News (Joe Skillen, Editor, ITEA Journal News)
Michael Forbes has been appointed as the new instructor of low brass at Frederick Community College. Mike is currently a member of the U.S. Army Band “Pershing’s Own” and is completing a Doctor of Musical Arts degree at the University of Maryland. Congratulations Mike!
After a very rewarding 21-year career with The U.S. Army Band, “Pershing’s Own,” John Mueller retired this summer to take on the position of Asst. Professor of Trombone at the Sheidt School of Music at the University of Memphis. Some of John’s duties include applied trombone teaching and performing in the Faculty Brass Quintet. He will continue his work as a Meinl-Weston clinician. Best wishes to John as he moves into this next phase of his career!
Michael Fischer has accepted a faculty position at Boise State University in Boise, Idaho.
Dr. Louis Young was recently appoint-ed Assistant Professor of Tuba/Assistant Director of Bands at The University of Central Arkansas in Conway, Arkansas. Prior to his appointment at UCA, Louis was Visiting Assistant Professor of Tuba and Euphonium at The University of Toledo. Louis holds both a BME and MM degrees from The University of Georgia and a DMA from The University of Michigan. His principal teachers were D avid Randolph and Fritz Kaenzig. His duties include teaching private applied tuba and assisting with all aspects of the band program.
Andrew Miller has recently been appointed Assistant Professor of Tuba and Euphonium at Western Michigan University. He succeeds Professor Robert Whaley who held the position for 35 years (see retirement story in the Spring 2001 TUBA Journal, p. 15). Miller has toured the U.S. and Japan extensively with the Paramount Brass Quintet and has two CD’s with that ensemble on the Centaur label. He received his Bachelor of Music Education and master of Performance degrees from DePaul University and completed one year of DMA work at Boston University. He has performed with the Chicago Symphony, Civic Orchestra of Chicago, Illinois Philharmonic, Millar Brass Ensemble, Wheaton Municipal Band, Vermont Symphony Orchestra, Albany Symphony, and was a member of the National Orchestral Institute Philharmonic in 1995. He is a former faculty member at the Boston Conservatory. Some former teachers include Floyd Cooley, Gene Pokorny, Gary Ofenloch, Roger Rocco, and Dr. Robert Weiss.
Charlotte Symphony Announces Frederick Boyd as Orchestra Personnel Manager
Frederick Boyd is the new Orchestra Personnel Manager of the Charlotte Symphony Orchestra. Boyd was previously the personnel manager of the Syracuse Symphony orchestra where he was also the bass trombonist since 1970. He continues to spend his summers as Bass Trombonist with the Chautauqua Symphony Orchestra. He holds degrees from the Eastman School of Music. He has been a sabbatical trombone professor at both Ithaca College and the Eastman School of Music.
Kenyon Wilson Tours Japan
On June 15, 2001, the Hokkaido University of Education in Asahikawa, Japan (HUEA) hosted a “Meet the Composer/Arranger” concert featuring the HUEA Tuba/Euphonium Ensemble. Guest conductor for the event was Kenyon Wilson, currently Tuba/ Euphonium Instructor at Valdosta State University in Georgia. The ensemble performed two of Dr. Wilson’s original compositions and four of his arrange-ments, including works by Bach, Beethoven, Faure, and Saint-Saens. Keisetsu Chiba, tuba professor at the university, organized the event, and several military musicians joined the ensemble for the concert. While in Japan, Dr. Wilson also performed solo recitals in Asahikawa, Ebetsu, Takinoue, and Kamifurano and presented masterclasses in Asahikawa and Ebetsu.
Kenyon Wilson (back row, without instrument) with the Hokkaido University of Education in Asahikawa Tuba/Euphonium Ensemble.
News from Summer Workshops
(Below is a personal account of the Oklahoma Tuba-Euphonium workshop submitted by 1TEA member Jean Potratz – ed.)
An OK (Oklahoma) Tuba-Euphonium Workshop
14 euphoniums and 21 tubas. The final chord of Bach’s COME, SWEET DEATH reverberates for 5 seconds…. And the 4th Annual International Tuba-Euphonium Workshop has ended. Tears. Hugs. Photos.
