News Kelly O’Bryant, Editor (T.U.B.A. Journal News)
Have a news item for Euphonium and Tuba News? Please send all news items DIRECTLY to Associate Editor for News, Joe Skillen rather than the Journal editor. This saves time and streamlines our production process. Whether it’s news about an upcoming performance in your area, a report on activities that have taken place, news of accomplishment by a TUBA member, or something that’s just plain fun, we want to hear from YOU!
The T.U.B.A. Journal is happy to have learned of the following new appointment:
David Kutz has recently been appointed Assistant Professor of Tuba and Euphonium at the University of Missouri in Columbia, Missouri. David received his Bachelor of Music degree in tuba from Queens University, and his Masters degree in tuba from McGill University. He is currently ABD at Northwestern University, from which he also holds a Performer’s Certificate. His teachers include Dennis, Miller, Rex Martin, Gene Pokomy, and the late Arnold Jacobs. Congratulations to David, and best wishes as he begins his new duties at “Mizzou”!
Neal Campbell has recently been appointed Instructor of Tuba and Euphonium at Wayne State University in Detroit, Michigan. Neal is currently Tuba Artist in Residence with Custom Music Company. He is also a substitute tubist for the Detroit Symphony Orchestra, and he tours extensively with the River City Brass Band, based in Pittsburgh, Pennsylvania. Congratulations, Neal!
Sean Chisham recently emerged as the winner from the latest tuba audition for the U.S. Army Band, “Pershing’s Own”, in Ft. Myer, Virginia. He received his undergraduate degree from the University of Kansas and masters degree from Northwestern University. He also studied independently at Indiana University. His teachers have included Scott Watson, Rex Martin, and Daniel Perantoni. Congratulations to Sean, and best wishes as he begins his adjustment to military life, especially his upcoming journey to Army boot camp!
Kaenzig recognized as leading teacher by University of Michigan
Fritz Kaenzig, Professor of Tuba and Euphonium at the University of Michigan School of Music, received the 1999 Harold Haugh i Award for excellence in studio teaching at the University of Michigan. The Harold Haugh Award is presented every other ] year for excellence in private studio teaching. In this context, I “excellence” includes a high degree of concern for the individual L student as a person of worth, and acceptance and encouragement of the student regardless of the student’s status and attainment. The Harold Haugh Award has been in existence since 1975 and was originally established by former students of Prof. Haugh to honor excellence in studio teaching. Each department at the School of Music nominates a recipient. The Executive Committee, comprised of University of Michigan School of Music faculty, selects the recipient from among departmental nominees.
Fritz has been at the University of Michigan since 1989. He has served as Principal Tubist of the Florida Symphony Orchestra and as additional or substitute tubist with Amsterdam’s Concertgebouw and the symphony orchestras of Detroit, San Francisco, Houston, Chicago, Los Angeles and St. Louis, under such conductors as Bernstein, Haitink, Leinsdorf, Ozawa and Slatkin. He has also recorded and performed as soloist with several of these orchestras, among others. Since 1984, he has been Principal Tubist in the Grant Park (Chicago) Symphony Orchestra during summers. He has also been quite active as a member of brass quintets and similar ensembles. As guest instructor, recitalist, soloist with ensembles, and adjudicator, Fritz has made appearances at many high schools, colleges, universities, and summer music camps throughout the United States, Korea and Japan. Prior to joining the U of M faculty in 1989, he taught at the University of Illinois and the University of Northern Iowa in Cedar Falls. He has served as vice-president and president of the Tubists Universal Brotherhood Association.
Uber receives ASCAP honors
Dr. David Uber has been awarded the prestigious ASCAP award for the year 2000. Uber, Emeritus Professor of Music at The College of New Jersey, will have his commissioned work “Commemoration Overture”, opus 384, premiered by the Salem County Brass Society, Dr. Charles Musser, conductor, in Carney’s Point, New Jersey on April 30, 2000.
A complete catalog of David’s compositions (including publisher listings and difficulty levels) may be had free of charge by contacting him at: Dr. David Uber
283 Mountain View Road
Tinmouth, Vermont 05773-9321
T.U.B.A. Presents Award to Col. Bryan Shelburne
For the last 10 years Colonel L.
