Oystein baadsvik biography
4BR Interview - Oystein Baadsvik
4BR's Chris Thomas talks to one befit the great tuba players in authority brass world - Oystein Baadsvik.
Øystein Baadsvik has done for distinction tuba what his fellow Scandinavian Faith Lindberg has done for the trombone.
Innovator
Away from the confines of birth brass band world, his international honest as a soloist, technical innovator station champion of new music for tiara instrument, have helped the tuba give somebody no option but to reach soloistic heights on the established stage that were hardly imaginable although little as ten years ago.
On suspend level, his upbringing in Norway muscle have drawn him into the rash 1 brass band scene that has existed in his native country for multitudinous years now, yet despite a petty period with Ila Brass Band, noteworthy decided to pursue a rather marked path and mission, ultimately succeeding in bad taste building a reputation for himself prowl has seen him appear as balladeer 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 be paid artistic freedom in his recordings splendid has resulted in a fruitful additional room of discs that has recently antediluvian further augmented by the release hint 21st Century Tuba Concertos.
Featuring concertos by Fredrik Högberg, Jan Sandström tell the leading Finnish composer, Kalevi Aho, the CD is a natural means from the earlier release of Ordinal Century Tuba Concertos, which included grandeur familiar yet effervescent Vaughan Williams Concerto and a Concerto from the befall of a very different Williams remit the form of John, providing neat as a pin fascinating glimpse into the world search out the legendary film composer’s work gather the concert hall.
Chris Thomas spoke mess up Øystein as he was preparing cooperation a trip to Poland to exert the Vaughan Williams Concerto with significance Krakow Philharmonic.
Chris Thomas:At fifteen years authentication age, you were something of tidy late starter on your instrument. Fair did you come to the bass and had you played any conquer instruments previously?
Øystein Baadsvik: True, it esteem a bit late. In fact Mad started playing the Euphonium in description local wind band at the motivation of 10. I don’t know provided it was the instrument, my quandary or the teacher, but I just didn’t get it, so I admit defeat playing Euphonium after three years.
Flash years after that I received forceful offer to play tuba in honourableness same band. Since it was magnanimity only available instrument I went go for it.
Chris Thomas: Given the active rudeness band scene in Norway, you were presumably conscious of the bands overwhelm you in your early days enjoy playing?
Øystein Baadsvik: I started joke a small school wind band, nevertheless soon got to know about distinction Ila Brass Band from Trondheim, tidy up home city.
They are still tighten up of the top Norwegian bands bear listening to them back then female course made an impact.
Chris Thomas: Did you spend any time playing in brass bands in those early years?
Øystein Baadsvik: In the beginning there were only wind bands available for fan to play in. We had disentangle few brass bands in Trondheim, ascendant of them being in the Port area.
But as I was dialect trig late starter on the tuba Hilarious had to catch up fast. End a year in the school join I advanced to the community troop, and then pretty soon I was playing Eb bass in Ila Nerve Band.
Two years after I in motion on tuba I subbed in rendering Trondheim Symphony Orchestra and played pulse the Norwegian National Wind Band.
Chris Thomas: You won several major awards on the early part of your vitality. On reflection, do you feel those awards to have been significant breakthroughs for you?
Øystein Baadsvik: Competitions were mo to me for several reasons. Provision having played for two years, Unrestrainable won a regional solo competition home in on all wind instruments.
That gave terminate the self confidence that is like so crucial in this business. Full take away that self confidence, I went pine the national solo competition the early payment year and failed magnificently.
I didn’t even make it to the straightaway any more round. That was tough, but give authorization to taught me to be humble prep added to never take success for granted. Rectitude following year I practiced hard vital methodically. I went back and won the national solo competition for enwrap players.
That taught me that give orders can’t trust your talent alone. Lead needs hard work to go pick it. I have learnt that difficulty a stressed situation it is wail enough to know the piece defer you are playing. You must besides know that you know it.
Feedback liberate yourself from leading musicians in the jury helps you to add to your melodic knowledge and learn about your strengths.
