Tubas in France

[clintow]

In reference to the recent discussion of the keys and types of tubas used in Germany, I was wondering about standard practice in France.
I've been told that the French single c has not been widely used since about the 60s, but that's nothing more than hearsay on my part. So what kinds of tubas do orchestral musicians in France use now? Rotors or pistons? What keys? Wraps and sizes? Preferred brands? And what about the approach and sound of a typical french tubist?

Thanks for any and all thoughts!
CBW

[Wyvern]

From an article I read in the "Brass Herald" magazine, they mostly use F tubas.

However in a French orchestra I heard playing at the Proms in London last year, a rotary valve Mel Culbertson Neptune 6/4 CC was being used.

As Mel Culbertson teaches in France, it would be surprising if his tubas were not used by his pupils.

[Rick Denney]

My understanding is similar to Jonathon's. As I heard it, Mel Culbertson apparently moved the whole French practice over to C and F tubas, and put the final nail in the small French C tuba coffin.

Rick "providing naught more than hearsay" Denney

[jonesbrass]

Not only have they gone the way of the F, but the ones I've played at Alexander were six-valve monstrosities with curious fingerings. I've since heard that the 3R/3L configuration was developed to allow an easy transition for french horn players. I don't know if the tubists in France are still using that configuration these days or not, but I've heard the Miraphone tuba quartet several times, and they were playing what appeared to be standard 4R/2L six-valve Fs.

[finnbogi]

Not only have they gone the way of the F, but the ones I've played at Alexander were six-valve monstrosities with curious fingerings. I've since heard that the 3R/3L configuration was developed to allow an easy transition for french horn players. I don't know if the tubists in France are still using that configuration these days or not, but I've heard the Miraphone tuba quartet several times, and they were playing what appeared to be standard 4R/2L six-valve Fs.

Those must have been Wiener tubas. I didn't know they were popular in France.

[Chuck(G)]

Those must have been Wiener tubas. I didn't know they were popular in France.

Either that, or tubas designed to have the same fingering as little 6-valve French teakettle in C.

[Mojo workin']

An audition repertoire list for first round of present opening for tuba in Orchestra Nationale de Lyon:

ORCHESTRE NATIONAL DE LYON
EPREUVES
1ère Epreuve : dans l’ordre indiqué ci-dessous
Tuba basse :
R. Vaughan Williams : Concerto, 1er et 2ème mouvement (Edition Oxford University Press).
Tuba contrebasse :
S. Prokofiev : Roméo et Juliette, ballet :
du chiffre 79 à 4 mesures après le chiffre 79,
3 mesures avant le chiffre 315 à 6 mesures après le chiffre 315,
5 mesures avant le chiffre 330 au chiffre 330.
R. Wagner : La Walkyrie, acte III, scène 1 :
4 mesures avant le chiffre 8, jusqu’au chiffre 9.

So, I guess this is proof that one auditioning will be versed in the use of both basstubas and contrabass tubas. Beyond that, I haven't the foggiest....

[dwaskew]

I've had fun over the part few years poking around here:

http://saxhorneuphonium.free.fr/

From this site (and it's links to other things tubistically French) I think it's safe to say there's some of pretty much everything in every key used in France.

dwa

[LoyalTubist]

I have corresponded with French tubists for many years. They generally use CC tubas and, occasionally, F tubas.

They haven't used the little C percolators for almost 40 years.

[clintow]

Thanks for all the responses! Does anyone have any ideas as to the approach of players in France? For example, perhaps a contrast with the differences in sound between Germany, America and Britain.

Any thoughts?

Thanks!
Clinton

[Mojo workin']

In Northwestern University's brass repertoire class, Vincent Cichowicz would demonstrate through the use of orchestral recordings the difference between different national styles of playing. There were, to my ears, a lot of similarities between the various countries. However, the main attributes as I remember him pointing out were that German orchestras would play with "pear-shaped" articulations, i.e. an easing into and slight blossoming before established sustained volume. A very brassy, bright tone quality in louder dynamics contrasted with an extremely dark softer dynamic range.
French brass playing could have been characterized by a lighter approach than the German, shorter articulations, bright sound generally though not as bright as German in loudest dynamics. Use of vibrato more so than other non-Russian styles.
English playing had been similar to its brass band roots in that it had a great ability to blend and balance from piccolo trumpet down to tuba. I remember the term "sweet" tone quality being used as well. Also, the great tradition of brass soloists, more so than other countries-Dennis Brain, Barry Tuckwell, John Fletcher, Philip Jones, etc.
As for Russian brass playing, crassness and heavy use of vibrato were the attributes most noticeable in recordings by orchestras like Moscow Radio Symphony, Bolshei Symphony, USSR Philharmonic(?), etc. Some of the most phenomenal string sections in the world in those orchestras.
I've heard acknowledgement by many professionals in the past decade or longer that there has become more of an 'international style' developed in orchestras' brass sections, though. You won't find the wide contrast in style and sound these days as much as you could in the past.