Dance Etudes for Euphonium by Sy Brandon. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $10.
Dr. Sy Brandon is a Professor Emeritus of Music from Millersville University, Pennsylvania and received his degrees from Ithaca College and the University of Arizona. He has received numerous prizes and much recognition from contests nationwide; these fifteen etudes received an honorable mention from the T.U.B.A. Euphonium Etudes Composition Contest in 1995. The first seven (Prelude, Allemande, Courante, Sarabande, Minuet, Gavotte, Gigue) are components of the Baroque dance suite, and the next eight (Zortziko, Flamenco, Malagueña, Polo, Village Dance, Passepied, Barcarolle, Polonaisse) are national dances or styles. The composer is faithful to the char-acteristics of each dance, the Baroque etudes in particular. The Courante, for example, is in triple meter with some motivic hints of Bach, the Sarabande is accented correctly on beat 2, and the Gavotte’s quadruple-meter phrases begin on beat 3. The departures from the norm are cleverly done: the Minuet uses meter changes in place of hemiolas while the Gigue has copious hemiolas and compound meter changes. As for the national dances, kudos should be given for coming up with a Basque zortziko with the appropriate quintuple meter and dotted rhythms. The included polo is a dance from southern Spain, not an equestrian diversion. These etudes are for the advanced student, not so much for the technical demands and sharp keys but for the challenge of making melodic sense out of them. The etudes are neither overly chromatic nor foursquare diatonic but have a meandering modal feel; they often sound as if they are one accidental away from the “right” key. The melodic aspect is more solidly tonal from the fifth etude on; even the Phrygian mode in the malagueña feels comfortable (watch out for the misprint on measure 3, beat 2). The range is from E to c 1 and is consis-tently in a high tessitura. The convenient measure numbers will allow student and teacher to find their places quickly. Overall, these are challenging pieces of music for the student or performer who has milked the basic repertory for all he can and is looking for further testing of his brain, ear, and finger coordination. ~ Shawn Pollard, Tucson, Arizona

Sixteen Etudes for Euphonium by Neal Corwell. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. $8.
Neal Corwell is a graduate of Frostburg State College (Maryland) and an eupho-niumist with the United States Army Band in Washington, D.C. He holds the distinction of a master’s degree from George Mason University (Virginia) with a perfect 4.0 grade point average. In his introduction to this collection of etudes, Mr. Corwell explains that their purpose is to attack specific performances problems in a musically interesting fashion. Indeed, they are in groups of four and each group addresses lyricism, tonguing, rhythm, and other technical challenges. Some of the noteworthy challenges are changing meters, extreme interval leaps, low register facility, and the reading of tenor clef. Each etude has a caption at the top of the page to remind the student and teacher which performance areas are being emphasized; the measure numbers are also helpful to student and teacher. The range is from FF to d 1 . In spite of the emphasis on technical challenges, the melodic quality of the etudes is quite high; good melodies will usually inspire students to tackle the technical difficulties. These systematic etudes are recommended and will hopefully find their place in euphonium pedagogy. ~ Shawn Pollard, Tucson, Arizona

