Bienvenidos a este, un espacio didáctico multilingüe sobre la Tuba y el Bombardino.

Espero y deseo que encuentren lo que buscan y les ayude en sus intereses sobre nuestro excelente instrumento.

IBSN

IBSN: Internet Blog Serial Number 7212-1413-1-0

SOBRE MÍ

Mi foto
PhD "Cum Laude" en Patrimonio Artístico y Cultural (UCO, UJA, UHU y UEX). Artista/Embajador “Wessex” y “Mercer&Barker".“Profesor Superior de Tuba” (RCSM de Madrid.España)). “Instrumentista/Profesor de Tuba y Práctica de Conjunto” (ENA/Cuba).Miembro de I.T.E.A., AETYB y UNEAC. Director Máster Pedagogía Instrumental (UAX)/// PhD "Cum Laude" in Artistic and Cultural Heritage (UCO, UJA, UHU and UEX). Artist/Ambassador "Wessex" and "Mercer&Barker". "Profesor Superior de Tuba" (RCSM de Madrid.Spain)). "Instrumentalist/Teacher of Tuba and Ensemble Practice (ENA/Cuba), Member of I.T.E.A., AETYB and UNEAC. Director Master in Instrumental Pedagogy (UAX).

jueves, 4 de octubre de 2018

AETYB 2018…¡¡¡VENTE PA’ MADRID!!! (ENGLISH VERSION)


Hello everyone, for the spanish version see here http://www.aetyb.org/index.php/festival-aetyb-madrid-2018-resumen

I would like to start these brief chronicles with a cordial greeting and a congratulations in capital letters to the organizing committee of this wonderful Festival and sincere thanks to ITEA and Kevin Wass President of the same, for their support and confidence to hold the Festival Supra Regional of the organization with our Festival AETYB MADRID 2018. Thank you very much.

Festival Poster
As official reporter of the event, I intend in these "brief and concise" lines "summarize" what happened in this Festival, which was held in what is perhaps the most important Higher Education Center in Spain, I mean the ROYAL SUPERIOR CONSERVATORY OF MUSIC OF MADRID, which welcomed us for 6 wonderful days full of diverse activities and camaraderie, with guests from different parts of the world and a more than recognized instrumental and pedagogical prestige, which was complemented by the no less talented artists of the Spanish territory, who attended the event.

Among the guests were: Øystein Baadsvik (Norway), David Childs (England), Patrick Wibart (France), Robert Benton (USA) David López (Colombia), Misa Mead (Japan), Sébastien Perez (France), Scott Roeder (USA), Jean Daufresne (France), Matt Tropman (USA), Brian Bowman (USA) Chiaki Mawatari (Japan), Deanna Swoboda (USA), Vianney Desplantes (France) ), Andy Smith (USA), Bente Illevold (Norway), Tomás Alemany (Spain / Mexico), Danielle VanTuinen (USA), Harold Hernández (Cuba / Spain), Corentin Morvan (France), David Earll (USA), Henrique Costa (Portugal), Ken Drobnak (USA), Patricio Cosentino (Argentina / Germany), Kevin Wass (ITEA President - USA), Walter R. Stormont (USA). UU. / Spain),, Chris Vivio (USA), Avital Handler and Haim Mazar (Israel), Ricardo Carvalhoso (Portugal / Germany), Drew Bonner (USA), Javier Castaño (Spain / Italy), Will Druiet (England / Belgium), Andreas Hofmeir (Germany / Switzerland).
Oystein Baadsvik in his Master class
On behalf of "the land" were: Miguel Moreno, Eduardo Nogueroles, Manuel Dávila, Sergio Rey, Juan Francisco Aranega, Jonathan Vázquez, Oscar Abella, David Quilez, Angel Torres, Iván Ortega, David Muñoz Vicente Castelló, Jose Vicente Climent, Pedro Sucias, Jose Antonio Mira, Pablo Fernandez, Sergio Linares, Ismael Cantos, José Manuel Redondo, José Luís Martín, David Llácer, Vicente Cremades, Sergio Finca, Jesús Navas, Vicente Pascual, Jonathan Sevilla, José Luís Bueno, Luís Javier Zenner, Víctor Cardeñosa, Francisco Pavón, Vicent Blasco, Josep Burguera, Ignacio Fernandez, Mari Carmen Luz, Ramón Gómez, Sergio Casas, Alberto Pons, Pablo Martínez del Cerro, Pablo Domínguez, José Luís Sellés, Luis Miguel Jiménez, etc.
BBflat Tuba Duo. Patricio Cosentino y Harold Hernández

Without further delay let's go into matter.