But this is not the end. This is the beginning of revitalized musicianship for the participants of this University of Oklahoma event, who have been instructed, coached, and loved by able faculty members Ted Cox, Deanna Swoboda, Sam Pilafian, and Dr. Brian Bowman (Dr. B). This workshop will continue for weeks upon weeks in our practice rooms.
This year’s students hailed from 18 states from California to Maine and more. From high school sophomores to seniors 50+, this workshop is for everyone who is serious about tuba and euphonium.
The purpose of this workshop is not strictly tuba and euphonium. Nor is it only music. The purpose is each person plus his/her music within, plus the performance of that music. This is what the faculty would say:
Sing the song with your voice.
Sing the song on your mouthpiece.
Sing the song on your instrument
– it is an extension of your person.
We in the tuba-euphonium world stand on the shoulders of people like William Bell and Harvey Phillips. You (workshop participants) will stand on our shoulders. We can burn CDs of our glorious music, and you will listen, and listen, and listen, but the CDs will wear out. The future of tuba and euphonium is now on your shoulders, and you also must teach it. You must pass it on.
Highlight learning sessions presented during these two weeks included a mock recording session, mock studio session, the Windmaster Olympics (demonstrating the new Dallas Brass Windmaster breath-control device introduced by Mike Levine), tuba trial sampling session, mouthpiece trial session, Jazz Jam with Sam, Jazz classes with improvisation lessons, and an original song, The Reason I Play Low Brass to the tune of My Favorite Things.
Why is this workshop so successful? The answer is simple: there is no compe-tition. There are no auditions, no chair placements. Individual instruction is in a group setting so that we all learn together: After a euphonium student performs a solo, Dr. B smiles, raises his eyebrows, and says, “Aha! There is something wrong here! This is a teaching opportunity!” We all learn, because he knows how to describe exactly what sounds wrong and how to correct it. “Breathe to your fullest lung capacity! Don’t play with throat air!” And, “I don’t care if I look like a fool if I can get you to play it right!”
Personal accomplishments at this workshop were awesome! The biggest positive changes occurred with the combination of proper breathing and yoga. How you stand when you perform, and how you sit when you perform contributes greatly to beautiful tone. Martha McQuaid (Ted’s wife) instructed us on breathing, personal posture, proper performance posture, and other yoga relaxation and strengthening positions.
So, why do we come to this workshop?
Sam: to do what you love for a whole week (or 2-everyone should come for 2 weeks!), and talk about mouthpieces over scrambled eggs. To get your focus off other things. TOTAL IMMERSION, collective energy. Every profession should do just such a thing for outreach!
Ted: Catlett Music Center is a great facility. The University of Oklahoma is a great host. This is a great faculty!
Deanna: Breathing, breathing, breathing! You learn to be consistent!
Dr. B: Here you enter a fantasyland. You learn how that fantasyland feels. So when you go home you can recreate that fantasyland in your practice. (It really works!)
This workshop is an empowering, emotional experience and an incredible support environment. We participants become a family. Tawna said it best: “This is Ted, this is Deanna, this is Sam, this is Dr. B — I saw him dunking his cookie in milk!” We eat together, learn together, and live together, an awesome group of CWS friends who are real people.
Pete, a high school senior, said, “When I got here, I intended to be a sponge in a swimming pool, soaking up everything I could… But what I found was an ocean. This is the most incredible week of my life!” Pete expressed this experience aptly for all of us. Though the workshop schedule leaves little time for individual practice, the sheer volume of information crammed into the week sparks energy levels. Music has to be fun. Fun and music go together, just as fun and life go together, and fun and work go together. When you love what you do, it is not work. It is FUN!
~Submitted by Jean K. Potratz Euphonium,
ITEA Member no. 200-11386
(Ed. Note – See the “letter to the editor” from Elliot Woodbury of Portland, Maine attesting to the quality of this experiences. There are many participants obviously thrilled with their experiences in Oklahoma! – JS)
Symphonia Presents Inaugural Workshop at the Brevard Music Center
The famed Tuba-Euphonium Chamber Orchestra Symphonia presented its first Tuba-Euphonium Workshop on June 29 through July 1st at the Brevard Music Center in Brevard, North Carolina. With major underwriting by both The Tuba Exchange and the Harvey Phillips Foundation, this three-day workshop was an intensive array of performances, clinics, and masterclasses. With forty-six partici-pants hailing from some thirteen different states, the Symphonia Workshop attracted an impressive group of professionals, talented amateurs, and both college and high school tuba-euphonium students. Faculty for this year’s workshop were: Euphonium Faculty-Thomas Ashworth, Larry Campbell, Neal Corwell, and Denis Winter; Tuba Faculty-Hank Feldman, R. Winston Morris, Tim Northcut, Daniel Perantoni, John Stevens, and Scott Watson. Here is an overview of this inaugural Symphonia Workshop.
