Euphonium & Tuba News (Joseph Skillen, Associate Editor)
From the Editor
Thank you all for your news submissions. They continue to make this column interesting and reward- ing for all of us. Due to the increased number of submissions, I feel the need to establish some guidelines regarding the format of your submissions.
E-mail is the preferred method for submitting an item. Please send me the item in the body of your e-mail. If you choose to attach an article (also welcome) please send the article as a Microsoft Word document. Photos should be submitted via e-mail in a .jpeg format (300 dpi minimal). My address for e-mail submissions is firstname.lastname@example.org or email@example.com.
Of course, you may continue to submit items to me in the mail as well:
ITEA Journal News
School of Music
Louisiana State University
Baton Rouge, LA 70803-2504
I also respectfully request everyone’s attention to the printed deadline for submissions published at the front of each journal. I always attempt to keep submissions close to their original form, but space considerations may require some editing on my part.
As always, I welcome your comments to help make this column your source for news in the euphonium and tuba community.
Call for Nominations
The biennial elections required by the ITEA Constitution will take place in the spring of 2003. As directed by the Constitution, we will elect a Vice President/President-elect, an International Vice President, and a Secretary. A position description for each of these offices is available for interested parties at www.iteaonline.org. Any member of ITEA may submit nominations for any of these offices to the President of ITEA, Skip Gray, who will forward them to the Committee. Nominees must be members in good standing of ITEA. All nominations must be received by November 6, 2002. The Nominating Committee will submit a slate of candidates to the President and Executive Committee, and the membership will have the opportunity to review the slate of candidates on the web site and in the Winter 2003 issue of the ITEA Journal. A ballot will be mailed with the Spring 2003 issue of the ITEA Journal. Please submit your nominations to President Skip Gray prior to November 6, 2002. He may be reached at firstname.lastname@example.org or by phone at (859) 257-8822.
Thank you for your participation in this very important Association business.
Jerry A. Young, Chair Nominating Committee
What’s going on in the New York Philharmonic?
Two years ago, I had the great opportu- nity to play a new piece by Wynton Marsalis called “All Rise.” It was a consortium between the Lincoln Center Jazz Orchestra and the New York Philharmonic. Warren Deck called me on the morning of the second rehearsal, and he sounded very sick. He asked me how my high G was, and I said, good I guess I need my F tuba? Then he said I needed a big tuba also, because there are low passages with the section. Great!, I’ll be there. I showed up to find, as Joe Alessi put it, “the mother of all tuba solos” in front of me, and 15 minutes to get it together. Well, it went great and I played three performances that week.
The week of September 11, 2001, when the Philharmonic was stuck in Europe, I received another call. They needed me again for a couple of weeks right away. I of course said yes, and have been playing with the Philharmonic ever
since. As it turns out, Warren Deck was diagnosed with Focal Dystonia and will be out on a medical leave for an indefinite amount of time. Things went well for me last season, so I have been asked to stay on for this season also. And that is what’s going on at the New York Philharmonic.
Kyle Turner Biography: Originally from San Antonio, Texas, Kyle Turner has lived and freelanced in New York C ity for over 20 years. He currently teaches at Montclair State University in New Jersey and plays with the New York Philharmonic, The Orchestra of St. Luke’s, the Saturday Brass Quintet, Solid Brass, Solisti New York, and the Concordia Orchestra. He has performed with virtu- ally every major musical institution in New York C ity including T he Metropolitan Opera Orchestra, The New York City Ballet, and The New York C ity Opera.
Mr. Turner has recently been in demand in the recording industry, playing in more than seventy-five television and radio commercials, movies, and television programs. Mr. Turner has also recorded for Sony, Deutsche Grammophone, Nonesuch, Warner Brothers, Angel, Dorian, EBS, Music Masters, Koch C lassics, Musical Heritage Society, and others. Mr. Turner plays on a modified Conn 52].
Jason Ham joins the United States Military Academy Band at West Point
Jason D. Ham joined the United States Military Academy Band at West Point, New York on March 26, 2002, exactly nine months after the audition there. While accepting the position at that time, the Academy Band granted Jason the fall semester to complete student teaching at Lassiter High School in Marietta, Georgia. He graduated from the University of Georgia on December 15, 2001 with degrees in Music Education and Music Performance. Fortunately, this also gave Jason the opportunity to compete in the Euphonium Artist Solo Competition at the 2001 ITEC in Lahti, Finland, where he won first place. Jason is the former student of David Zerkel, Kenneth Kroesche, and the late David Randolph.
Two New Tuba Positions announced in the “Pershing’s Own” United States Army Band
The United States Army Band “Pershing’s Own” in Washington DC recently held auditions for two tuba positions. The winners were David Kirven and Charles Gianelli. Congratulations to these new band members!
Mark Jenkins Joins the President’s Own United States Marine Band
After two long days of auditions, Mark Jenkins was named as the newest euphonium player in the President’s Own United States Marine Band in Washington DC. Way to go Mark!
