'Tips from the Top Special' - A Chat with Steven Mead

Steven Mead needs no introduction to Brass Enthusiasts from around the world. To define Steven in a few words would be impossible, Artist, Clinician, Innovator and Performer, Steven Mead has put the Euphonium on the world map. I first met Steven Mead on a cold January afternoon for my very first lesson, from that I have had a unique perspective on Steven's enthusiasm, dedication and work. In this special exclusive interview we discuss all this Euphonium with arguably the most traveled and loved Euphonium Virtuoso on the planet. 

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

Well Micah to be honest I don't have many ‘typical’ weeks, which is one of the most interesting things about my job, every week is slightly different, although once the term starts at RNCM there is quite a bit more regularity. If we take that week as an example, I'm in Manchester all day Tuesday and Wednesday, but what I do the other days varies each week! I often go to Germany for some testing for Besson, I'm a guest teacher at Augsburg University, on the other days I may be travelling somewhere, working on some articles, and of course whenever possible, practising.

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

Over the years I guess I've had many that could be described as interesting and unusual, but the one that sticks in the memory most is the performance live at the Milan fashion show 2006, a 22 minute routine from memory whilst the fashion show went on all around me!

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

I've always been pretty disciplined and dedicated with practice, and as we get older, although some things may get more difficult, we seem to get smarter, or at least we think we do. I have a basic breathing and warmup routine that lasts about 45 minutes, after that I’ll work on some special aspects of the routine, and vary that every day. Then I move onto the repertoire that I'm currently studying for concerts coming up, and always trying out every day some other repertoire either that I haven't played for quite a while, or some challenging music that I know is on the horizon. I tried to play for three to four hours every day.

3. You have been a Besson Artist for many years now, can you tell me a little about your role within Besson.

This is my 30 year anniversary of being connected with Besson and I'm very proud to have been so closely involved such a historic and prestigious brand for all this time. In the beginning of course the connection was not so close, more advisor and occasional guest artist, and over the years this has developed into a closer relationship. Of course after Besson London closed down at the end of 2005 I was very anxious what the future would hold, but luckily Buffet Crampon came in just a couple of months later, bought the brand, and then I was involved with the whole rebuilding of their brass catalogue, along Roger Webster and the Head of Brass Werner Duwe, with manufacture in Germany, and the main controlling offices being in France. I've never been happier than now with my working relationship with this fantastic brand.

4. Every month you attend the Besson Factory in Markneukirchen, Germany to test the latest Besson Euphonium range. Can you explain the process you use to test these instruments? 

Yes, I have been testing all the Sovereign and Prestige euphoniums and baritones since the first German made instruments came off the production line, starting in October 2006. There are two main aspects to the quality control, the visual side and the performance side. Both have to be at the absolute top level. I always start with a visual inspection, checking the silver and lacquer finishes, making sure there are no scratches or dents on the instruments, checking that the trigger is returning smoothly, valve actions are fast and silent, that all slides move freely, that all the engravings and serial number marks are clear, and probably a few other things too! Then, the part I enjoy the most, I get to play each instrument for about 6-8 minutes, checking firstly for the basic tuning, then all the partials, checking out the entire range of nearly 5 octaves, and checking for response at all dynamic levels. If I’m not happy with any aspects of either the playing or cosmetic check , I make a list, and the instrument is returned to the factory for modification. Usually they can fix any problems while I'm there, if not I will see that instrument again the following month. It's such an important check, and I’m always mindful of the amount of money these instruments cost, and how I would feel if I received an instrument that wasn't perfect.

5. What advice would you give to a musician recently graduated from college and in full time work? 

It's the same advice that I would give to anyone who wants to improve their performance on the euphonium. Depending on what the full-time work is, a musician may find themselves with a frustratingly small amount of time to play. That being the case, try to prioritise so that the basic skills are covered every day. Playing well involves the coordination so many different facets of the body, so It's just good to remind yourself of these every day, especially the breathing.