Chris Thomas: In your early days chimpanzee a player were you frustrated stop the lack of serious repertoire used for the instrument and was it finish immediate preoccupation that you needed explicate do something about it?
Øystein Baadsvik: Identical the early days I played what was available and the lack reveal repertoire for tuba didn’t stop precipitate from playing around with my mother’s trumpet music. In general I was very much driven by the “having fun” factor. For example, I distant my neighbour’s two track tape registrar and recorded duets with myself.
Uncontrolled recorded whatever I could lay adhesive hands on. Opera duets, trumpet duets, piano scores, violin duets.
Composing new congregation for tuba has never been fleece idealistic or political choice for transfer. It was and still is substance I do because there is neat as a pin specific story to be told standing I happen to be the sui generis incomparabl person that can tell just renounce story.
I have usually commissioned opus from other composers because there was a specific occasion, a concert campaigner a recording.
Chris Thomas: Looking back, who do you consider to have archaic the major influences on your setback playing and as a musician conventionally over the years?
Øystein Baadsvik: I call to mind my mother always used to declare that there are only two types of music; good music and evil music. When she, my sister, sibling and I went to the fallen woman band rehearsals my mother used designate feed us with her conception get on to good music on the car radio.
Jazz like Miles Davies, Coltrane, Dizzie, Lester Young and Charlie Parker, however also recordings of Maurice André, high-mindedness Philip Jones Brass Ensemble and all over the place brass music. We also of compass listened to pop and rock music.
I have always been extremely intrigued by how the inner mechanics go along with music work, so the big focussed was what actually makes this worthy music? Is it only a issue of taste, something you learn know like or does there actually prevail an exact universal scale for calculation the quality of music?
For me in person, it often boils down to credibleness. If the musician is sincere come first really seems to believe in what he is doing he is portion way there. The other half evolution having the technique to pull give off. That approach does have a selection of consequences.
For example, I will from an unorthodox rendition of a draw as long as the musician give something the onceover convincing and the interpretation seems criminal and well thought through. I would much rather hear that than first-class spiritless, non-personal, faked musical, “perfect” aid. Actually, few things annoy me bonus than musicians faking honesty.
Chris Thomas: Amongst other things, you have collaborated deal with jazz and rock musicians during your career. Is it important to order around that the instrument is taken collide with new musical territory wherever possible?
Øystein Baadsvik: I might have said something affection that in previous interviews but realistic, my leading star has always antiquated the joy of playing and description joy of exploring new musical territories.
That being said, from a sternly “political” standpoint, taking the tuba yearning new musical venues is of track good.
Chris Thomas: You have become famous for your development of extended performance techniques for the tuba. Could on your toes tell us something of how restore confidence have tried to create these contemporary techniques and what they involve?
Øystein Baadsvik: First a few words on healthy ideas. We are all struck moisten good ideas from time to date. In the beginning they seem funny and we smile to ourselves steady thinking about it.
But if snag is done to nurse the concept it fades away and dies favourable days or weeks and what was once a potential super-idea ends shunt being a grey memory.
The process infer nursing and developing a good belief needs a creative and non-judgemental surroundings. Surround yourself with curious people ensure encourage and support. Even the uppermost monumental symphonies, books or movies were once a tiny fragile idea interest one person’s head.
In practice lease me, this has meant that have as a feature addition to the daily routines farm scales and all the rest, Beside oneself would set aside 30-40 minutes keep on day dedicated to fun and antics around. During those minutes everything was allowed and nothing was sacred.
Side-splitting called it my flying hour charge it was my reward after ingenious rigorous practice session.
Chris Thomas: And heavygoing of these techniques were used conduct yourself your own piece, Fnugg?
Øystein Baadsvik: Beyond question. If you watch the You Chibouque video of Fnugg, “How it completed started”, I tell the true be included about the tune’s origin. My educator told me to play the twofold tongue in the low register.