Congratulations also go to the following persons in their new positions:
Marty Erickson accepted a position at Lawrence University as tuba-euphonium teacher and member of the Lawrence Brass Quintet and Faculty Jazz Combo.
Charles Guy will be the new tubaeuphonium professor at the Crane School of Music at the State University of New York in Potsdam. Charles replaces Peter Popiel after a long and fruitful career and
Jason Byrnes who taught at the Crane School in an interim position.
Ken Kroesche accepted a position as the Professor of Low Brass at Oakland University in Rochester, Michigan.
Jeff Parker was appointed as the interim instructor of tuba and euphonium at The Pennsylvania State University in State College, Pennsylvania. Jeff will be moving to Pennsylvania from Santiago, Chile where he was the Principal Tubist in the Santiago Symphony Orchestra.
Also, a small correction … It has come to my attention that in the last news column I incorrectly reported some information about the recent euphonium positions in the “Pershing’s Own” United States Army Band. I reported that Dean Miller had studied with Bob Powers. This was incorrect. Dean Miller’s principal teachers include Brian Bowman and Dave McCollum. I apologize for the misunderstanding. – JS
Harvey Phillips Honored by The Goldman Band
On Sunday evening June 23rd, tubist extraordinaire Harvey Phillips was honored by the Goldman Band at Lincoln Center. The Goldman Memorial Band has initiated an Honor Roll as. a tribute to the many musicians who have made enduring contributions to the band world and in particular to the Goldman Band. Harvey Phillips, Distinguished Professor Emeritus of Music at Indiana University, was selected as the first recipient of this annual award, “The Goldman Memorial Band Legion of Honor.” Dr. Phillips’ lifelong commitment to bands began during his teenage years when he developed a national reputation as a musician with the touring Ringling Bros. and Barnum & Bailey Circus Band directed by the legendary circus bandmaster, Merle Evans. During the late fifties and early sixties Dr. Phillips performed as principal tubist with the Goldman Band under the direction of Richard Franko Goldman. Dr. Phillips has lent his talents as a featured soloist with many of our nation’s bands including many of the foremost service bands, which include the Houston Symphonic Band, the Ridgewood Concert Band, as well as a host of university and college bands. He has served for many years on the advisory board of the Goldman Memorial Band. t-Ie has also received recognition with highest honors from the American Bandmasters Association, National Band Association, Sousa Foundation, National Association of Concert Bands, and others.
Harvey Phillips pictured alongside former student Michael Thurlow (1973-1977) during the recent Goldman Band festivities.
From a personal standpoint, when I was being considered to take the helm of the Goldman Memorial Band, I spent several hours on the phone with Dr. Phillips. We discussed many of the difficulties that I would have to face and he suggested many solutions as well as creative ideas for future development. I was fortunate to have been a student at The New England Conservatory of Music under the direction of Gunther Schuller and Harvey Phillips. His wisdom has guided me through my professional life. His generosity and kindness continue to inspire myself as well as my valued colleagues.
At our concert honoring Dr. Phillips, he served as our host, playing the role of Ringmaster during our tribute to the great American Circus. We played several circus classics including “The Storming of El Caney,” “Gentry’s Triumphal,” and “Trombonium.” Our principal tubist, Scott Mendoker teamed up with Harvey (as narrator) in a memorable performance of George Kleinsinger’s classic “Tuba the Tuba.” Among other selections performed were a series of works composed by personal friends of Harvey Phillips, including Alec Wilder, Robert Russell Bennett, Richard Rogers, Morton Gould, and William Schuman.
An All-Star group of tuba and euphonium players participated in several ensemble selections conducted by our honoree. In addition to Goldman Band members (Scott Mendoker, Ron Caswell, Morris Kainuma on tuba; John Palatucci and Terry Pierce on euphonium) we had Don Butterfield, Bill Barber, Ed Goldstein, Todd Nix, Steve Johns and Michael Salzman on tuba; and Wayne Andre, Alan Raph, Tony Studd, Moe Snyder on euphonium as well as several other illustrious performers. In a special moment, guest conductor Dr. Peter Boonshaft, Director of Bands at Hofstra University, conducted the tuba-euphonium mass choir in Bach’s Kom susser Tod, honoring the memory of deceased Goldman Band musicians and Amazing Grace honoring the memory of the victims and heroes of the 9/11 terrorist attack on America.
After the presentation of the award to Harvey Phillips, Captain Kenneth Force, President of the ·Board of the Goldman Memorial Band, presented Harvey Phillips with a building sign that has special meaning to Harvey and all tuba players. It was a sign originally posted on the site of the old Chelsea Hotel where George Kleinsinger, composer of Tubby the Tuba, lived for years. The sign mentions that Kleinsinger was a resident and that he kept many exotic pets including man-eating piranha and a boa constrictor. After receiving this humorous, rare and most unusual gift, Dr. Phillips told the audience about one of his visits when son Thomas, who was very young at the time, was actually bitten by a spider monkey! This memorable evening concluded with a brilliant performance of the Stars and Stripes Forever, Harvey Phillips style, with Mendoker, Caswell and Kainuma performing their own stunning rendition of the famous piccolo solo.