Bryan Shelburne, Jr. has played host to the U.S. Army Band’s annual Tuba-Euphonium Conference. This year’s conference took place January 26-29, at Brucker Hall, Ft. Myer, Virginia. However, this year marked Col. Shelburne’s final conference since he will be retiring from the military on April 3, 2000. To mark the occasion, Winston Morris on behalf of T.U.B.A. President Scott Watson, presented a special plaque to the Colonel in recognition of his many years of service to the advancement of our instruments. The presentation took place during the final Grand Concert featuring the Army Band with soloists, Roger Behrend, John Griffiths, Steven Mead and Roger Bobo. Col. Gary Lamb, who will be taking Col. Shelburne’s place as Leader and Commander of the Army Band was also on hand as a special guest conductor. Next year’s Army Band Tuba-Euphonium Conference will be held January 24-27, 2001. For more information, contact Conference Chairman Jack Tilbury at Jtubagator@aol.com
NEWS FROM RUSSIA
During his sabbatical leave, John Griffiths from Regina, Saskatchewan, Canada (Host of ITEC 2000) toured in Russia last November. He gave two masterclasses and a recital in Moscow, as well as a recital and masterclass in St. Petersburg.
John made a tremendous impression! “An event of utmost importance!” and “Amazing playing!” were only two of a number of enthusiastic reviews on two beautiful recitals by John. “1 couldn’t imagine before, that somebody can play the tuba, in spite of it’s dimensions and shape, with musicality and mastery like John!” said pianist Svetlana Rayeva after she accompanied John’s Moscow recital. All works on John’s recitals were by Canadian composers and were commissioned specifically for him. Great interest was aroused for his CD, Canadian Chops, and the newly updated version of his book. The Lxnu Brass Guide, first published in the 80’s and translated into Russian by Alexei Levashkin.
Alexey Tcharykov informs the Journal that the first tubarelated web site in the Russian language was activated in December of 1999. The web site “Tuba in Russia” can be found at www.tuba.org.ru.
Instrument Maintenance/Repair Seminars Offered
Two seminars on music instrument preventive maintenance and repair are being offered at Minnesota State College-Southeast Technical in Red Wing, Minnesota in June of 2000. These seminars are drawn from the established diploma programs in Band Instrument and Musical String Instrument Repair that are taught during the academic year. Targeted to music educators, performers and music store sales staff, these seminars will explore how to properly maintain either woodwinds and brasswinds or guitars and violin family instruments in two separate instructional blocks. The lab environment will also allow for some handson practice in adjusting, cleaning and performing minor repairs. The seminar on Stringed Instrument preventive maintenance is offered Thursday through Saturday, June 14-17, 2000 from 8:00 a.m. to 4:30 p.m. (32 hours). The seminar on Band Instrument preventive maintenance and repair is offered Monday through Thursday, June 19-22, 2000 from 8:00 a.m. to 4:30 p.m. (32 hours). The cost is $700 per seminar and includes tools and continental breakfasts and lunches. For those interested, undergraduate or graduate credit is available at extra cost. For more information contact: Custom Training Office, MSC-ST, 308 Pioneer Rd., Red Wing, MN, USA 55066-9904 or phone (800) 657-4849 or (651) 385-6300 or fax (651) 385-6377.
Oberlin Brass Institute
The Oberlin Conservatory of Music is pleased to announce the first annual Summer Brass Institute. High school musicians are invited to attend a stimulating week of materclasses, clinics, lessons and recitals in a releixed and productive environment. The Institute is designed for students who are thinking about pursuing music at the college, and possibly professional levels, and who wish to devote a week to intensive work on brass playing skills. Wesley Jacobs, principal tubist of the Detroit Symphony Orchestra and Professor of Tuba at the Oberlin Conservatory of Music will be the tuba instructor for this Institute. For further information, contact the Office of Outreach Programs, Conservatory of Music, Oberlin College, Oberlin, Ohio 44074 or call (440)-775-8044 or e-mail firstname.lastname@example.org.
PASSING OF FRIENDS
The T.U.B.A. Journal is saddened by the loss of the following friends.