After the reception of attendees, about 270, and the first rehearsals for the Contest that will be from 21 to 23, we started the Festival with the official Inauguration, where we received a warm welcome from Mrs. Ana Guijarro, Director of the RCSMM, our President Eduardo Nogueroles, Kevin Wass President of ITEA and Manuel Dávila as coordinator of the Festival's organizing committee.

The musical part of this endearing opening was put by the Tubas group of the RCSMM with a varied and interesting repertoire with works by M.Kamen, G.Holtz / M.Forbes, R. Szentpali and G Danner, thus putting the "first sounds" in the Inauguration Act in which as "extra" we enjoyed a work in performance for 2 Tubas, Piano and Narrator entitled "Requiem for Wounded Knee" by the North American composer Elizabeth Raum very well interpreted by the Tuba Teachers of the RCSMM and their companions.

The morning activity
We all know how important and necessary are the MATUTINE WARMINGS to start the day well instrumentally speaking, and they were commissioned by Misa Mead (Euphonium, Composer, Freelance and Artist Besson), Sergio Rey (Tuba, Orchestra Filarm, Málaga), José Luis Bueno (Euphonium and Professor of the Victoria de los Angeles Conservatory of Madrid), Jonathan Sevilla (Tuba of the Orchestra of the Community of Madrid) Pep Burguera and the Tubas with another great instrument of our instruments in Spain, I mean Vicente Castelló, Luis Manuel Resino (Euphonium) and Walter Stormont (Tuba), David Abellan and Miguel Moreno.

Undoubtedly the RECITALS, abounded in the well thought-out program of the festival.
There were all kinds of them, with the magnificent accompaniment of the pianists who collaborated so brilliantly in the Festival: Carmen Yepes, Irene de Manuel, Yuko Mizutani and Omar-Jonatas Sánchez, from "formally" groupings and others in the heat of this great Festival , etc.

Spanish Tuba Quartet in Concert
The "soloists" of the Recitals were: Robert Benton (Euphonium) and Scott Roeder at the head of the Texas Ensemble, The duo Moreau / VanTuinen (Euphonium and Percussion), the renowned Opus333 Saxhorns Quartet, Kevin Wass (Tuba), Bente Illevold ( Euphonium), Patricio Cosentino (Tuba), Chris Vivio (Tuba), Three Brass (Trumpet, French Horn and Euphonium), Scott Roeder (Euphonium), the Ziryab Quartet, TubaFussión, the unmatched Spanish Tuba Quartet, Willson Quintet (David Earl and the Saxhorn Quartet Opus333), Øystein Baadsvick. Andy Smith (both Tubas), Dianna Swoboda (Tuba), David Earl (Tuba), Pep Burguera (Euphonium) Manuel Dávila (Tuba), Laureates at the Festival AETYB VALENCIA 2016, Matt Tropman (Euphonium), the group And The Brass, Misa Mead (Euphonium), Vega Baja Low Brass, The Tubists Eduardo Nogueroles, Pablo Fernandez, Andreas Hofmeir, Oscar Abella and Ken Drobnak, Duo Sintagma, the Portuguese Tubista Henrique Costa, the Great David Childs, David López (Colombian Tuba), Tub 'For Two, the Paul Stocker Trio, Will Druiett (Tuba), Sergio Rey (Tuba), the Steven Bowman (Euphonium), the successful Ensemble Feminine AETYB under the direction of Misa Mead and the Israel Tuba Duo
David Childs in Concert

The MASTER CLASS of the event was given by David Llacer, the Norwegian Bombardier Bente Illevold, the Portuguese Tubist Ricardo Calvalhoso, soloist Philharmonic of Munich, Øystein Baadsvick, Avital Handler (Tuba Opera of Israel), Robert Benton (Euphonium and Professor), Vicente Castelló (Tuba, Municipal Band of Madrid), the renowned German Tubist Andreas Hofmeir, Dr. Brian Bowman, Tubman Chris Vivio, Mark Tropman, Pablo Fernandez, David Childs, and Andy Smith, who were very nourished and interesting because of the diversity of topics that were addressed from the vast experience of the speakers.

