News (Joe Skillen, Editor, ITEA Journal News)
Dear fellow musicians, I hope you are enjoying these news columns. The success of keeping them current relies upon both you and me. I will do my best to give up to date coverage of the news that I know, but I need your help. If you know of an event in your area, some concert featuring the euphonium or tuba, or anything of general interest, please don’t hesitate to forward the news to me. It doesn’t have to be a Carnegie Hall Recital (or even a professional event) to be news! What’s happening where YOU are is probably more interesting to others in the euphonium/ tuba world than you think. I will do my best to include it in the next news column.
Send your items to:
Joseph Skillen, News Editor School of Music
Louisiana State University Baton Rouge, LA 70803,2504 j email@example.com
You may also submit your items on our organizations official website in the news section. Go to www.iteaonline.org. for more information and an electronic format of this column.
Let’s stay in touch.
Joseph Skillen (Associate Editor for News)
Louis Young Hired to teach Tuba and Band at the University of Central Arkansas
Dr. Louis Young was hired at The University ofCentral Arkansas to fill a newly created position as Assistant Professor of Tuba/Assistant Band Director. He has his BM and MM degrees from the University of Georgia and the DMA from the University of Michigan. He joins Dr. Denis Winter, Professor of Euphonium and Trombone in the low brass department.
Newberger Appointed to Board of Trustees
Dr. Eli H. Newberger, world,renowned pediatrician, child advocate, and jazz musician, has been appointed to the Berklee College of Music Board of Trustees. Allan T. McLean , vice president of Lynch Associates/ TBG Financial and Berklee board chair announced the appointment. Dr. Newberger has spent over two decades working to improve the care of childhood victims of maltreatment and domestic violence. As a senior associate in medicine at Children’s Hospital (Boston), Newberger founded the interdisciplinary team focusing on child abuse issues in 1970. He closed his office at the hospital in recent years to focus on writing and lecturing, but he remains an active member of the hospital and an assistant professor of pediatrics at Harvard Medical School.
In addition to his distinguished work in the field of medicine, Dr. Newberger has been a lifelong music enthusiast and jazz performer. He studied at the Juilliard School of Music and, as a music theory major at Yale, wrote an honors thesis on the development of jazz piano. Dr. Newberger plays piano, but is best known as a jazz tuba player. His latest recording: “The Men They Will Become: Jazz Takes on Male Character” was released in 1999 by Stomp Off Records, simultaneously with the publication of his book on fostering male character that bears the same title. (See Newberger’s article “Medicine of the Tuba” in the Summer, 2001 issueoftheTUBA]Durnal.)
Berklee President Lee Eliot Berk welcomed Newberger to the Berklee community, commenting, “Dr. Newberger brings to Berklee a unique combination of music and professional skills that will be a great asset to our board. He has already been of great assistance in advancing our major in music therapy and in many other ways. We are very pleased that he has chosen to become a trustee of Berklee.”
Tilbury Appointed Enlisted Leader
SGM Jack Tilbury, long time tuba section leader and tubist of The U.S. Army Brass Quintet, has been appointed enlisted band leader (Unit Sergeant Major) of The United States Army Band (“Pershing’s Own”). In addition to his leadership roles in The U.S. Army Band, Jack has served ITEA (formerly TUBA) as Publications Coordinator, Editor of the TUBA]Dumal, and a variety of other roles. Congratulations to Jack for achieving this very special recognition.
U.S. Army Ceremonial Band announces tuba opening
The U.S. Army Ceremonial Band Resume/Tape deadline: February 15, 2002 The applicant must demonstrate superior musical, technical, and sight reading ability as well as proficiency in varied musical styles. Regular duties include performance with The Army Ceremonial Band and Brass Band, and may include performances with the Concert Band, Orchestra and chamber music ensembles. An extensive back, ground investigation will be conducted on the accepted individual to ensure suitability for White House support duties.
To apply send a resume, a recent photo and an audio or video recording demon, strating technical and musical proficiency in a variety of styles to: The United States Army Band A TTN: Auditions, Tuba 204 Lee Ave. Fort Myer, VA. 22211,1199
A limited number of highly qualified applicants will be invited to this audition. Repertoire will not be given over the telephone.
Tuba-Euphonium Press Notice!
The Tuba,Euphonium Press Catalogue that you’re used to seeing in the back of the Journal is going to a new format beginning with the spring issue of the Journal. In order to afford more flexibility for the catalogue, we’ll now be inserting a catalogue with the spring and fall issues every year rather than publishing it inside the Journal. This will allow members to file the catalogue with other music catalogues instead of having to find the last issue of the Journal. The most recent published catalogue is included at the back of the fall, 2001 issue of the Journal, but for the latest updates, visit the Tuba,Euphonium Press website at www.tubaeuphoniumpress.com.