Gizella Jacobs, wife of the late, legendary Chicago Symphony tubist Arnold Jacobs passed away the evening of November 26, 1999.
One night in Philadelphia, Arnold Jacobs met a dancer from the show he was playing. Gizella Valfy was bom in Chicago on January 9, 1911 and had been dancing for several years on the Vaudeville circuit, working shows with many big bands. Gizella and her dance partner performed such dances as the Adagio and Bolero, wearing costumes she designed and made for herself and other dancers.
It was on Christmas Eve 1937, Gizella and Arnold Jacobs were married – over 60 years until Arnold’s passing away on October 7, 1998. After a little more than a year apart, Arnold and Gizella are together again, Arnold playing in an orchestra and Gizella dancing. (Source: Brian Frederiksen)
Mr. Robert King, the foremost brass music publisher in the twentieth century, passed away in Massachusetts during his recent chemotherapy for cancer. To the end of his life he retained an active interest in the development of brass music and its performance in this country.
The earliest direct influence on the development of King’s interest in the brasses was his father, Fred King (1887-1968), a tubist prominent throughout the Boston area and the master of the Ames Band in North Easton. It was Fred and Robert’s wife, Sally, who kept the Robert King Music Company in business while Robert was assigned to a quartermaster division as a band conductor in the South Pacific during World War II. Early in his life he had been especially interested in the development of – then nonexistent in The United States – brass chamber music, largely under the influence of his euphonium teacher, Aaron Harris (1887-1968). It was Harris as a violist who introduced King to the nuances of chamber music that could be achieved also with the brasses. King’s brass quartet remained active in various forms until the early 1960s. During most of the last decade of its activity it performed mainly as an adjunct to church services in and around North Easton, Massachusetts, his home town.
It will be largely from the efforts of Mr. King in his later years that we will eventually be able to read, and recover, much from a rich and interesting era of our art that would have been irretrievably lost had he not had the foresight to pass along as much about it as he did. For that, as with so much else that has originated from him, we and our descendants will remain grateful.
(Source: Andre M. Smith)
Philip Jones, who held the top trumpet position in six London orchestras and formed a brass ensemble that played for audiences worldwide, passed away January 17th, 2000. He was 71. Jones, who came from a family of trumpeters, was determined to prove that brass instruments could hold center stage and captivate an audience. He created the Philip Jones Brass Ensemble and led the group on tours of more than 30 countries. The ensemble made 50 recordings and performed 87 world premieres. Bom on March 12, 1928, in Bath, England, Jones developed his musical skills early. In 1944, he won a scholarship to the Royal College of Music. He played for the Royal Philharmonic from 1956-60, the Philharmonia from 1960-64, the London Philharmonic from 1964-65, the New Philharmonia from 1965-67 and the British Broadcasting Corp. Symphony Orchestra from 1960-71. Jones formed his brass ensemble in 1951 as a quartet. The group added a fifth member in 1961, and as the number of engagements grew so did the size. By 1970, the band consisted of 10 players. They performed throughout Europe, the United States, Asia and Australia.
Jones retired in 1986, coming to his decision after he drove over his own tmmpet case and cmshed it. The Times said. In retirement, he devoted his time to teaching and charity. Jones accepted a position at Trinity College of Music that he held until 1994. He also worked on a musicians’ charity fund, acting as chairman in 1995. In 1977, Jones was awarded an OBE, or Order of the British Empire. In 1986, he was given the higher honor of a CBE, or Commander of the Order of British Empire. Jones is survived by his wife, Ursula Strebi.
(Source: Associated Press)
A1 Balestra A1 Balestra – tubist, educator, conductor, husband, and father, passed away on Sunday, December 12, 1999, in Syracuse, New York, at the age of 76. A1 studied tuba with William Bell, and was the original (charter member!) principal tuba of the Syracuse Symphony Orchestra. A1 was the Music Director/Conductor of the LaFayette Community Band, the Skaneateles Community Band, and played tuba and euphonium in the Auburn Civic Band, all in the Syracuse area. A1 was the first tuba major at Syracuse, and was Professor of Tuba there for 15 years. He was a retired 29-year Band/Music Director in the LaFayette Central School District.