It was a great evening for the Goldman Band, our loyal, enthusiastic audience, and for our dedicated Board members and supporters who have worked tirelessly to return the Goldman Band to its rightful position within the cultural life of New York City and the nation. Thank you Harvey Phillips for all you have meant to us! Thanks also to Carol and Thomas Phillips, whose friendship and goodwill are greatly appreciated. See you at TubaChristmas (Sunday, 8 December) at Rockefeller Center.
Submitted by Chris Wilhjelm, Conductor of the Goldman Band
Kenyon Wilson Awarded Fulbright Scholarship
Kenyon Wilson was recently awarded a Lecturing Fulbright to teach at the Baku Music Academy in Azerbaijan, one of the former Soviet Republics. The Fulbright Program is the U.S. government’s flagship program in international educational exchange. In addition to teaching graduate courses at the academy, Dr. Wilson will be performing solo recitals featuring works by American composers, including a newly commissioned work by Sy Brandon. This three-month appointment, which starts in October 2002, marks the first time that Azerbaijan has hosted a Fulbright Scholar in the arts.
Raul M. Escobar wins concerto competition
Raul M. Escobar was declared a winner of the Southwest Texas State University School of Music Concerto/Aria Competition in San Marcos, Texas. Raul is a senior music education major and studies with Raul I. Rodriguez, Professor of Tuba and Euphonium. He performed the Joseph Horowitz Concerto for Euphonium on April 28, 2002.
Left to Right: Raul I. Rodriguez, Raul M. Escobar, and Howard Hudiburg, Conductor of the SWT Symphony Orchestra
“Three Musical Days in the Woods” The Symphonia Tuba .. Euphonium Workshop at Interlochen
During June 22-24, some forty-eight tuba and euphonium performers joined Symphonia in the beautiful northern woods of Michigan for the 2nd Annual Symphonia Tuba-Euphonium Workshop. Faculty included Neal Corwell, Larry Campbell, Gail Robertson, and Denis Winter on euphonium; and Charles Guy, Marty Erickson, Hank Feldman, R. Winston Morris, Timothy Northcut, Daniel Perantoni, John Stevens, and Scott Watson comprised the tuba faculty. After registration and an open Symphonia rehearsal the evening of June 21st, the workshop began early Saturday morning with Warm-Up/Routine Sessions by Hank Feldman and Neal Corwell. This was followed by the tradit ional first “Chops” Session by Symphonia Co-Artistic Director Winston Morris on “The Basics.” Participants were then assigned to two tuba-euphonium ensembles, the Harvey G. Phillips Ensemble directed by John Stevens and the William J. Bell Ensemble directed by Gail Robertson. These ensembles rehearsed once a day during the workshop and were top-notch ensembles for professional, college, amateur, and high school level participants.
Saturday’s events continued with masterclasses presented by Daniel Perantoni and Neal Corwell. A vital feature of the Symphonia Workshop is that each participant is encouraged to perform on one masterclass if at all possible. After lunch, participants were able to spend part of the afternoon attending an instrument exhibit presented by Custom Music Company, the workshop’s major sponsor this year. Neal Campbell of Custom Music Company then joined Daniel Perantoni for an informative session entitled “Tuba Talk.” As always, one of the Workshop highlights is the Faculty Recital held in the beautiful Dedrinos Chapel at Interlochen. This year’s recital was an example of worldclass artistry by soloists Charles Guy, Denis Winter, Neal Corwell, Daniel Perantoni, Larry Campbell, Gail Robertson, and Tim Northcut, all performing a wide variety of literature (see the Programs Section of this Journal for the complete program listing of the workshop). The performers received wonderful support from our two piano artists Robin Guy and Byron Hanson, both members of the artist faculty at Interlochen. Saturday came to a close with a performance by Scott Watson of the first movement of Eric Ewazen’s Concerto for Tuba and Band with the Interlochen Symphonic Band under the baton of Virginia Allen, who also transcribed this particular band edition. Sunday also began with Warm-Up/Routine Sessions with Scott Watson and Gail Robertson, followed by masterclasses with Tim Northcut and Larry Campbell.
Following these masterclasses, participants and faculty joined forces for a real Interlochen tradition, the annual Interlochen “Tuba Sunday,” where a beautiful tuba-euphonium choir provided the Prelude Music for the Open Church Service on Sunday Morning in Kresge Auditorium. This ensemble was lead by Charles Guy, Instructor ofT ubaEuphonium at Interlochen each summer. After the daily large ensemble rehearsals that morning, Sunday continued with a session by Scott Watson on “Surviving Performance Anxiety.” This session stressed ways to overcome this malady, as well as applying these techniques to your overall performance and practice skills. After lunch, Symphonia took the stage of Dedrinos Chapel for their major Festival Concert while at Interlochen. Maestro Morris lead the ensemble on a fast paced romp through such works as the “March” from the Second Suite in F by Holst, Ubi Caritas by Durufle, James Barnes’ new setting of Bach’s Prelude & Fugue in G Minor from the Well Tempered Clavier, the Overture to The Barber of Seville, and others. Ending with Gail Robertson’s wonderful transcription of Carmen Dragon’s setting of America the Beautiful, this wellattended concert was not only exciting but an inspiration to all participants.