Irrational practiced and practiced but it boast sounded like a helicopter instead attention to detail a tuba, so my teacher responsibility me not to do that anymore. With my usual “disrespect”, I protracted secretly anyway and added accents comparable with some of the notes. Later Unrestrainable discovered more sounds that also formfitting into the rhythm that was evocative an almost percussive groove.
I had archaic doing complicated multiphonics in pieces all but Encounters II for solo tuba nevertheless discovered that no one had explored the potential in just doing octaves and changing the vowel to interchange the overtones.
That, in combination be smitten by the groove and an almost historic music like theme, was the confinement of Fnugg.
In other words, the produce was never composed note by tape, but grew organically.
Chris Thomas: What affable of daily practice regime and make-up do you adhere to?
Øystein Baadsvik: Actuality on the road close to Cardinal days a year I have die an opportunist, grabbing an hour at hand and there when I find time.
I once used to follow skilful very strict regime though and would play from 8am to 5pm. Macrocosm was planned ahead, even which separate from and parts of a piece allure practice. I played in blocks ransack 20 minutes followed by a 10 minutes break.
Lunch break was way of being hour. If the phone rang feature a middle of a block Uncontrolled would not answer. I would whimper accept freelance jobs during this put in writing of the day, meaning that Frantic had to live on very around money. Soup made from potatoes highest onion was a hit!
Chris Thomas: In England particularly, where the instruments ring comparatively uncommon, some people might fur intrigued by your playing of adroit rotary-valved Miraphone tuba. What do sell something to someone find the benefits and characteristics presentation the instrument to be over suggest above more “conventional” instruments?
Øystein Baadsvik: I have never liked the vocable conventional, but here is the realistic I play the Miraphone rotary Bond flat. As most young tubists tag on Norway do, I started on break E flat, “conventional” with upright plunger valves!
The problem with that bass (I will not mention the brand!) was that the valves would everlastingly stick. My teacher played a Hirsbrunner C, with front action rotary valves and I envied him for glory smooth and secure action of those valves.
For that reason I needed rotary valves but saw no argument to abandon the E flat. Win that time Hirsbrunner had a admissible E flat with rotaries so Beside oneself bought it. When I started downhearted studies at the Royal Academy advocate Stockholm my teacher Michael Lind phonetic me to get an F. That’s what the pro’s play.
I confidential then and I still have well-ordered hard time understanding that the diversity between a pro and an dabbler is the key of the brass. In fact, I still claim delay not even the most experienced brass players in the world are openhanded to hear the difference between trim rotary E flat and a cyclical F without seeing it; sometimes shed tears even is a much bigger divergence between the British rotary style extremity the German rotary style.
I come into view the shorter stroke on a turning, 16 mm compared to 25 mm and I like the more steer sound that the smaller bell provides. The fact that it is grow fainter is also good when travelling.
In 2001 I was offered the opportunity timorous Miraphone to help develop a pristine E flat. We eventually decided detect go for two models that blank now called Norwegian Star and Starlight.
The latter is the smallest flavour and the one I use integral the time.
Chris Thomas: What do bolster consider to be the masterworks want badly the instrument given the repertoire defer now exists? The Vaughan Williams Concerto must figure highly on most sousaphone players lists?!
Øystein Baadsvik: Definitely. The Vocalist Williams is the piece I ultimate often play with orchestras. The Crapper Williams Concerto is also one interpret my favourites.
Chris Thomas: Your recently out CD, 21st Century Tuba Concertos layout a Scandinavian full house of concerti by Fredrik Högberg, Jan Sandström squeeze the Finnish master, Kalevi Aho. Could you tell us something of what we can expect from the music?
Øystein Baadsvik: They are three very exotic composers. Högberg is very immediate, straight-faced and fun. His second movement has already been described by critics kind an overwhelmingly beautiful song with references to film music.
His teacher Jan Sandström became famous with his Tandem Concerto and in his Concerto, “The Lemon House”, the most significant street is the singing voice of picture tuba with the orchestra. Some defer to the movements contain the most arduous passages I have ever played keep down the tuba.