Barney Childs, noted Composer and music educator, passed away on January 11th, 2000, in Redlands, California. He was one of the first composers who took the tuba seriously as a viable solo instrument and wrote extensively for it. He was bom in 1926 in Spokane, Washington and was largely selftaught as a composer, though he did study composition with Carlos Chaves, Aaron Copland, and Elliot Carter. He earned his Ph.D. in music and literature at Stanford University and was a Rhodes Scholar. He was present at the first International Tuba Symposium Workshop in May, 1973, at Indiana University and was commissioned after that conference to write his Concertpiece for Tuba and Band. He facilitated a collaboration between William Penn, a young Eastman music student at the time, and Gene Pokomy, then an undergraduate student at the University of Redlands, which resulted in the premiere performance at that conference of Penn’s Three Essays for Solo Tuba.
Barney Childs’ own compositions for tuba included Mary’s Idea (for tuba and harpsichord), A Question of Summer (for tuba and harp), Concertpiece for Tuba and Band, Music for Tubas (for tuba sextet). Quartet Fantasy (for tuba quartet). Supposes: Cloud Busters (for unaccompanied tuba with realization by the performer), Seaview (for tuba and piano), and an arrangement of the the traditional Blue Bells of Scotland (for tuba and piano). He wrote music for various instmments and in many different styles. He was particularly noted for his scores that invite performers’ collaboration in the very constmction of the works and in which indeterminacy and improvisation were incorporated with traditional forms of structure and notation.
His sarcasm, wit and cutting humor were hallmarks as well as his willingness to help educate and provide opportunities to help young people advance. His major publisher has been the American Composers Alliance and much of his music is now housed at the “Barney Childs Music Archive” in the Armacost Library at the University of Redlands in Redlands, California.
(Courtesy: Gene Pokorny)
Reminisces of TubaMania 1999
December 13-22, 1999 were significant dates in the history of tuba and euphonium conferences. Steve Rosse, Principal Tubist of the Sydney Symphony and host of the TubaMania Conference, had gathered a stellar group of tuba, euphonium, and trombone artists from around the world to present recitals, master classes, and performances in Sydney, Australia. In addition to artist level performers, invited student competitors from nearly a dozen countries vied for major prizes and recognition. Student ensembles also presented concerts, and several recital venues featured some of Australia’s select professional ensembles such as the Willoughby City Band, Royal Australian Air Force Band (Sydney) and the Melbourne Chamber Brass.
Rather than list every performer, recital, and venue, I decided to share some thoughts about the conference and its profound impact on me as a performer and a participant. A complete list ofpetformers, competition winners, and the format of the conference is available on the TubaMania website: http://www. tubamania.com.au . Interested parties should access that site for post-conference information.
The moment I boarded my plane for the long journey from Phoenix, Arizona to Sydney, Australia, I had difficulty suppressing the excitement of heading to this conference. It was my first time to visit Australia and, while my fourteen plus hours non-stop from Los Angeles paled in comparison to some artist’s travels of nearly twenty-four hours, I was sore and tired by the time I landed in Sydney in the early morning after an overnight flight. Fortunately, my six foot eight inch height allowed me to sit in the relatively spacious and coveted exit row aisle! After I cleared customs and finally made it outside into a waiting cab, the sunny skies, warm temperatures, and moderate humidity refreshed my senses. With semi-tropical vegetation and its location on the Pacific Ocean, Sydney is a tourist’s dream of beaches, water sports, fine restaurants, and all the amenities of a modem metropolitan area. The drive from the airport to North Sydney was fraught with traffic and narrow roads but it allowed me to take in different parts of the city as we wound around various locales until finally crossing over the great harbour bridge into North Sydney where I was staying at the Harbourview Hotel, just a few blocks from Shore School, the site of the conference. One thing was very clear about the location of the conference hotel and the conference site – it was all uphill. By the time the conference was over I was in better shape but it was tough going initially lugging a tuba up a rather steep hill for several blocks every day to the Shore School!
