"ENTRE TUBAS Y BOMBARDINOS...MARIO TORRIJO"

Hola:

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

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

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

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

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

Saludos a todos. 🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

"BETWEEN TUBAS and EUPHONIUMS...MATTIAS JOHANSSON"

Hello everyone. Today I bring you an interview with one of the current leaders of the Tuba in the Nordic countries and a friend of a server. I hope and wish you enjoy your experience in your interview as much as I do. I thank you for your kind collaboration.

Without further ado we begin. 

Let's start.

· Name and surname: 

Mattias Johansson

· What instrument / s do you use?

I use a B/S F tuba, JBL model and I have two C tubas. Hirsbrunner, York model and a 4/4 piston valve. I also have a travel tuba.

My orchestra has a Rudolf Meinl cimbasso in F.

· What manufacturer and model are the instruments you use:

B/S, Hirsbrunner and Rudolf Meinl.

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

I use Scott Laskey 28 F for the F tuba and SL 28 H for the C tuba. Sometimes also a Conn Helleberg.

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

I started in my local music school in Sweden. 

· At what age? 

I was 13 when I started to play tuba.

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

I played violin since I was six years old, but the lack of a tuba in my orchestra and a persuading teacher, convinced med to switch the violin for tuba and electric bass.

It got me right away, to play in both wind band and big band.

· Who were your main teachers? 

Jens Bjørn-Larsen at the conservatory in Copenhagen. Periods with Mel Culbertsen, Bordeaux and Torbjørn Kvist, Oslo. Also important lessons with Rex Martin.

Regarding your vast PROFESSIONAL EXPERIENCE:

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

· In Orchestra and / or Band:

I am tuba player in Aalborg Symphony Orchestra, Denmark.

From 2002-2004 I had the tuba position at Malmo Opera orchestra, Sweden, and between 2008 to 2014 in Aarhus Symphony Orchestra.

· Metal Ensembles:

Brass quintets in the orchestras I have been working in.

· Concerts as Soloist:

I have had the opportunity to premier two tuba concertos with my orchestra:

Anders Koppel, ´Concerto for tuba and orchestra´in 2003 and 2009. Also recorded on CD for Da Capo records (cd8.226052), and Mogens Andresens ¨Colonial Concerto`in 2015.

In 2011 I performed R.Vaughan-Williams, Concerto with Aarhus Symphony Orchestra and in 2018, a double concerto for tuba and double bass, ´Rain, Wind, Fire and Death´, composed by Bo Gunge, with Aarhus Sinfonietta. 

Treating OTHER TOPICS OF INTEREST.

Here in Spain, in some centers the Euphonium is considered to be an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one should know and master the Tuba and Euphonium.

• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide?

I believe euphonium needs the specialization as any other instrument. Here in Denmark it’s often trombone players, who switch to euphonium, when needed. Not so common with tuba players. 

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

I have only taught euphonium players in Spain, never in Denmark, but there is of course a lot of things in common. I think it would be good for tuba players to have some teaching on euphonium, and with that, wider the job opportunities afterwards.

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

I teach tuba at the Music school in Aalborg an at the Royal Academy of Music in Aarhus.

Through Erasmus I have twice been visiting ESMUC in Barcelona for master classes, and I 2019, at CSM in Jaen.

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

Both with beginner students and conservatory students, I think it´s important to have a session with breathing/mouthpiece and basics in the start, and then go trough excercises etudes and solomusic. And of course orchestra parts.

· How long are your classes?

From 25 minutes with beginners to 1h15min with conservatory students.

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

On every level it´s important to perform as often as possible. You learn a lot when performing and for students its important with experience, and if necessary, dealing with nervousness.

For tuba student, I also believe it is important to take every chance of playing chamber music and orchestra, to get the experience of playing with other musicians.  

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

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

Orchestra parts is very good in studying the basics, rhythm, sound, sustaining notes and intonation. 

· If I had to choose as a student (in a hypothetical situation), would you have a preference between a Tuba student and a Euphonium student? 

Tuba.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Mostly modern music when I perform myself, and more standard repertoire for my students.

· What warm-up exercises do you use? 

At the moment I use Michael Davis:20 min Warm Up.

TALKING ABOUT TECHNICAL ISSUES:

· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?

From sitting at some tuba auditions, and teaching students from different parts of Europe, I certainly can hear difference in the articulation and that many times has to do with language.

I think it´s a spice to the music, as long as it doesn´t interfer with the sound.

We all, more or less, play the same brands and same sizes of tubas.

The difference in literature, where You can hear the countries musical language is very interesting.

· Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I have all the time been playing B/S and I love the sound of it.

For C tuba it´s the same. For me, the Hirsbrunner sound is great in orchestra.

Both tubas has the dark warm sound I like, and the B/S can also really shine if necessary.