This year we did not actually have a CD presentation but many guests and attendees brought their latest "phonograph" works and put them at the disposal of those interested.

Proposals by Øystein Baadsvick, Robert Benton, the Duo Sintgama, The Israel Tuba Duo, among others were some of them.

Israel Tuba Duo
Books as such we only had a very interesting "initiative" and in my opinion attractive by the form and the background, and it was the presentation in "Tubistica society" of a Novel Method of teaching metal wind instruments called "Brass School". This methodology had one of its creators as a presenter, I mean Eduardo Nogueroles, along with Conrado Gastaldo, Carmelo Romaguera and Javier Cerveró. Great idea that had an interested public.

The programmed CONFERENCES were all very interesting and very pleasantly received.
We had Conferences by Joaquín Soler and Luis Vidal on an interesting subject such as "Intellectual Property", José M. Redondo (Prof. of the CSM of Salamanca and Tuba of the OSCyL) with his Conference "Song and Wind", Miguel Galdon on " Musical Marketing ", Jordi Albert" Prevention of Injuries and Neuromotor Disorders in Wind Metal musician ", Vicente Pascual and Sara Magán" Self-management in musician activity ", David Muñoz" Job opportunities for our instruments in the XXI Century ", Luis Zenner "Focal Dystonia" and a historically important "The creation of the Tuba Class in the RCSMM. of Vicente Cremades, Miguel Moreno and the Director of that time, Ms. Encarnación López.
Master Class Walter Stormont and Javier Castaño

The WORKSHOPS all of great benefit were made by Javier Castaño (Soloist of the Scala of Milan) and "our" Walter Stormont (Soloist of the Symphony Orchestra of Madrid) on the use of the Cimbasso in the operatic repertoire, its history, use current, difficulties and demand of this unique member of our family, the Workshop of Didjeridoo by Pedro Martín, Liliana Robleda with his Workshop on "Postural Education", Workshop on "La Tuba en el Jazz", given by José Luis Martín. One very curious and interesting about the logical comparison of which instruments are good and others bad according to the criterion and particular interests of the person who defends or denostes them. Well of it I treat the workshop of A. Zara and finally Pedro Sucias brought us a Workshop entitled "Training my Music"

Wessex Exhibition
An event of this caliber must have EXHIBITIONS and COLLABORATORS of all kinds. With discounts and attractive offers for attendees here were among others: Erviti (representative in Spain of Alexander, Tiger, Geneva Group and Gara), La Musa (accessories and instruments Eastman), Aitana Music (representative of Willson), Sanganxa (Adams, St.Petersburg.), Low Brass Store (Miraphone), Wessex, Buffet Group (B & S, Melton, Besson), Metall i Fusta (instrument repairers), TodoNotas and Gewa (Conn)

OTHER COLLABORATORS: Royal Conservatory Superior of Music of Madrid, Grupo Quilez, Caja Rural Villar, National Institute of Performing Arts and Music INAEM, Community of Madrid, Association of Performers and Performers AIE, Madrid City Council, Municipal Symphonic Band of Madrid, International Tuba and Euphonium Association ITEA, Spanish Confederation of Musical Societies, El Creata, Sala Nubel of the Reina Sofía Museum, Banda de Villarejo de Salvanes, Band of the Regional Federation of the Autonomous Community of Madrid, etc.

The DEBATES, are meeting places to exchange opinions, learn, confront. On this occasion, two took place.

One was "Tuba y Bombardino ¿Instrumentos de Hombres?" Moderated by Belen Ramiro and with the participation of Marisa Manchado, Nieves Hernández, Ana Isabel Martín and Sara de Vega, who clearly explained the current reality and the aspirations of equality for women within the musical guild. Very successful in these times of feminine vindication and #MeToo. Bravo!!!.

