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    Some inspirational video links

    Thread Starter: RickF

    Below are links to some inspirational videos I found online during this ongoing isolation or quarantine. Some of these I'm sure some of you have...

    Last Post By: JTJ 07-12-2020, 07:30 PM Go to last post

    Looking for New Horn Advice

    Thread Starter: isaacbigcheese

    Hello everyone! I am a student euphonium player transitioning from high school to college to major in Music Education, and I am looking to buy a...

    Last Post By: isaacbigcheese 07-12-2020, 12:51 PM Go to last post

    Wessex Sinfonico?

    Thread Starter: Dom

    Hi, Im fairly new to euphonium and have been playing on a Vintage 1967 B&H Imperial provided by my school. I have had a very good experience with the...

    Last Post By: Dom Yesterday, 05:01 PM Go to last post

    WTB - Compensating Euphonium

    Thread Starter: EuphMan84

    This is probably a pretty strange request, but I'm in the market for a new compensating euphonium & I'd really like to test drive some before I make...

    Last Post By: Richard III Yesterday, 10:20 AM Go to last post

    Wessex Tubasí first ever shipment by Train!

    Thread Starter: Jonathantuba

    Read my blog about Wessex latest development to improve our services; ...

    Last Post By: Jonathantuba 07-12-2020, 05:17 PM Go to last post
  • Interview with Dr. Paul Droste

    Nowicke: ... Glenn Call said that the 642 is the only instrument he likes almost as well as his "Wotan."

    Droste: His "Wotan," oh, yes, I know that name. [laughs]

    I met Glenn, probably at some T.U.B.A. things. One year when he was in the Marine Band, I was in Washington to talk to the Ohio State University Alumni Club of Washington, D.C., and since we sort of knew each other, he picked up and drove me to... I think the Marines were playing a concert on the steps of the Lincoln Memorial or something that day. So we did that, and went back and toured the Marine Band facilities. He did a little newsletter/magazine called Euphonia that I still have copies of. Now, years later, I get them out once in a while and read them, very interesting reading, but the start of somebody saying "There is some information we ought to be sharing here, and I'll crank it out on my home printer, and send me enough money to cover postage, and we'll call it even." Glenn really was one of the absolute pioneers of T.U.B.A. and some his things I think were, I won't say "incorporated" by the Journal, but at least the Journal people could say, "Yes, there have been some newsletters and things out here before, primarily Glenn's."

    Nowicke: Les Varner told me that he was the one who really, really wanted to get the euphonium players involved in T.U.B.A., and that some of the other people weren't quite so interested.

    Droste: He's right about that, and my experience - there was a meeting at the Midwest clinic, somewhere, probably late 60's, maybe early 70's. Robert Roker, who I think was out of the Montreal Symphony, and a couple others were there. I went to the meeting, they just advertised an open meeting for tuba and euphonium players. I walked out of that meeting thinking, "I'm not sure this group is for me or my students." It was very heavily tuba-oriented, and I think they were making claims like "Every symphony orchestra ought to have at least two tuba players, if not three." It was a pretty radical approach, which I suppose when you're starting a new group, you've got to "toot your horn," long and loud, just to get people to pay attention to you. I just walked out of there thinking, "Well, this is probably OK, it won't hurt anything." I don't know quite when I joined T.U.B.A., I was not one of the charter members, although I think I knew about the group as early as anybody. I was a marching band director at that time, and that came first, and the euphonium lessons and associations came after that. I think about the time Les started hosting workshops at Ball State, that might have been the first one I got involved in.

    Nowicke: I think the first one he did was just five or six months right after the big 1973 meeting at [Indiana University].

    Droste: I really didn't go to a national or international convention until, I think, 1984 when all four of the brass groups were together at I.U. that Harvey Phillips put together. I think that was the first national or international T.U.B.A. function that I went to. In the meantime, thanks to Symphonia, I've been to Riva del Garda in Italy, I've been to the University of Minnesota, don't have my plane ticket to Regina yet, but I'm going. At this point I probably won't miss any more. I did not go Japan, and I did not go - I don't know, they had one in England or some place. One of the problems is that if you're teaching at a school that is on the quarter system, you're still in classes until the first week of June, and most of these were mid-to-late May, and I just couldn't justify taking off a week and doing that. So now that I'm retired, I have a little more flexibility.

    Nowicke: I was trying to find information - unfortunately, the early years of the Journal are not indexed - so I tried to paw through them and find everything, and I found these articles you had in '77 and '78 Journals on arranging string literature for euphonium.

    Droste: OK, that was an offshoot of my doctoral dissertation.

    Nowicke: Then, in this same issue, there's a survey article on vibrato and the euphonium, and Brian Bowman put this together.

    Droste: He did the interviewing.

    Nowicke: He interviewed everybody.

    Droste: What I remember about that is that he caught Leonard Falcone and I, I suppose it was Midwest, it would have had to have been Midwest. I remember sitting in on Leonard's interview, just waiting to go on next, and finding that (I'd have to read the article again, I haven't for a while) but we seemed to be somewhat remarkable in agreement on that, that we all felt the lip and jaw vibrato was the best, even if you called it a different name.
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