For many years I played Conn Helleberg on both instruments, but changed to Scott Laskey. I now I have used that for some years. I guess I don’t experiment so much with mouthpieces.

The last years I have tried Miraphone, Elektra and Firebird on different occasions, and like them a lot to.

You are a recognized interpreter in you country.

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

Since Michael Lind came to Sweden in the mid 1970, it has been a lot of fantastic, both solo and chamber music written for tuba.

Great teachers like Jens Bjørn-Larsen and Torbjørn Kvist, has made the standard of tuba playing in the nordic countries very high.

IN CONCLUSION:

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

With the high level of teaching there is most places, I think You can go almost anywhere, for  teaching, and get the personality from that specific country on top, whether it´s Spain, Russia or Denmark.

Mattias, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.

My pleasure. Hugs from Denmark:)

I hope see you soon.

Thank you very much and best wishes.

A big hug.

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

Hola. Buenos dias.

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

EN AETYB BARCELONA 2014

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

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

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

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

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

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

🤙🏾🤙🏾🎶🎶🥃🥃🇨🇺🇪🇸 

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

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

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

· Name and surname:

My name is Christoph Gigler

· What instrument / s do you use?

F Tuba, B Tuba, Cimbasso and Austrian Akkordeon☺

· What manufacturer and model are the instruments you use:

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

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

Cimbasso/Lätzsch

Austrian Akkordeon ca. 62 Buttons☺))))

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

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

Karl Breslmair XCG4L and X-33 

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

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

Meditation

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

· At what age?

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

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

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

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

· Who were your main teachers?

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

The most importan Erich Bendl and Willfried Brandstötter

Regarding your vast PROFESSIONAL EXPERIENCE:

"So I say

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

Thanks for all the joy they're bringing

Who can live without it? I ask in all honesty

What would life be?

Without a song or a dance, what are we?

So I say thank you for the music

For giving it to me

… ;-)"

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

Vienna Philharmonic Orchestra

Phil Blech

Art of Brass Vienna

Vienna Brass Connection 

Bullhorns

Code 1842

MC Maryetta

Original Wolfsmilch Echo

Duo Schorn/Gigler

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

Treating OTHER TOPICS OF INTEREST.

Here in Spain, in some centers the Euphonium is considered to be an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one should know and master the Tuba and Euphonium.

• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide?

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

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

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

In the Alps

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

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

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

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

· How long are your classes?

Two hours, a week or more...

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

Make music whenever possible

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

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

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

· If I had to choose as a student (in a hypothetical situation), would you have a preference between a Tuba student and a Euphonium student?

…Identical…

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

With Albert Wieder

About your DAILY WORK.

· What type of repertoire do you mainly work in?

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

· What warm-up exercises do you use?

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

TALKING ABOUT TECHNICAL ISSUES:

· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?

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

· Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

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

You are a recognized interpreter in you country.

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

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

Folk Music Family

IN CONCLUSION:

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

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

Christoph, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.

I hope see you soon.

Thank you very much and best wishes.

A big hug.

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

Hello everyone.


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


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


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


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


I appreciate your kind collaboration.


Let us begin.


• Name and surname: 

Gerhard A. Meinl

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

Trumpet and I took lessons for Tuba and Saxophone.

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

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

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

• What instruments do you make?

With Buffet Crampon all wind instruments.

Buffet Crampon Group

• What models?

Tubas

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

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

• Do you manufacture nozzles in your company?

No

Let's talk about your company:

• When it was founded?

1810 the oldest with Wenzel Meinl in Graslitz , Bohemia

• In what city or country?

In Graslitz , Bohemia , then Austrian Hungarian Monarchy

• Who was the founder?

Daniel Langhammer

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

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

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

Because they existed

• Who were its main designers?

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

At B&S Herbert Fischbach with Bob Tucci.

Regarding the vast experience of your brand in the market:

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

•      In Orchestra and / or Band:

      Alan Baer, NY Phil

      Norm Pearson ,  LA Phil

      Roland Szentpali , Hungarian Phil Orchestra

      Fabien Wallerand , Paris Opera

      Alexander von Puttkamer, Berlin Phil

• Metal Set
  
  
  Melton Tuba Quartett

•     Soloist:

         Jens Björn Larsen

         Andreas Hofmeier

         Steven Mead

TALKING ABOUT TECHNICAL ISSUES:

• Could you give us your opinion on the different concepts of sound and what characteristics define it, according to the different types of instruments, that your brand manufactures?

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

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

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

IN CONCLUSION:

• In your experience, do you think that the diversity of interpreters, instruments and training opportunities in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).

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

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

It is a pleasure and an honor to count on your experience and knowledge in my work as well as your sincere friendship.

Thank you very much and best wishes.

A big hug.