2010 ITEA Lifetime Achievement Awards
From time to time, the International Tuba Euphonium Association recognizes individuals who have made significant and distinguished contributions to the euphonium and tuba through performance, composition, education, and/or the music industry. The individuals listed below have been designated as Lifetime Achievement Members of ITEA. We are grateful to each one for their special efforts on our behalf.
by Craig Kridel
With the appearance of The Tuba Family in 1978, released by the distinguished British publisher, Faber & Faber Limited, Clifford Bevan has assisted a generation of brass players and researchers to better understand the evolution and musical role of the tuba and other low brass instruments. Merging an instrumentalist’s curiosity, intuitive knowledge, and wit with a musicologist’s precision of thought and breadth of knowledge, Bevan treated the tuba and related instruments in all of their realms—historical development, acoustics, musical setting and repertoire, and leading players and composers. While the word “definitive” has lost meaning in recent years, The Tuba Family and its second edition, published in 2000 and increasing in size twofold the original edition from 303 pages to 640 pages, can be considered the definitive treatment of the instrument.
Bevan’s contributions to the brass field, however, are not represented solely by the publication of The Tuba Family. He participated in the legendary 1995 Historic Brass Society’s Symposium, preparing a groundbreaking treatment of the cimbasso that has been widely received in the brass world. He has served as an officer of the Galpin Society and contributor to that organization’s journal and, since 1993, he has written columns in the International Tuba and Euphonium Association Journal, preparing widely acclaimed educational essays as well as serving as one of the few low brass humorists writing today. As arranger, composer, editor, and publisher, Dr. Bevan has prepared and written compositions for brass and winds that have been widely performed and recorded.
The significance of Bevan’s work for the brass field extends beyond the research desk and archives. Having studied at the Royal Academy of Music, Bevan was principal tuba in the Royal Liverpool Philharmonic Orchestra as well as an active London West End session player, freelancing with the BBC, Royal Opera House, and English National Opera orchestras. Also, Bevan’s performing career has taken him into rather unusual realms far beyond the worlds of brass, jazz, and classical music. Bevan was the arranger, trombonist, tubist, and pianist in The Temperance Seven, a popular music group with a 1961 “British #1, top of the charts” record, “You're Driving me Crazy.” Managed by “the fifth Beatle,” Sir George Martin, the Beatles appeared as the warm-up act for the Temperance Seven, and Lennon-McCartney’s “Honey Pie” was an homage to the ensemble.
As an historical brass player Bevan was an official member of the London Serpent Trio during the time of Christopher Monk and has assumed that ensemble’s role as spokesperson. In 1990, he presented the first modern recital for ophicleide at the Horniman Museum and has served as serpent and ophicleide tutor at the Dartington International Music Festival. Dr. Bevan continues to be engaged by the Horniman, the University of Edinburgh Collection of Historical Musical Instruments, and other museums for instrument demonstrations. In 2008, the international Historic Brass Society presented him with the Christopher Monk Award, considered the highest honor in the historical brass world and, at this event, ITEA will award the first Clifford Bevan Award for Excellence in Research. The International Tuba and Euphonium Association is pleased to present Clifford Bevan its highest distinction, the Lifetime Achievement Award.
by David Stull, Dean, Oberlin Conservatory of Music
Ronald Bishop is one of the finest artists of our time. As a performer, teacher, mentor, and advocate of music, he has set a remarkable example for all of us.
As tubist in the Cleveland Orchestra hired under George Szell, Bishop defined great playing through his legendary sound and extraordinary musicianship. Ron worked with all of the major conductors of the late twentieth century and produced many hallmark recordings with the Cleveland Orchestra, in addition to performing on The Antiphonal Music of Gabrieli, featuring the brass sections of the Chicago Symphony, Philadelphia, and Cleveland Orchestras. During his career he performed on two Grammy Award winning recordings in addition to receiving countless accolades for his work.
Ron has performed as a soloist with the Cleveland Orchestra, the Buffalo Philharmonic, the San Francisco Symphony, the Cleveland Chamber Symphony, and the Heights Chamber Symphony Orchestra. He has appeared in numerous recitals and clinics throughout the United States, Canada, New Zealand, Japan, and the United Kingdom.
He has written extensively concerning the tuba and the arts in general, published in the tri-lingual The Brass Bulletin, Arnold Jacobs: Legacy of a Master, and he was an associate editor for the T.U.B.A. Journal among others. He is also an avid supporter of, and performer with, Performers and Artists for Nuclear Disarmament.