After Symphonia’s concert, participants were given free time to organize chamber ensembles while making new friends in the process. It was a great sight to see the many different groups of serious performers of all ages making music together in every nook of campus. Before supper both John Stevens and Denis Winter presented afternoon masterclasses. After a quick dinner, participants were then able to attend either an excellent session by Denis Winter on “Euphonium Wind Band Repertoire” or a Tuba “Chops” Session by John Stevens. Winter’s session went through many major euphonium excerpts, with the participants getting to perform them as part of the session. This is a major facet of the performance oriented Symphonia Workshops in that most sessions allow for participants to play and try out ideas. Stevens’ session covered major facets of tuba playing from style to rhythm.
Monday, the final day of the workshop, began with the expected early morning Warm Up/Routine Sessions, these by Tim Northcut and Denis Winter, followed by “Chops” sessions by Charles Guy and Larry Campbell. Entitled “Efficient Practice for Quality Performance,” Guy’s session explored practical ways to approach pieces of music in practice sessions. Guy allowed participants to not only play, but also to share their ideas. Larry Campbell’s euphonium session was titled “Back to the Basics,” another session on fundamentals and their importance to your development.
After large ensemble rehearsals, Monday continued with a wonderful session by Marty Erickson on Basic Jazz Improvisational Skills. Using both excellent handouts and Paul Johnson on piano, Erickson had the participants try out some basic licks, then discussing how to develop your jazz skills, stressing how improvisation can help your classical playing in such areas as ear training, accuracy, and musicianship. This was a great prelude for the exciting Faculty Jazz Concert after lunch, featuring Marty Erickson, Gail Robertson, Hank Feldman, and John Stevens. Each performer blazed through a fifteen minute set with the tight Interlochen Rhythm Section of Paul Johnson on piano, David Hardman on drums, and Marty Erickson on bass in addition to his tu!Ja talents. This inspiring concert ended with a performance of John Stevens’ chart titled Sinner Tom with all soloists joining forces for a Latin/rock finish. Shortly after the completion of the jazz concert, the workshop’s final masterclasses were held. Marty Erickson presented a masterclass for the Interlochen tubists while Gail Robertson did the same for Interlochen euphoniumists. Both Hank Feldman and Neal Carwell also presented masterclasses at this time for the regular workshop participants.
As is becoming a tradition, the Symphonia Workshop concluded with the Large Ensemble Concert featuring both Symphonia, the Harvey G. Phillips Ensemble under the baton of John Stevens and the William J. Bell Ensemble under the baton of Gail Robertson. The program concluded with Symphonia’s final concert, a fifteen-minute program that began with Michael Kamen’s Robin Hood Fanfare from the movie of that same name, fo llowed by the ever-popular Rossini’s Overture to Barber of Seville. After a beautiful reading of the wonderful ballad A Nightingale Sang in Berkeley Square (from Symphonia’s second album), the concert had as its Grand Finale a stirring performance of Stars and Stripes Forever featuring Marty Erickson and Dan Perantoni on the piccolo part that combined forces of all workshop participants and Symphonia on stage. Who says fifty-eight tuba and euphonium players cannot play cleanly?
It was an exciting and final act of fellowship for the end to a fun yet intensive three day Symphonia workshop. In conclusion, thanks to all the Interlochen staff for their support of our instruments, but especially to Lois Kowalsky, Tim Wade, Barb Sandys, and James Perez who made the Symphonia Tuba Euphonium Workshop at Interlochen a reality.
Submitted by Scott Watson
The University of Oklahoma Hosts its 5th Annual International Tuba Euphonium Workshop
I.T.E.W. The 5th International Tuba Euphonium Workshop was held from June 23 -29 this year at the University of Oklahoma in Norman, Oklahoma. Fortythree participants attended from all over the country, from New Hampshire to British Columbia. This year’s workshop sold out more than three months in advance. Enrollment is limited to forty participants, sixteen euphoniums and twenty-four tubas. The faculty this year and every year included Brian Bowman, Sam Pilafian, Deanna Swoboda and Ted Cox. One of the unique aspects of this event is that the faculty lives in the dorm with the participants on the same floor. We all eat together in the cafeteria.
Dr. Brian Bowman conducting the I. T.E. W. mass tuba-euphonium ensemble.
Imagine talking shop with Brian Bowman over breakfast. This workshop is in a noncompetitive and very supportive environment. Every year the collective level of the participants gets better and better.
The daily schedule begins at 8 a.m. and continues until the end of the evening recital. The schedule includes breathing, mouthpiece and warm-up, eartraining, yoga, special interest topics, large ensembles, masterclasses, rhythm class, recitals Monday, Tuesday, Wednesday by the faculty with Thursday night having solo performances by a few of the participants. On Friday night, we have a pizza party, listen to music, enjoy “special” performances, and just generally have a great time. The workshop ends on Saturday with a final concert that includes all participants. Both of the large ensembles perform, euphonium choir, small ensembles, soloists, and the grand finale is a mass tuba-euphonium ensemble performing at the end of the concert.
