Posted: Thu May 20, 2004 8:08 pm
***
Congrats to Carol! I don't even know you, but I'm heading to Manchester next year to with Good Dave! He also sends his congrats!
Josh
Page 1 of 2
Posted: Thu May 20, 2004 10:45 pm
Congratulations!!!
Posted: Fri May 21, 2004 1:01 am
Watch out, boys, there is a new sheriff in town!! I have been following this thread with great interest and am so happy to see the amazing results. I offer you my heartiest congratulations, Carol, and wish you the best of luck with your future endeavors. I have a very limited knowledge of your playing and was recently turned onto your "From the Top" performance. Beautiful playing that I am sure that all of us will be hearing more of in the future. I thank the Lord that I already have a gig!!
Andy Rummel
USAF Heritage of America Band
Andy Rummel
USAF Heritage of America Band
Posted: Fri May 21, 2004 9:22 am
who is carol's teacher?
They must be amazing!!!
They must be amazing!!!
Posted: Fri May 21, 2004 9:51 am
she studies with fritz kaenzig at U. Mich.tuba_bloke wrote:who is carol's teacher?
They must be amazing!!!
I think she's older than 17 by now... but she's still way young for winning that kind of competition.
Congrats, Carol!!!!
Posted: Fri May 21, 2004 10:34 am
She's 19 and will be a junior at Michigan next year. Don't forget, this is also where Ben Pierce went to grad school. See a pattern?
Posted: Fri May 21, 2004 1:34 pm
True dat.
Posted: Fri May 21, 2004 2:14 pm
Prior to Fritz Kaenzig, Carol studied with Tom Riccobono at Interlochen and with Jim Akins(?) in Ohio.
Other Winners
Posted: Fri May 21, 2004 2:39 pm
Not to change the focus...but, can anyone provde information on the other two winners?
Jesper Nielsen, 2nd
Roland Szentpali, 3rd
Jesper Nielsen, 2nd
Roland Szentpali, 3rd
Posted: Fri May 21, 2004 4:22 pm
She'll now be selecting a new B&S tuba as one of her prizes! She is reportedly looking for a larger CC tuba than her current horn.Temi Daramola wrote:congrats to Carol
What kind of horn does she use?
Someone else probably knows which horn(s) she used in the competition itself.
Re: Other Winners
Posted: Fri May 21, 2004 4:24 pm
Don't know about Nielsen, but Szentpali is a Bobo student, MW performing artist and has a very impressive album called "I Killed My Lips."Jarrod wrote:Not to change the focus...but, can anyone provde information on the other two winners?
Jesper Nielsen, 2nd
Roland Szentpali, 3rd
http://www.meinl-weston.com/szentpali.htm
Posted: Fri May 21, 2004 8:19 pm
Listening to Carol as presented via links in a recent parallel thread her win cannot surprise me. She plays in a way, which gives me a strong suspicion, that she has a quite thorough foundation on either piano or some bowed string instrument.
As for Jesper Nielsen, or Jesper Boile as he is known over here:
As one of the probably very few TubeNet'ters I have been an almost section fellow of his sitting next to him:
In the summer of 1993, when Jesper was 14 years old, I was asked to substitute on bassbone in his then brass band on a tour through Eastern Europe down to the Black Sea coast of Bulgaria.
Some time along the road I sat next to Jesper in the band bus. I was immensely surprised, when he revealed his age. From his playing and his whole attitude I had guessed him to be a few years older (and as a teacher I am quite well trained in nailing down the age of young people very precisely). Jesper played the YEB321 back then.
Well over a year later we met in another band, where I played the 4th horn and Jesper sported his then newly acquired B&S 4+2RV F tuba.
Since then Jesper has mostly been known as a founding member of Art of Brass Copenhagen.
Their website has no working presentation of Jesper in English, but the German page says this:
http://www.artofbrass.dk/german/mitglieder/jesper.htm
Effective in namedropping and in telling of his present job in Spain.
Klaus
As for Jesper Nielsen, or Jesper Boile as he is known over here:
As one of the probably very few TubeNet'ters I have been an almost section fellow of his sitting next to him:
In the summer of 1993, when Jesper was 14 years old, I was asked to substitute on bassbone in his then brass band on a tour through Eastern Europe down to the Black Sea coast of Bulgaria.
