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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: In what ensembles did you play?

    Droste: I was in the Symphony Band primarily. I would love to tell you that I played in the Wind Ensemble, I only actually played one concert with them, and that was the graduation concert. Due to camps and other reasons, some students left early, so it was probably half of the original Wind Ensemble during the year, and then the other half were people like myself, just sitting in. If my memory is correct on this (and I think it is) when I showed up that autumn, the autumn of 1960, I immediately went to Dr. Fennell's office and said, "Where do I sign up to audition for the Wind Ensemble?" They said, "Oh, we're sorry Mr. Droste, we had auditions last spring, and the two spots were filled." I said, "But last spring I was in Ohio, I didn't know about this, can I play for somebody?" "No." So, my teacher, Don Knaub tried to get me involved in other things. He assigned me to a brass quintet, that was coached by Sydney Mear (the trumpet instructor and principal trumpet of the Rochester Philharmonic) and believe it or not, the tuba player in that group was Dan Perantoni, and we've been very good friends ever since.

    I did that, and I played with the top Eastman orchestra, The Pines of Rome. I think I was assigned to the second buccina part. I remember showing up early for the first rehearsal after being told by my teacher to go there, and I walked all through the brass section--the chairs, the stands, the folders, and I didn't find anything that said "Euphonium," or "Tenor tuba," on it, and I'm thinking, "Well, there must be a mistake, but he said to show up today to rehearse the Pines." Then I noticed there were six chairs right behind the conductor's podium, right toward the lip of the stage. I started nosing around there, and I said, "Well, it's got to be one of these." It was "Buccina in Si-b" which means, even though it was in the bass clef, it was written a step higher than it sounds. I think I had been warned, I think Knaubie had told me that there was a little transposition involved here. So I got to play the Pines.

    Just a quick, off-the-cuff story. I don't remember - somebody either Fennell or maybe Paul White did one or two of the early rehearsals and then Howard Hanson came in to polish it all up. Of course the brass players would get together and when we'd get to the "Pines of the Appian Way" we were really going to let loose. We'd be about two or three bars into it, and we'd get the big hand in front of our face, "Oh, no, boys, no boys, save it, no, no." Two or three rehearsals with it, and we're getting frustrated. So the night of the concert, we just caucused the brass section, and that would have been Roger Bobo on tuba, and I think Larry Campbell was in there on trombone, and so on. We said, "Don't care what the Old Man does tonight, he's going to get it between the eyes." So, we get into one of the first big blows of the Pines, and we really let him have it. He smiled. The second time we let him have it again, then he started motioning us "More," like "Have you got more? We'll take it." I think to this day, he did that deliberately. I think he frustrated us. We were ready to roar, and he wouldn't let do it. I think he just knew the night of the concert we'd be ready for that, and he unleashed us. It was, "OK, if you think you can play it a little louder, you go right ahead." So that concert was one of the absolute highlights of my performing career, I think the Pines are still resounding in the Eastman Theater. I think the echo is still going on.

    Let's talk about orchestras a little bit since we've slid into the Columbus Symphony and the Eastman Orchestra.

    I always thought a euphonium is a euphonium, and when you get hired for an orchestra gig and it says "Tenor tuba," I take my euphonium. Sometimes I've changed mouthpieces just to get a little brighter sound, I'm not sure that the Schilke 51D mouthpiece is good for cutting through the brass section of an orchestra. So I'd probably go to a little shallower mouthpiece there, and show up with my euphonium and hope some conductor wouldn't say "I asked for a tenor tuba, and you send me a euphonium," because I'm not totally sure what the difference is, at least in this country. Now, in France I know they have tenor tubas that have five or six valves, and so on. I got away with it with Evan Whallon, and even when Christian Badea came in, who was an expert in everything (including how to stroke a bass drum properly, that the section promptly ignored when he turned his back). I just figured he was going to say something. In terms of techniques - cut the vibrato, don't want a tenor tuba with vibrato to sit in between the bass trombone and the bass tuba, and play like crazy. You know, blow, louder than you'd be allowed to play in band - ever. That worked pretty well. So, up until a few number of years here, I've been the first-call euphonium and bass trumpet player. I picked up enough bass trumpet to do the Rite of Spring a couple times.

    So, for a euphonium player I've had some very nice orchestral experiences on tenor tuba, or bass trumpet. I've had some very good brass quintet experiences, mostly on trombone, but occasionally on one of the Victor Ewald quintets or the Hovhaness Sharagan and Fugue, and some of those, I would actually slip over and play euphonium and then keep up with the group a lot better than I would on trombone. I certainly enjoyed the quintet days, that's music making at its lowest common denominator, and just a lot of fun.
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