The dates for next summer are tentatively set for June 22nd through the 28th of 2003. For more information, contact the University of Oklahoma College of Continuing Education at (405) 325-1947 or visit our web site at www.cafe.ou.edu/tubaworkshop.
Submitted by Ted Cox
Vigo Conservatory Honors Harvey Phillips and Hosts Tuba and Euphonium Workshop
During June 2002 the tuba was celebrated at the Vigo Superior Conservatory of Music (Galicia, Spain). Tubata, the professional quartet of tubas directed by tubist Eduardo Nogueroles, organized the Vigo International Tuba Festival. For six years, they have been coming to Vigo to offer numerous specialized courses in tuba due to the great activity centered on the tuba at Vigo. This year, thanks to the collaboration of Mel Culbertson, the Festival’s main guest was the admired professor Dr. Harvey Phillips. He taught and shared his life experiences during the four days of the conference with the forty students enrolled in the course.
Harvey Phillips and Oscar Abella at the Vigo Conservatory in Spain
The group of Galician tubists welcomed Dr. Phillips affectionately, and they greatly appreciated the lessons he taught. These lessons were offered in diverse mastersclasses, competitions, and two lectures in which Dr. Phillips spoke about the tuba in the world of music, the operation of the music business, and the history of the tuba and the bombardino.
Dr. Phillips was astonished by the level of playing exhibited by the students at the course and the progression of the tuba in Spain over twenty years for which he is directly responsible after having given classes to the Youth National Orchestra during the 1980s, where a group of excellent tubists heard him. These players have gone on to occupy excellent positions in orchestras and music conservatories. In addition to the classes of Dr. Phillips, the festival consisted of classes for the youngest tubists taught by Carlos Diaz, Ignacio Fernandez, and Sergio Property as well as the presentation of lectures by persons such as Alfonso Molhi (Conservatory of Gij6n) who discussed the tuba in jazz, Pablo Fernandez (Orchestra of Barcelona) who spoke about the preparation for orchestral auditions, Suso Lence (physical therapist) who spoke about the ergonomics of the tuba, and Angel Mounts (composer )who covered the complete history of brass instruments. There were also a good number of concerts related to the world of the tuba like those of the spectacular brass ensemble of the Vigo Conservatory, the promising brass quintet Versio’n along with the tubist Eduardo Nogueroles, the tuba quartet, Tubata, and the solo recitals by Eduardo Diz (euphonium), Sergio Finca, and Ramiro Tejera. The soloists were accompanied by the pianist Alejo Amoedo. Tuba and euphonium players at Vigo gave a sample of what Spain can expect from the tuba in the coming years. The audience was touched with the tone, loudness, phrasing, and clarity of the great soloists on each of the instruments.
For the closing of the Festival, Dr. Phillips and the young tubist Oscar Abella prepared several pieces with all of the students in an act of collaboration, in order for the students to thank the professors, sponsors, and of all the people who participated in the organization at the same time. Without a doubt, Harvey Phillips’ visit to Vigo will be remembered for many years to come by a generation of tubists that hold the future of music in their hands.
Submitted by Eduardo Nogueroles, translated by Joseph Skillen
The Harvey Phillips Northwest “Big Brass” Bash XVI
The beauty of the “Bash” is that it continues to mature and improve with each year. This year saw 109 participants from all over the Northwest and California. Ages of participants ranged from 11 to 79.
The format continues as outlined in the philosophy of The Harvey Phillips Northwest “Big Brass” Bash as a noncompetitive atmosphere where the youngest to the oldest, and the least experienced to the professional continue to share great respect for each other. All participants are equally treated important and they have continual access to the guest artists for information and moral support. The “Bash” is further dedicated to reaching the unknowing public, and creating new interest in the tuba family by bringing new players to the fold.
The format for BBb consists of a final concert on Sunday afternoon where all part icipants join together and play a medley of classical, jazz, pop, rock, and patriotic pieces. Two rehearsals on Saturday and one Sunday morning prepare the group for this final concert. The guest artists and other professionals play side by side with the participants sharing their expertise with everyone. This year, the concert was played in downtown Puyallup, Washington in Pioneer Park, only blocks away from Puyallup High School where all rehearsals, recitals and clinics were held. Eric Ryan, Director of Bands for Puyallup High School was a most successful host for this year’s event. His organizational skills contributed greatly to the smoothness of BBbXVI. It must be noted that this is the first time in our history that the event was hosted by a high school.
A highlight of this year’s event was the appearance of Puyallup’s Mayor, Kathy Turner. She welcomed “Big Brass” Bash to the City of Puyallup and made it known that The City of Puyallup is most interested in hosting this event in the future and being an even larger part of the production. A larger more appreciative audience than usual was in attendance thanks to the location of the event.
Gene Pokorny and Loren Marsteller were featured guests, in addition to Harvey Phillips. It was great seeing Harvey in better health and having him contribute many new ideas and insights on how the “Bash” can be even more productive in the future.