Different Teaching Schools of the Tuba and the Euphonium
The other Debate was a continuation (unfinished subject) about the "Different Teaching Schools of the Tuba and the Euphonium" directed by the one who humbly signs these chronicles, and who counted as guests with Miguel Moreno, Kevin Wass, Misa Mead, Patricio Cosentino , Pablo Fernández and Avital Handler, in addition to the undersigned.

It is encouraging to see and help the many attendees to understand aspects inherent to the interpretation of our instruments seen from the perspective and experience of renowned interpreters. Hopefully we can repeat this experience in future events, because there are always new things to learn and understand. Thanks for the confidence!!!

One of the reasons for this event is the AETYB COMPETITION.

This competition divided into 6 categories (Tuba Artists, Euphonium Artists, Tuba Young Artists, Euphonium Young Artists, Tuba Young Promises and Young Euphoria) had a duration of three days in which they were winners:
• Tuba Artists: David Soriano
• Euphonium Artists: Carlos Fluixa
• Tuba Young Artists: Miguel Osca
• Euphonium Young Artists: Eduard Gisbert
• Tuba Jóvenes Promesas: Samuel Hernández
• Euphonium Young Promises: Marcos Ponce
It is pleasing to see the high level displayed by the contestants and the confirmation of the promising future of our instruments in Spain. CONGRATULATIONS TO THE AWARDS AND THEIR FAMILIES !!!

In the evenings came what I traditionally call "Tubist's Rest". The classic and always expected AETYB NIHGT this time to raise awareness with the city that welcomes us called "Movida's Night AETYB for that of the unforgettable 80's and his longed for" Movida Madrileña "

This time it was the NOUBEL Hall of the Reina Sofía Museum, a few meters from the Festival venue. This time we have the famous Portuguese Tubist Gil Gonçalves with his great, extensive and well-prepared jazz recital. The "Movida Madrileña", which gave us very pleasant and unforgettable moments with that "Band of Tubas" improvised and integrated by Festival assistants and guests interpreting popular songs from those unforgettable 80's and the exquisite Dixieland by Luis Zenner.

This year the youngest ones, which were not many, had a single activity directed especially to them and this was the responsibility of the QuarTubass group. A very applauded and grateful activity for the most supportive attendees.

As a novelty, this year we had a "Photo Contest" with a clear theme, leave graphic evidence of everything that was possible about what happened at the Festival and who won the most "likes" on social networks. Thanks to this, there were pleasant memories that can be seen on the Association's Facebook page and on the social networks of the participants, which will make us relive intense moments.

The ASSEMBLY OF PARTNERS took place as each meeting with their usual delivery of accounts, reading minutes and others. From this meeting I think it is appropriate to highlight three things
1- The well-deserved election of "our" teacher Miguel Moreno as honorary member of the Association.
2- The integration of 2 new members to the Directive for the final part of the current mandate that ends in 2020

3-The debate and request of several assistants to reconvert the AETYB Festivals into an entity of greater official recognition, going on to name them Congress and the search of the "officialization" of the articles written on the web by means of the application of the well-known ISBN, issue is that It is already in the process of being requested.

A balance was also made of several things of interest such as the fluctuation of partners, the little collaboration in articles for the web in the last year, or the duality of belonging to AETYB and ITEA.

It was exciting the amount of CONCERTS that we had the opportunity to attend, almost all of first-class guest soloists and magnificently accompanied by the Municipal Music Band of Madrid, the Band of Music of Villarejo de Salvanes and the Band of the Regional Federation of the Autonomous Community of Madrid.

The Soloists of these Concerts were Øystein Baadsvik, Matt Tropman, Misa Mead, Ricardo Carvalhoso, Robert Benton, David Muñoz, Jonathan Sevilla, Jose Vicente Climent, Jesús Navas.

Special mention deserves the one that we offered the members of the AETYB ENSEMBLE formed by more than 300 Tubas and Euphoniums (among festival attendees and external guests), in the Plaza of the Reina Sofía Museum with a diverse and attractive program under the direction of Kevin Wass, Eduardo Nogueroles, Brian Bowman, Manuel Dávila, José Luis Bueno, Miguel Moreno and Sergio Rey
AETYB Ensemble

At the time of the Final Concerts, we first attend the demand that provokes listening and getting to know the representatives of those who are seen as an excellent future of our instruments in SPAIN. I refer to the winners of the various categories of the 3rd AETYB Concert accompanied magically by the AETYB MADRID Symphonic Band formed by musicians who selflessly came together to collaborate with this project under the intense and correct direction of José Luis Bueno, who also directed at the Closing Concert to the Big Band AETYB MADRID with equal exquisiteness, counting as soloists with the young talent of the Bombardino Ramón Gómez and with the great David Childs who left a masterful imprint to the audience.