Participants arrived in Brevard on Thursday, June 28th for registration and took in an open Symphonia rehearsal, then rose early the next morning for group warm-up/routine sessions with Hank Feldman and Larry Campbell. After greetings from the faculty, all participants were lucky enough to hear an opening “Chops” session from the legendary Winston Morris titled “The Fundamentals.” As with all workshop clinics, an excellent handout accompanied the session. This session was followed by the workshop’s first two rnasterclasses, presented by John Stevens and Larry Campbell. (All partici-pants were given the opportunity to perform on one of the twelve workshop masterclasses.) After the masterclasses came ensemble rehearsals. Participants were assigned to either “Ensemble Morris,” which included professionals, top flight amateurs, and college students conducted by Winston Morris, or to “Ensemble Stevens” another fine ensemble consisting of talented high school students and dedicated amateur players as well. Hank Feldman and Tom Ashworth, two of Symphonia’s jazz artists, then presented a jazz improvisation clinic designed for classically trained musicians who wished to start learning to improvise. After lunch Tim Northcut and Denis Winter, who are former performers with the United States Army Band (Pershing’s Own) and the U.S. Coast Guard Band, respectively, had very insightful clinics on wind band repertoire and auditioning for these premiere ensembles.
One of the highlights of the afternoon was the anxiously awaited orchestral tuba session of Michael Grose and the Brevard Music Center Orchestra Trombone Section, headed by BMC faculty William Zehfuss-Principal Trombone and Richard Brady-Bass Trombone. Mr. Grose, Principal Tubist of the BMC and former Principal Tuba of the Savannah Symphony led the low brass section through many challenging excerpts, amply demonstrating proper orchestral style. The BMC section all presented many helpful tips on the successful role of an orchestral player. Mr. Grose is now the Professor of Tuba-Euphonium at the University of Oregon.
While the tubists worked on things orchestral, Neal Corwell presented an intriguing session on his euphonium music. In this session, Corwell explained how he has become a successful composer/ euphonium artist, encouraging others to follow his career path.
The rest of the afternoon was filled with masterclasses by Daniel Perantoni and Tom Ashworth, and a faculty recital. Featuring solo performances by Larry Campbell, Scott Watson, Denis Winter, Neal Corwell, Tim Northcut, and Daniel Perantoni, the recital was a fast paced example of first class artistry. Day One of the workshop ended with a second series of ensemble rehearsals and an open symphonia dress rehearsal as the work-shop’s featured group prepared for its two Bre yard performances.
Saturday began with an 8:00 a.m. masterclass given by Tim Northcut and Denis Winter. All participants then joined Symphonia in the main auditorium for a dress rehearsal for Sunday’s massed ensemble performance. Next on the program was an expert “Chops” session by Daniel Perantoni titled “Developing Your Cash Register” wherein he explored not only the importance of the lower register, but also included points on most important aspects of tuba-euphonium performance.
Symphonia’s first performance of the workshop was scheduled next. This was a “Bach’s Lunch” concert, a popular series at the Music Center. A capacity crowd watched Mr. Morris and Mr. Watson take Symphonia through their paces in an impressive performance of such works as Rossini’s Overture to William Tell, Bach’s Prelude and Fugue in D minor, Tangents by James Barnes, Verdi’s Dies ‘me from the Requiem, Ubi Caritas by Duffile, and Richard Perry’s arrangement of the jazz standard, Autumn Leaves. The perform-ance also included an emotional thank you to long time Brevard faculty member Jamie Hafner, as he was presented an ITEA commendation for his many years of service at the Music Center by ITEA President, Scott Watson. The performance by Symphonia was acknowledged by a standing ovation from the audience.
