“The direction was clear from early on. From the age of four, I played euphonium – like my father; at seven I gave my first public performance; later, I started piano as well; and at twelve I finally decided in favour of tuba.”
But exactly how far one can go with this apparently unwieldy instrument only became clear to Melvyn Poore while he was studying. His experiences as “music director” of the “Birmingham Arts Laboratory” contributed to the realisation that there is a life as tubist beyond the humdrum of the orchestra. “Even as a student, I preferred to play pieces that weren’t written for tuba at all.”
Poore’s first experiments in the “Arts Lab” with tape and electronics led him on to a new passion: the experimental interaction of acoustic instruments and technology, which for him now has the same priority as purely acoustic experiments involving the sound possibilities of the tuba. Poore has passed on his experience in the capacities of interpreter, composer and also lecturer: he was “Research Assistant” at the Salford College of Technology (1989-1991), a guest at the Zentrum für Kunst- und Medientechnologie (Centre for Art and Media Technology) in Karlsruhe from 1992-1994 (where he developed his concept ‘METAinstrument’), and 1993-95 “Visiting Professor for Electro-Acoustic Music” at the Royal College of Music in London.
Since 1995 he is a permanent member of Ensemble Musikfabrik and dedicates himself to the creation of the pedagogical department of the ensemble.