'Tips from The Top' - Interview with Giacomo Marcocig

On this weeks tip from the top we welcome an outstanding Italian Euphonium player Giacomo Marcocig to talk about his musical experience both in Italy and The United Kingdom.

1. When did you start to play the euphonium?

I started to play the euphonium at 7 years old in the music school of my small mountain village, Camporosso, located in the North of Italy. My passion and love for music was born immediately and I still thank my first teacher Joseph Ritt, for teaching me the basics of euphonium and a special thanks must go to Heinz Simtschitsch for making me study the whole Arban method “The Brass Bible”, at the age of 10.

2. What is a typical day/week like for you?

During a typical week, I always practice the euphonium with the aim of improving gradually every day. On Mondays, Thursdays and occasionally on Fridays, I teach in two music schools. In my free time, I like to sing with the choir, hang out with friends and go hiking in the mountains. I am really looking forward, to playing in concerts when the pandemic comes to an end.

3. What skills/personal attributes are most important to being a successful Euphonium Player?

 It is hard to be a successful euphonium player but it is not impossible! Study, passion and dedication for music are the keywords to achieve success.

4. What personal advice would you offer to the average Euphonium player?

 Attend Masterclasses, listen to great soloists, believe in yourself and enjoy the music!5.

5. What are your favourite Euphonium Solos? 

 This is a difficult question. I think I do not have favourite Euphonium solos. I like all kind of pieces written for euphonium. If I do not like a piece of music then I always try to explore it futher by playing it well. If I have to choose one favourite concerto, I can say I am really enjoying the Karl Jenkins’s Concerto for Euphonium which I will play with an orchestra in June. 

6. Tell me about your personal practice schedule/routine?

 Well, if I have a full day to practice, I do four or five sessions of about 1 hour. During the morning, I do basics exercises (Breathing, buzzing, flow studies, Flexibility, Scales, Intervals, low and highs tone, multiple staccato, finger… etc.).

I love to work on the fundamentals because working on the fundamentals helps me to improve my playing. After “the fundamentals”, I take a break, and based on what I have to play, I always try to work on my weak points. 

In the afternoon I do a quick warm up to get back in shape and I immediately get to work on the repertoire. Recently, I have been dedicating a study session a day to the Bach cello suites, as well as being beautiful they have benefits on technique, sense of the phrases and helps me with the endurance. 

In the last sessions of the day, I enjoy to recording some multitrack alone or work to some pieces that I will perform with my Euphonium Quartet (AGIS Euphonium Quartet). Before putting the instrument away, I always try to do a warm-down session to relax my muscles and mind.

7. You have a unique sound on the Euphonium, more specifically, how did you develop this sound? 

Before working on the sound on the Euphonium, I think you have to work on the sound in the mind.         

I make the most beautiful sound I have in my head, helping me with the sing and the buzz in the mouthpiece, and when I have the clear sound in the mind, it becomes more easy to produce it with the euphonium. It is important for me to spend the time listening to singers, cellists, pianists and great soloist. Having different ideas of sound in your head, and not just a euphonium sound, gives me the possibility of having more colours in the sound.

8. You studied at The Royal Northern College of Music and I was wondering if you share a few of your experiences with me from your time in The United Kingdom?

Studying with Steven Mead has always been a dream I have had since I was a child. The first time I met him, precisely in a Masterclass in Vicenza, he told me about the Royal Northern College and he said to me that if I would study there with a good audition there were great opportunities open to me.

From that masterclass, I started thinking of being a professional euphonium player and so, with lots of practice, I selected was in the year 2017/2018. The experience was unique, in addition to studying with Steven Mead. I was lucky also to study with Professor David Thornton. I really learned a lot on a musical and human level. The Euphonium class was in an impressive High Level and the college is very big and beautiful. The best experience I had that year I think was to win the audition to play as principal euphonium with the RNCM Brass Band at the Brass Band Festival under the conductor James Gourley. Studying in Manchester is a lifetime opportunity! If someone does not know where to study, the RNCM is the solution, one of the best Music College in the World.

9. You have had great successes as a Euphonium soloist both on the concert and contest platforms. How do you prepare a difficult contest piece?

 Prepare a difficult contest piece can take a long time. Before starting to study it, you need to be realistic and ask yourself if you are capable of doing it. If you are able to play that piece, I suggest having a listen to some recording for getting an Idea of the music. After that start to practice the piece slowly and take all the time you necessary for cleaning the piece.  Once the technical steps come to you slowly, you can speed it up gradually until you reach the original tempo. It is very important even in slow tempo to think of the piece in the most musical way possible. Playing a competition piece is not enough to play the correct notes but you have to play the piece with taste. Pay attention to the characteristics, the dynamics, and the use of staccato, vibrato etc. make music in the piece. When the piece is ready do not forget to study also the part of the piano or orchestra to fit better the music.

10. Who would you say is the one euphonium player who has influenced you the most? 

STEVEN MEAD! 

11. What advice would you give to a musician recently graduated from college? 

Keep practicing, be ambitious and follow your dreams!

12. What are your future ambitions?

 For the future, I would like to continue teaching, perhaps in a conservatory or university. In addition to teaching, I would like to do more concerts and masterclass around the world, both as a soloist and with the AGIS Euphonium Quartet.

I would like to take this opportunity to thank Giacomo for taking the time to speak to 'The Blog of a Brass Musician' and we look forward to seeing what he will get up to in the very near future.