In these concerts the prizes were awarded to the Photo Contest whose winner was Javier Boluda and Miguel Moreno was formally presented with his "distinction" as an Honorary Member of AETYB.

To end the seats that wanted it, we celebrated a fraternal and pleasant farewell dinner of this wonderful Festival that few are the words to describe the good work of its organizers.

The last Dinner together
It was in the previous to the Closing Concert with awards and distinctions, speeches, mutual thanks between AETYB and ITEA, etc., where the city selected to host the 4th "AETYB Congress" was unveiled and it is how everyone will know the Andalusian city of MÁLAGA

Repose and assume all the lived experiences that many have been shaped and will continue to be in our social networks. As the old saying goes, "remember is to live again" and the illusion with the next appointment that awaits us, which surely will be wonderful, fascinated and seductive, will make us drunk with that Mediterranean breeze of the Andalusian Mediterranean.

Good luck to the organizers, to whom from here with humility, I offer my sincere collaboration.

A see you soon and Many thanks to all with my best wishes.

See you at AETYB MALAGA 2020.



jueves, 12 de julio de 2018

"BETWEN TUBAS AND EUPHONIUMS: AVITAL HANDLER"


Hi, my name is Harold Hernandez Lozano. I'm a Tubist and Professor and have been a member of ITEA since 1996.

This is a new installment of the interview series "Between Tubas and Euphoniums" that I've been doing to renowned interpreters for some years now and that you can follow here on my blog.

In this case, our guest at the interview is an exceptional woman, Soloist of Tuba of the Orchestra of the Opera of Israel, Member of the Duo of Tubas of Israel and soloist. I am also pleased to have her as one of my guests at the Debate on the Different Schools of Education of the Tuba and theEuphonium at the next AETYB Supraregional Festival Madrid 2018 (from July 20 to 25 at the RCSMM)

Without further ado, let's start:

Name and Surname:

Avital Handler.

Which instrument/s do you use:

At the moment I play Tuba in F and B&S

Manufacturer and model of the instrument/s that you use:

A Kanstul Pro F Tuba and a B&S C Tuba

Manufacturer and model of the mouthpiece/s that you use:

I play a AR80 with my  F Tuba, and a Prana Monette with my C Tuba

EDUCATION:
When and where did you begin your studies of the euphonium or tuba?

My studies took place in the USA-

At what age? What reasons or circumstances led you to study this instrument?

I began my studies on the Euphonium and quickly moved to tuba. At the time, it wasn't acceptable in my country to play the tuba, however I insisted, so after a year on euphonium, I moved to the tuba- approximately at the age of 13.

Who were your main teachers?

My main influences and teachers were Charles Villarubia, Toby Hanks, Roger Bobo and Ariel Sasson.

PROFESSIONAL EXPERIENCE:
Please leave us a little account of your experience as a soloist, member of chamber groups, orchestra, band, etc:

I am a Kanstul performing Artist. My main job is principal tuba player of the Israel Opera Orchestra. I have held that position since 2001.
In the chamber music area, I played in a brass quintet for 15 years. I decided to become a soloist, and released a solo disc- Tuba in the City in 2013
My colleague Haim Mazar and I decided to bring the tuba to the front of the stage, and formed the Israel Tuba Duo in 2015. We recently released our disc Tubalicious

Especially about  your orchestral experience:

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

I went to the audition for my orchestra when I was 25 years old

- How was the selection process?

It had two levels and then a trial year

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

At the time, just like many auditions in these days, I had to play the Vaughn Williams Concerto. The excerpt list was the standard one that included about 15 orchestral excerpts

-Did you take any work of free choice? Which was?

There weren't any free choice pieces.

-In another sense:
-How is your current work in the orchestra?

At the moment, the Opera Orchestra plays about seven operas a year and 7-10 symphonic programs.

-Do you combine it with another musical group?