TUBA REVIEWS

Concerto for Tuba by Barton Cummings. Piano reduction is by Kenyon Wilson and Barton Cummings. Originally composed for tuba and wind ensemble. Solid Brass Music Company, 71 Mt. Rainier Drive, San Raphael, Ca. 94903. (800) 873-9798; www.sldbrass.com. Difficulty level: 5/professional. 2001. $15.
Barton Cummings needs no introduction to the tuba and euphonium world, but, for those who are new to the field, you should know that he enjoys a distinguished career in music. For over forty years he has been an author, composer, conductor, educator, and performing artist. You will also find many of Mr. Cummings’ reviews of new music printed in this journal. The Tuba Concerto was written on a commission from the following tuba artists: Robert Daniel, Mark Nelson, Raúl I. Rodríguez, James Self, James Shearer, Kenyon Wilson, Micky Wrobleski, and Jerry Young. The outer movements of the concerto were premiered on 11 April 2002 by Kenyon Wilson and the University of Memphis Concert Band under the baton of Nicholas Holland, III. The piece consists of four movements and the composer states: “My intention was to create a composition that would be a virtuoso piece allowing the entire spectrum of the tuba and wind ensemble to be explored without restrictions or time constraints.” With the piano reduction, some of that is still possible because of Mr. Cummings’ inclusion of piano, harp, keyboard percussion, and celeste in the band accompaniment. Most of the reduction comes from these instruments so that not much of the effect is lost in the transcription and most definitely none of the harmonies. It will definitely require an accompanist of the highest technical caliber. The solo part will require virtuosity and a light, flexible, and agile approach. There is much contrast between differing styles of articulation including legato, marcato, and staccato. It encompasses a wide range from CC to g 1 . Movement 1: “Almost Invisible” This movement is in 6/8 meter and is dance-like requiring a light and agile approach due to the nature of the fast moving sixteenth note passages. There is a cadenza before a return to the restate-ment of the opening passage. Movement 2: “Things You Cannot See” Mr. Cummings’ writes: “Things You Cannot See” presents the tuba in a slow, introspective, and moody atmosphere. The dark quality of the music changes to one of brilliance in a virtuoso display of pyrotechnics from the tuba.” Once the fireworks have settled it ends the same way it began. Movement 3: “Of Dreams Remembered” This movement is much more melodic and explores the lyrical qualities of the tuba with an “undercurrent of restlessness that is brought out through dynamic changes and different styles of articulation.” Movement 4: “In Amber Salute” The finale begins slowly and rips into “a rollicking horn-pipe style that con-tinually develops and eventually returns to the opening ideas followed by a brief cadenza and final blazing outburst of sound in the hornpipe tempo.” This concerto deserves serious con-sideration from those looking to expand their repertoire and delve into the music of the 21st century. I know I’ll be working on it for a long time. ~ Raúl I. Rodríguez Texas State University, San Marcos

Retratos for tuba and piano by Vinicio A. Meza. Bernel Music Ltd., P.O. Box 1118, Cartersville, Ga. 30120. www.bernelmusic.com. 2003. $24.
Vinicio Meza, a native of Costa Rica, is a composer and clarinet player, and he is a member of the Symphony Orchestra of Costa Rica. Meza composes and arranges symphonic, chamber, jazz, and salsa music. He also teaches music appreciation at the Technology Institute of Costa Rica. Retratos means portraits in Spanish. The piece was commissioned by John Manning, tuba teacher at the University of Massachusetts, Amherst and a found-ing member of the Atlantic Brass Quintet. The work was premiered at the Southeast Regional Tuba and Euphonium Confer-ence at the University of Alabama by Manning on 14 February 2003. The piece consists of four distinctive short musical paintings in a variety of styles. The four movements are as follows: I. A La Española; II. Vals; III. Canción Sin Palabras; and IV. Blues. The first movement is influenced by the music of Spain, resembling the “cante hondo,” a folk music style of singing from the Andalusian region. The second movement is an example of a Latin American waltz with a melody that moves around in an interesting way. The third movement gives the tuba the opportunity to sing with great emotion. The fourth movement is based mainly on the harmonic structure of the blues and uses its characteristic musical scale. I. A La Española “A La Española” can be translated as “with a Spanish sound or in a Spanish way.” The movement is 54 measures in length and begins with a short quasi-cadenza with the bravura of a “bull-fighting” song. It is marked ad libitum and changes to Allegro (quarter at 160) at measure 23. The movement is in mixed meter and in the key of A minor. The range is a relatively narrow d to e 1 . II. Vals “Vals” means “Waltz.” The movement is 66 measures in length—plus an additional 33 measures on a D.S. al Fine. It is marked Allegretto (quarter note at 144) and is in three-four meter. It is in the key of C-sharp minor, modulating to A major, then back to C-sharp minor. The range is from F-double-sharp to d 1 . III. Canción Sin Palabras “Canción Sin Palabras” means “Song Without Words.” The movement is 36 measures in length and marked Andante (quarter note at 54). The tempo changes to quarter note at 63 for measures 24–29 —returning to Tempo Primo at measure 30. The movement begins in the key of B-flat major, modulating to D major, then to B major, and finally to D-sharp minor in measure 27. The range is from A to e-flat 1 . IV. Blues The movement is a blues in the key of C. It is 87 measures in length and marked Moderato (quarter note at 126) [Note: Tempo marking should be dotted quarter at 126]. The meter is twelve-eight time throughout, except for one measure in six-eight. The range is from B-flat to g 1 . The tuba solo part lies mainly in the staff and would best be played on F tuba. The tessitura and technical demands would require a college/university student or professional level performer. It should also be mentioned that it would be totally suitable for the piece to be played on euphonium. This is a very interesting piece. Both piano and tuba parts have a professional look—clear, concise, and easy to read. ~ Dr. Steve Shoop Ennis High School, Ennis, Texas

