptance, I had performed a variety of works within the orchestra, many with little or no time to prepare.  I was called for Tristan und Isolde the day before the first rehearsal and I was called for Verdi’s La Traviata (on cimbasso) less than a week before the first rehearsal.  We performed a number of classics and family concerts, a rarely-performed 12-tone opera by Dominick Argento, a unique chamber opera called Death and the Powers, along with a variety of other productions by Puccini and Verdi.  

It was on opening night of Strauss’ Salome that the personnel manager and the audition committee met with me to let me know the position was mine.  The music director was sitting on the front row for most of those rehearsals and later told me that he was listening intently to my playing during Salome to help finalize his decision.   

In another sense:

• How is your current work in the orchestra?

The orchestra performs approximately 20 weeks out of the year, during those weeks, it is very busy.  It is not uncommon to rehearse and perform on many different instruments within the same week.  A typical week is 20 hours of rehearsals and performances.    

• Do you combine it with another musical group?

I used to freelance around the metroplex and play a variety of gigs, but I don’t have the time anymore.  I have a full-time teaching position at a university in the area and a young family.

• What recommendations would you give future tuba players aspiring to an orchestral position?

Listen to recordings, buy scores, and learn the music.  It’s okay to practice the excerpts, but if you don’t know the music, the committee will figure that out very quickly.

• Be nice to people, it doesn’t matter how well you play if nobody likes you.

We don’t get many opportunities in life, you must be prepared to step into a position and immediately be successful.  If you wait until the opportunity and then begin preparing, it’s too late.  I spent years studying opera music and preparing for an opportunity like the one I had.  I bought a cimbasso mouthpiece and practiced Verdi excerpts on my F tuba long before I ever had a chance to play in the opera orchestra, I went to orchestra and opera concerts regularly, I practiced excerpts on bass trombone, and I took every band and orchestra audition that I could.

 

With my partners of the Dallas Opera Orchestra.

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 think there must be a balance.  If a school has the students and the finances to support both a tuba and euphonium teacher, that’s great, but that’s very rare.  I have always played multiple instruments, so I feel I have a unique perspective when it comes to teaching and I encourage my students to study multiple instruments for this reason.  While tuba and euphonium are similar, a teacher will be more effective if they understand the nuances of both instruments through their own personal experiences.  I am happy that I can teach and play both instruments at my university.

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

In the USA, there are more tuba and euphonium jobs now than ever.  In the Dallas area, it is possible to make your entire living from teaching tuba and euphonium private lessons.  I think this is wonderful, we’re also seeing many musicians challenging composers to write more difficult repertoire.  Sergio Carolino and Roland Szentpali come to mind, these musicians have created a paradigm shift that ultimately raises the level for all musicians.

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 have been a faculty member at Texas A&M University-Commerce, Cameron University, and the University of North Texas.  I have taught masterclasses throughout the USA and Brazil and online as well.

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

Regarding masterclasses, this all depends on where I am teaching, who I will be teaching, and how much time we have.  I focus on fundamentals, mainly tone, breathing, and ear training.  I have also presented clinics on college preparation, audition preparation, and performance anxiety.

· How long are your classes?

Private lessons are one hour in length, masterclasses are usually two hours in length.  If a student that I don’t work with on a regular basis wants a lesson, we will usually go a little longer than a standard lesson.

· 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?

Absolutely.  We are performers and many people are not comfortable with sitting in the spotlight.  Only through experience can we master our doubts and fears.  I encourage my students to perform early in their career and often.  I like for my performance majors to perform a recital each year they are in school.  My music education majors are required to perform one recital before graduation, but I encourage them to do more.

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 encounter students that only want to work on excerpts.  Harvey Phillips and Arnold Jacobs both believed that if a tubist only practices band and orchestra music, they will be limited as a musician. We must study all great musicians and aspire to perform all types of music at a high level. 

I think if we only practice solo literature, we will also be limited as a musician and the reality is most tuba players do not earn their living as a soloist.  There needs to be a balance and the student should be willing to learn as much music as they can from many styles and genres.  

· 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?

No, I have no preference, they are both musicians and the goals are the same.  An ideal student for me is curious, hard-working, and willing to try new approaches.

With the Contrabass Trombone

About your DAILY WORK.

· What type of repertoire do you mainly work in?

My repertoire varies throughout the year.  During months where I perform with the opera orchestra, I am focused on what we will be performing.  If I am preparing for a recital, I may not play my 6/4 CC tuba and spend extra time on bass trombone and F tuba.  

I have a variety of etudes and solos on my music stand at home, this is the type of music that will help force you to maintain a high-level of playing.

· What warm-up exercises do you use?