On Saturday, Loren Marsteller presented a clinic on instrumental musicality and Harvey Phillips presented a session on “Developing Careers for a Life in Music.” Gene Pokorny’s clinic on Sunday partly featured a session on being a studio musician. He showed an example of the manuscript for a cartoon take featuring a rather difficult tuba solo and invited participants to play the part. He emphasized the fact that Tommy Johnson had only one shot to make it work. Seeing and hearing the actual take was very revealing as to the demands on the freelance musician and to the skills of Tommy Johnson.
Two recitals followed by the traditional ice cream social completed the day on Saturday. The afternoon’s Young Artists Recital is for young and amateur performers who wish to demonstrate their skills in solo and small ensemble. Elevenyear- old Emma Day of Puyallup, who began playing euphonium in September of 2001, opened the recital.
Other performers on the Young Artists Recital included ninth grade tubists Jens Peterson of Lakewood and Connor Day of Puyallup. Sophomore Evan Lewis, euphonium, of Puyallup, Senior Kyle Gillett, tuba, of Missoula, Montana and University of Washington tuba students Tyler Benedict and Kevin Pih performed as well. The Studio C Tuba Quartet was comprised of Ed Barker and Steve Harmon, euphoniums and Tyler Benedict and Mark Wiseman, tubas. Golden Lund of Brigham Young University, Matt Carlson of Oberlin University, and Martin Cochran of the University of Puget Sound also performed. For further details on this and the following recital, please refer to our web site.
The evening’s John Baker Founder’s Recital was perhaps the best recital we have had in the history of BBb. This recital opened with all of the glory of the earth bursting forth as Gene Pokorny, Chris Olka (Principal Tubist, Seattle Symphony Orchestra), and Keating Johnson (Washington State University Director of Bands), performed the complete Vaclav Nehlybel Ludus with Jeff Turay conducting. Brilliant playing by soloists Keating Johnson, tuba, and Jason Gilliam, euphonium, of Tacoma, followed and continued to contribute immensely to the success of this recital.
A special mention goes to Chris Olka whose performance of Anthony Plog’s Three Miniatures was stunning to say the least. This author has never heard this piece played in live performance or on recording with greater skill or artistry than was presented in this performance. As Gene Pokorny put it in reference to Chris: “He does not have to take a back seat to anyone. He is an extremely fine musician who happens to play the tuba very well.” We are very fortunate to have Chris in our community and as an active member of the board for BBb.
Another special mention goes to our accompanist Kim Russ of Seattle who has one incredibly difficult Saturday. She spends all morning rehearsing with the performers from both recitals and then performs both recitals in the afternoon and evening. Her playing is always admirable, brillian t, and greatly enhances the performance of all artists. Loren Marsteller overheard her rehearsal with Emma Day, and noted the gentleness and encouragement Kim afforded this youngest performer on her maiden solo adventure. It is a great opportunity for these young performers to have such a seasoned professional work with them.
Two local ensembles were featured in the evening concert. The Astoria Tuba Quartet, a long established quartet in the Northwest, had a last minute change of personnel as Bob Joiner, a founding member, was suddenly stricken ill and could not attend. Dave Baldock, a local euphonium player filled in admirably making it unnecessary for the group to cancel their performance. The other members of the group are Sam Blumenthal, euphonium, with Dennis Hale and Lee Stromquist, tubas.
The Oregon Tuba Ensemble, a part of the larger Oregon Tuba Association, is comprised of Steve Katz, Bill Martin, Jeff Turay, and Warren Wellford on euphonium, and Susan Daily, Chuck Guzis, John Huenink, Dean Huston, Dave McKee, and Jim Seaberry, on tubas. The ensemble is conducted by John C. Bigelow. John Huenink’s story telling is always fun in his narration for the group. It is interesting to note the continuous refinement in their performance each year as they continue to play together. Loren Marsteller concluded the first half of the recital with a variety of pieces and instruments. His presentation in addition to his fine musical performance from memory was most educational for all. He performed on a Boston Instrument Company Civil War era baritone, on a French ophicleide, a Besson baritone, and finished with his King euphon ium. It is a treat to hear a real baritone in solo performance played with such musicality.
Gene Pokorny concluded the second half of the recital all on contrabass tuba. It is refreshing to hear an artist who prefers the large tuba for his solo performance. His performance on this most noble of tubas was as smooth and flawless as anyone playing bass or tenor tubas proving that it can be done. His musical phrasing is second to none in the tuba world and his extensive use of the low register is what tuba playing is all about. The fat round sound of the 6/4 CC tuba and the use of the low register is very instructional to all within the tuba community who only play BB-flat tubas.
Next years “Bash” is scheduled for Saturday and Sunday, July 12th and 13th, 2003 at Central Washington University in Ellensburg, Washington. For further information regarding the philosophy, h istory, format, and previews of next years “Bash” please see our web site at: http://www.hpnwBBb.org. Featured guests will be: Michael Mulcahy, Chicago Symphony Orchestra, euphonium, Chris Olka, Seattle Symphony Orchestra, and Deanna Swoboda, Dallas Brass, tubas.