The conference site is a lovely private high school overlooking Sydney Flarbor. It has a spacious recital hall, floors of practice rooms, and several rehearsal rooms making it a convenient and excellent location for a conference. Since school was out of session during the conference, we had the added benefit of having all the facilities to ourselves. From the start, details and expectations were well in hand. Steve Rosse had organized a good conference staff and all worked hard to create a professional environment and a smooth-mnning conference. Kudos are due Steve and his conference manager. Peter Kilpatrick.
The conference featured creative scheduling and the compactness of the campus allowed for many participants to get to know one another in a variety of settings. With approximately one hundred eighty or so participants, the conference was not huge. There were few overlapping events typically found in larger venues so it was literally possible to see every event. With two exhibit rooms full of a generous selection of instruments to play, accessories, and fairly comprehensive CD selections of favorite artists and ensembles from around the world, all participants had plenty of opportunities to learn about the latest equipment and sounds of our instruments. One of the many special ways this conference affected me personally was the relaxed scheduling of events. The typical conference day included a morning master class on trombone, euphonium, and tuba; a noon concert featuring a student ensemble, an afternoon recital or special topic session, and an evening concert. There was plenty of time to visit with other participants, visit the exhibits, practice, and to schedule time to see the city sights! I, for one, spent many pleasant hours throughout the conference talking with professional colleagues, students, and amateur participants exchanging information about ourselves and the profession. My new friendships and business card collection have both grown! As well, I found time to visit the Rocks on a shopping trip for my family (including the purchase of my second didjeridu). I also used the train and ferry services to visit some of the famous landmarks such as Manley and Bondi beach, the Sydney Opera House, the local Zoo, and other locations during the conference. The restaurants are fabulous in Sydney!! One memorable afternoon was spent taking a train and bus to Bondi Beach with Oystein Baadsvik, the great tuba artist from Norway. Considering it was the beginning of summer in Sydney in December, both Oystein and I were delighted to wade in the relatively warm waters of Bondi Beach even as he was relating how high the snow was in his native Norway!
The quality of performance at the Tuba Mania conference was truly stellar. Many of our most illustrious soloists were present and many performances truly deserved the rousing standing ovations given. As well, the finalists for the chamber music competition and the young artist tuba and euphonium competitions gave new meaning to the level of current performance standards. The judges had a difficult time narrowing down choices for the finals and eventually the winners of each competition. Despite the seriousness of most of the recitals and competitions, there were also plenty of lighter moments during the conference. One of my personal favorites was an incredible rendition of Monti’s Czardas during Oystein Baadsvik’s recital where as he reached the final runs he literally stood up on his chair to finish the last octave in the stratosphere of the tuba range! Another moment of light hearted fun occurred during Steven Mead’s recital when after a particularly difficult solo he calmly stood before the audience after taking a swig of water from a glass and pointed to his lips stating “you will be tired long before these get tired!” Probably the most bizarre and fun event was the tuba throwing competition held shortly before the end of the conference. An old unplayable tuba had been purchased on the cheap for this event from a local pawn shop. Students and artists alike each took turns hefting this tuba across a field as though it were an Olympic hammer throw! As the accompanying photos suggest, the tuba was even less playable after the competition.
The 1999 Tuba Mania holds many fond memories for me. The exotic location, beautiful weather, stellar performances, and true camaraderie among all participants made this conference one of the best 1 had ever attended. Profound thanks are due to Steve Rosse and his staff for organizing and managing such a wonderful conference. Steve has raised the level of consciousness for the tuba and euphonium to new heights in Australia as well as in neighboring countries. I expect to hear more from our many young artists in Australia and New Zealand as they take their place in the near future among our most respected colleagues as true artists of the profession. – Mark Nelson
Top Brass: The IWBC
“It’s a man’s world.” Until the last half of the 1900s, women everywhere were all too familiar with this tenet. America’s involvement in two World Wars created opportunities for women to prove they were as capable as their male counterparts by stepping in to fill openings left by manpower shortages. Education, Equal Opportunity laws and a heightened sense of “political correctness” have certainly opened doors for women, but many professions, industries and businesses continue to be male dominated. If you are a female brass player, you have probably experienced this all too often. A deeply ingrained gender bias, not poor performance or lack of physical strength continues to keep women brass players from being selected for coveted positions. Whether overtly stated or covertly implied, “We need a man to play the solo parts” remains a constant frustration in auditions. The few women who are chosen often encounter feelings of isolation. The truth is, women brass musicians are still regarded as an oddity.
