Jazzy tunes at classical WSO concert

Click here to get tickets for Miller Conducts Marsalis & Liszt.

Ask a classical music lover to name their favourite concertos, and the usual suspects might come up—violin, piano, maybe even the cello. But the tuba? Now that’s a curveball.

Yet, the tuba really is a cool instrument. It has been a staple in orchestral ensembles and compositions since the mid-19th century. In the extensive brass instrument family, the tuba is the biggest and lowest instrument and, as such, serves to anchor the harmonies of the orchestra.

It gives the overall sound a richer and fuller feel. Think of it like the subwoofer to your home entertainment sound system. In other words, the oomph.

Considering its usual role, it’s pretty rare to find many concertos written for the instrument. Fun fact; Italian composer Antonio Vivaldi wrote over 230 concertos for the violin alone. By comparison, the tuba’s repertoire only consists of 33 concertos (The Wind Repertory Project). It’s fair to say that it doesn’t usually get the spotlight.

Here’s another cool fact about the tuba – it also has a notable history in jazz, especially in early jazz and brass band music. Its distinct sound made it essential in the ensembles of both genres. So much so that in 2021, renowned musician and composer Wynton Marsalis composed a concerto for it.

Marsalis, who himself bridged the worlds of classical and jazz on many occasions, was an ideal match. Born in New Orleans, Louisiana in 1961 into a musical family, Marsalis began playing the trumpet at a young age. He quickly rose to prominence as a leading trumpet player in the worlds of both jazz and classical music. And he was unbelievably good at both.

In April 1997, he became the first jazz artist to be awarded the Pulitzer Prize in music for his work Blood on the Fields and is also the only artist to win classical and jazz GRAMMY Awards in one year (1983) – a feat he repeated one year later.

Marsalis originally composed his Tuba Concerto for Philadelphia Orchestra’s Principal Tuba, Carol Jantsch. He worked closely with Jantsch to understand the intricacies of the instrument, drawing on elements from both classical and jazz traditions to create a dynamic dialogue between the tuba and the orchestra.

The piece is unique in that it elevates the tuba from its usual role, putting its distinct flair at the forefront and showcasing a rarely heard side of the instrument in orchestral settings.

It is not an understatement then to say that audiences are in for a rare treat when this piece is performed at the WSO’s upcoming Miller Conducts Marsalis & Liszt concert later this month on November 14, a program that also features Franz Liszt’ iconic Les Preludes. Led by guest conductor Tania Miller, Chris Lee, Principal Tuba of the National Arts Centre Orchestra (NACO), features as guest soloist.

Interestingly, Lee presented the Canadian premiere of the concerto in 2022 with the NACO, who co-commissioned the piece. “I find the piece to be profound and very complete — a sort of musical journey through a variety of American styles,” he shares. “Each movement of the Tuba Concerto feels fresh.”

“The first movement is traditional, modern, classical-based music. It’s the sort of language you’d hear from an American composer, maybe more along the lines of Aaron Copland. The second movement is more like a New Orleans street dance, and it really shifts gears.”

But it is the third movement that really speaks to Lee. Named ‘The Lament’, it also goes through a variety of musical styles, featuring a recitative, an aria, and a shoe shuffle. “The shoe shuffle, which has a burlesque style, is reminiscent of minstrel artists or tap dancers. I see the tuba in a similar way — like the minstrel artist, someone who takes their work seriously but is sometimes seen as humorous by others. The tuba player believes the tuba is an incredible instrument, and we spend our lives dedicated to it, but others may see it as funny. There’s a lot of irony there.”

A Toronto-native, Lee first started playing the tuba at age 12, and has since garnered global acclaim for his artistry and passion for the tuba. He has performed with orchestras worldwide, including the Montreal Symphony Orchestra and Orquesta Sinfónica de Galicia. But many in the audience will recognize Lee as the WSO’s former Principal Tuba – a position he held for over 15 seasons producing numerous memorable performances, including the orchestral premiere of the Victor Davies Tuba Concerto in 2009 with the WSO.

“Coming back to perform with the WSO feels like returning to my roots,” Lee shares. “This orchestra shaped so much of my early career, and bringing this piece to life with them is exciting.”

One musician of the WSO is especially looking forward to sharing the stage with Lee. Justin Hickmott, who was recently appointed Acting Principal Tuba at the WSO for the 2024/2025 season on a one-year contract, studied under Lee during his time at the University of Manitoba.