Some time along the road I sat next to Jesper in the band bus. I was immensely surprised, when he revealed his age. From his playing and his whole attitude I had guessed him to be a few years older (and as a teacher I am quite well trained in nailing down the age of young people very precisely). Jesper played the YEB321 back then.
Well over a year later we met in another band, where I played the 4th horn and Jesper sported his then newly acquired B&S 4+2RV F tuba.
Since then Jesper has mostly been known as a founding member of Art of Brass Copenhagen.
Their website has no working presentation of Jesper in English, but the German page says this:
http://www.artofbrass.dk/german/mitglieder/jesper.htm
Effective in namedropping and in telling of his present job in Spain.
Klaus
Posted: Sun May 23, 2004 2:46 am
While I cannot give an eye-witness account of the competition, Carol used a newer model YFB-822 S at Roger Bobo's camp in Canada last summer. I could only guess that she is still using that horn.
Steve Marcus wrote:She'll now be selecting a new B&S tuba as one of her prizes! She is reportedly looking for a larger CC tuba than her current horn.Temi Daramola wrote:congrats to Carol
What kind of horn does she use?
Someone else probably knows which horn(s) she used in the competition itself.
Posted: Sun May 23, 2004 4:00 pm
What is it about her playing that would make you say that? Is it not possible to have tuba as your primary instrument and play musically, although I would agree that she clearly has a strong musical background?imperialbari wrote:Listening to Carol as presented via links in a recent parallel thread her win cannot surprise me. She plays in a way, which gives me a strong suspicion, that she has a quite thorough foundation on either piano or some bowed string instrument. ...
Posted: Sun May 23, 2004 6:02 pm
]While I cannot give an eye-witness account of the competition, Carol used a newer model YFB-822 S at Roger Bobo's camp in Canada last summer. I could only guess that she is still using that horn.
how is this possible when we all know yamahas have a bland, uninteresting sound?
how is this possible when we all know yamahas have a bland, uninteresting sound?
Posted: Mon May 24, 2004 9:45 am
International Instrumental Competition Markneukirchen 2004 for Horn und Tuba (Markneukirchen, Germany) May 13th - 22nd, 2004
Click on "news" to read the final standings.
Click on "news" to read the final standings.
Posted: Tue May 25, 2004 7:40 am
Try entering the URL that you want to view into a translation engine such as Babel Fish Translation.
Cool Translation from Babel Fish
Posted: Tue May 25, 2004 3:32 pm
The results in the final round tuba are certain. Yesterday evening 20 o'clock 30 announced Professor Peter Damm, the president of the international instrument valley competition Mark new churches for wind instruments the evaluation of the specialized jury tuba. The 1. Price achieved, the originating from Ohio, 19jaehrige Tubistin Carolyn Jantsch. The 2. Price received the 1978 born Dane Jesper Boile Nielsen. The 3. Price went to the Hungarian musician Roland Szentpali. All winners received an invitation to the international tuba Euphonium conference (ITEC) to Budapest. The first price is endowed with 5000 euro. Further the 1 receives. Winner the "Markneukirchener Oskar", a B&S tuba of free choice, concert commitment within the ITEC conference on 25 July 2004 and with the Chursaechsi Philharmonic Concert Hall bath elster as well as a tuba absorber donated by Johann Schlipfinger from old cathedral/Austria. The 2. Price is endowed with 3500 euro. In addition the winner receives an interest on loan at a value of 150 euro of the company Schreiber&Soehne from Mark new churches as well as a tuba absorber of Johann Schlipfinger. The 3. Winner keeps 2500 euro, a tuba absorber donated from Johann Schlipfinger, a book price of the company Schreiber&Soehne as well as an interest on loan at a value of 600 euro by the company Miraphone.
Hmmm.. what is a tuba absorber?
Hmmm.. what is a tuba absorber?
Posted: Wed Jun 02, 2004 1:12 am
Here's another example of Carol's playing in 2003:
The beginning of the third movement of the Vaughan Williams.
