One of Jukka’s other duties involved conducting the massed ensemble. Jukka conducts a wind band at home on a weekly basis, and I know why they employ him. His style and rapport with the players was amazing, and the clarity of comments and suggestions made it simple for the ensemble to adjust. I must also say on a personal level that this was my first time working closely with Mr. Myllys, and I was only impressed. From his long travels to his energy during the week and the relaxation on Lake Lanier, the week was memorable.

The Ball of Fire Quartet (L–R): Chris Buckley, Ryan Black, Rob Pendergast, Mark Carlson

The IEI was very pleased to have as a sponsor and guest artist Mike Moore, Principal Tuba with the Atlanta Symphony Orchestra and head of Atlanta Brass Society, present a class on tenor tuba orchestral excerpts. Many times it can be difficult to get the perspective of the person that will actually make the hire. As far as orchestral opportunities (that are very limited for the euphonium), Mr. Moore mentioned that the tubist in the orchestra normally makes the call. So try to get some lessons with that person if one can.

Adam Frey, David Zerkel, and Caryl Conger performing Gillingham's Diversive Elements

Mr. Moore presented the participants with a superb handout of the majority of the euphonium excerpt parts as well as excellent highlight of recordings for the most important bits and pieces of the orchestral repertoire featuring multiple orchestras and conductors. Listening to them and discussing various differences really added insight into understanding just how different various orchestras sound and play and even the differences that various conductors have on the same orchestra. He also stressed the importance of knowing what role you play at different moments in the orchestra works, such as blending with the horns, or the double basses, adding strength to the bass clarinet, exchanging fanfares with the trumpet, or playing a major solo line. This was a truly unique learning experience.

The highlight of Jazz Night was the Mass Doxy Performance
(L–R): Adam Frey, Robert Pendergast, Ryan Black, Gail Robertson, Rick Lawson, Chris Buckley, and Marc Dickman

We learned a lot during this week and are making plans to further enhance the IEI for the future. Participant feedback was great, and we plan to incorporate many of their ideas because this camp focuses on the participants needs. The one thing that makes me proud revolves around the massive steps forward people made in just one week, especially over problems/issues that they had been working on regularly. And of course we do not know about all the other triumphs that occurred that are not written about in this limited space. I am sure every person had quite a number, including myself.

Adam Frey and Jukka Myllys, Featured Artists of the Week

Just to get your mouths watering, interest piqued, and marking dates on your calendars, start saving and look for these future IEI opportunities: we will have two Outreach Concerts in 2005, an audition for solo performance slots on the Outreach Concerts, host a recital dedicated to new works for the euphonium (start asking your friends to write you a piece now), expand to 7 days of “Euphonium Heaven,” a military band session, more chamber music opportunities, a massed Doxy performance at the end of Jazz Night, and teaching opportunities for graduate students. With anticipated participation numbers at IEI 2005, there will be two massed euphonium ensembles, three featured artists on the euphonium staff, two part-time euphonium staff, two pianists, and even more fun and adventure!! Look for a feature article on our international artist for 2005 in an upcoming ITEA Journal!!

Please take the time to remember our sponsors that made the IEI possible: The Yamaha Corporation, Rayburn Music, Willson /DEG, Atlanta Brass Society, The Georgia Brass Band, The Euphonium Foundation, and Emory University. The specific dates in June for IEI 2005 in Atlanta will be released by August 1, 2004. Check the website at www.euphonium.com for updates on artists, applications, and updates, and share the joy of the euphonium with your friends, students, and audience members.

Adam Frey, Director, The International Euphonium Institute

The Yamaha Corporation was a significant sponsor of IEI 2004.  District Manager David Suter was able to attend Adam Frey’s Recital.  Pictured are the Yamaha Participants Standing (L-R)  Kennedy Wells, Jamie Lipton, Adam Frey, Mark Carlson, Ken Anders, and David Suter kneeling.

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“Performance Experiences at the IEI”
By Jamie Lipton - Graduate Student, University of North Texas

Performance experience was a big part of the IEI. There were many opportunities to play for audiences, including the outreach concert at Alpharetta First United Methodist Church (an audience of over 200 general listeners), master classes, and two internal recitals. All the performances were accompanied, which leads to another important point: IEI’s accompanist, Caryl Conger, is a goddess. She is a fabulous musician, incredibly accommodating, and a pleasure with which to collaborate.

Because the students at IEI were so diverse as far as age and ability, the literature performed was equally varied. This made performances mutually beneficial for both performer and audience. The advanced players were exposed to excellent intermediate literature, and the less experienced students were privileged to hear rare live performances of major works such as the Linkola and Cosma concerti. While every student performed at least one solo, many performed two or three. Several duets were played over the course of the week, and of course there were performances by the chamber groups and the massed ensemble.

Every music institute attracts three major demographics, and the IEI was no different: there were the “Flight-of-the-Bumblebee-obsessed” high school students, the job-seeking college students, and the note-taking amateurs. While we were clique-ish at first, the walls started to come down during Adam Frey’s ice-breaking games. Everyone became closer even more as the week progressed and all of the students united in our awe of the faculty, support for one another, and enthusiasm for nightly activities.

I was privileged to be assigned to the most diverse of the chamber ensembles: a quartet comprised of me (a graduate student), an undergraduate, and two amateur players. I really enjoyed getting to know the other people in my group, who each brought something unique to the ensemble. Quartet rehearsals were one of the most rewarding experiences of the week.

The massed ensemble (a choir made up of all the students at the Institute) was another exercise in diversity, as we ended up sitting next to a new person about every 15 minutes. We also had four different conductors over the course of the week. The music we played was mostly transcriptions for tuba quartet, so the experience that I thought would be fairly unchallenging turned into a complete chop-buster.

