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About Carl Kleinsteuber

Carl Kleinsteuber grew up in Denton, Texas. He earned his Bachelor of Music degree from North Texas State University and his Masters of Music from the Manhattan School of Music in New York City. While in New York, Carl became an active free-lance musician, performing and recording with ensembles such as the New York Philharmonic, the Boston Symphony, the Metropolitan Opera Orchestra, and the Canadian Brass under conductors such as Bernstein, Mehta, Levine, and Ozawa. In 1984, Carl won the prestigious Concert Artists Guild competition and was awarded (and performed) a debut recital in Carnegie Hall.

From 1989-2014, Carl lived and worked in the Netherlands, where he won the position of solo tubist in the Hague Philharmonic, a position he held for 24 years. While residing in Europe, he performed with the Rotterdam Philharmonic, the Netherlands Philharmonic, the Netherlands Radio Philharmonic, and many other ensembles under such notable conductors as Jaap van Zweden, Valerie Gergiev, Edo de Waart and Claus Peter Flor.

In addition to his activities in classical music, Carl is also active in the jazz scene, having performed and recorded with groups such as the Lionel Hampton band, Quincy Jones ‘house band’ at Montreux, the Bob Belden Ensemble, Charlie Persip’s ‘Superband’, and Howard Johnson’s “Gravity”. He also won the first International Tuba-Euphonium Association’s Jazz Competition in 1983.

Since his return from Europe to the United States in 2014, Carl has been active as the Doctoral Teaching Fellow for the UNT tuba studio, where he is pursuing his Doctorate of Musical Arts degree. In addition, he is an active private teacher and freelance musician in the DFW area.

Presentation

"Meet the French Tuba: a discussion of the rise and fall of the French Tuba, and its role in an orchestral context." Music will include "Thème Varié" by Eugène Bozza (need accompanist!). Also, performance and discussion of various orchestral excerpts (Ravel, Franck, Saint Saens, etc.) on the French tuba. This segment will include historical perspectives and consideration regarding the use of this instrument in an orchestral context.