“Chris was my teacher, but it felt like so much more than that,” Hickmott speaks highly of his mentor. “It wasn’t just about learning how to play the tuba better, it was about developing as a musician and a person.”

Hickmott was first introduced to Lee through a chance encounter; when a fourteen-year-old, aspiring Hickmott was encouraged to seek lessons from Lee by a former WSO musician at the International Music Camp. “When I got home from that camp, I reached out to Chris,” Hickmott recalls, noting that the first lesson took place at Lee’s home. “He lived on Brandon Avenue at the time, which is funny, because I was coming from Brandon, Manitoba, then going to Brandon Avenue in Winnipeg.”

“I was really scared,” he admits, describing his initial experience of hearing Lee play. “It was very intense… I thought, ‘you can sound like that on the tuba?!’ It was awesome in the literal sense of the word.”

This initial encounter marked the beginning of a mentorship that would profoundly shape Hickmott’s musical journey. “He completely changed how I perceived music.”

“It’s a tough skill for any musician to develop, especially in an orchestra—to not only play for yourself and how it sounds on stage, but to almost take your ears off your head and place them in the audience, understanding how your music translates in the hall.

It doesn’t come naturally to most people, and it’s incredibly hard to master. But hearing Chris play, he knew exactly how it would sound out there.”

He describes Lee as a remarkable blend of “old school and new school,” – despite his disapproval of the terms – emphasizing the importance of both discipline and creativity in music. “He really focused on ingraining an incredible foundation in your musicality,” Hickmott explains, adding that Lee adopted a holistic approach to music that instilled a deep love and appreciation for the craft.

As he now finds himself stepping into the spotlight, Hickmott clearly values the lessons he’s learned from his mentor. “There’s an incredible amount of lessons I learned in my time with him. He loved music, and that’s what I took from it too. They were not just tuba lessons. They were music lessons,” he affirms. “There were times when I thought I’d hit a wall, but Chris has this way of pushing you forward when you don’t think you can do anymore.”

Earlier in the week on November 12, Hickmott is organizing a masterclass in collaboration with the Desautels Faculty of Music at the University of Manitoba and sponsors Yamaha Canada Music, St. John’s Music, and Laskey Mouthpieces, for the upcoming generation of Canadian musicians.

“Chris is someone who’s put such great hard work into his passion. He’s been a great musical ambassador for not only himself, but for the orchestras he’s been a part of, and for the schools he learned his craft at. He’s performed all over the world but he came home, to Canada, to play,” Hickmott shares.

“When a great musician comes to town, you want to take full advantage of it. I want the students to witness the inner workings of someone who’s truly mastered their craft—someone who plays some of the hardest music in the world and thrives in that high-pressure environment.”

Richard Gillis, brass professor at the Desautels Faculty of Music, adds “Chris is a fine player and it is valuable for studying musicians to hear a variety of performers and educators. Sometimes they will hear the same fundamentals reinforced, and sometimes concepts are expressed in a different way that is able to ‘reach’ particular students. It is important for students to hear thoughts and ideas in ‘live’ situations.”

Teaching isn’t new territory for Lee who has dedicated much time to sharing his knowledge with his students. “I love teaching. I was fortunate to have mentors who made time for me, not for money, but because they wanted to share their knowledge. I try to pay that forward. When I come across talented young players who are serious and work hard, I match their dedication. If they’re passionate about the tuba, I’ll invest my time in them.”

Lee often conducts similar masterclasses across the country. “It’s great for students to be in a high-pressure situation, performing in front of their classmates and a visiting teacher. It gives them a sense of how they perform under pressure.

It also gives them exposure and that’s how opportunities happen. In a sense, they’re also like my ‘grand-students’ — the students of my students — so it’s always interesting to see how much of what I taught has trickled down. I find it fascinating and exciting.”

He reflects fondly on his time teaching in Manitoba. “It’s a mix of emotions. Some of my students didn’t pursue the tuba professionally, but they’ve gone on to be very successful in life. I’m equally proud of all my former students.”

Leading up to the concert, it’s difficult to deny the synergy amongst the various dynamics at play and the promise of a memorable evening. Tickets to see the WSO and Chris Lee perform Wynton Marsalis’ Tuba Concerto are available at wso.ca, or by calling the Box Office at 204-949-3999 or email at boxoffice@wso.mb.ca.

Avi Bhatt (he/him) is the Communications Specialist for the WSO.