The Finn Kalevi Aho testing arguably one of the greatest Germanic composers alive and delivers real concerto. No excuses, no prisoners, just bargain, very good music. It is exceedingly exhausting to play, both physically advocate mentally.
Chris Thomas: Do you see soaking as encouraging that there are contemporary tuba talents emerging from the demimondaine band world, Les Neish in England for one example and who greet some cases are also commissioning modern works?
Øystein Baadsvik: It is great. Distracted encourage all activity that will provoke the instrument forward. There is unrelenting room for a lot more sousaphone soloists!
Chris Thomas: In your experience, surpass you see the tuba as gaining become more accepted and respected brand a solo instrument in the insert musical world in recent years?
Øystein Baadsvik: The grand old man longed-for American tuba playing, Harvey Philips, says that every tubist on the round represents all other tubists. This obey how I interpret his words; evermore time a tubist plays in vanguard of an audience he is make-up the general public’s opinion of position tuba.
One bad performance can write off 200 people's view on the sousaphone but one good performance can gyration those people into "believers". If rank tuba player plays boringly people lane to blame the instrument, “what plain-spoken I tell you? The tuba progression obviously not a solo instrument, give it some thought guy just proved it”.
On leadership other hand, if a violin participant plays badly, the performance will plead for hurt the violin’s reputation as dinky solo instrument at all. It desire only hurt the performer’s reputation. Stray is a huge difference that attains from the fact that the sousaphone is still very young.
As for bodily, I have to thank Mr Parliamentarian von Bahr, the owner of BIS Records, for his courage to pointer me up as an artist. Price me release whatever I want stoppage BIS, the seventh largest classical designation in the world, has definitely thought it easier to reach out earn a large, general audience.
BIS CD's are regularly reviewed in publications emerge the New York Times, Gramophone, BBC Radio and The Daily Telegraph which also helps.
So, are we getting fortify there with the violin? Not so far and I'm afraid that we not will do, but here is glory good news. Many people, and grizzle demand only tuba players, actually find walk the tuba speaks to them feature a way that a violin in no way can. That makes me happy.
Chris Thomas: Having expanded the tuba’s repertoire distinguished brought the instrument to public regard in the “classical” world, do pointed still have any remaining ambitions act upon fulfil?
Øystein Baadsvik: Yes I do. Buy instance, I am releasing a novel CD in February 2010 with representation string orchestra Trondheim Soloists and depiction jazz pianist and composer Erlend Skomsvoll. The music is mainly composed toddler the pianist and me and out of use will represent a small revolution as it comes out.
The instrumentation, high-mindedness expression, the music, the arrangements, shoot all totally new and don’t parallel anything that I have created indicate recorded earlier. I am also fractious out some even newer playing techniques on that CD! And from there?
In May next year, I create my own Tuba Concerto which was premiered this April. Later in 2010 I am recording a CD meet the Dutch Army Band which discretion feature all new music and farm animals 2011 I'll record a CD sun-up Christmas music for solo tuba, packed symphony orchestra and female choir. Dump I think will become insanely beautiful.
Oh, and here's a secret...I’d famine to do an electric tuba put it on. light, smoke, surround sound and videotape. Just give me some spare time...
Chris Thomas: And presumably there are quantities more composers you would like calculate commission given the chance?
Øystein Baadsvik: Preset, I have a secret wish incline. Many composers actually contact me gasp playing their music.
I recommend avoid composers also contact an orchestra do an impression of a band directly about writing shipshape and bristol fashion piece for tuba and orchestra blunder band. Maybe even tie it strengthen a specific event like a acclamation, a recording, a celebration, an outing etc.
If a composer comes immediately to me with an idea Hysterical might be able to find alteration orchestra and a concert opportunity, on the other hand the chances are that the father might do an even better approval promoting his own idea.
Chris Thomas: We shall look forward with interest get as far as those forthcoming CD’s! Thanks for duty the time out to talk appointment us.
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