Brno, with 400,000 inhabitants, is the second largest city of the Czech Republic after Prague and the capital of historic Moravia. It is part of the large group of smaller countries of Central Europe (east of Germany, Poland, Bohemia, and the old Austro-Hungarian Empire) where the occidental musical culture developed strongly from the baroque era until today.

Since the political changes of the 90s and the admission into the EU, these cities are regaining their splendor due to the ongoing gradual renovation work that has been undertaken in the interest of realizing their extraordinary potential and architectural heritage.

Brno, which is located two driving hours south of Prag and 45 minutes east from Vienna, is one of these historical and cultural cities to be rediscovered. The International Competition, the Festival (both organised by Arskoncert Agency), and the many diverse cultural events (theater, concerts, exhibitions), complete the attraction potential for a visit within these walls.

The Tuba Competition

These international competitions were launched 10 years ago and are scheduled during the Brno International Music Festival (www.mhfb.cz) . The tuba was up for the second time within the alternating cycle which follows annually and sequentially the tuba (2000, 2005, 2010), the horn (2007), the organ (2007), double bass (2008) and percussion (2009).
48 tuba candidates contacted the organisers, 33 confirmed and payed the registration fee (135 EUR) and 22 candidates, including 3 women, were present (Spain 3, France 5, Great Britain 1, Hungary 4, Israel 1, Japan 2, Lituania 1, Portugal 1, Czech Republic 2 and United States 2).

First Eliminatory Round (19 – 20 Sept. 2005)

The candidates played on the stage of the charming little concert hall of the Janacek Musik Academy of Brno (a perfect example of the ongoing architectural renovation, mentioned above).

2nd Round (22nd Sept. 2005)

With the set piece of this round (Concertino for tuba and piano (Editions Bim) by the excellent composer Evzen (Eugen) Zámecnik living in Brno), one could hear some excellent performances (specially –  finally – more sophisticated musical intentions). A new element of selection appeared starting with that round, since the candidates could make their own choice from a list of four proposed works as the second piece they had to play (in the final round, that kind of choice appeared even to be a decisiv element). Meurin, Neish and Jantsch choosed the brilliant and short Rumanian Dance no. 2 by Dumitru Ionel (Editions Bim), Serfel and Falta the long, but sometimes very nice Concerto by Ewazen, Timar Kurucz, Finca Quiros and Cuzenard tried at doing something with Parable XXIII for tuba alone by Persichetti (Finca Quiros was the only one able to transcend that dense and boring score, playing it from memory with a convincing spirit: the piece was unrecognizable!), while Genrt and Masevicius tried with more or less success to get through the difficult Morning Song by Roger Kellaway (Editions Bim).

The three finalists emerged clearly and without prolonged discussions among the members of the jury (here in the order of passage, drawn by lots): Sergio Finca Quiros, Carolyn Jantsch, Leslie Neish.

Final

The program of the finalists that Friday, Sept. 23, was organized in three sessions: from 8:30 in the morning (30 minutes for each), rehearsal of the Gregson Concerto with the Brass Band Brno conducted by Evzen Zamecnik; from 13:00, first part of the final with piano, with the Ralph Vaughn Williams Concerto as set piece, then again a choosed work from 4 proposed (Capriccio by Penderecki, Sonata by Juraj Filas (Editions Bim), Concerto by Anthony Plog (Editions Bim) and Landscape by Lundquist); then, at 15:00, Gregson's Concerto with brass band accompaniement.

Leslie Neish

(*1982) started. Sturdy and convincing playing despite some audible signs of nervousness. If he felt at home with Vaughan Williams (as later with Gregsons's Concerto), it wasn't the same with the technically and musically very difficult Capriccio by Penderecki where more dramatic intensity and sens of derision would have been desirable. Leslie Neish is a young tuba player we are looking forward to hearing again when his great and evident talent comes to full maturity.
His 2e Prize ex aequo was well accepted.

Carolyn Jantsch

(*1985) was one of the revelation of the competition. Mastering an impressive technique, clear articulations (generally a neglected element on tuba playing), a full range of dynamics (specially wide on that instrument) and great control on a full and even range. Her musical and graceful playing (not "women playing", as would say some tuba players – she showed to be able to play with power, but used it sparingly, which is correct for a soloist or recitalist), seemed to embarrass those for whom the tuba is exclusively a strong "symphony orchestra" instrument. Only complaint: Carolyn adopted often an old-fashioned and inappropriate vibrato in certain lyrical passages (whatever the style or era of composition was played). Next day, at the Gala concert, she proved to be able to break through her reserve with these little details who often make the big difference in interpretations.
She deserved her 2e Prize ex aequo. A few minor adaptations or changes will guarantee this young musician of great and elegant artistic value and potential a quick ascension in the world of music.