In the afternoon, Brevard Music Center students performed on masterclasses presented by Daniel Perantoni and Neal Corwell. The afternoon jazz concert, featuring Tom Ashworth, John Stevens, Hank Feldman and Scott Watson, kept the action moving after the masterclass period. Amply supported by a killer rhythm section of Jess Lightner on piano, Kevin Mauldin on bass, and Tim Adams on drums, this performance was a show-case of the jazz talents of all the performers, ending with all joining in on John Stevens’ funktasical tune Cookie’s Revenge.
Saturday closed with an evening of ensemble rehearsals with Mr. Morris and Mr. Stevens, followed by a stimulating session by John Stevens on his composi-tions. Stevens encouraged those attending to try their hand at composing. Stevens explained how he started writing in addition to performing, and also distri-buted an excellent handout on the basics of composing/arranging for our instruments.
The final day of the workshop began with early morning warm-up/routine sessions with Tim Northcut and Denis Winter, followed by dress rehearsals for both workshop ensembles. The final “Chops” clinic of the workshop was given by Scott Watson, a session titled “Embouchure Function: Building Chops!” in which Watson stressed both basic function of the embouchure as well as suggested exercises for building strength, flexibility, and control. Participants tried out each of these suggestions as a group during this session.
The final masterclasses of the weekend were presented by Winston Morris and Larry Campbell. As with other master-classes during the workshop, the faculty was impressed with the very high per-formance level of the performers on both tuba and euphonium. The masterclasses were a prelude to the long awaited workshop ensembles concert, which included all workshop participants. Ensemble Stevens presented a well played and varied program that featured many original compositions and transcriptions by Mr. Stevens. The ensemble’s perform-ance level was as good as any High School All-Star-Ensemble at ITEA International Conferences. The second half of the program featured Ensemble Morris under the direction of “Mr. Tuba Ensemble” Winston Morris. This was a professional sounding ensemble with great blend and technical mastery. Its program featured works created especially for Mr. Morris through the years.
The workshop concluded with Brevard Music Center’s annual Independence Weekend Concert. Symphonia provided a featured set on this concert, blazing through a program of the Overture to William Tell by Rossini; Mendez’s La Virgen de la Macarena featuring Neal Corwelk a euphonium section feature on Bugler’s Holiday; and the finale, Aldo Forte’s spirited Sequidillcts. After intermission, the workshop was also featured in a massed euphonium/tuba ensemble performance of Huffine’s famous Them Basses with the combined BMC Wind Ensemble and Symphonic Band conducted by Sarah McKoin. This performance featured some 46 tuba and euphonium players on stage and what a great sound! The audience of some 4,000 people loved it! A great way to end three intensive days of music-making. Symphonia hopes to present such workshops again in the future.
~Submitted by Scott Watson
Jamie Hafner Given Commendation by ITEA
A recent ITEA Board of Directors Member, Jamie Hafner, was presented with a commendation by the Executive Committee of ITEA during the recent Symphonia Tuba-Euphonium Workshop at the Brevard Music Center. This commendation was presented by then ITEA President Scott Watson during their “Bach’s Lunch” Performance at the Music Center on Saturday, June 30th. The Commendation reads:
COMMENDATION TO JAMIE HAFNER FOR OVER THIRTY YEARS OF MUSICAL EXCELLENCE AS TUBIST, CONDUCTOR, TEACHER, ADMINIS-TRATOR, MENTOR, AND FRIEND TO THE MANY STUDENTS AND FACULTY OF THE BREVARD MUSIC CENTER. YOUR ARTISTRY, HIGH MUSICAL STANDARDS, AND ROLE AS A MASTER TEACHER HAS MADE YOU AN IMPORTANT PART OF THE “BREVARD EXPERIENCE.” WE ALSO EXPRESS OUR THANKS TO YOU FOR YOUR ACTIVE ROLE AS A MEMBER OF OUR BOARD OF DIRECTORS. YOUR ADVICE AND VISION, GAINED FROM YOUR MANY YEARS AS AN ARTIST ON OUR INSTRUMENT HAS BEEN VITAL TO OUR SUCCESS. GIVEN THIS DAY, SATURDAY, JUNE 30, 2001 BY THE EXECUTIVE COMMITTEE OF ITEA.