"The IEI – New Sounds and New Audiences"
By Mark Carlson, Graduate Student, University of Wisconsin

In planning the first IEI, Adam Frey made some very important decisions. The first was to place the euphonium alongside other instruments played by great artists. Although conceived as a celebration of the euphonium, this positions it in the greater musical world instead of advocating an exclusive euphonium utopia.

Adam Frey’s recital was one of the highlights of the IEI. He presented a wide gamut of works for solo euphonium and some very unique chamber pieces as well. The solo pieces spanned the spectrum from traditional Salvation Army classic Heart in Heart by Bosanko to his unique and exciting take on Saint-Saens's The Swan from his Collected Dreams release. Both were treated appropriately receiving verbose flair and loving sonority respectively. He also performed Beautiful Colorado on a 1925 Conn Double-Belled Euphonium, an extra bonus indeed.

The chamber music was an exceptional treat: the Casterede Concertino for Trombone and Trumpet was brilliantly performed and provided a great opening to the program. Chris Martin, Principal Trumpet with the Atlanta Symphony Orchestra, brought exquisite musicality that to the piece. His performance was a welcomed addition to the IEI, providing a great musical foil as well as timbre contrast to a week of euphonium playing. Though the euphonium is often referred to as the tenor tuba, this performance demonstrated that it functions well in a bass trumpet role as well. The Isomura Sonata offered another strong stylistic contrast. The exciting use of euphonium, violin, and piano with unique, Japanese tonalities and sense of harmonic patience were a great addition to the program. The real show stopper was the dual assault of Adam Frey and David Zerkel performing Gillingham's Diversive Elements. Impeccable rhythmic precision and an energetic drive drove the performance. I came away from this program encouraged to explore the many horizons of euphonium playing as well as a reminder that we must hold ourselves to the high standards of quality held by instrumental traditions that predate us.

The second important ideology that went into planning the IEI was the concept of outreach. Any musical conference functions as a magnet for outstanding talent. Why remain a cloistered affair and keep this bright light under a basket?

It is our vocation as musicians to share our music and our responsibility as euphonium players to educate. The concert at the Alpharetta First United Methodist Church provided much more than just another performance opportunity. It was a chance to perform not only for a large audience, but for non-euphonium players! The hall proved a great performance space for the euphonium.

There was more than one solo on the program as well as numerous ensembles. The audience was receptive and attentive. The program showcased the IEI artists, had opportunity for solo and duet performances by students, and offered a chance for the chamber groups to play. As he displayed throughout the IEI, Adam is as at home playing the MC as he is playing the euphonium. His quick wit and humorous patter provided a vehicle for the evening program and a model for aspiring players.

I understand that there are plans for more outreach events like this at next year’s IEI. A commitment to outreach prevents the Institute from becoming just another backslapping convention. It provides a welcomed contrast in performance settings, a chance to showcase the combined talent of the IEI, and a reminder of our responsibilities as musicians as well as euphonium players.

"So many summer camp choices – this is the one!!"
By Chris Buckley – Undergraduate Student, University of North Texas

Every summer I attend at least one tuba-euphonium camp. I have great experience with all the choices that are available. This summer I attended the International Euphonium Institute, which would be the first ever camp just for euphonium. This camp offered several professional teachers to work with, chamber music opportunities, several performance opportunities, a perfect environment for learning and having fun, and all at a much lower price than the other camps I had previously attended, which is great for a starving college student like me. There were even several scholarships available thanks to John Wittmann at the Yamaha Corporation of America, Ed Stevens at DEG Music, Lee Walkowich at Rayburn Music in Boston, and Mike Moore with the Atlanta Brass Society. Thank you for making it happen!

The International Featured Artist was Jukka Myllys whose playing immediately transcends his sweet euphonium sound to pure music. He had many insightful and useful things to say and different ways of saying them. He had fun ways of explaining things that were simple and easy to understand. He also tried to work with as many students as he could and found time for everyone. His playing was both moving and inspiring, but Jukka himself was incredibly kind and had a great sense of humor throughout his master classes. He combined the playing, teaching, conducting, and personality necessary to be the international guest.

None of this epic week could have taken place of course, if it was not for the hard work and dedication of Adam Frey. He practically single-handedly organized this and wore himself out the whole week to make sure everything was getting done and running smoothly. Adam does a remarkable job of promoting the euphonium and now he has done another equally remarkable thing by creating this learning opportunity for euphonium players. He gave exciting performances all week long. He also taught a variety of “focus classes” on specific topics that would appeal to different aspects of euphonium playing and made sure every student understood.

Every teacher at the IEI was both a stunning performer and a seasoned educator. Gail Robertson provided an excellent class on arranging as well as her own recital of her favorite solos while Marc Dickman entreated everyone to a night of jazz standards and new tunes including the final song Doxy where he invited any one in the audience to come on stage and join in and take a ride if they wanted. Marc also gave great master classes with a teaching style that made improvising seem effortless and easy for anyone to learn. Every student had the opportunity to learn something from each teacher.  

The IEI is the perfect summer camp for euphonium players. We learned so much every day and we did it all while laughing till our sides hurt. Every single student left there sounding twice the player they were when they arrived. This week worked so well because there was no competition – everyone was having a blast and learning. Participants had the chance to make lifelong friends and create opportunities that would change their lives. There were students of all ages and all backgrounds with all different kinds of horns, mouthpieces, and teachers ranging from high school freshman, to college students, masters students, doctoral students, and more mature students of life just there to learn and have fun. We all learned together and left inspired and motivated. Am I going back? Absolutely!!

©2004 International Tuba Euphonium Association. All Rights Reserved.