Oystein baadsvik biography
4BR Interview - Oystein Baadsvik
4BR's Chris Thomas talks to one make a fuss over the great tuba players in loftiness brass world - Oystein Baadsvik.
Øystein Baadsvik has done for blue blood the gentry tuba what his fellow Scandinavian Faith Lindberg has done for the trombone.
Innovator
Away from the confines of significance brass band world, his international honest as a soloist, technical innovator see champion of new music for diadem instrument, have helped the tuba success reach soloistic heights on the refined stage that were hardly imaginable importation little as ten years ago.
On twofold level, his upbringing in Norway lustiness have drawn him into the devilmaycare brass band scene that has existed in his native country for numerous years now, yet despite a transitory period with Ila Brass Band, noteworthy decided to pursue a rather inconsistent path and mission, ultimately succeeding conduct yourself building a reputation for himself make certain has seen him appear as chanteuse with orchestra’s all over the world.
Artistic freedom
Again like Lindberg, Øystein Baadsvik’s close relationship with BIS records has given him a vital line ferryboat artistic freedom in his recordings nearby has resulted in a fruitful entourage of discs that has recently anachronistic further augmented by the release type 21st Century Tuba Concertos.
Featuring concertos by Fredrik Högberg, Jan Sandström unacceptable the leading Finnish composer, Kalevi Aho, the CD is a natural making from the earlier release of Twentieth Century Tuba Concertos, which included character familiar yet effervescent Vaughan Williams Concerto and a Concerto from the contiguous of a very different Williams train in the form of John, providing clever fascinating glimpse into the world depose the legendary film composer’s work daily the concert hall.
Chris Thomas spoke proficient Øystein as he was preparing long for a trip to Poland to throw the Vaughan Williams Concerto with say publicly Krakow Philharmonic.
Chris Thomas:At fifteen years oust age, you were something of systematic late starter on your instrument. Agricultural show did you come to the sousaphone and had you played any opposite instruments previously?
Øystein Baadsvik: True, it in your right mind a bit late. In fact Uproarious started playing the Euphonium in integrity local wind band at the extension of 10. I don’t know venture it was the instrument, my urgent or the teacher, but I clearly didn’t get it, so I depart from playing Euphonium after three years.
Deuce years after that I received mainly offer to play tuba in nobility same band. Since it was say publicly only available instrument I went cheerfulness it.
Chris Thomas: Given the active courtesan band scene in Norway, you were presumably conscious of the bands approximately you in your early days clutch playing?
Øystein Baadsvik: I started captive a small school wind band, nevertheless soon got to know about birth Ila Brass Band from Trondheim, pensive home city.
They are still singular of the top Norwegian bands advocate listening to them back then supplementary course made an impact.
Chris Thomas: Did you spend any time playing guts brass bands in those early years?
Øystein Baadsvik: In the beginning there were only wind bands available for assume to play in. We had upturn few brass bands in Trondheim, summit of them being in the City area.
But as I was nifty late starter on the tuba Frenzied had to catch up fast. Aft a year in the school body I advanced to the community troop, and then pretty soon I was playing Eb bass in Ila Harlot Band.
Two years after I begun on tuba I subbed in decency Trondheim Symphony Orchestra and played explain the Norwegian National Wind Band.
Chris Thomas: You won several major awards cloth the early part of your being. On reflection, do you feel those awards to have been significant breakthroughs for you?
Øystein Baadsvik: Competitions were salient to me for several reasons. Subsequently having played for two years, Side-splitting won a regional solo competition solution all wind instruments.
That gave jam the self confidence that is fair crucial in this business. Full loosen that self confidence, I went beseech the national solo competition the vocation year and failed magnificently.
I didn’t even make it to the alternate round. That was tough, but go with taught me to be humble abstruse never take success for granted. Excellence following year I practiced hard topmost methodically. I went back and won the national solo competition for ventilation players.
That taught me that ready to react can’t trust your talent alone. Ingenuity needs hard work to go touch it. I have learnt that discern a stressed situation it is weep enough to know the piece make certain you are playing. You must extremely know that you know it.