Jamie Hafner was Principal Tubist of the Brevard Music Center Orchestra, and a member of its Artist Faculty for over thirty years. He also served as conductor of the Wind Ensemble. After his retirement from the University of Toledo where he was Director of Bands and the Professor of Tuba, he joined the Brevard Music Center full time as its Director of Education until his retirement this past winter. We all wish: Jamie a great retirement and our thanks for all his support of ITEA.
Falcone Festival Notes
The 16th Annual Leonard Falcone International Euphonium Festival was held at Blue Lake Fine Arts Camp again this year. The festival has been greatly enhanced by the addition of the new Student Activities Center (SAC) housing Blodgett Recital Hall as well as modern large ensemble rooms, chamber music rooms and practice rooms. Most of the festival took place in the SAC and in the recently completed Niblock Hall where the euphonium competition and the student euphonium and tuba finals were held.
Guest artists for the Festival were tubist Fritz Kaenzig, Professor of Tuba and Euphonium at the University of Michigan and Ikuko Miura, principal tenor horn soloist with the Leipzig Brass Orchestra, Leipzig, Germany. Mr. Kaenzig and Ms. Miura presented a joint recital with accompanist Jun Okada in Blodgett Recital hall on Thursday night, and performed as soloists with the Blue Lake Festival Band on the final concert on Saturday night. Mr. Kaenzig performed the Concerto for Tuba by Eric Ewazen and Ms. Miura performed the Concerto for Euphonium by Joseph Horivitz for an enthusiastic crowd of campers, competitors and visitors at Stewart Shell, Blue Lake’s beautiful outdoor stage by the lake. These wonderful artists gave virtuoso perform-ances and donated their time as judges and master teachers during the five-day festival.
The euphonium artist semifinalists this year were Mark Cochran, Bryce Edwards, Danny Helseth, Matt Hemenway, Jonathan Herbert, Anthony Hernandez, Matt Maslanka, Dean Miller, Hikaru Miura, Matt Murchison, and Robert Pendergast. The tuba artist semi- finalists were Scott Beaver, June Iwasaki, Louis Jake Kline, Paul Mergen, Benjamin Pierce, and Jason Wallace.
The euphonium student semifinalists were David Ashner, Michael Brown, Cody Coyne, Aaron Ging, Aaron Marsee, Andrew Ragusa, Travis Scott and Scott Stone. The tuba student semifinalists were Hugh Churchill, Tristan Eggener, Chase Garner, and Brian McBride. The 2001 finalists and prize winners and their teachers were as follows:
EUPHONIUM ARTIST COMPETITION:
First Place – Matthew Murchison – Alma, Arkansas, University of North Texas Instructor: Dr. Brian Bowman
Second Place – Martin Cochran – Harahan, Louisiana, University of Alabama Instructor: Mike Dunn
Third Place – Danny Helseth – Yakima, Washington, University of North Texas Instructor: Dr. Brian Bowman
EUPHONIUM STUDENT COMPETITION:
First Place – Aaron Ging – Woodbridge, California, Interlochen Arts Academy Instructor: Tom Riccobono
Second Place – Scott M. Stone – Mitchellville, Maryland, Clay High School Instructor: Don Palmire
Third Place – Michael Brown – Knoxville, Tennessee, Beardon High School Instructor: W. Sande MacMorran
TUBA ARTIST RESULTS:
First Place – Benjamin Pierce – Ann Arbor, Michigan, University of Michigan Instructor: Fritz Kaenzig
Second Place – Jason C. Wallace – Garland, Texas, Texas A & M University Instructor: Ed Jones
Third Place – Scott Beaver – Marietta, Ohio, Tennessee Tech University Instructor: R. Winston Morris
TUBA STUDENT RESULTS:
First Place – Tristan Eggener – Green Bay, Wisconsin, Interlochen Arts Academy Instructor: Tom Riccobono
Second Place – Brian K. McBride – New Bern, North Carolina, New Bern High School Instructor: Dr. Jeffrey Jarvis
Third Place – Chase Garner – Birmingham, Alabama, Oak Mountain Instructor: Mike Dunn
A bit of Falcone Festival history was made this summer. Tubist Benjamin Pierce became the first double winner in Falcone Festival history, as he had previously won the euphonium artist award!
Special thanks to the artists who make our Festival possible by working diligently with the competitors to help them present their best performances. Our outstanding accompanying staff included: Ji-Young Lee, Cheryl Richardson, Elaine Ross, and Rebecca Wilt. Also, thanks to the Blue Lake Festival Band, which has provided “top drawer” accompaniment both for the adjudicator’s concert and for euphonium finalists throughout the history of the competition.
