I grew up in a very small village on the countryside, Vestre Slidre in Valdres (yes, where the march is from). There weren't too many hobby options really. I started to learn the piano at the age of 10. We had a piano at home and my dad used to play and sing for us. I started on the cornet in the school brass band later the same year, already knowing how to read music. So, the answer to your question is basically: I loved music as a little boy, but my family are non-musicians and non-brass players, so I started in the local school band, Vestre Slidre Skulekorps, because it was one of very few alternatives – and my friends all started too.

I partly answered this in question 1 I think. Piano first. Then I started on cornet because there weren’t any bigger instruments left when my turn to pick an instrument came. I wasn’t good on cornet though, probably too big lips. I even had a brief spell on soprano cornet! My goodness it was awful. Suddenly I was given the opportunity to try a euphonium, and that certainly worked better. I’ve stayed there since.

Do you play anything else?
I chose trombone as my second instrument at the Grieg Academy. I also play piano (previously mentioned) and guitar. I played in several rock bands in my youths.

Instrument make/model and mouthpiece.
Besson Prestige BE2052. Denis Wick SM4

My first proper teacher was my school band conductor, tenor horn player Mona Kleven. My first inspiration. At the Manger Folk High School: Helga Vetås - former principal euphonium player at Manger Musikklag. At the Grieg Academy: Kim Lofthouse - low brass icon, conductor and former bass trombonist at Oslo Philharmonic. And Grethe Tonheim – prinicipal trombone with Eikanger-Bjørsvik and fantastic teacher.

Proudest achievement? (musical or otherwise).
To have two beautiful children.

As a musician, who inspires you most and why?
Martin Winter. A fabulous musician and personality. A good friend and inspiration.

Favorite solo and band piece?
Jukka Linkola: Euphonium Concerto.
Band piece: Cloudcather Fells (as a piece of music), Masquerade (as a player).

Favorite recording (not limited to brass).
Glenn Gould: Goldberg Variations (Bach). Pianist Gould’s fantastic debut recording from 1955. 10. Any future performances that you are excited about?
My next CD! J

One piece of playing advice you would like to pass on?
Practice a lot, especially your “weakest” points.

Do you have a set practice routine and if so what is it and how much do you like to practice.
I love the Daily Routine by American trombonist Emory Remington for warm-ups, basics and trying to maintain/develop a relaxed playing manner. I also use the Arban of course. Vizzutti books, Clarke’s Technical Studies, Bordogni vocalises, John Ridgeon’s How Brass Players do it, Basics Plus by Wolfgang Guggenberger, Brass Chops Manual by Esko Heikkinen, Carmine Caruso’s Musical Calesthenics for Brass are all brilliant in their separate ways. I try to use the best, combine good studies and vary them from day to day. It is a constant search to find the ‘ultimate practice routine’. I like to practice much though. I would say, usually from 3 hours and up. As a student, I could go for 6-7 hours a day easily.

Do you suffer much from performance anxiety and if so, what, if any, preventative measures do you use or would recommend?
I have spent a lot of time preparing and training the mental aspects of performing. Over the years I’ve found good methods that work for me. I believe that I can master the “butterflies” pretty well and try to use them in a positive way: to focus on the task, to play well that is. But it is a tough mental process sometimes before “big” performances.

You have recently premiered 'Hunting high and low' by
Ørjan Matre. Do you have any more commissions in the pipeline and if so can you tell me a bit about them?
I have a few commissions in the pipeline. I can’t tell you too much yet, but 2 or 3 will be with brass band and another one hopefully with a contemporary music ensemble. It’ll be varied and exciting stuff for sure.

A 19 minute work, that's massive! How do you go about preparing for a performance of that magnitude?
Yes, it’s massive! And some bits of it are the hardest I’ve come across technically. Especially the ending, with leaps spanning over 3 octaves. The quavers were played at a steady march tempo – and not a single interval was straight in terms of tonality. All of them were major 7th’s, diminished 9th’s etc. Anyway, it took me several months to hammer those intervals so that they were safe on the ear and on the lip. In general I prepare a piece in a “square” way in the beginning: getting all the details as correct as possible – rhythms, articulation, technique, tempos, dynamics. From there on I start to explore different interpretations in order to find the right one: mine.