Studies in American Folk Idiom for Solo Tuba and Piano by Gregory D. Carroll. Bernel Music Ltd., P.O. Box 1118, Cartersville, Ga. 30120. www.bernelmusic.com; $24.
Dr. Gregory D. Carroll is an Associate Professor at the University of North Carolina at Greensboro where he teaches courses in music theory, composition, literature, and music history. Studies in American Folk Idiom was originally conceived as a work for cello and piano and was commissioned by the North Carolina Music Teachers Associa-tion in 1992. The piece was arranged for tuba and piano and has been performed at numerous international tuba-euphonium conferences around the world. The composer has prepared a version of the work for solo tuba and orchestra. The work has three movements and follows a traditional fast-slow-fast tempo scheme. The bucolic flavor of the first move-ment arises out of drones and sustained pitches (pedals) in the piano, as well as the prominence of the pentatonic scale. The middle section explores the mode. The movement is 144 measures in length and alternates between six-eight and nine-eight meter. The range is from EE to f-sharp 1 . Movement II is 89 measures in length and alternates between two-two and three-two meter. The range is from AA to f 1 . This movement is in the parallel minor (d minor) with the prevailing seriousness and sadness interrupted by moments of sunlight and optimism. Long melodic phrases are a prominent feature of this movement. Movement III is a five-part rondo. It is marked fast and is 83 measures long. It is playful and humorous and alternates between one-four, two-four, three-four, and four-four meter. It features the pentatonic scale. The range is from GG to g 1 . Listeners will recognize familiar folk rhythms, turns of musical phrase that are pure Americana, and the “bluegrass fiddle style” performed on the tuba. The work appears on Dennis Askew and Kelly O’Bryant’s CD Carolina Morning. I highly recommend the piece as well as the CD. Both piano and tuba parts have a professional look—clear, concise, and easy to read. ~ Dr. Steve Shoop Ennis, High School, Ennis, Texas

Two Character Pieces for solo tuba by Pierre Jalbert. Bernel Music Ltd., P.O. Box 1118, Cartersville, Ga. 30120. www.bernelmusic.com. 2002. $12.
Pierre Jalbert is Composer-in-Residence with the Los Angeles Chamber Orchestra. He also teaches at Rice University in Houston where he is Associate Professor of Composition and Music Theory. Two Character Pieces was commissioned by Dr. Mark Nelson. Dr. Nelson is Chair of the Performing Arts Department and Director of Bands at Pima Community College in Tucson, Arizona. He is also the New Materials Editor for the ITEA Journal. The piece is for unaccompanied tuba and is in two movements: I. Lament and II. Perpetuum. I. Lament The first movement is a meditative piece that makes constant use of a “sigh” figure, a falling half step. It begins with the announcement of this figure. It then moves on into a two-voice texture in which gestures using the lower notes on the instrument are answered by the upper register of the instrument. The movement is marked “Stark, desolate, mournful” with the quarter note at 50. It is 38 measures in length and is in mixed meter. No key signature is employed in the piece—accidentals are used. The range is from FF-sharp to f-sharp. Performance of this movement requires a high skill level with rhythmic precision and the ability to negotiate wide intervals. II. Perpetuum The second movement, as its title suggests, is a perpetual motion consisting of a circular ostinato figure containing constant shifts in rhythmic motion. It is marked “Presto feroce” with the quarter note at 92. It is 140 measures in length and is in mixed meter. As with the first movement, there is no key signature. The range is from CC to f 1 . While most of the movement involves chromatic intervals, there are several places where the interval leaps are quite large (over two octaves). The effective performance of this move-ment would require extremely accurate rhythmic precision as well as the flexibility necessary to negotiate the wide intervals. The work is highly recommended but would require the skills of a college/ university or professional player. The part is in spiral-bound booklet form, which might be problematic when negotiating page turns. However, the music has a professional appearance—clear, concise, and easy to read. ~ Dr. Steve Shoop Ennis High School, Ennis, Texas