Arnold Jacobs Tuba Chair Celebrated
On October 12, 2001, the Chicago Symphony Orchestra held a special reception to celebrate and dedicate the Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld. The following remarks were made by Gene Pokorny, Principal Tubist of the Chicago Symphony:
Ladies and gentlemen, colleagues, and friends, the four human endowments remain the same as they have over the oceans of the millennia: to live, to love, to learn, and to leave a legacy. Today is a day when we celebrate the coming together of those endowments for two wonderful lives: those of Christine Querfeld and the late Arnold Jacobs. Although their acquaintance with one another was limited while Mr. Jacobs was around, their parallels were more prevalent than their differences. Both had a deeply abiding and professional interest in music, but both had talents in other areas that would make their professional positions pale in comparison with what their other capabilities enabled th m to accomplish.
Both of them started playing their respective instruments at the age of five. Ms. Querfeld played the piano and later violin and pipe organ. Mr. Jacobs learned to the play the trumpet and trombone from his mother, who was a piano player herself. Both graduated from th ir re pective music schools in 1936. Ms. Querfeld holds her degree from Illinois Wesleyan University, and Mr. Jacobs’ degree was from the Curtis In titute. While Mr. Jacobs went on to play in the various orchestras that eventually led to his career in the CSO, Ms. Querfeld not only became a professional accompanist for musicians in Chicago, but also eventually became an administrator, ultimately President of the Midwestern Conserva, tory, a popular music school, especially for GIs returning from military service after World War II. Mr. Jacobs began his study of physiology and its relation to music performance in 1944. Ms. Querfeld’s study of law and real estate, which began in 1956, was developed by her own inquisi tiveness with regard to the “ways of the world” outside the music profession.
The great brass section that the Chicago Symphony had initially was not dreamed up in a small room of the orchestra’s public relations department in 1959. (I don’t think the orchestra had a public relations department in 1959!) The slow, methodical trace of what happened to this orchestra’s brass section can clearly trace its roots back to around 1944. It was in that year that Arnold Jacobs joined the Chicago Symphony. With the miraculous foundation he anchored at the bottom of the orchestra, he set off a chain reaction that was to influence the orchestra for decades. Between the pillar he provided and the newer players coming in at the conclusion of World War II, the scene was set for a brass synergy wherein the resultant quality was much greater than the sum of the parts. For conductors, musicians, and audience members, the difference was not just noted; it was seismic , from the bottom up. No orchestra has seen, heard, or felt anything of the sort before or since. Jacobs was invited more than a few times to move on to other orchestras but, fortunately for this one, he decided to adopt Chicago as his hometown.
However, legacy is as permanent as time i fl ting. We would all like to believe that orchestras are permanent fixtures. Whether they ar or not, ne thing is definite. Musicians are n t. We orchestral musicians are “renter.” For the most part, we attempt to at least fill the shoes of our predecessors, and then we, too, move on. A great principle,c ntered institution will be willing to preserve the past, but not at the cost of threatening its own future. Jacobs, as a principle,centered person, knew that there were other noble aspirations in his life to fulfill, and when it was time for him to “graduate” from the orchestra (as he called it), he did so graciously. He vacated the chair that he “rented” from the orchestra for 44 years so that he could more fully devote his efforts to passing along to young (and not,so, young) students the invaluable informa tion he had acquired over the decades. His love of performing was never dulled by his love for teaching, though he worried at times that his contribution as a performer might be overshadowed by his legendary skills as a problem-fixing coach. It is hard to believe that this would be the case, especially since his imprint as a performer has hardly dulled in the twelve years since he left the chair. Perhaps that is the definition of legendary. And maybe it is a definition from which we can all learn. For whatever a 21st century orchestra and its musicians can integrate into its institution to try to guarantee its survival for the future, be it new marketing techniques, better working conditions, new music, radio broadcasts, etc., the most important thing is not a “thing” at all. It is what Arnold Jacobs left behind as his inspirational legacy, which Christine Querfeld has guaranteed will not be forgotten: his artistry as a musician, his solidarity as a team player in the section, and his quality as a respectful, kind person.
It is from this day forward that every performer, administrator, and audience member, both here and everywhere that this orchestra travels, into the distant future will be reminded of Ms. Querfeld’s gift when they read in the program roster “The Arnold Jacobs Principal Tuba Chair, Endowed by Christine Querfeld.” They will obviously recognize the means that resulted in the gift, but what is far more humbling and transcendent for all is the realization that Ms. Querfeld’s perpetua tion ofJacobs’ principle-centered example is indicative of the high ideals that have driven the success that she continues to experience in her life.
To live, to love, to learn, and t 1ave a legacy hav brought Chri tin Querfeld’s gift and her spirit to us a ne of a myriad. of manife tations f her life on this very special Friday afternoon. This is not only to remind us of how Arnold Jacobs touched our lives in the past, but also to remind us that he touches our lives presently, because Ms. Querfeld is touching our lives presently by her generous example. As Lord Byron said, “Affection in any form is not wasted.”