For more than three decades he has taught at the Oberlin Conservatory of Music and the Cleveland Institute of Music. He has worked privately with countless students and many have become prolific members of the profession, including Alan Baer of the New York Philharmonic
He is perhaps best known for his generosity of spirit, his ever-increasing passion for music, and his abiding interest in mentoring young musicians. He is an extraordinary person who has tremendously advanced the art and craft tuba performance, and has inspired all of us through his artistry, intelligence, and humanity.
by Harvey Phillips
Chitate Kagawa was born March 20, 1944 to Mitsuo Kagawa, an elementary teacher, and his wife Kiyoko in Hokkaido, northern Japan. He started playing the tuba in junior high school. After graduation from Asahikawa Higashi high school he entered a band of the local Grand Self Defense Forces. He was soon invited to play tuba in the Grand Self Defense Force Central Band in Tokyo for two years. Meanwhile, he began private tuba studies with Genkichi Harada, tubist with the NHK Symphony Orchestra. He soon passed an examination and entered the Tokyo University of Fine Arts and Music. He graduated from Tokyo University in 1969. That same year he met and married his wife Sachiko; they have two daughters, Chiho and Shino. Also in 1969 he joined the Sapporo Symphony Orchestra as principal tuba, retiring after 35 years, March 2004.
In 1971 Chitate founded the Sapporo Wind Band and served as its conductor for eight years. Chitate gained credentials and respect as an adjudicator in Japan, serving as judge of many wind competitions in Hokkaido prefecture. More recently, he served as instructor of tuba and euphonium at the Hokkaido University of Education and Ohtani College. Chitate was also a founding member of the Hokkaido International Music Exchange and a councilor for the International Tuba Euphonium Association (ITEA). In September 1973 Chitate was selected and sponsored by the Cultural Affairs arm of the Japanese government as the first Japanese brass instrument player to visit the United States, for one year. He studied tuba under Professor Harvey G. Phillips at Indiana
University. Professor Phillips invited Chitate to accompany him to several music conferences, including the University of Illinois, Midwest Band & Orchestra Clinic (Chicago) and the Tennessee Tech Tuba/Euphonium Symposium (there were others). Chitate was able to meet and discuss ideas with important American professors and their students. All were impressed with Chitate's sincerity and commitment.
Chitate gave his first tuba recital in Sapporo, August 1973. He presented his second recital at Indiana University, May 1974. He presented his third recital in Sapporo, April, 1981. In Tokyo September 28, 1974 he premiered the piano edition of the Ralph Vaughan Williams Concerto for Bass Tuba and Orchestra with CC-Tuba.
In June 1979, to honor the fiftieth year of tubist Harvey G. Phillips, he and his family (Harvey & Carol; Jesse-15; Harvey Jr-12; Thomas-10) were invited by the Japanese tuba and euphonium players to celebrate the occasion with a series of concerts/receptions hosted by Japanese musicians and business friends. Harvey G. Phillips performed the first recital by a non-Japanese tubist in Japan at Kyouiku-Bunkakaikan, Sapporo.
In June 1981, Chitate established the Hokkaido Euphonium Tuba Association (HETA) both to increase awareness of these instruments in Japan and to encourage pride in their performance. In August 1981 he presented the first tuba/euphonium camp in Sapporo. Since 1985, he has invited outstanding international tuba and euphonium artists to teach at the camp, notwithstanding difficulties with international music exchange. The camp took place each year until 2003; it has since reopened. The instruction and activities at the camp have inspired young musicians and produced outstanding performers, such as Koji Suzuki, tubist of the Kyushu Symphony Orchestra, and Ryoichi Tamaki, tubist of the Sapporo Symphony Orchestra and inheritor of this camp. The camp's competition for student tuba players was named the Harvey G. Phillips Solo Tuba Competition; this year 2010, at Mr. Phillips' suggestion the competition has been re-named the Harvey G. Phillips and Chitate Kagawa Solo Tuba Competition. The camp also holds a Brian L. Bowman Solo Euphonium Competition. The next camp is scheduled for May 2-4, 2010. While most Japanese tubists played only BB-flat and F tubas at the time, Chitate played the CC tuba, then in vogue in both Europe and the United States. Influenced by tubists Robert Tucci and Daniel Perantoni, Chitate introduced to Japan two CC tubas of recent European manufacture, one made in Switzerland by Peter Hirsbrunner and another in Germany by Rudolf Meinl. Since 1988, he and his wife operate the Japan Tuba Center to serve the needs of euphonium and tuba players for instruments, mouthpieces, accessories, music, and recordings.