The Falcone Festival Executive Committee would like to announce that next year we have increased the prize money in the euphonium and tuba divisions. First-place winners in the Euphonium and Tuba Artist Division will each win $2250 and student first-place winners will take home $1000 each. Guest artists for the 2002 festival will be Demondrae Thurman, euphonium and Heiko Triebner, tuba. Be sure to check the Festival web page for information about music, guest artists and deadline dates at http://www.ferris.edu/falcone.
~submitted by Marty Erickson
News from Lithuania
The tubists at the Lithuanian Academy of Music do not have a long history of tradition. The tuba area began as a formal department in the Academy in 1969 under the leadership of Leonardas Ulevicius, tubist of the Lithuanian National Symphony Orchestra, and he continues to lead the tuba/euphonium area there. Well-known as one of the finest tubists in Eastern Europe, he has been invited to perform at international tuba competitions in Markneukirchen (Germany), St. Petersburg (Russia), Riga (Latvia), and Tallinn (Estonia). Currently there is one euphonium student and seven tuba students at the Lithuanian Academy of Music, a very large class in this part of the world. Mr. Ulevicius reports that the quality of the class is excellent. Most recently, two members of the class placed first and second in the solo tuba competition held in Riga, Latvia.
The Lithuanian Academy of Music Euphonium and Tuba Department (1-r): K. Ukrinas, V. Navickas, A. Joneikis, A Zilys, N. Povilavicius, M. Giedraitiene (accompanist), L Ulevicius, D. Bazanovas, R. Rutkauskas, K. Kuoras
Laureates of the International Competition in Riga, Latvia: (l-r) First prize winner V. Navickas, Accompanist M. Giedraitiene, L. Ulevicius, Second prize winner R. Rutkauskas
Craig travels to Ukraine
ITEA President-Elect, Mary Ann Craig, recently returned from a guest conducting tour of Ukraine. The bands she conducted included the Municipal Band of Kirovograd, Gliere State Music College in Kiev, and the Central Militari Force Orchestra, which is the top military band in Ukraine. Their level of music-making is very fine, despite the quality of many of the instruments. Their rich cultural heritage emanates through their performances.
In each venue Dr. Craig presented the low brass players with tuba and euphonium recordings, and she informed them, through her interpreter, about the International Tuba-Euphonium Association. One of the tubists said that he had heard that such an organization exists. The tuba and euphonium players were thrilled with the extra attention that they received in rehearsals and master classes. In return, they presented Dr. Craig with gifts and flowers. In each band, the tuba and euphonium sections asked to have photos taken with her after each concert.
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1. Blasmusik-Hitparade geht in die vierte Runde
2. Weitere Teilnehmer far die Hitparade der Blasmusik gesucht
3. Vier Jahre BandChat
4. Instrumentenblatter von codera und weitere Gig Bags im Online-Shop
1. Blasmusik-Hitparade geht in die vierte Runde Der Musikverein “Lyra” Obernheim hat die Wahl im Endspurt frir sichentschieden. Mit 559 Stimmen lagen sic knapp vor Mathias Gronert und seiner Blaskapelle “Egerlander Gold” die 535 Stimmen erzielen konnte. Der Musikverein “Lyra” Obernheim nimmt damit an der Endausscheidung teil! Den dritten Platz sicherte sich die Blaskapelle Polnanka mit 463 Stirnmen gefolgt vom Original Almetaler Musikverein mit 156 Stimmen. Auch in diesem Monat geht es mit 10 neuen Kandidaten weiter. Mit dabei sind die Blaskapelle Frieding, die Musikkapelle Atzbach, die Musikkapelle Grainau, die Musikkapelle Thanheim, die Jugendkapelle Marbach, der Musikverein Schlierbach, der Musikzug Klein Forste, das Schwabisches Jugendblasorchester, die Trachten-kapelle Erlauf und die Waldnaabtaler Musikanten. Ab sofort konnen Sic abstimmen und eine Kapelle an die Spitze der Top-Ten bringen. http://www.blasmusik.de/hitparade.
