Terminals of Excellence

I fear I’ve been slow in seeing it and I wonder how much I may have missed. We all can see, in abundance, how the Internet has changed, is changing, and with very little imagination project the changes, which will surely appear in the not too distant future. When Facebook first appeared on the net I mistakenly thought it was a format for teenagers; I was wrong, within a very short period of time I had made contact with old friends from high school and conservatory that I hadn’t seen or heard from in more years that I care to count. Among other surprises on Facebook were numerous YouTube postings, which again, I saw as a medium for young people to show their garage rock bands or share their various modes of partying; it was that, but it was much more. During the last few days I’ve found posted on my Facebook homepage several YouTube videos that represented absolutely superb performances of various types of music. As an example: http://www.youtube.com/watch?v=x53rKc1fY7c http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DjnFl1q0IYTA&h=e7004 http://www.youtube.com/watch?v=oUkXO6MZhD0&feature=BF&playnext=1&list=QL http://youtu.be/0zYqS48nIl8 http://www.youtube.com/watch?v=uO-umE9pecI These five items are examples of world-class excellence found on my Facebook home page in JUST ONE DAY. I have no intention of doing a review here but I can assure you of the superb level you will encounter at these sites and that these sites will be required viewing for all my students. In music, the best method for learning is by listening to example and imitating it. It seems the examples of excellence available now on the Internet are abundant and far easier to find and experience than to research and discriminate the latest CDs. Learning resources are changing, we are able to experience new materials at a grater frequency than ever before; the results are already evident and it seems clear that this greater frequency is accelerating. Take advantage and enjoy. Tokyo, November 21, 2010 --- Revised August 20, 2013

I fear I’ve been slow in seeing it and I wonder how much I may have missed. We all can see, in abundance, how the Internet has changed, is changing, and with very little imagination project the changes, which will surely appear in the not too distant future. When Facebook first appeared on the net I mistakenly thought it was a format for teenagers; I was wrong, within a very short period of time I had made contact with old friends from high school and conservatory that I hadn’t seen or heard from in more years that I care to count. Among other surprises on Facebook were numerous YouTube postings, which again, I saw as a medium for young people to show their garage rock bands or share their various modes of partying; it was that, but it was much more. During the last few days I’ve found posted on my Facebook homepage several YouTube videos that represented absolutely superb performances of various types of music. As an example: http://www.youtube.com/watch?v=x53rKc1fY7c http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DjnFl1q0IYTA&h=e7004 http://www.youtube.com/watch?v=oUkXO6MZhD0&feature=BF&playnext=1&list=QL http://youtu.be/0zYqS48nIl8 http://www.youtube.com/watch?v=uO-umE9pecI These five items are examples of world-class excellence found on my Facebook home page in JUST ONE DAY. I have no intention of doing a review here but I can assure you of the superb level you will encounter at these sites and that these sites will be required viewing for all my students. In music, the best method for learning is by listening to example and imitating it. It seems the examples of excellence available now on the Internet are abundant and far easier to find and experience than to research and discriminate the latest CDs. Learning resources are changing, we are able to experience new materials at a grater frequency than ever before; the results are already evident and it seems clear that this greater frequency is accelerating. Take advantage and enjoy. Tokyo, November 21, 2010 --- Revised August 20, 2013

TubaMania and the Future

At nearly 75 years old and with 68 of those years involved with brass instruments (I started playing trumpet at age 7), I have seen a lot of change in brass instruments and brass playing and accumulated a fair view of the brass evolution in the world.

At the end of the 19th century, brass playing was already developing to a high level in Europe. Many of those great players of that time immigrated to the “New World”. Players from Italy, France, Germany, England and other countries went to America and Canada, took positions in North American orchestras and bands and became teachers. With the influence of the great bandmasters like Sousa, Clark, Pryor and others, North America became a center of brass virtuosos. Soon many of those North American Virtuosos returned to their homelands in Europe, influencing the very European countries that brought great brass playing to the "New World".

Of course, this very short view of brass playing includes euphonium and tuba. Perhaps because the tuba is the youngest instrument of today’s brass family, its growth has been the most noticeable. In the course of the last 50 years and there has been virtually an explosion of tuba virtuosos in Europe, first in Scandinavia, then Hungary then all of Europe, and this “Tuba Explosion” seems to still be accelerating. Tuba and Euphonium symposiums began to take place frequently around the world and, of course, this included Asia.

From March 25-29, was perhaps the finest of these euphonium/tuba symposiums, year 14th of TUBAMANIA took place in Bangkok, Thailand. This event was conceived and organized by American tubist, now playing in the Sydney Symphony Orchestra in Australia, Steven Rosse. Mr. Rosse created an event this year that brought together participants from Thailand, Australia, Japan, Taiwan, China, Hong Kong and Korea; all together approximately 200 hundred students.

The featured artists were Steven Mead, Steven Rosse, Tim Buzbee, Mathew van Emmerik, and myself, Roger Bobo.

Contributing artists were, Misa Akahoshi, Manit Buchachanok, Satit Chomchewchan, Hidehiro Fujita, Paul Luxenberg, Kazuhiro Nakamura, Kitti Sawetkittikul, Bret Stemple and Kazumasa Yamagishi. The ensembles represented were the E-Tan Tuba Quartet (Thailand), Low Fat Tuba Ensemble (Thailand), Sydney Conservatorium Tuba Quartet (Australia), Mahidol University Tuba and Euphonium Ensemble (Thailand) and the Mahidou Brass Band.