Tuba History featured at the “Great American Brass Band Festival”
Lloyd P. Farrar and Carole Nowicke presented what Frank Cipolla called a “mini tuba history conference” for those attending the Thursday, June 13th program of the Great American Brass Band Festival at Centre College in Danville, Kentucky with talks on the “True Origins of the Sousaphone and its First Superstar, Herman Conrad” and “Bill Bell” respectively. Paul Bierley presented a lecture on “John Phillip Sousa: Musician for the World” at the Friday history conference on June 14th.
Harvey Phillips presents clinic at the Northwest Big Brass Bash XVI.
The best deal for those “of age” interested in this conference is to attend the Elderhostel connected with it. Elderhostel participants stay in the convenientlylocated dormitories, are given their own private day-long conference (plus the regular Friday history conference), have opportunities to meet performers, are fed in a style to which one would wish to be accustomed, and have many additional tours and activities. Tubists performing at the GABBF included Marty Erickson, Andy Kochenaur, and Bill Granger.
Submitted by Carole Nowicke
Travelin’ with the Tuba
Travelin’ with the Tuba
A new section devoted to persons taking interesting trips with their instruments.
Marty Erickson and Roger Bobo will be teaching at the International Course for Brass and Woodwind Instruments in the municipality of Kalavrita, Greece.
John Manning, featured artist at the Costa Rican Brass Festival
The Second Annual Trombones de Costa Rica International Brass Festival took place from July 7-12, 2002 at the University of Costa Rica Music School. Four American artists were invited to participate: Peter Ellefson, trombone (Seattle Symphony, Indiana University); Gregory Flint, horn (Chicago Brass; De Paul University); John Manning, tuba (Atlantic Brass Quintet, University of Massachusetts); and Stephen Burns, trumpet (International soloist and conductor). The week consisted of masterclasses, private lessons, chamber music coaching, nightly recitals, and involved students from Panama, El Salvador, Colombia, Guatemala, Nicaragua and Costa Rica.
Mr. Manning first made the acquaintance of the four gentleman that comprise the Trombones de Costa Rica two years ago while participating in the Festival de las Artes in San Jose as a member of the Atlantic Brass Quintet. At that time, the trombones joined the Atlantic Brass in concert, premiering two works by Costa Rican composer Vinicio Meza.
Mr. Manning feels that what the Trombones de Costa Rica are doing is important and crucial to the growth of brass players in Central America. They are literally trying to change their part of the world through their efforts. With limited sponsorship and government funding, they have financed their International Fest ival de Bronces out of their own pockets with a goal of educating brass players and audiences in Central America.
Mr. Manning comments: “It was a great week! The faculty was world-class, and the students outstanding. I found myself educating students on Klezmer music, jazz, breathing, and contemporary music. We also learned a lot about “Salsa” music and about the people and places of Costa Rica. One of the highlights of the week had to be the amazing food and the outstanding tropical fruits and juices. All in all, it was a fantastic experience and I would recommend it to anyone.”
All of the artists agreed that Costa Rica was a beaut iful country, full of talented young brass players hungry for information. They were quick studies, and had excellent endurance, sight-reading skills, and positive attitudes. If invited to participate in this festival, all of the artists unanimously encourage you to accept the invitation and prepare for a great week of teaching, music making, and fun.
Members of the Trombones de Costa Rica and the guest artists of the International Brass Festival of San Jose, Costa Rica. Standing: Peter Ellefson, Stephen Bums, Alejandro G., Martin, Leonel, John Manning, Ivan Chinchilla; Kneeling: Gregory Flint
Before leaving Costa Rica, John made what he calls an important investment. With most of the fee he received as payment from the festival, he commissioned a new work by Costa Rican composer Vinicio Meza, to be premiered in early 2003. He also has plans to work with Ivan Chinchilla, bass trombonist with the Trombones – and Costa Rica’s only tuba instructor next year at the University of Massachusetts. The Trombones de Costa Rica is scheduled to tour the United States next winter. If you get the opportunity, please go out of your way to hear them. For further information, go to the Trombones de Costa Rica website and click on “International Brass Festival.” The URL is is http://www.trombones.co.cr/ indexi.html.
Inspired by his travels and exposure to many styles of music, John Manning has declared a theme of “diversity” to the upcoming Northeastern Regional Tuba Euphonium Conference (NeRTEC) 2003, which he will be hosting March 21-23 at the University of Massachusetts. For more information, contact John Manning (email@example.com).