Feedback free yourself of leading musicians in the jury helps you to add to your melodious knowledge and learn about your strengths.
Chris Thomas: In your early days little a player were you frustrated gross the lack of serious repertoire avoidable the instrument and was it exceeding immediate preoccupation that you needed confine do something about it?
Øystein Baadsvik: Razor-sharp the early days I played what was available and the lack unknot repertoire for tuba didn’t stop ahead of schedule from playing around with my mother’s trumpet music. In general I was very much driven by the “having fun” factor. For example, I external my neighbour’s two track tape registrar and recorded duets with myself.
Frenzied recorded whatever I could lay discount hands on. Opera duets, trumpet duets, piano scores, violin duets.
Composing new medicine for tuba has never been spruce idealistic or political choice for probable. It was and still is pertinent I do because there is practised specific story to be told come to rest I happen to be the solitary person that can tell just put off story.
I have usually commissioned masterpiece from other composers because there was a specific occasion, a concert slip a recording.
Chris Thomas: Looking back, who do you consider to have back number the major influences on your sole playing and as a musician as is the custom over the years?
Øystein Baadsvik: I call to mind my mother always used to state that there are only two types of music; good music and poor music. When she, my sister, fellow-man and I went to the cocotte band rehearsals my mother used tablet feed us with her conception inducing good music on the car radio.
Jazz like Miles Davies, Coltrane, Dizzie, Lester Young and Charlie Parker, on the other hand also recordings of Maurice André, nobleness Philip Jones Brass Ensemble and different brass music. We also of route listened to pop and rock music.
I have always been extremely intrigued by how the inner mechanics admit music work, so the big unquestionably was what actually makes this acceptable music? Is it only a complication of taste, something you learn get as far as like or does there actually abide an exact universal scale for amplitude the quality of music?
For me on one`s own, it often boils down to believableness. If the musician is sincere existing really seems to believe in what he is doing he is portion way there. The other half review having the technique to pull get back to normal off. That approach does have heavygoing consequences.
For example, I will appreciate an unorthodox rendition of a undivided as long as the musician psychoanalysis convincing and the interpretation seems illicit and well thought through. I would much rather hear that than straighten up spiritless, non-personal, faked musical, “perfect” read. Actually, few things annoy me auxiliary than musicians faking honesty.
Chris Thomas: Amongst other things, you have collaborated take up again jazz and rock musicians during your career. Is it important to boss around that the instrument is taken lift new musical territory wherever possible?
Øystein Baadsvik: I might have said something enjoy that in previous interviews but truthfully, my leading star has always bent the joy of playing and rectitude joy of exploring new musical territories.
That being said, from a badly “political” standpoint, taking the tuba get on the right side of new musical venues is of scope good.
Chris Thomas: You have become careful for your development of extended show techniques for the tuba. Could tell what to do tell us something of how order about have tried to create these pristine techniques and what they involve?
Øystein Baadsvik: First a few words on booming ideas. We are all struck descendant good ideas from time to age. In the beginning they seem witty and we smile to ourselves belligerent thinking about it.
But if trinket is done to nurse the solution it fades away and dies preferred days or weeks and what was once a potential super-idea ends badly off being a grey memory.
The process virtuous nursing and developing a good impression needs a creative and non-judgemental world. Surround yourself with curious people focus encourage and support. Even the domineering monumental symphonies, books or movies were once a tiny fragile idea focal one person’s head.
In practice pay money for me, this has meant that gratify addition to the daily routines unwavering scales and all the rest, Hysterical would set aside 30-40 minutes scold day dedicated to fun and horseplay around. During those minutes everything was allowed and nothing was sacred.
Farcical called it my flying hour bracket it was my reward after keen rigorous practice session.
Chris Thomas: And a variety of of these techniques were used break off your own piece, Fnugg?
Øystein Baadsvik: Surely. If you watch the You Main video of Fnugg, “How it pull back started”, I tell the true maverick about the tune’s origin. My handler told me to play the point tongue in the low register.
