It has been one year now since the First International Brass Congress and remembrances of its many events are still passing through my mind. I am reminded frequently of one situation in particular for which on the spot commentary would have been quite inappropriate, and would like now to take advantage of BRASS BULLETIN to react.
A man I respect and I were presenting a joint master class and a student had just played a rather unprepared and unthought out movement from the Bach 1st Cello Suite in G Major. After my short dissertation on the importance of preparation, the man I respect said something close to the following: "The cello has its literature and the tuba has its literature, the cellists should play theirs and the tubists should play theirs." This was to me the most disagreeable thing I encountered in Montreux.
For a person of any instrument, but especially tuba, to confine himself only to music written for that instrument, is a sad state of affairs. An article will be written in the future on making discriminating choices of transcribed solo material for performance, but at this moment I am referring to study material. If it gives you pleasure, play it — if you like it, play it — if you are challenged by it, play it — and if it could result in making you a better player, play it. There is a great deal of material that can be of benefit to tubists in all aspects of music and from the literature of all instruments, including voice. Personally, I could not teach without specific material for trumpet, horn, trombone and cello which for me are standard.
To isolate ourselves only to tuba music is musical imprisonment. All music is ours, for us as individuals to enjoy as we wish.