Matins by Aaron Keim for tuba and piano. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $8.
Aaron Keim is a hornist and double bassist living in Boulder, Colorado pursu-ing a master’s degree in musicology from the University of Colorado. He graduated with honors from the University of Wisconsin-Whitewater in 2002 with a degree in music education. He has written chamber works for brass, winds, percussion, and strings as well as works for jazz ensemble, wind ensemble, and string orchestra. Matins was commissioned by and is dedicated to John Tuinstra, Assistant Director of Bands and tuba/euphonium instructor at the University of Wisconsin-Whitewater. Matins, written in F minor, is of moderate length and duration is about five minutes. The range is from F to f 1 . As the title suggests, Matins is a beautiful and powerfully inspiring piece that would work well on a Sunday morning church service or as that “slow piece” for a recital. It begins in a chant-like style with solo tuba and then the accompaniment doubles the solo line. What follows is a beautiful melody that receives different rhythmical treatments (syncopation, triplets, chordal harmonies, etc.) in the accompaniment to keep the thematic material sounding fresh and ever moving forward. Upon first glance it seems to have been written with the F tuba in mind, but I’m sure you can make it work on any keyed tuba. Euphonium players would also enjoy Matins as the piece lies primarily within the range of the intermediate euphonium player. ~ Raúl I. Rodríguez Texas State University, San Marcos

Thirty-Five Elementary Etudes for BB-flat Tuba by David Uber. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $12.
Don’t be fooled by the title. If you’re looking for a follow-up etude book to use for a sixth or seventh grader after they are done with their beginning band methods, this isn’t it. If, however, you are looking for the missing link between the Vander-Cook Etudes and the first volume of Blazhevich, this is it. The first few etudes resemble those in the VanderCook book, but soon there are grace notes, then etudes in 3/8 time, and then sixteenth note triplets are introduced. Of the last fifteen etudes, five are in 5/8 or 7/8 time, and six are in sharp keys up to E major. Just this cataloging doesn’t look like “elementary” to me. But that is not a criticism of the etudes themselves. These are well-constructed, interesting components that introduce many advanced concepts like complex rhythms, changing meters and dynamics, and challenging intervals. This would be a good resource to develop an excellent middle school or good high school player. The range involved here is from EE-flat to b-flat. ~ Michael Short Drake University

Solo Etudes for Tuba by David Uber. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $8.
This is a set of a dozen page-long etudes that rather surprised me with their conventionality, something that Dr. Uber is not known for. Maybe I’m just used to his material by now. His 30 Etudes for Tuba or Bass Trombone struck me at the time as being rather unusual in their harmonic treatment, whereas these are quite ordinary. This is not to say they don’t have their use. It has long been a complaint that there is not enough material out there for the young tubist without having to delve into things like Kopprasch, Bordogni, and finally stealing the trumpet etudes of Bitsch or Charlier. In some ways, this seems to be an easier set of etudes than the other Uber book I have reviewed in this issue (Thirty-Five Elementary Etudes for BB-flat Tuba) in that all the time signatures and keys are “run-of- the-mill.” There is one etude that is in 5/8 meter (which changes from 2+3 to 3+2) and one in 9/8 meter, and keys in two, three sharps, and five flats are used. However, overall, this book is appropriate for a young middle or high school student for easing into more difficult repertoire, like the 30 Etudes mentioned above. I shouldn’t complain about the addition of new material—we need everything we can get our hands on—but I may just continue stealing from another instrument’s material. The range used is EE to e 1 . ~ Michael Short Drake University

