Here is what John T. Mueller (Euphonium Soloist in the Washington Army band for nearly twenty years) says on his new Meinl-Weston Euphonium 451:

"The Meinl-Weston 451 offers new possibilities in range of tone color, flexibility and intonation, which in turn make the 451 a more versatile instrument for both ensemble and solo playing. The bell of the 451, being gold brass, offers the possiblity of a dark tuba sound, and also a lighter, brighter sound for different types of solos (including jazz, and German Tenorhorn), and is easier to blend in a wide variety ensembles.

The 451 offers better intonation overall, with more room to maneuvre the pitch without losing resonance. The upper register is significantly easy to play both in tone quality, and intonation (a very good high d).

The 451 gives the performer a real chance to play in tune in ensembles. The greater effectiveness of the 451 at making pitch and tone color adjustments will add to the player's endurance, especially in solo situations.

Directly related to the advantages of tone and intonation, the very technical and virtuoso player will recognize the superior flexibility and efficiency of the 451.

The 451 is very efficient, particularly in the upper register."

The following interview with John T. Mueller was made with Paul Bennett, who met up with him after his recent performance at the Washington Army Band Conference in January 1999:

After the performance I asked John a few questions related to his playing, where he started and who influenced him on the way.

Paul Bennett: At what time did you start to play a brass instrument and who was your first teacher ?
John T. Mueller: I first played the baritone in 5th grade school band. I had no idea what the instrument was, but my brother described it as “in between a French horn and a Tuba, and sounds real “cool”. I signed up to play Baritone, sight unseen! The Band director got me started, but it was my mother, who had played the Baritone in her high school band and studied privately with Jaroslov Cimera, that helped me out and got me through those first frustrating basement practise sessions. My formal private tuition started with high school band director, Sigurd Swanson and later Richard Schmidt.

PB: What made you want to play the Euphonium, and who was your main influence ?
JTM: As I said earlier, it was pure luck that I started to play an instrument that happened to suit my body. Basic production and tone quality came easy to me, but it was not until I reached highschool that I first heard a Euphonium, and witnessed both it’s sound and technical possibilities. During my freshman year at high school, the high school band, under the direction of Mr Swanson, performed some great literature, including Alford’s Army of the Nile march, Grainger’s Linconhire Posy, and the Finale to Shostokovich’s Fifth Symphony. The desire to contribute as a member of an outstanding band (also the fear of embarrassing myself!) motivated me to improving my abilities.

PB: What was the first band outside school you played in ?
JTM: During high school, I got my first gigs with a German dance band on Euphonium and Trombone. This taught me more about the business part of music, also some import technical skills (like how to survive 4 and 5 hour dance gigs!). I played Euphonium and Trombone in amusement park bands while on summer breaks from college, but I would have to say that my experience in the University of Illinois band was the key to my eventual success in the Army band.

PB: At what point did you know you wanted to join the forces band, and why?
JTM: I honestly never thought about the military bands as a career option as I was starting musical studies. I had studied Trombone from highschool through to university, and it was towards the Trombone that I was leaning, with the aim to achieve a freelance or orchestral career on Trombone. About half way through my fourth year at undergraduate school, I realised that I need a break, not to mention a few dollars in my pocket. My Euphonium teacher at that time, Dan Perantoni, suggested I take a shot at the army job. I did, and won the audition, and have held that job in Washington for the last nineteen years. It has given me a satisfying career and a good life.

PB: Who is your favourite player, what is your favourite Euphonium solo and why?
JTM: As a freshman in High School, I heard the senoir Euphonium soloist perform Herbert L. Clarke’s “The Debutante”. Later, I heard a recording of Leonard Falcone performing The “Carnival of Venice” . Since then, I have always had a soft spot for the turn of the 20th Century solos. But the experiences given to me through band, orchestra and jazz have given me a broad palate of musical appreciation, these I apply when performing contemporary solo repertoire, for example. The music of Alec Wilder has always held a fascination for me, also the demands of selected transcriptions. As a musician, I try not to limit my performing opportunities, and am constantly on the lookout for new musical ideas in any genre. I do not have any one favourite Euphonium artist, I simply appreciate anyone who can go a way towards fulfilling the Euphonium’s potential as an expressive instrument.
Within the last twenty years, a large number of Euphonium players have picked up the artistic mantle once held by the likes of Simon Mantia, Harold Brasch, Leonard Falcone, Rich Matteson and Arthur Lehman. Bridging these past and current greats are Brian Bowman and Earl Louder (both of whom are still incredible). I personally try to glean from all of these artists their ideas and techniques that will fit into my “bag of tricks.”

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