6. You have commissioned a huge range of new works for Euphonium. What do you look for when commissioning a new piece of music? And what advice would you offer to individuals commissioning new music? 

Commissioning a piece of music involves a good contact and trust between the performing musician and composer. I think I've been very lucky to have made friends with many composers, and often as a result of our discussion, a chance email, such commissions have found themselves happening! I think it's important to understand exactly what music you require, is it a piece of light music, and arrangement, or full-scale work such as a concerto. I never dictate to a composer exactly what to write, and I've never really been disappointed by giving the compose a complete freedom to do as they wish.

7. You have been at the forefront of Euphonium Design for many years now. What further developments do you think may come in the future?

Well we are always learning, and often we are learning from innovations that we see right across the brass world, from trumpet design to trombone etc, and this will go on. There are several areas where we want to improve our instruments in the next two years, but of course I can't be too specific for obvious reasons! We would like our instruments to be as perfectly ‘in tune’ as possible, with the 'perfect' sound, not too heavy and looking beautiful. So we do all we can in these directions.

9. There are estimates that you perform between 60-70 concerts per year. How do you maintain your performance standard and enthusiasm for playing?

It's really not difficult to maintain enthusiasm, it's what I've had all my life. I trust the routine that I have for practice, and try and stay in reasonably good physical condition. Whilst I still love to play the rest falls into place and I don't have to stress about it too much, but I'm not getting any younger, 55, at a time when people are telling me to take it easy, part of me wants to improve, which means work harder!

10. Your work as a professional euphonium soloist has taken you all over the world. How far does cultural influence shape the standard of Euphonium playing? 

Yes for sure, the country and culture that the player finds themselves it does indeed have an impact on how they play. The way that we use our tongue when we speak, for example, is one of the most profound differences, that is perhaps not noticed by many teachers. Also the ability to move large volumes of easily and without resistance is also different across different cultures. I've got used to it now and adjust my teaching accordingly to get the best from the students that I'm working, wherever that is in the world.

11. You have performed in many different locations to large audiences; do you still get nervous, if so how do you combat your nerves?

I am much less nervous these days that say 25 years ago, but I actually really like the buzz that comes from performance, it's what we practice for, and I guess we get a little addicted to that adrenaline rush that an important concert gives you. The day that everything becomes normal and mundane is a sure sign that I need to do something else! I think as a soloist you do need to keep your ego in check, but sometimes it is that self believe that overcomes situations that other people would find far too stressful.

12. You have recorded a huge range of CD’s which has raised awareness of the Euphonium as an instrument. How do you prepare for a recording and what tips would you offer to someone making their first solo CD?

I enjoy making recordings, but they do take a huge amount of preparation, not just the physical preparation of the music, but planning for all aspects of the recording, from endurance, concentration, belief in the quality of the music that you're recording, and then most importantly sufficient rehearsal time with who/whatever the accompaniment is. Recording is always a massive team effort, and really good planning insures that it can be as good as possible. For anyone contemplating the first recording remember it's your calling card to the rest of the world. Don't be over-ambitious for the repertoire, play beautifully so people will remember your name, will go back to the recording time and again, and they'll speak highly of you, which is absolutely the way forwards. Plan a budget within your means and work out where your market is, who will buy it? Who will listen to it?

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

Well, everyone is different, and each approaches their music in a different way, but perhaps the most important personal traits would be: honesty with yourself and others, the ability to make sacrifices for your art, trying to keep a good sense of humour when things don't go according to plan, learn from your mistakes and try to plan for the future.

14. Are there any ambitions that you haven’t fulfilled that you would like to in the future? 

Well, yes still several mountains to climb but this would be the subject of another article I think. Thanks for the questions.

Thank you Steve, I would like to take the opportunity to say thank you for such an informative and interesting chat. I look forward to the release of your latest CD Lyrical Virtuoso in two weeks time. I look forward to seeing you shortly.