Sergio Finca Quiros

The merit of Sergio Finca (*1979) is, that after a somehow average first round, he consistently improved with each performance. Playing often from memory, he threw himself body and soul into lively and fascinating interpretations. Paradoxically, his wide open and flashing eyes focused on the audience, but he seemed to be in a kind of trance, almost as if he were concentrating on and relating to some magical place inside of himself where his passion and musical energies reside. Jury and audience members were seduced, perhaps enthralled by that powerful inside conviction which enriched his playing, making one overlook some intonation inconsistencies or style exagerations which one could objectively have criticized. But his 1st Prize was unquestionable and rewards one more time this creative and exuberant generation which has erupted in Spain during the past 15 years and (re)animates the european and world musical scene with a welcome energy.

Many candidates had the good idea to stay in Brno to listen and follow those who had succeeded and continued in the competition, which was certainly a enriching experience that could help them to do better in a future competition or audition!
Let's mention here also the achievment of the six piano players (three official Czech, two dazzling Japanese (Kyoko Nojima who works in Lyon, France and Maki Yamamoto, who works in Budapest, Hungary) and a solid British player) who accomplished an exceptional and precise work of musical stimulation that not always really understood by the soloists).

The Organisation
Arskoncert (www.arskoncert.cz) is a private organisation founded in 1990 and managed by three partners (M. Stielik and Mrs. Kachlova and Svobodova). Organising concerts, festivals, competitions or administrating in partnership cultural state institutions like the Philharmonic Orchestra or Choir Brno. Arskoncert is also an important agency for soloists or ensembles.
Due to the good spirit of Markéta Svabova, competition secretary and her two assistants, a warm and agreeable atmosphere – very important for all partners of such an event – prevailed during the whole week. Long and joyfull acclamations expressed the collective thanks to this nice team.
The International Perfomers' Competition of Brno is an excellent podium for the young virtuoses of the world.


Some generalities about jury and candidates
Some members of a jury are famous teachers who have developed several generations of very good performers. Their presence in a jury encourages many of their students or former students to apply.
This is an important element for the success of a competition and organisers know that.
To avoid conflicts of interest, this known or unknown "affiliation" is controlled by a paragraph of the competition rules stating that the concerned jury member recuses himself from participating in any vote regarding his students.
Nevertheless, with all the master classes happening all over the world, most of the jury members of a certain instrument know more or less the value of the candidates, when they play[ed] for them absent the prevailing stressful conditions of a competition. That's why one hears very often these jury members who, following the rules, didn't vote for their student, defending this or the other student by telling the other members: "Oh! I know him, normally he plays much better..." This attitude can be explained, but it is an inappropriate partiality in the specific situation of a competition, where every candidate is left to his/her own devices.
If a candidate doesn't find his/her usual bearings within the special tension of a competition, while playing very well at home or within the stimulating confort of a teaching class, it means that there are some additional problems, maybe non-musical, to address. These same problems could as well close the doors at orchestra auditions or disturb him or her during live concerts.
Jury members should therefore "limit" their judgements to the present performances of candidates, without considering the qualities or the potential which they may have previously observed when teaching them. If not, one descends into a sweet pedagogical paternalism which relegates students into cocoons of illusions, outside the hard realities of the artistic profession and musical art.
The candidates need to learn that for a musician, it is the present moment which has to be mastered and it is at that moment one should be able to give his/her best.

The charming little Janacek Museum in Brno
Discretly lodged in the historical and superb "House of the Lords of Kunstat", just next to the beautifull Church of the Dominicans, the Moravian Museum presents several rooms dedicated to the great composer Leos Janacek (1854-1928) who lived and worked most of his life time in Brno (where Jenufa, his most famous opera was first performed in 1904). The documents (pictures, illustrations, copies of manuscripts) are presented on the walls of three adjoining rooms, and traces the different moments of his life, while the sound of his music is discreetly piped through the building.
Janacek's grave is also to be found in Brno's cimetery.
(Address: Janacek Museum, Dominikánská 9, Brno)

Czech Brass Sextet Brno
In 1980, five young students of the Janacek Music Academy of Brno founded a brass quintet under the name of "The Academy Brass Quintet". Five years later, having their diplomas, the five friends became members of the Brno Philharmonic Orchestra (an excellent symphony orchestra), while continuing they chamber music activities.
1995, The quintet became a sextet and the recording of a CD "The Glitter of Brass" celebrated its new and actual name: Czech Brass Sextet Brno.This ensemble shows a great musical complicity, a impressiv technic and a specific musicianship related to the great czech tradition.
Contact: Jan Broda, Dedická 26, CZ-62700 Brno
www.czechbrasssextet.wz.cz

Jean-Pierre Mathez (text and pictures © October 2005), Vuarmarens, Switzerland. Written for Pipers Magazine, Japan (see also www.brass-bulletin.com for French, German and English version (English edited by Thomas Stevens).