As one who has taught and taken part in Symposiums in Europe, North America, Australia and Japan for the last 40 years I can say not only are these, plus the 200 students, a impressive array of artists and talent but it puts into prospective that the center of the euphonium and tuba world is now moving in the direction of Asia and Australia.

As in Hungary twenty years ago, I was amazed to hear the huge potential of talent that is developing here in Asia and Australia; it was evident in in all the countries that were represented at TUBAMANIA and it is absolutely a sure thing that these countries will be (many players already are) at the highest international level we have of euphonium and tuba performance.

One might ask; “How can you be so sure the Asian countries will be at the highest international level?” Fifty years ago there were very few tubists and euphoniumists to look to as references for high level playing; we had to look to other instrumentalists for examples. Twenty years ago there were much more, and today the numbers are stunning. However, the talent today is as high as ever; with the abundance of wonderful players we have as references today, it’s inevitable that the Asians will be at least as good as the best we have at present and probably better. Leonardo di Vinci said, “It’s the student's duty to become better than the teacher”. Personally, I have, with great joy, experienced that with several students and I expect to experience it many more times, most likely in Asia and Australia.

Since I started writing, it’s been my policy in my blogs and articles to avoid writing reviews, however, there were several performances at TUBAMANIA that were so amazing something has to be said.

Of course, we expect anything we hear from Steven Mead to be superb and certainly his recital was that, but as a man who has been listening to brass players for a very long time I feel a need to point out that the Puccini aria, Vissi d’art from Tosca, was as beautiful and moving as any soprano I’ve heard. It was unforgettable!

Steven Mead is a superstar but there is an emerging new superstar in the Euphonium world. Remember this name: Misa Akahoshi from Japan. She has the musicality, virtuosity and charisma to assure her place in superstardom. One amazing moment: Steven played one of the most virtuosic pieces on his recital I’ve heard, Hummingbird by Steve Bryant. For an encore, he invited Misa Akahoshi to come on stage and play it with him in Unison. It was perfect, and except for a few passages where they split into octaves one could have suspected it was one person. The audience exploded with applause and bravos.

Japanese tubist Hidehiro Fujita played his arrangement of Introduction, Theme and Variations by Johann Hummel, it was beautiful playing and Fujita san used at times a remarkable pianissimo that was clear, high energy and very very soft.

We expect tubist Steve Rosse to be great but to be great on six different occasions and with the added pressure of organizing TUBAMANIA was beyond belief.

It was my honor and pleasure to conduct the TUBAMANIA Artist Ensemble; all I will say is that it was really good! With great players like that a conductor can’t go wrong.

Thank you Steve Rosse for your vision, and thanks to coordinators Mananya Chitteerahandu and Daren Robbens for causing everything to go smoothly and enjoyably.

And personal thanks to Yamaha for being my sponsor and making it possible to attend.

April 3, 2013, Tokyo

To the 94

By Roger Bobo

Although this was written 34 years ago it still seems to be appropriate. The winner of that New York Philharmonic audition 34 years ago, Warren Deck, is now retired from the orchestra and holds a highly respected faculty position himself and now has to face that same question about training tubists.                                                   

RB

Printed courtesy of International Brass Bulletin.

At the time of this writing, preliminary auditions are being held for the tuba position in the New York Philharmonic Orchestra. From a field of ninety-five applicants one man will be chosen to fill the prestigious position with the great orchestra. We can be sure that this man will be a great tubist and that he is more than deserving of our congratulations. But, with only one opening and with increasing

infrequency of new vacancies, what of the other 94?

Conductors and orchestra audition committees hope that from the applicants there will be one player who is obviously best suited for the position, but with fewer openings and more players than ever, this is rarely the case. It is not at all unusual to find several qualified applicants, especially from such large

numbers, and those final decisions can be tedious and tense. With so many qualified players the decision is rarely, simply who is the best player, but who is the best player for a particular orchestra. With so many excellent players the final decision is more often made in regard to tastes and traditions of the particular orchestra or conductor.

Tuba, of course, is not the only instrumental group where the supply overwhelms the demand but for many reasons it seems to be the most out of proportion. Discussions in regard to specific reasons could be made but the final question still is: 'What of the other 94?'.

Many of the applicants hold positions already, either in other orchestras or on faculties of various music schools, but many of them see this audition as their one and perhaps only big chance. Future Tuba Christmases, pizza parlor tuba quartet jobs or pending tuba symposia will hardly seem fulfilling compared to what these players had wished. Many of them returning to their faculty positions may look at their roster of "tuba majors" in a different light.

With this lopsided ratio between supply and demand can we in good conscience continue training professional quality tubists? We must, of course, offer instruction to all qualified students who wish it, but with this instruction must also come a realistic picture of the professional situation and what the statistics are like for the aspiring tubist. For those who are members of large music school faculties and for music school administrators who allow large numbers of tuba majors (that is a student whose principal interest in an institute of higher learning is preparation for a career in professional tuba playing), it might be prudent if this situation were reexamined.

To the 94, what can be said? Many professions on this planet are overcrowded. There will be more openings every few years, and very occasionally there will be another opening in a major orchestra. There are many related professions that might be attractive to the tubist without work: instrument design

and repair, music composition, conducting, various types of musical administration and even the increasingly controversial field of tuba pedagogy.

Onward and Good Luck!

1979, Los Angeles, California, USA

Reissued March 20, 2013