I am professionally and personally honored to be this orchestra’s tuba player. I shall continue to endeavor to live up to the legacy provided by the two talented, generous, giving and very kind people whose names are now indelibly linked to the principal tuba chair. Theirs is not a false humility. And when my time is up, I shall be thankful for the privilege of having sat in a chair with a title that I could not imagine would be more humbling and inspirational.
Summer Seminar Opportunities
Pat Sheridan and Sam Pilafian to offer Summer Performance and Career Workshop “Access All Areas” Seminar with Patrick Sheridan and Sam Pilafian About the Seminar
The “Access All Areas” Seminar is a 6-day intensive event hosted by Boosey & Hawkes and The Arizona Academy for the Performing Arts and directed by Patrick Sheridan. The seminar will take place in Phoenix, Arizona. Eight of the finest tuba and euphonium players, chosen from around the world by taped audition, will participate in daily group practice sessions, masterclasses and special topic lectures. The goal is to elevate the technical and musical mastery of the tuba and euphonium to the highest level.
The seminar will also provide an inside look at a touring soloist’s career and a proven methodology for instrumental improvement. Ample discussion oppor tunities related to all issues addressed at the seminar are also scheduled at meals and planned social sessions. The seminar also aims to provide a connection to a n tw rk of talented young performers wh will erve as the participants’ – coIl agues over the course of their careers.
All prospective participants must send a short tape or CD-R representative of their playing by March 15th, 2002. Applicants must also send a brief resume including their address, phone, email, etc. for review. The content of the audio portion of the application is left to the discretion of the applicant and need not exceed 10 – 15 minutes. It may include solos, orchestral or band excerpts, and etudes. Accompaniment is not required. All applicants will be notified by mail or phone on or before April 1st, 2002. At that time, a $100 non-refundable deposit must be sent by April 15th, 2002 in order to secure a place in the seminar. This deposit will be credited to the tuition total.
Tuition for the seminar is $895. This will cover all instruction and course material. Half of the tuition ($397.50) must by paid by June 1st, 2002. The remainder of the tuition is due upon arrival at the seminar.
Travel and Accommodation
All travel and hotel expenses are the responsibility of the participant. Phoenix Sky Harbor Airport is the recommended airport for arrival. Most major airlines provide excellent connections to Phoenix. A recom mended list of value priced hotels will be provided to partici pants upon their acceptance into the seminar.
Participants will be met at the airport and transported to their selected accom~ modation. Arrival is required on or before the Sunday prior to the Monday seminar start date.
All transportation betwee3n accommodations and the seminar site will be provided. Most of the seminar will take place at either Patrick Sheridan’s home studio or Arizona State University.
Most of the meals will be the responsi bility of the participant. However, part of the tuition covers several group events, which will include food and beverage!
Although the seminar schedule is quite busy, there will be some time for leisure. Participants are encouraged to bring a swimsuit. Arizona is hot in the summer and swimming at the seminar site will provide a great relaxant for our chops and souls!!!
Sample Daily Schedule
7 am – 8 am Breakfast
8 am – 12 pm Group Warm~Up and Chop
12 pm 1 pm Lunch
1 pm – 5 pm Masterclass led by Patrick
Sheridan and Sam Pilafian
5 pm – 7 pm Dinner and Leisure Break 7 pm ~ 8:30 pm Special Topics lead by Sam Pilafian
8:30 pm ~ late Q&A disguised as Leisure Activity
Detail: The morning session will be lead by Patrick Sheridan. This holistic approach of virtuosity in music will be a group practice session. It is an extensive routine that incorporate aspects of tone producti n, lip fl xibility, fing r dext rity, articulation tudies for clarity and velocity, range building and breathing virtuosity. The group dynamic will add the necessary elements of intonation, ensemble and time to the process. The session will run for 4 hours (with periodic breaks) and will teach participants a methodology for long term improvement in all aspects of instrumental performance.
The afternoon masterclasses will be lead by both Patrick Sheridan and Sam Pilafian. Each participant will be afforded the opportunity to perform every day to receive one~on~one attention to instru~ mental and musicianship issues. Literature can be solos, excerpts or etudes. A pianist will be available to assist on accompanied selections.
The evening sessions will be lead by Sam Pilafian. Topics will include career development, improvisation, scale work~ outs, and groove class.
Leisure will be self-directed. However, group activities will be planned (optional) and will afford time for further di usi nofalltopics. This will be an intense experience! However, every effort will be made to make the experience an enjoyable one!!
Internet Pick of the Quarter
Hey Folks, check out this quarter’s new web pick. It may be familiar to some of you and new to others. It is the newly revamped official website for our organization-The International Tuba and Euphonium Association (ITEA). On this site you will find great links to the committees of our organization, upcoming conferences, membership information, and other links of related interest. Check it out and give our organization some feedback on how to improve our outreach and web presence. Point your browser to WWW.ITEAONLINE.ORG for this quarter’s pick. ~JS.