I combine this work with my Duo- the Israel Tuba Duo.

-What recommendations would you give future Tubistas aspiring to an orchestral position?

My advice to future aspiring orchestral tubists- be persistently accurate. That will help you win the job. 

TEACHING EXPERIENCE:
Please let us know what learning centers you have taught in (as a full time professor, visiting professor, courses, master classes, etc..)

ISRAEL TUBA DUO
My teaching experience includes Masterclasses throughout Israel, the US and Europe. I teach at the Rubin Academy of Music and the Israel Conservatory. I teach classes at the Tel-aviv Academy as well.

TAKING OTHER ITEMS OF INTEREST.
Here in Spain, in some centers it is considered that the bombardino / 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 the euphonium.

Could you give us your opinion on this and on how you would approach this issue in the interest of an education and training tailored to the necessary specialization that is required today?

I believe that the Tuba and Euphonium are two separate instruments and should be addressed as such- each should be studied with its own specialty.

SPEAKING OF TECHNICAL ISSUES:
Could you give us your opinion about:
the different concepts of sound and what characteristics define it, articulation, the types of instruments, literature, if you consider the influence of language and musical tradition important in the sound and way of playing?

As a tuba player that studied in Israel and the USA, I believe that sound defines the character of a player. The tuba player that plays with an orchestra serves as the basis for the full sound of the group- therefore, the aim should be to create a full, fat sound. Intonation is crucial to help the orchestra sound homogenous, and good articulation helps the tuba and trombone sections sound clear and precise. All this helps the orchestral tuba player. As a soloist, the full sound is not as important as the accurate sound. The solo tuba player needs to aim to sound like a euphonium player with a big sound!


TO CONCLUDE:
In your experience, do you believe that the diversity of performers, instruments, and the opportunity to train in various specialized schools is becoming homogenized in the interpretative centers that are already established? (Example Russian, American, Germano-Austrian, English, etc).

I believe that the centers that are established are influencing the rest of the world- performing and teaching in Albania strengthened my view- the American concept of sound was evident from the students that I listened to in the Masterclasses.


I am very grateful for your kind attention and for answering my questions.
You are invited to visit the page and colaborate if you are interested.
See you in Madrid.

See you

Again, thank you very much.



ANOUNCE THE DEBATE

ENTRE TUBAS Y BOMBARDINOS: AVITAL HANDLER

Hola, por si este es tu primer encuentro con mi blog, me presento. Mi nombre es Harold Hernández Lozano. Soy Tubista,  profesor, miembro de AETYB y desde 1996 soy miembro de ITEA.

Esta es una nueva entrega de la serie de entrevistas “Entre Tubas y Bombardinos” que vengo realizando a reconocidos interpretes desde hace algunos años y que puedes seguir aqui en mi blog.

En este caso, mi entrevistada es una mujer excepcional, Solista de Tuba de la Orquesta de la Ópera de Israel, miembro del Dúo de Tubas de Israel y Solista. También me complace anunciar que será una de mis invitadas en el Debate sobre las “Diferentes Escuelas de Enseñanza de la Tuba y el Bombardino” en el próximo Festival Supraregional AETYB Madrid 2018 (del 20 al 25 de julio en el RCSMM)

Sin más preámbulos, comencemos:

Nombre y apellido:

Avital Handler.

¿Qué instrumento / s usas?

En este momento uso Tubas en Fa y Do

Fabricante y modelo de los instrumentos que utiliza:


Fabricante y modelo de la / s boquilla / s que usa:

Toco con una  AR80 con mi Tuba en Fa y una Prana Monette con mi Tuba en Do

EDUCACIÓN:
¿Dónde comenzaste tus estudios de Tuba?

Mis estudios tuvieron lugar en los Estados Unidos en la Universidadde Boston y en la Manhathan School of Music


¿A que edad? ¿Qué razones o circunstancias te llevaron a estudiar este instrumento?

Comencé mis estudios en el Bombardino y rápidamente me mudé a la tuba. En la época en que empecé a estudiar, no era aceptable en mi país que una chica tocara la Tuba, aunque insistí, así que después de un año con el Bombardino, me mudé a la Tuba, aproximadamente a la edad de 13 años.

¿Quiénes fueron tus principales maestros?