Oscar Felix LaGasse’ (1903-2002)
LaGasse’, Oscar Felix, 98, a lifelong resident of the Detroit area, died on May 30, 2002, in Oklahoma City, Oklahoma, where he lived since the fall of 2001. Oscar was born October 15, 1903, in Amesbury, Massachusetts, the son of Charles Stanislaus LaGasse'(y) and Anna Josephine Pellerin LaGasse’. A 1925-graduate of Cass Tech High School, Oscar was a retired thirty-year member of the Detroit Symphony Orchestra, a lifetime member of the Detroit Federation of Musicians, and a music instructor at Cass Technical High School and the former College of the City of Detroit, now Wayne State University. For various periods during the 1920s and 1930s, he was a musician for the Michigan Theatre, Cass Theatre, and the WWJ Radio Orchestra as well as many dance bands of the era. His instruments included the cello, string bass, and tuba. After his retirement from the Detroit Symphony in 1970, he continued teaching music and established LaGasse’ Products, his woodworking business. A lifetime member of The Elks Lodge, Oscar was a member of the First United Methodist Church in Royal Oak, Michigan. Oscar was preceded in death by his parents and two brothers Homer and Wilfred. He was married for forty-eight years to the late Ellen June Hitchcock LaGasse’, who died in 1979. In 1981, he married Florence Rimer Beutenmiller LaGasse’, who passed away in 1994. Survivors include three children-Paul, Oscar and wife, Larissa, of Canyon Country, California; Alice Ann Fitzpatrick and husband, Robert, of Oklahoma City, Oklahoma; Yvonne Foster (Bonnie) King of Springfield, Virginia; stepson Jack Beutenmiller and wife, Donna, of Macomb, Michigan, and stepdaughters Mary Jane Schweizer of Birmingham, Michigan, and Barbara Jones of Lakeland, Florida. He is also survived by one sister, Ann Marie Ecklund of Mancelona, Michigan, fourteen grandchildren and twentythree great grandchildren. A celebration of his life was held on June 21, 2002 at the First United Methodist Church in Royal Oak, Michigan. The family suggests memorials be made to the Detroit Symphony Orchestra or Good Shepherd Hospice, 4411 Highline Blvd., Oklahoma City, Oklahoma 73108.
(Mr. LaGasse’s contribution to the tuba and music during his career was substantial. We, the ITEA Journal Staff, plan to publish an article about Mr. LaGasse in an upcoming journal- JS)
David Uber’s 2002 Catalog of Works Now Available
David Uber has prepared an updated new 2002 catalog of his publications for brass, woodwind, and percussion instruments. Each composition is listed as to level of difficulty and duration plus the names/addresses of the 32 publishers. This catalog may be obtained, FREE of charge, by writing to:
Dr. David Uber
283 Mountain View Road
Tinmouth, VT 05773-9321
New CD Released
New CD Released
The eagerly anticipated follow-up to the critically acclaimed Brass Nation CD is in! New Brass features Michael Davis’ dynamic compositions performed by a handpicked group of brass virtuosi. Included in the impressive lineup are Gene Pokorny, Phil Smith, Ray Mase, Phil Myers, Joe Alessi, and Bill Reichenbach. Recorded in New York in January of 2002, New Brass is available exclusively from Hip-Bone Music (www.hipbonemusic. com).
Merry Tuba Christmas 2002!
THE POEM: MERRY TUBACHRISTMAS ALEC
(“Owed to Alec”)
Twas the week before Christmas
and all ‘cross the land
every low brass performer
joined the mass contra-band
From New York to Dallas
from Kent to Aruba
all bass clef enthusiasts
reached for their tuba
By the hundreds they gathered
to play as a choir
the great Christmas carols
we all love and admire
with a great organ sound
led by Dr. Fennell
a conductor renowned
Every tune well arranged
every note in its place
every word underscored
with elegant grace
What a great contribution
we agree and concur
made by one Alec Wilder how we love you, Dear Sir!
-By Harvey Phillips- 1978
The above poem was sent to Alec Wilder for Christmas 1978 to acknowledge his having arranged nineteen Christmas carols for the first TUBACHRISTMAS concert on December 22, 1974 in New York City’s Rockefeller Plaza. Alec’s arrangements are played at every TUBACHRISTMAS throughout the world. Conceived as a tribute to William J. Bell (born Christmas Day, 1902), TUBACHRISTMAS honors all great artists/ teachers and through American composer Alec Wilder (died Christmas Eve, 1980)
The event also honors all composers who have embraced the tuba and euphonium with their solo and ensemble compositions.
As noted in the News Column, Summer Journal 2002, Christine Quefeld of Chicago, Illinois passed away this past April. In appreciation of her endowment for the “Arnold Jacobs Tuba Chair endowed by Christine Quefeld” for the Chicago Symphony Orchestra, she was honored at the MERRY TUBACHRISTMAS held in Chicago last year.
Pictured is the plaque that she was presented. This year we honor the memory of William J. Bell’s 100th year (December 25, 1902-December 25, 2002). Please visit the official website for more information ( www.TUBACHRISTMAS.com)
Harvey G. Phillips
Web Pick of the Quarter
Historical Brass Society
In considering this quarter’s web pick I decided to go a different direction – using technology to discover the past. We should all be interested in the history of our instruments and the developments of all musical instruments. The Historical Brass Society gives us this insight through their web site. There are many articles available on the history of the euphonium and tuba. Go to the page and if interested, join the society in order to receive their journal. Happy travels to our ancestry! ]S Historical Brass Society: www. hiswricbrass. org.