Obstacles such as these were the triggers that prompted Susan I Slaughter (Principal Trumpet of the Saint Louis Symphony) to do some in-depth research. She discovered that established professional musicians’ organizations had sound and worthwhile agendas of their own, but none of them addressed both the major issues and the particular needs of female brass players. Ms. Slaughter then sent out questionnaires to 1400 female brass musicians to get an indication of interest level and topics of concern. She was told to expect a 2-3% response rate (average for most unsolicited questionnaires). Instead, her response rate was an unprecedented 29%. Furthermore, an overwhelming 94% of the respondents were eager to participate in an organization that focuses on issues geared to women brass musicians. As a result, the International Women’s Brass Conference (IWBC) was formed in 1992.
The IWBC is unique in its purpose. It is the only musicians’ association that provides a forum for all brass players-women and men, professionals and students-to meet on common ground, to offer one another a sense of community, encouragement, friendship and support. The IWBC’s mission, though succinct in verbiage, is broad in scope: To provide opportunities to educate, develop, support, employ and inspire women brass musicians who wish to pursue professional careers in music. Pioneer bass trombonist Betty Glover (Cincinnati Symphony Orchestra, retired) has been a strong supporter of the IWBC since its inception. “An organization like this, with so many brilliant players of such professionalism, shows a united front,” she stated in a recent phone interview. “This is bound to make an impression on conductors throughout the world. Sooner or later, they can’t ignore us any more. There is no longer such a thing as ‘a man’s instrument’ or ‘a woman’s instrument.’ IWBC provides the important role models which are so necessary for young female brass players,” Glover went on to say. Marie Speziale (trumpeter, educator and current President of the IWBC) echoes Ms. Glover’s sentiments about role models. Ms. Speziale sees the IWBC as being “the only forum at the present time to actively work toward insuring that all brass players are given an equal opportunity to showcase their talents and compete for employment.”
Equal consideration for employment and equal pay are key IWBC goals. Recognition of a few to give the appearance of acceptance is not the same as acceptance of the many who have proven, and continue to prove, they are more than equal to the rigors of the task. “The IWBC will always be a conference that supports women brass musicians through networking, education and performance opportunities,” states IWBC founder Susan Slaughter. Slaughter feels “there will always be a need for the IWBC, but maybe by the 22nd century all will be equal.” If the IWBC meets its goals, the “playing field” will be equal much sooner than that.
IWBC 2000 will be convening on the campus of the College Conservatory of Music (CCM) in Cincinnati, Ohio from June 28 through July 1. The conference will be among the first to enjoy CCM’s newly renovated facilities at the University of Cincinnati. More than 40 artists will be appearing at the conference, including soloists, jazz and classical ensembles, veteran players and exciting young ones. IWBC 2000 provides the only opportunity for brass players from around the world to exchange ideas, share experiences, and learn from one another. In addition to the workshops, seminars and master classes planned for the Conference, the solo brass competition promises to be one of the most exciting events. Two cash prizes will be awarded in each of six instrument categories (horn, trumpet, trombone, bass trombone, euphonium and tuba). The competition is open to men and women, students and professionals. There is no age limit. However, all solo competitors must be registered conference attendees.
For more information on the conference or to request a registration brochure, visit the IWBC web site at http://metro.tumpike. net/~iwbc/ or write to: IWBC, University Conferencing, 567 University Hall, RO. Box 210031, Cincinnati, OH 45221-0031. You may also phone (513/558-1810) or Fax (513/558-0385) a request for the Conference 2000 brochure.
Due to an oversight, the previous issue of the Journal (Volume 27, Number 2) should have been designated as “Winter, 2000” rather than as “Winter, 1999.” Library and Institutional subscribers who catalog the Journal as part of their permanent collection may wish to rc-label the magazine accordingly and correct other searchable databa.ses to avoid confusion, as Volume 26, Number 2 is also (correctly) designated as “Winter, 1999.” We regret and apologize for the error.