In Sapporo in 1990, the city government sponsored an International Tuba-Euphonium Conference, which was an unprecedented success. Five hundred and ten people from Japan and 14 other countries participated. Chitate was chief of the program committee and Harvey Phillips was consultant to the mayor's committee. This conference has been praised in many countries and continues to be a model for more recent symposia; everyone attending the original conference has grown beyond expectations.
Chitate Kagawa's work over the past thirty-six years has served to inspire greater interest in and awareness of tuba/euphonium music in Japan, and has also helped to further this awareness in other countries. Chitate's determination to give young Japanese players the opportunity to learn from some of the best performers in the field, and his dedication to music instruction benefiting future generations has qualified him to receive the ITEC Lifetime Achievement Award!!
Harvey G. Phillips & Chitate Kagawa Tuba Solo Competition: This competition started in 1984 in memory of the first tuba recital by Mr. Harvey G. Phillips in 1979 in Sapporo; this was the first full recital by a non-Japanese tubist in Japan. Mr. Phillips, Distinguished
Professor of Music Emeritus, Indiana University, hosted the first International Tuba Symposium Workshop in May 1973, and was a co-founder of the Tubist Universal Brotherhood Association. Admired for his acts and achievements, he was inducted into the American Classical Music Hall of Fame in 2007. Mr. Chitate Kagawa established the Hokkaido Euphonium Tuba Association and is its honorary president. In 2010, the name of the 23rd competition will be changed to: “The Harvey G. Phillips & Chitate Kagawa Solo Tuba Competition.”
Brian Bowman Euphonium Solo Competition: This competition started in 1996 in memory of the first euphonium recital by Mr. Brian Bowman, in 1984 in Sapporo. This was the first full recital by a foreign euphonium player in Japan.
Both competitions are divided into age divisions of under 15, under 18, and over 19. This is unique because all participants for these competitions receive a short master class prior to the day of the competitions. We view this competition as a process of growth throughout the camp.
by D. Michael Ressler
Arthur W. Lehman was a member of the euphonium section of “The President’s Own” United States Marine Band from 1947 until his retirement in 1971. Throughout his career he was frequently featured as a soloist with the band and in 1953 became the band’s principal euphonium. He had a profound influence on euphonium playing in the United States and abroad and set a standard of musicianship on the instrument that will inspire generations of euphonium players for years to come.
Arthur was born on September 24, 1917, in Doylestown, Pennsylvania. When he was age ten he was given a baritone horn, began taking lessons, and was soon playing in the Doylestown high school band and local community bands. After graduation from the high school in 1935 he attended Penn State University (then Penn State College) in State College, Pennsylvania, and graduated in 1940 with a Bachelor of Science degree in electrical engineering.
He took a job in an aircraft factory in nearby Bristol, Pennsylvania, but was drafted into the U.S. Army in 1941. After completing basic training he was transferred to the enlisted reserve corps and sent back to Bristol to continue work at the aircraft factory. He was recalled to active duty in 1944 and spent the next two years with the 330th Army Service Forces Band. After separation from the Army in 1946, Arthur returned to the aircraft factory.
In July 1947 Arthur successfully auditioned for the U.S. Marine Band and joined the band on August 4, 1947. His solo career with the band began the following June when he performed Herbert L. Clarke’s “The Carnival of Venice” at a concert at the U.S. Capitol building. He was one of the most frequently featured soloists of the band with a long list of solos in his repertoire. In 1954 he performed fourteen different solos throughout the year. His solo performances took place in Washington, DC, on tour throughout the continental United States, and on nationally broadcast radio programs. His solo career with the Marine Band did not end until one week before his retirement from the band on July 29, 1971, when he recorded Jean-Baptiste Arban’s “The Carnival of Venice.” He served with the band three days short of twenty-four years.
Following his retirement he became a member of the National Concert Band of America and performed with them for an additional twenty-four years. During that time he played at least twenty-six different solos in over sixty solo performances. In June 1997 Arthur announced his “final” retirement as a euphonium player, bringing to a close seventy years as an active player. He continued to give lessons to students who sought him out, and corresponded with musicians and friends from around the world. He died at his home in Camp Springs, Maryland, on June 19, 2009.
Those who knew Arthur personally know that he was a humble man who never sought fame or notoriety. He always had time to help another musician who was working to improve himself and he was a constant source of encouragement to many. He was profoundly influential on those who heard him or studied with him and is rightfully and af