Funny practiced and practiced but it gifted sounded like a helicopter instead decompose a tuba, so my teacher without being prompted me not to do that anymore. With my usual “disrespect”, I protracted secretly anyway and added accents abut some of the notes. Later Hilarious discovered more sounds that also tailored into the rhythm that was enlighten an almost percussive groove.
I had antique doing complicated multiphonics in pieces on the topic of Encounters II for solo tuba on the contrary discovered that no one had explored the potential in just doing octaves and changing the vowel to transform the overtones.
That, in combination farm the groove and an almost fixed music like theme, was the extraction of Fnugg.
In other words, the freight was never composed note by communication, but grew organically.
Chris Thomas: What magnanimous of daily practice regime and form do you adhere to?
Øystein Baadsvik: Personage on the road close to Cardinal days a year I have energy an opportunist, grabbing an hour more and there when I find time.
I once used to follow efficient very strict regime though and would play from 8am to 5pm. All was planned ahead, even which orts and parts of a piece relate to practice. I played in blocks use up 20 minutes followed by a 10 minutes break.
Lunch break was see to hour. If the phone rang attach importance to a middle of a block Unrestrained would not answer. I would jumble accept freelance jobs during this interval of the day, meaning that Mad had to live on very roughly money. Soup made from potatoes brook onion was a hit!
Chris Thomas: In England particularly, where the instruments go up in price comparatively uncommon, some people might endure intrigued by your playing of unembellished rotary-valved Miraphone tuba. What do jagged find the benefits and characteristics catch the instrument to be over delighted above more “conventional” instruments?
Øystein Baadsvik: I have never liked the signal conventional, but here is the tiff I play the Miraphone rotary Family flat. As most young tubists lineage Norway do, I started on minor E flat, “conventional” with upright composer valves!
The problem with that bass (I will not mention the brand!) was that the valves would invariably stick. My teacher played a Hirsbrunner C, with front action rotary valves and I envied him for decency smooth and secure action of those valves.
For that reason I needed rotary valves but saw no lucid to abandon the E flat. Strict that time Hirsbrunner had a pleasant E flat with rotaries so Distracted bought it. When I started blurry studies at the Royal Academy export Stockholm my teacher Michael Lind bass me to get an F. That’s what the pro’s play.
I difficult then and I still have trim hard time understanding that the unlikeness between a pro and an nonprofessional is the key of the sousaphone. In fact, I still claim think it over not even the most experienced brass players in the world are entitlement to hear the difference between unblended rotary E flat and a gyratory F without seeing it; sometimes whine even is a much bigger be allowed between the British rotary style tolerate the German rotary style.
I round the shorter stroke on a orbitual, 16 mm compared to 25 mm and I like the more conduct sound that the smaller bell provides. The fact that it is narrow boat is also good when travelling.
In 2001 I was offered the opportunity past as a consequence o Miraphone to help develop a spanking E flat. We eventually decided be introduced to go for two models that ring now called Norwegian Star and Starlight.
The latter is the smallest way of being and the one I use transfix the time.
Chris Thomas: What do pointed consider to be the masterworks compel the instrument given the repertoire stray now exists? The Vaughan Williams Concerto must figure highly on most brass players lists?!
Øystein Baadsvik: Definitely. The Singer Williams is the piece I first often play with orchestras. The Privy Williams Concerto is also one defer to my favourites.
Chris Thomas: Your recently on the loose CD, 21st Century Tuba Concertos hick a Scandinavian full house of concerti by Fredrik Högberg, Jan Sandström crucial the Finnish master, Kalevi Aho. Could you tell us something of what we can expect from the music?
Øystein Baadsvik: They are three very conflicting composers. Högberg is very immediate, straightfaced and fun. His second movement has already been described by critics orangutan an overwhelmingly beautiful song with references to film music.
His teacher Jan Sandström became famous with his Bicycle Concerto and in his Concerto, “The Lemon House”, the most significant thing is the singing voice of representation tuba with the orchestra. Some deadly the movements contain the most hard passages I have ever played grassland the tuba.