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2. Weitere Teilnehmer fur die Hitparade der Blasmusik gesucht
Noch besteht far alle Blasmusikkapellen die Moglichkeit, sich an der Hitparade zu beteiligen. Senden Sic uns Ihre CD und wahlen Sic den besten Titel aus. Diesen stellen wir dann im Lauf der nachsten Monate zur Wahl. Teilnahmebedingungen und alle weiteren Informationen linden Sic unter http://www.blasmusik.de/hitparade
3. Vier Jahre BandChat
BandChat, eines der groBten Blasmusik-Diskussionsforen im Internet, feierte am 4. Juli 1997 semen 4. Geburtstag. Wer regelmaBig amMeinungsaustausch von Blasmusik-VIPs aus alter Welt teilhaben mochte, kann sich unter der Adresse http://bandchat.schoolmusic.com anmelden und dann auch selbst Fragen oder Stellungnahmen zu aktuellen Themen abgeben n ausreichende Englisch-Kenntnisse vorausgesetzt. Derzeit wird der tagliche BandChat-Digest an fast 1000 Abonnenten weltweit gesandt. In den vier Jahren ihres Bestehens wurde die Website mehr als 65.000-mal aufgerufen, also etwas 350- mal pro Tag. Die bisher eingesandten Fragen und Statements (mehr als 6600 E-Mails) sind im Archiv von BandChat einsehbar und konnen mit einer Suchmaschine nach Schlosselbegriffen erkundet werden. Suchmoglichkeiten bieten auch die Repertoire- und Konzertprogramm-Datenbanken.
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Robert Brewer Releases new CD – An Die Musik
Dr. Brewer is a resident of Fort Collins and is the founding member of the Colorado Brass Company. In addition to his work at CSU, he currently performs as the principal tuba with the Cheyenne Symphony Orchestra. Dr. Brewer has appeared as a guest conductor/low brass clinician at summer music camps at Henderson State University, Arkansas Tech University and Colorado State University.
“An die Musik” can be purchased online from Joe’s Productions at www.joesgrille.com. The music on the CD includes works by Halsey Stevens, Robert Schumann, Johannes Brahms, Thom Ritter George and Franz Schubert.
Interesting Stories from the Archives
Bill Rose and Don Butterfield in Mr. Bell’s Pants
They say one picture is as good as a thousand words, and though this picture was lost for the past 50 years, the story is still funny and alive since Don and I are still here.
Looking at the picture, one might ask, “What are those two young characters up to?” Well, it goes back to the spring of 1948 in front of the old Juilliard School of Music. Don Butterfield and I were young and lean students at Juilliard studying with Mr. Bell. When the Barnum and Bailey Circus came to New York City at Madison Square Garden, they always added about 6 or 8 players to the regular traveling band, for sight and sound. Harvey Phillips was their tuba player, and, of course, Merle Evans (the band director) always called on Mr. Bell for the extra tuba. Mr. Bell was so busy in those days; he would just play the first couple of shows, and then turn the job over to one of his good students who needed the work. I guess I looked the leanest, so I got the job. I arrived early for the first show to get my band uniform (pants and coat). They had a coat that fit me, but the only pants left were what they had given Mr. Bell. Mind you, Mr. B weighed about 350 pounds then, and the pants had about a 60-inch (or so) waist. I had a .30-inch waist! We all laughed as I wrapped the pants around me twice and tied them down with a belt. The coat hid the waist, so no one could tell. I took my place in the band and played, Harvey on one side, me on the other. This is where and when Harvey Phillips and I met and became good friends, which we still are today, 52 years later.
I couldn’t resist the temptation to take those pants back to school w ith me after one Sunday night show, and have some fun the next day. I asked Mr. B if he would object to what we had in mind, and he laughed and said, “do it.” Don and I were good buddies at the school, so we decided that since “it took two to fill Mr. Bell’s shoes, literally and figuratively,” we would do it. Don got into one leg, I got into the other leg, and someone zipped up the fly, then handed us my King BB-flat tuba to hold. Of course, half the school was out front laughing. Someone took the picture. I took the pants back to play the circus that night, and that was it. Over the years, Don’s picture and mine both got lost while we were getting settled into the music business, and for over 50 years I have been lamenting the loss of that “silly” picture. In July 2001, Don Harry (my old student and Mr. Bell’s too) was going through a lot of Mr. Bell’s old stuff that had been thrown out when he died. Guess what? Don found the old picture, a bit torn and bent up, but still intact enough to send to ITEA.