I play different instruments every day, I don’t always warm up on my 6/4 CC, in fact, I haven’t played it in a while!  Regardless of the instrument that is in my hands, I am trying to create a consistent sound throughout the low, middle and high range, and I am trying to ensure that I am in tune in all keys.  I play a lot of flow studies and songs in all key signatures.  

Long tones are always beneficial, so are scales and arpeggios.  I used to play a specific routine, the same exercises every day in the same order.  While I believe that is useful for younger musicians, I now play what I feel I need for each day.  If my connections are not smooth in my flow studies, I play more lip slurs or possibly switch to a different instrument that requires more attention in the area I am trying to fix.  I do this a lot with tuba and cimbasso because the cimbasso requires much more air and control.  I will often play ear training exercises on bass trombone which will help my intonation on euphonium.    

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?

Regarding sound, I believe that a student must have a strong idea of what they want to sound like.  We model or mimic others, in the same way that babies learn to talk from hearing their parents.  Depending on the instrument, ensemble and the repertoire, my ideal sound models are Michael Lind, Warren Deck, Floyd Cooley, and Brian Bowman.

I’m fortunate to perform with singers, I try to take a singing approach in my own studies and it is the cornerstone of how I teach musicians.  We have to communicate with the audience, like a great singer.

The influence of language is something I also discuss with my students, we perform German, Italian, and English songs and often discuss how the text relates to our articulation and breathing.  We should mimic singers in articulation and phrasing.  We should be creative and expressive storytellers.

· 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?

My first CC tuba was an Alexander and that influenced me in many ways.  There is no other sound like an Alex, it’s beautiful and despite its 4/4 size, a well-played Alex can be heard easily inside any ensemble.   Handmade instruments like Alexander, Rudy Meinl, and Adams use thinner metal since there are not any machines used to form the parts.  I think this thinner metal allows the instrument to respond better, it also allows me to play softer with more control, which is much more difficult than playing loud.

I have a variety of equipment that allows me to adjust my sound and presence depending on the repertoire.  For example, my trombone colleagues prefer that I play bass trombone on La Boheme, but for other works by Puccini, I use cimbasso.    

I use medium-sized mouthpieces on all my instruments, I feel that I have more control, more endurance, better intonation, and it requires less air to create an ideal sound.

You are a recognized interpreter in you country.

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

The tuba sound in the United States has changed over the last 30 years.  Americans used to perform on 4/4 rotary tubas, much like Roger Bobo, Chester Schmitz, and Ron Bishop.  Large 6/4 piston tubas became popular in the late 1980s and early 1990s primarily due to the success of Arnold Jacobs and Gene Pokorny in the Chicago Symphony.  My Meinl Weston 2165 is a copy of a 6/4 Holton, like the one Floyd Cooley used in the San Francisco Symphony.  It was made famous by Warren Deck in the New York Philharmonic and now there are numerous versions of 6/4 piston CC tubas available.  I don’t know that this is good or bad, it’s mainly just a change in what tuba players wanted which led to many new models and styles.

In the United States, beginner tuba students learn BBb tuba first.  I encourage all of my university students to learn CC tuba, I feel this makes them a more effective musician and teacher if they understand BBb and CC.  I do not requre them to own a CC tuba and if they prefer BBb, I am happy to support them.  There are some fantastic BBb tubas available and many of the top tuba players in Europe don’t own a CC tuba.  I do believe that CC tuba responds better than BBb, probably due to the shorter length of tubing, moreover, currently in the United States, there are more professional-level CC tubas available.

Tuba/Euphonium studio at Texas A&M University-Commerce in the Music Building's Concert Hall with the adjunct tuba teacher Dr. Ken Drobnak and an adjunct euphonium teacher Brian Davis.

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, English, French).

Of course, how could it not be?  Music education in Germany is quite different than in the United States, the same could be said for most countries.  If you are not from Germany but travel there to study, you must do what they tell you in the style they tell you.  Politics, history, economics, and how the arts are valued at a national level all affect these varied styles of pedagogy and performance. 

In our lifetime, I think we have seen, and will continue to see, more diversity and acceptance due to a more interconnected world created by the internet.  Youtube videos, zoom lessons, digital concert subscriptions, this is all wonderful and allows for a wider acceptance of ideas.  This can also be a way to educate our students on different approaches to music.  When I am working on Berlioz excerpts with a student, I encourage them to find recordings of French orchestras and French conductors.  There are many fine recordings by the Montreal Symphony with Charles Dutoit conducting, these sound very different than the Chicago Symphony.  When we are preparing Wagner excerpts, my students must listen to German recordings, Bayreuth sounds very different than the New York Philharmonic.     

Jeff, 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.

Thank you for inviting me to participate Harold, stay safe and I look forward to seeing you when we can all get together again!

"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.