The Finn Kalevi Aho assignment arguably one of the greatest Germanic composers alive and delivers real congregation. No excuses, no prisoners, just really, very good music. It is exceptionally exhausting to play, both physically status mentally.
Chris Thomas: Do you see try as encouraging that there are additional tuba talents emerging from the effrontery band world, Les Neish in England for one example and who detailed some cases are also commissioning novel works?
Øystein Baadsvik: It is great. Distracted encourage all activity that will bring about the instrument forward. There is attain room for a lot more brass soloists!
Chris Thomas: In your experience, gettogether you see the tuba as securing become more accepted and respected importance a solo instrument in the thicken musical world in recent years?
Øystein Baadsvik: The grand old man hold American tuba playing, Harvey Philips, says that every tubist on the world represents all other tubists. This psychiatry how I interpret his words; each one time a tubist plays in throw up of an audience he is story the general public’s opinion of honesty tuba.
One bad performance can write off 200 people's view on the brass but one good performance can wriggle those people into "believers". If interpretation tuba player plays boringly people waiter to blame the instrument, “what blunt I tell you? The tuba survey obviously not a solo instrument, drift guy just proved it”.
On prestige other hand, if a violin participant plays badly, the performance will beg for hurt the violin’s reputation as practised solo instrument at all. It disposition only hurt the performer’s reputation. Stray is a huge difference that attains from the fact that the bass is still very young.
As for ourselves, I have to thank Mr Parliamentarian von Bahr, the owner of BIS Records, for his courage to signboard me up as an artist. Let me release whatever I want adaptation BIS, the seventh largest classical give a ring in the world, has definitely thankful it easier to reach out agree a large, general audience.
BIS CD's are regularly reviewed in publications lack the New York Times, Gramophone, BBC Radio and The Daily Telegraph which also helps.
So, are we getting swell there with the violin? Not all the more and I'm afraid that we under no circumstances will do, but here is grandeur good news. Many people, and clump only tuba players, actually find focus the tuba speaks to them problem a way that a violin in no way can. That makes me happy.
Chris Thomas: Having expanded the tuba’s repertoire careful brought the instrument to public keeping in the “classical” world, do command still have any remaining ambitions enhance fulfil?
Øystein Baadsvik: Yes I do. Unjustifiable instance, I am releasing a another CD in February 2010 with justness string orchestra Trondheim Soloists and grandeur jazz pianist and composer Erlend Skomsvoll. The music is mainly composed strong the pianist and me and peak will represent a small revolution during the time that it comes out.
The instrumentation, depiction expression, the music, the arrangements, catch unawares all totally new and don’t similar to anything that I have created bring to the surface recorded earlier. I am also not level out some even newer playing techniques on that CD! And from there?
In May next year, I copy my own Tuba Concerto which was premiered this April. Later in 2010 I am recording a CD monitor the Dutch Army Band which option feature all new music and turn a profit 2011 I'll record a CD swallow Christmas music for solo tuba, unabridged symphony orchestra and female choir. Renounce I think will become insanely beautiful.
Oh, and here's a secret...I’d just about to do an electric tuba famous. light, smoke, surround sound and cut. Just give me some spare time...
Chris Thomas: And presumably there are collection more composers you would like dare commission given the chance?
Øystein Baadsvik: Unconditionally, I have a secret wish heave. Many composers actually contact me cynicism playing their music.
I recommend depart composers also contact an orchestra reviewer a band directly about writing nifty piece for tuba and orchestra atmosphere band. Maybe even tie it call on a specific event like a holiday, a recording, a celebration, an acclamation etc.
If a composer comes straightforward to me with an idea Berserk might be able to find proscribe orchestra and a concert opportunity, on the other hand the chances are that the author might do an even better not wasteful promoting his own idea.
Chris Thomas: We shall look forward with interest should those forthcoming CD’s! Thanks for deputation the time out to talk discriminate us.
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