Where do you see the future of euphonium performance going and how can this be developed (i.e., through new commissions or performance mediums)?
Obviously, we need new repertoire – always. I think there is a lot of great music, not yet written. I try to develop new repertoire and inspire composers to write for us euphonium players. That’s the only way forward. Personally I’m working with very different composers writing for different ensembles and occasions. I enjoy the variety and try to explore that.

As a soloist, what would you regard as your strongest asset and what do you have to work harder at to achieve?
My (finger) technique is probably a quite strong asset. As a young boy I neglected to practice the softer dynamics. And as a result, I couldn’t play them properly. How surprising!? I started to work seriously on it though, and it worked. On a more serious note, I’m always trying to play as relaxed as possible. That is a constant search and something that I’m always trying to improve.

You recently established publishing company, Fundamental Music, so you could supply "music directly to euphonium players all over the world". How popular has this been so far and do you have any plans to expand to other areas?
Over the years, since I released my first CD Flight in 2002, I’ve had literally hundreds of requests for sheet music that I recorded. Before the launch of my latest CD Norwegian Euphonium in 2005 I decided I wanted to be able to offer some of the music directly to euph players around the world. And as a result of that, Fundamental Music was formed. It has been very popular so far and the interest is definitely growing. I’ve expanded with a few new titles and got plenty more in the pipeline.
The web site is located at www.tormodflaten.com, just click on the Fundamental Music banner.
‘Fundamental’ is an anagram, by the way. My son’s name is ‘Amund Flaten’.I’ve got plans to expand to other areas. Currently I only do euphonium solos with varied accompaniment. But I will soon launch pieces for tutti brass and wind band as well.

As well as a world class euphonium soloist and freelance musician, I notice that you are also a conductor, teacher and adjudicator. Would you consider performance to be your primary focus or do you like to give equal weight to all these disciplines?
I spend most time developing/maintaining my standards on the euphonium. But I’m also trying to develop my skills as a conductor and I’m spending a lot of time planning and organizing my different conducting obligations.

Where would you like to take your musical talents to in the future (i.e. is there any other areas or disciplines you would like to work in) ?
To great symphony orchestras. There’s nothing like performing a concerto with a full orchestra.

What do you enjoy/dislike about teaching
I enjoy interested and talented students. I dislike the opposite, that’s why I try to avoid it. J

When/Why did you begin to conduct and do you have any plans to expand upon this.
Which conductors do you admire and why?
I started to conduct during my studies, mostly because I needed money and because the work was related to my studies. I found it quite exhausting to conduct school bands though, I was probably not patient enough. But over the years I’ve been given the opportunity to work with better and better bands. And now it’s enjoyable. I really love to be able to work on musical styles and phrasing instead of reminding players how to play F sharps.

I’ve learned a lot from Howard Snell during my years in Eikanger. Bjarte Engeset is a great Norwegian guy, watch out for the Eikanger/Engeset combination at the RNCM Festival of Brass 2007 in Manchester!

What has been the most inspirational/memorable performance you have taken part in or witnessed and why?
When Eikanger-Bjørsvik and Nick Childs performed …Dove Descending at the Norwegian Nationals in 2000. It was my first contest as principal euphonium (part from a short spell at the Nationals in 1997) and I was quite eager to prove that I deserved the position. Needless to say, it went well. J

You are obviously a musician in demand. Have you found it difficult to balance work/family life and have you had to change how much you travel to accommodate this.
Yes, it is a constant search for balance. I don’t travel too much these days. It’s OK with a few days away now and then, and a week occasionally. I try to avoid much more than a week though.

If you were anointed king of the Euphonium, what crimes would you put players in the stocks for and what things make you do a happy dance?
I hate sloppy playing. Equally, I enjoy players of great artistry and personality.

Any embarrassing/funny moments in performance that you wouldn't mind telling me about?
Probably too many to mention.

A bit about your family?
My wife Gro is a research scientist with a PhD in Microbiology. She used to play the trombone for many years and spent a few years in Krohnengen Brass Band, until our first child Amund was born in 2003. Amund is a very active, happy and social boy, likes to be in the centre of things. And he loves to sing and play drums (oh, my Goodness). Our baby daughter Ingeborg was born in September this year and is a quiet and very pretty girl.

No, that’s fine. J Thanks for interviewing me and best of luck with your own career. Looking forward to meeting you sometime!