BWW Interviews: Carol Jantsch of the Philadelphia Orchestra on Daugherty's 'Reflections' and on the Tuba as Solo Instrument

Carol Jantsch, principal tubist of the Philadelphia Orchestra since 2006, has made her mark not only as a woman who's conquered the brass section, but as a major talent - among other points, she was hired before she'd completed her music studies at University of Michigan, and became the first female tubist of a major symphony orchestra. A graduate of Interlochen Arts Academy, she has been a soloist with the U.S. Marine Band and with Russia's St. Petersburg Symphony Orchestra.

Jantsch, who is also on the faculties of four prominent music schools (Curtis Institute and Temple University in Philadelphia, Manhattan School of Music, and Yale University), will be the featured soloist on March 24, 2013 at Verizon Hall, Kimmel Center, Philadelphia in the world premiere of Michael Daugherty's "Reflections On the Mississippi for Tuba and Orchestra" with the Grammy-nominated Temple University Symphony Orchestra. We caught up with her to ask her about the new work, her career, and the tuba itself.

BWW: Let's start with the elephant in the living room: Why do so many people refuse to take the tuba seriously?

CJ: I don't know - it may be the association with German bands in liederhosen, drinking beer. But a main reason is its use and its development. It's a fairly late invention, from the 1830's, so it was still being developed in the 19^th Century - so there's a limited repertoire. That's why it's great that Michael has written this. We need serious music for the tuba in order for the tuba to be taken seriously.

BWW: How do we overcome resistance to orchestral tuba, and have it treated seriously? Do compositions like Daugherty's "Reflections" help?

CJ: I hope it will do that. When I go out as a soloist, and I have to perform transcribed works, it's a reminder that the tuba has not had attention paid to it. It's important for works to be written specifically for tuba.

BWW: How do we bring listeners and audiences to new orchestral music in the first place, for any or all instruments?

CJ: The programming of new music is important. People like hearing works they know. It can be a liability if people don't know if they'll like what they might hear. It's not so hard in the visual arts - people will look at a new painting, but you have to coax new listening.

I think that web exposure is very important. People can hear clips and decide to try it. Online helps orchestras.

BWW: Once, women weren't in the orchestra - and then when we entered it, there were "women's instruments" - strings, flute, harp, clarinet. It's a new day, but have you met any resistance to being a woman in brass?

CJ: I have to make efforts. I'm trailblazing, but I've never experienced any overt discrimination. I've gotten my work on my talent. Sexism's not as open as it was; it's not as "gentlemen of the brass" as it was. If that's the worst I experience, I'm lucky.

BWW: You've worked with Michael Daugherty before?

CJ: I was undergrad at University of Michigan, where he's on the faculty, and I was in the symphony band. So I was super-excited when I heard about this project. It's the first I've worked with him since then. I really admire his writing. He worked with me, and with my old teacher at Michigan, to get the sound for this piece.

BWW: What do you want the audience to take away from "Reflections"?

CJ: I want people to say, "I had no idea that a tuba could do that." I want them to open their minds to new possibilities. This is a really nice piece. There's a folk music quality to it.

"Reflections" sounds more traditional than a lot of newer works. It's accessible. Michael and I were in agreement that this was something we wanted people to be able to listen to.

BWW: You're from a musical family?

CJ: My parents met in the Cleveland Orchestra Chorus. They moved to Philly two years ago and now they're in the Philadelphia singers. My dad's an ER physician as well, trying to go to part-time. It's great to have my parents in town, to be able to perform with them.

BWW: On top of performing, you also teach.

CJ: I'm at four different schools, but I only have four students. Two of them are in town, at Temple and at Curtis, but my biggest commitment is at Yale. Between that and my playing, I'm good at time management. The packing's a challenge.

I think Temple is underestimated as a music school. Most of the faculty are adjuncts but there's a great culture. The orchestra's Grammy-nominated several times. Where do you find that? I'm happy to do my little part in that.

Photo courtesy of Hemsing Associates