We all had fun with it, and Mr. Bell did too! Thanks to Don Harry we can still say about the late and great Mr. William Bell, “it took two to fill his shoes, literally and figuratively.”
Thanks Mr. B!!! ! (Submitted by Bill Rose, princpal tubist of the Houston Symphony Orchestra, retired)
It is with great regret that I inform the members of ITEA that Jim Katsuhiko Kaijima passed away on July 14th due to illness. The funeral was held on August 17th, and tuba music was performed at the ceremony by his many close friends and former students. Jim Katsuhiko Kaijima, Japanese professional tuba player/teacher was born in May, 1943 at Fukuoka, Japan, Kaijima and studied with Kurahei Sato, Lifetime Achievement Member of T.U.B.A., at Musashino Music College in Tokyo. He was very active during the formulative days of professional orchestras in Japan while a student, and in 1965 performed the first ever tuba recital in Japan with his colleagues, I. Tado (NHK Symphony Orchestra, Tokyo), T. Inada (Orchestra of Stadttheater Buhnen Nurnberg), and several others.
After graduation, in 1966 he won a Fulbright Scholarship to study with William Bell at Indiana University. Kaijima was the first Japanese brass player awarded this scholarship. He returned to Japan in 1969 and, though many expected him to pursue a future as an orchestral musician, he chose to become a teacher instead and concentrated on sharing the skills he had learned with others.
In June 1976, Kaijima was invited for the 1st International Brass Congress held in Montreux, Switzerland where he lectured on ‘The Tuba in Japan’ and performed recitals including the Sonata for tuba and piano No. 2 by Iwao Konkoh which was mentioned in the TUBA. Journal Vol.IV, No.1, Fall, 1976.
Until 1980, Kaijima was “T.U.B.A. International Representative” for Japan.
In addition to his position of co-professor of Musashino Music College in Tokyo and his work as a trustee of J.E.T.A.(Japan Euphonium & Tuba Association), he has been active recently as a juror in several important competitions including the “Japan Wind and Percussion Competition”.
Kaijima has contributed extensively to the development of the professional tuba world in Japan and will be sorely missed by the many people whose lives were touched by his presence.
(Submitted by Yoshihiko Matsukuma, Tuba Designer Yamaha Corporation and former student of Mr. Kaijima)
Calling all Tuba Players in the Sacramento, California Area…
The River City Regiment, a new brass band, is forming in Sacramento California. We are directly involved with the Jazz Jubilee that is held annually here in Sacramento that draws thousands of jazz lovers to our area. Our group is looking for 20 tuba players and 25 baritone/euphonium players and we would like to get the word out to your membership about this opportunity. Interested players should contact the RCR President, Mike Phillips by phone at: 916.874.7679 (work) or 925.864.1106 (cell).
Tubby the Tuba gets a face:
Hank Niebolt of Dale City, CA recently performed Tubby the Tuba with the Symphony Parnassus of San Francisco. His wife put a “face” together for Tubby and the audience responded favorably to both Tubby’s sound and his new appearance. (Thanks to Hank for the photo.)
Internet Pick of the Quarter
Opportunities to Commission New Music The New Music Cultivation Fund announces its Commission Assistance Grant.
Purposes: To encourage performers at all levels of development (elementary performing ensemble through professional) who have never commissioned new music to experience the value of working closely with a composer.
• To cultivate audiences for new music.
• To encourage composer/performer interaction.
• To encourage composer/audience interaction.
• To foster the growth of new music.
• Grant covers the cost of the commission fee, the copying and reproduction of parts, and the composer residency.
• Applicants must be individuals or organizations residing in the United States.
For more information check out the New Music Cultivation Fund at: http://www.cooppress.hostrack.net/nmcf.htm
The sad events of September 11 in New York and Washington, D.C. took place just before press time. The Journal was contacted by many friends inquiring about the safety of our friends in the premiere military bands in the Washington, D.C. area. We are happy to report that none of the bands had Pentagon duty on the morning of September 11. While we are overjoyed at this, we must bear in mind that our friends with those organizations face difficult duty over the coming months, and we need to keep them in our thoughts. Thanks to our friends from around the world who have sent messages of support.