Mis principales influencias y maestros fueron CharlesVillarubia, Toby Hanks, Roger Bobo y Ariel Sasson.

EXPERIENCIA PROFESIONAL:
Por favor haznos un pequeño recuento de tu experiencia como solista, miembro de grupos de cámara, etc.

Soy una artista de Kanstul. Mi trabajo principal es el Solista de Tuba en la Orquesta de la Ópera de Israel. Ocupo este puesto desde 2001.


En cuanto a la música de cámara, formé parte en un Quinteto de Metales durante 15 años.

Luego, decidí convertirme en solista y lanzar un disco en solitario: “Tuba in the City” en 2013.

En 2015 formé junto a un colega Tubista Israelí, Haim Mazar,  el “Israel Tuba Duo”, con la intensión y el deseo de llevar la Tuba “ al frente del escenario”. Recientemente hemos lanzado nuestro primer CD “Tubalicious”


SOBRE TU EXPERIENCIA ORQUESTAL:

Cuéntanos tus vivencias para acceder la plaza que ocupas actualmente:

Fui a la audición para mi orquesta cuando tenía 25 años

¿Cómo fue el proceso de selección?

Tenía dos niveles y luego un año de prueba

¿Qué obra y/o solos orquestales estaban allí como obligatorios en las pruebas?

En ese momento, al igual que muchas audiciones en estos días, tuve que tocar el concierto de Vaughn Williams.

La lista de extractos fue la estándar que incluía alrededor de 15 extractos orquestales.

¿Tomó algún trabajo de libre elección? ¿Que era?

No hubo ninguna pieza de libre elección.

En otro sentido: ¿Cómo es tu trabajo actual en la orquesta?

Por el momento, la Orquesta de la Ópera toca alrededor de siete óperas al año y de 7 a 10 programas sinfónicos.

¿Lo combinas asiduamente con las demás agrupaciones musicales que compones?

Si, lo combino con mi Duo, el Israel Tuba Duo.

¿Qué recomendaciones le darías a futuros Tubistas aspirantes a una plaza orquestal?

Mi consejo para futuros aspirantes tubistas orquestales es: Sea persistentemente exacto en su deseo y estudio. Eso te ayudará a ganar cualquier plaza de trabajo.


En cuanto a tu EXPERIENCIA EN LA ENSEÑANZA, por favor:

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

Mi experiencia docente incluye clases magistrales en todo Israel, EE. UU. y Europa. También en la Academia de Música Rubin,  en el Conservatorio de Israel y en la Academia de Tel-Aviv también.


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

¿Podría darnos su opinión sobre esto y sobre cómo abordaría este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad?

Creo que la Tuba y el Bombardino son dos instrumentos separados y deben abordarse como tales, cada uno debe estudiarse con su propia especialidad.

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

Como interprete de Tuba que estudió en Israel y Estados Unidos, creo que el sonido define el carácter de un músico.
El interprete de Tuba que toca en una Orquesta, sirve de base para el sonido completo de la agrupación, por lo tanto, el objetivo debe ser crear un sonido completo y profundo.

La entonación es crucial para ayudar a que la orquesta suene homogénea, y una buena articulación ayuda a que la sección de Tuba y Trombón suene clara y precisa. Todo esto ayuda al trabajo de un  “Tuba Orquestal”.

Como solista, el sonido completo no es tan importante como el sonido preciso. ¡El Tubista en solitario debe aspirar a sonar como un Bombardinista:  con un gran sonido!

Para Concluir, y como avance del Debate que sostendremos próximamente, En tu experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas se está homogeneizando en los centros interpretativos que ya están establecidos? (Ejemplo: Ruso, Estadounidense, Germano-Austríaco, Inglés, etc.).

Creo que los centros establecidos están influyendo en el resto del mundo.
Por ejemplo, el desempeño y la enseñanza que tuve recientemente en Albania fortalecieron mi punto de vista y el concepto estadounidense de sonido fue evidente en los estudiantes que escuché en las clases magistrales.

Estoy muy agradecido por tu amable atención y por responder a mis preguntas.
Estás invitada a visitar la página y colaborar en ella si estás interesada.
Nos vemos en Madrid.

Nos vemos

De nuevo muchas gracias.

A ti.
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