San Jose Suite for tuba and piano by Barton Cummings. Solid Brass Music Company, 71 Mt. Ranier Drive, San Rafael, Ca. 94903. www.sldbrass.com. 2003. Catalogue number BC039. $10.
Barton Cummings is a tuba player’s tuba player and more importantly, a musician’s musician. He is a great tuba player, a scholar, and a fine composer. He has given us a wonderful new composition in the San Jose Suite. This is the first solo work I have seen from Solid Brass Music. The printing is first rate. There are a couple of tricky page turns in the piano part, but with an astute page-turner there should be no problem handling them. The range required for the piece is EE-flat- g 1 . The piano part will take a very good piano player to pull off. Given that the tessitura in the bulk of this piece and the nimble style needed to perform it well, this reviewer strongly suggests it be performed on a bass tuba. Written for the fine tuba player Tony Clements, San Jose Suite is cast in four movements, which are titled “Morning Minute,” “A Quiet Place,” “Tarantella,” and “Finale.” The first movement is a light and bouncy piece based in F Major that requires rapid scale work in the upper tessitura of the instrument. A light approach will be needed to make sure the passages don’t bog down. Careful attention to the piano part will be needed as the two instruments trade off the swift lines of this piece. The second movement is as pretty a piece as I have heard written for the tuba in quite a while. It demands a strong legato style and control of the upper middle register. The third movement is a fast 6/8 romp that requires a precise single tongue for the first part and a clean triple tongue for the last half of the piece. This should prove to be easier than it appears at first sight as most of the rapid tonguing takes place on repeated notes. The last movement is a real showcase for the tuba. Speedy descending lines along with some very nice lyrical lines abound throughout. There is a short cadenza before the return of the main theme. The entire piece is very tonal in nature, and, aside of rapid tonguing, it contains technical material on the level of an advanced college player. San Jose Suite is a joy to play. It would be a wonderful addition to any recital. I would hope that all tuba players add this charming piece to their libraries. We all need to thank Mr. Cummings and encourage him to keep writing great music. My highest recommendation. ~ Chuck Jackson Las Vegas

Sweet Dances for solo tuba by Elizabeth Raum. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. $10.
The literature for solo tuba has taken a very interesting route to the present time. Hartley’s Suite and Persichetti’s Serenade along with the music of Roger Vaughan showed the nascent capabilities of the tuba as a stand-alone solo instrument. The bar was forever raised with the monumental Encounters II by Kraft. Since then we have seen increasingly difficult works by Penderecki, Reck, and Persichetti. Elizabeth Raum’s Sweet Dances definitely falls into the latter category. Let me say at the onset that this is an incredibly hard piece of music that will require a player of consummate technical and musical ability. Please don’t let this remark put you off. This is a great piece, one that will be performed num-erous times. It will take a lot of work, but the reward will be worth it. My wife heard me working through the piece and commented it should be sub-titled Sweat Dances for the amount of energy required to play it. The printing is first rate. The required range of FF to D-flat 2 (yes, that one) screams that this piece be played on a bass tuba. Sweet Dances is comprised of four movements in different modern dance styles. The first, “Blew Tango,” is a send up of that popular musical form. The player is required to negotiate two-octave leaps in the middle of running sixteenth-note passages. In the space of four measures, the performer is asked to cover the range of AA–a 1 in running sixteenth-notes. Complete legato control of the player’s entire range is also needed. “Dot Polka,” the second movement, requires swift, slurred interval work. This is the most accessible movement in terms of range, only requiring the player to span form a CC to E-flat 1 . A strong legato is called for as is some nimble tonguing. The third movement, “Waltzin’ Matuba,” is cast as a jazz waltz. Again, all the trademark difficulties are here, large intervals in technical lines, good command of legato, and the ability to pick off an a 1 , hold it, and move througha rapid descending line. The hardest movement is saved for last. “A Hard Knights Day” is a straight-ahead rock tune requiring the player to play the complete range of the instrument. Instances of blasting out a FF only to have to pick off a d-flat 2 in the next beat and rapid lines in and out of the upper register are required. There is also extensive use of multiphonics, but at least written in fifths. Imagine power chords on the tuba. Move over Eddie Van Halen. This movement is just plain hard, but at the same moment a whole bunch of fun to play. There is no need to sugarcoat anything this piece is hard. But, it is also a lot of fun to play. I sense it will become very popular and appear on many recitals. It will take a lot of work, but the performer, and most importantly the audience, will love it. Highly Recommended. ~ Chuck Jackson Las Vegas

