'Tips from the Top' - Interview with Robbert Vos

This week on 'Tips from the Top' we welcome Sterling Artist and Principal Euphonium of Brass Band Schoonhoven Robbert Vos.

1.     When did you start to play the euphonium?

I started on flugelhorn when I was 8 years old. But the mouthpiece was way too small for me and my tuning slide was so far out that it looked more like a trombone rather than a flugelhorn; I decided to switch to euphonium when I was around 11 years old.

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

Since 2014 I’m part of the euphonium section of the Marine Band of the Royal Netherlands Navy. This is a fulltime job and we do around 30 to 40 concerts a year including tattoos and ceremonial activities. We rehearse every day during the day so that takes up the main part of the week. On Monday night I conduct wind band Phileutonia from Eindhoven. Tuesday night is rehearsal of Brass Band Schoonhoven A, where I’m their solo-euphonium. On Friday night, I conduct Brass Band Schoonhoven B, a great band in the 2nd section. Next to this I do freelance work as a soloist and teacher, so all in all it’s a busy schedule and of course I have to fit my practicing in too!

3.     What has been your most interesting/unusual concert performance?

The performance I am the most proud of was the one where I was invited to be a guest soloist with the Cory Band during their Holland-tour in 2014. This was a big honour to play with one of the best bands in the world!

Another very special concert was the 25th anniversary of Sterling Instruments, where I had the opportunity to share the stage with Fodens Band and some brilliant players like Trevor Groom, Lyndon Baglin, Glyn Williams, Nick Ost and many others!

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

I think it’s very important to set goals and try to achieve them. Opportunities don’t come to you when you sit waiting at home, you have to get out there and show your abilities to the world. You have to know what you want, work hard for it, but also enjoy life next to the busy schedule, because there’s more than music alone. I also think it’s very important to be modest, as Gary Curtin said in an earlier interview, let your playing do the talking and be respectful to your colleagues and to other musicians in general.

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

Create time in your practicing schedule to work on the basics, every day! Create a routine that focuses on all the most important things to improve yourself on the long term, like breathing, buzzing, sound development, endurance etc. This will allow you in the end to play your solos and band pieces much quicker. It’s not about how much time you spend on practicing, but how usefully and optimal you fill in the time you have.

6.     What are your favourite Euphonium Solo’s? 

I’m really fond of the euphonium concertos by Vladimir Cosma, John Golland, Martin Ellerby and Jukka Linkola. Next to the solos that everyone knows, there are some diamonds in the French repertoire for Saxhorn SiB and piano, for example, Intermezzo by Marcel Bitsch and Mosaic by Roger Boutry. I also enjoy unaccompanied solos a lot, like Soliloquies by John Stevens or Blue Lake Fantasies by David Gillingham.

7.     Tell me about your rehearsal schedule?

Normally I will go the rehearsal of the Marine Band quite early so I can do the biggest part of my daily routine in the morning before we start. Normally I will have done around 45 – 60 minutes with exercises. Then I do the band rehearsal from 9.30 to 12.30. Because every day is different of course, how much time I can spend varies each day, but I always try to fit in another 2 hours of practice in the afternoon and evening.

8.     You have been a Sterling Virtuoso Artist for a few years now, Can you tell me a little about your work and what life is like as a Euphonium Artist?

I’m very lucky that I got the opportunity and the trust of Sterling Instruments in 2013 to become their artist. They have given me some great opportunities to be able to travel to different countries and work with a lot of different people. In the last few years for example they supported me with trips to the Chicago Brass Festival, teaching in Hong Kong and Portugal, and various performances and brass clinics in the Netherlands, Belgium and the UK.  It’s a great combination to do these kinds of activities next to my regular work.

9.     How do you approach a technically difficult Euphonium Solo or Test piece? Do you have a specific process?

I always first analyse how the solo or band part is related to the music. What context is it in? How does the accompaniment go and which style should the music be played. In my opinion players often forget to look behind their own part. For technically difficult parts I always start to practice slowly. And I keep doing this for quite some time. I want my lip and finger muscles to really memorize the right movements. I would make some variations in rhythm and articulation as well to create more flexibility to it. Then speed up until you’re there. I always use a metronome to be as precise as I want it to be!

10.     Can you tell me a little about the new K and G Euphonium Mouthpieces?

I can across the K&G mouthpieces on Facebook. I had never heard of them as they were a smaller company a few years ago. I sent them a message and they responded by sending me a sample of their mouthpiece. I didn’t expect much to be honest but I was utterly impressed by the quality! The smooth rim and the way the air goes through really works for me, especially in combination with the Sterling Euphonium it gives me the sound I want. It’s great to see that the factory has really grown and can compete with the big brands now!

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

It’s almost impossible to name one euphonium player. My teacher, Piet Joris, has really made a difference for me, and I had some great lessons with Nick Ost as well, they inspired me to work hard and keep developing myself.

A euphonium player who I really enjoy listening to is Thomas Ruedi. His sound and musicality are so pure, it’s really inspiring. Of course Steven Mead, David Childs, Glyn Williams, David Thornton but also Fernando Deddos have done so many brilliant things for the instrument, it’s a great pleasure to listen to them and follow them throughout the year! And then there are many, many more. We are lucky to have so many great musicians around the world, I could make a list of 50 names and there would be still another 50 who should be named as well!

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

Keep developing yourself, don’t stop practising as you sometimes see with musicians who have just graduated. Try to be an all-round musician. Listen to as many styles and try to play as many styles as possible. And try to inspire other players. Help them, teach them and try to be valuable for other players. As I said before, work hard and try to achieve your goals! But don’t forget to relax as well, just as important!

13.     What are your future ambitions?

In the upcoming year I hope to release a new solo-album with 5 new big compositions for euphonium with brass band, wind band and fanfare band. It’s quite a project to come together, but it all looks very positive at the moment! I hope to be able to enjoy the work I do for a long time, it’s too much fun!

I want to pass on my thanks to Robbert for such an informative insight into his life as a Professional Euphonium Player. I looking forward to hearing you new solo album and look forward to catching you with you again.