The beginning of the third movement of the Vaughan Williams.
Posted: Sun Sep 05, 2004 8:21 am
Found an unsent draft for an older thread about one of the ascending stars of the tuba firmament. As I since then anyway have been relegated to the TubeNet equivalent of the Devil's Island (which some consider in effect to be knighted) I could just as well post it. Not to piggyback Carol's great achievements, but as a cadeau to the TubeNetters, who find ignorance being the direct road to stardom.
I tend to divide players and teachers in two groups, which of course are not always very distinct in real life:
a: Musicians playing an instrument.
b: Instrumentalists fighting to emit a musical message.
When it comes to listening to and enjoying music, I certainly prefer the first category. Carol clearly belongs to this category.
She is not accompanied by a pianist. She makes music with her fellow musician, who happens to play the piano.
She doesn't control her extremely good intonation by calculating whatever intonation tendencies her instrument may present. She plays the pitches, which fit the music and her musical environment, which happens to be a piano.
She builds her musicianship on several elements. One of them being an extremely good command of her instrument. She doesn't have to show off, so she doesn't go full tilt. She can lean a bit back, take an overview of the music, and present it with a high level of musical, mental, and bodily surplus.
Is this common with in the brass world? No, and even less within the tuba community.
Are tubists unmusical and silly in general? Certainly not the first and probably not the last.
But a lot of tubist seem to scared by terms like knowledge, being taught, and studying beyond buying the music, buying the recording of the music by the tuba soloist presently most in vogue, and then starting to imitate.
We are repeatedly confronted with questions about problems with shifting to a tuba of another pitch or adding a tuba of another pitch to ones arsenal. Such questions would never surface, if tubists had a proper musical grounding. Piano or whatever keyboard is a perfect tool for teaching such grounding.
If tubists and other brasses approached just about any written music whit the idea that keys and clefs are relative concepts (which they are for just about any instrument but violin, flute, a couple of midsize recorders, oboe, BC tuba, keyboards, harp and some percussions instruments), then there would have been no need for the odd notation used in the British brass band. On the other hand US low brassers wouldn't have problems in reading such odd brass band parts.
Klaus
Joe is not far off, even if his wording was not the one, I had thought of myself.bloke wrote:Klaus is assuming that the young lady also plays a bowed stringed instrument or piano, because those instruments could have assisted her in already having that "evenness of sound" concept in her head when applying the concept of musical line to playing the tuba.
I tend to divide players and teachers in two groups, which of course are not always very distinct in real life:
a: Musicians playing an instrument.
b: Instrumentalists fighting to emit a musical message.
When it comes to listening to and enjoying music, I certainly prefer the first category. Carol clearly belongs to this category.
She is not accompanied by a pianist. She makes music with her fellow musician, who happens to play the piano.
She doesn't control her extremely good intonation by calculating whatever intonation tendencies her instrument may present. She plays the pitches, which fit the music and her musical environment, which happens to be a piano.
She builds her musicianship on several elements. One of them being an extremely good command of her instrument. She doesn't have to show off, so she doesn't go full tilt. She can lean a bit back, take an overview of the music, and present it with a high level of musical, mental, and bodily surplus.
Is this common with in the brass world? No, and even less within the tuba community.
Are tubists unmusical and silly in general? Certainly not the first and probably not the last.
But a lot of tubist seem to scared by terms like knowledge, being taught, and studying beyond buying the music, buying the recording of the music by the tuba soloist presently most in vogue, and then starting to imitate.
We are repeatedly confronted with questions about problems with shifting to a tuba of another pitch or adding a tuba of another pitch to ones arsenal. Such questions would never surface, if tubists had a proper musical grounding. Piano or whatever keyboard is a perfect tool for teaching such grounding.
If tubists and other brasses approached just about any written music whit the idea that keys and clefs are relative concepts (which they are for just about any instrument but violin, flute, a couple of midsize recorders, oboe, BC tuba, keyboards, harp and some percussions instruments), then there would have been no need for the odd notation used in the British brass band. On the other hand US low brassers wouldn't have problems in reading such odd brass band parts.
Klaus