Three Inventions for tuba and piano by Elliott Schwartz. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com. www.tubaeuphonium press.com. 2002. Approximate duration 7:00. $10.
These three short movements are in an abstract, atonal style, but that should not scare anyone away from performing this work. Although this is not a style I pretend to totally understand, that does not preclude me from having an opinion of the piece’s musical effect. It is well written for each instrument, technically very playable, and musically appealing. The composer uses recognizable thematic material, attractive harmonic backgrounds, and interesting interplay between the two instruments to create a cohesive, satisfying work that has both contrast and unity. The three movements are cyclical with thematic or intervallic material recurring in all three. The outside movements are very similar in both character and melodic/harmonic content, thus creating a large ABA form, which further unifies the work. The range of the tuba part is from EE-flat to d 1 . The first invention is meditative, maybe somewhat melancholy. Octaves and open fourths or fifths characterize the sparse harmonic background. The opening thematic material returns at the end by the muted tuba. The second invention is energetic, disjunct, and capricious. It uses short, quick gestures, sudden contrasts, and fast interchanges between the two instruments. The harmonic structure is less open, using more seconds and sevenths. Special effects are used in this movement. These include clusters of notes on the piano played with the palm of the hand, strumming of the strings inside the piano, and flutter tonguing in the tuba. The final invention returns more obviously to the thematic and harmonic material of the first invention. Slower rhythms create a dirge-like effect. It ends exactly as the first movement did (only not muted) nicely rounding off the entire piece. The style of this work will not please everyone, but even if it’s not “your type of piece” it will leave you with the feeling of having heard a valid and complete musical statement. It is worth performing and hearing and thus deserving of a place on a recital program. ~ Mark Mordue Ball State University

Stocking Stuffers “Carols for Christmas” arranged by Barton Cummings for tuba and piano. Solid Brass Music Company, 71 Mt. Rainier Drive, San Rafael, Ca. 94903. (800) 873-9798; www.sldbrass.com (BC042). 2003. $8. Range: BB–e.
Unlike many of Mr. Cummings compositions for tuba, which challenge both performer and audience, Stocking Stuffers is a collection of standard carols arranged with “the younger player” in mind. These are excellent for use in church, at school assembly, family gathering, or any type of sing-along. Titles include: Joy to the World, Away in a Manger, Good King Wenceslas, O Come, All Ye Faithful, Jingle Bells, O Christmas Tree, Silent Night, Deck The Halls, Jolly Old Saint Nicholas, and We Wish You A Merry Christmas. Key signatures range from one sharp to three flats, and each has one or two verses written out which could be repeated as needed. The solo part is clear and easy to read. The only discrepancy I found was in O Christmas Tree, the pick- up note and first four measures should be repeated to fit with the text of the verse. I feel this is an excellent addition to the repertoire of an often overlooked segment of “us tuba players”—the beginner. It gives them a very accessible setting of tunes that they can play to acquire some real “performing experience” under their belts. So, “Ho-Ho- Ho and Happy Tubaing!” ~ Phillip C. Black Wichita State University Wichita Symphony

