It could be quite interesting next June, when we meet, to take a more in-depth look at this common fraternalizing bond of the tuba — or is there more to it than just the tuba? Is there some mutual aspect of our psychological and emotional components that attracted us to play this instrument, or is the patience, perseverance and rugged individualism, which we all share to some degree in studying the tuba, a result of the tuba?
More simply put, did we choose the tuba because we are the way we are, or are we the way we are because we chose the tuba? An interesting question; perhaps better discussed over the inevitable beer and pizza than in the seminar.
Other questions for contemplation: are we not perhaps, at these symposia, hyper-involved with the tuba? Are we not primarily musicians, and is not the tuba only our chosen tool for our musical expression? Consider a hypothetical tuba symposium where the soloists for the evening recitals were Rostropovich, Fischer-Dieskau and Julian Bream. Would not our subsequent conversation, over our proverbial pizza and beer, be more than likely involved with how this great artistry might be applied to our instrument?
June 13–17 will, however, include four days of virtually every type of tuba music imaginable. The past ten years — or even just the past four years since the First International Tuba Symposium in Bloomington, Indiana — have witnessed an enormous growth in all facets of the tuba. It is a next to impossible task for one man to keep abreast of all these changes: new repertoire, improvements in instrument design, etc.
One would hope that within the time budget allotted to us in these four days, we can concentrate on what is current concerning the tuba and avoid recapitulating material with which we are all familiar. Eyes toward the future and an open mind could be strategic in making this upcoming symposium the source of knowledge and inspiration it should be.