Dream Etudes, Book III for solo tuba by Carson Cooman. MMB Music, Inc. Contemporary Arts Building, 3526 Washington Avenue, Saint Louis, Mo. 63103-1019. (314) 531-9635; (800) 543-3771 (USA/Canada); mmbmusic@mmbmuisc.com; www.mmbmusic.com. 2002. X240006. $9.95.
This set of three rather short and intriguing etudes was written for me (without me knowing!) and then sent to me in early 2002. Carson Cooman is a prolific composer of all genres and at last count, 85 of his works for virtually all instruments are found in the MMB catalogue. I premiered these etudes at the 2002 International Tuba-Euphonium Conference in Greensboro, North Carolina. The movements are titled “Interrupting,” “Folding,” and “Prancing.” The entire set is just over 7 minutes long. Interrupting begins with a fanfare theme that is interrupted by a series of seemingly unrelated material in contrast to the fanfare theme. Range is not extensive (FF-sharp–e 1 ), but there are several tricky leaps. Folding is a slow, lyrical movement that has a delicate poco agitato middle section requiring some real agility to bring off. Range is FF–c-sharp 1 . The last movement, Prancing, is my favorite with its fast and vigorous opening in 12/8 meter, a grand waltz middle section with a bass line alternating with a melodic arpeggio sequence, followed by the fast opening theme. The range (DDD–e-flat 1 ) is similar to the other movements. Both harmonies and the juxtaposition of elements in this music make these etudes fun and interesting to prepare. A good college student would find them rewarding as a solo tuba selection, and professionals would find the music interesting and challenging yet accessible without sweating too much. Check out other compositions by Mr. Cooman. He deserves more recognition for his music! ~ Mark Nelson Pima Community College

TUBA/EUPHOINUM ENSEMBLE REVIEWS

“Intermezzo and March” from Suite in E-flat Major by Gustav Holst arranged for tuba/euphonium quartet or four-part ensemble by Scott Schlesinger. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com; 2002. $24.
Here we have a very well-known work—probably played in band by most anyone who has made it through high school or college. There are times when such pieces don’t quite lend themselves graciously to the quartet format. The tessitura of the first euphonium part had my “test readers” wanting to take a rest by the end of the first page (of seven total). Ranges include: euphonium 1 F–b 1 ; euphonium 2 G–f 1 ; tuba 1 C–g 1 ; and tuba 2 FF–f 1 . Many of their accompani-ment figures sounded as if they were “straight from the woodwind parts.” While remaining true to the original, this treatment made for huge difficulties in technique and endurance. Possibly in a larger ensemble, where players could “spell” each other, this would not be such an obstacle. The second euphonium and second tuba parts were scored low enough that range was not an issue. Still these parts really beg for more than one on a part due to the long repeated accompaniment figures that they contain. Though not called for, tuba 1 would lie best on F tuba. There are long passages that lie from e–e 1 and a melodic excursion to g 1 and back. This is definitely a work for a college level ensemble. With thorough practice and pacing it could be one of “the big works” on an ensemble concert. The score and parts are easy to read and well printed. However, the score is bound in such a manner that it has to be placed sideways on the stand. The pages must be “lifted” as they are finished, so you’re jumping from bottom right to upper left hand as you lift the page rather than reading left to right as is usually the case. ~ Phillip C. Black Wichita State University and Wichita Symphony

Concert and Contest Collection for Tuba-Euphonium Quartet (Grade III–IV) compiled by Skip Gray. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2003. $24.
This is a great collection with a good mix of arrangements. The eight composi-tions collected span five hundred years starting with a chorale, Aus tiefer Not, by Johan Walter (1496–1570) moving in time through Praetorius (Two Dances from Terpsichore), Purcell (Almand and “Trumpet Tune” from his opera Dioclesian), J.S. Bach (Bist du bei mir), Schubert (Der Wegweiser), Schumann (Lied der Braut), and ending with one of Gray’s own original composi-tions, Howndawg Stomp. Each of the arrangements has time durations listed in the score (most are between 45 seconds and 2:30, with Haydn’s March for the Prince of Wales clocking in at 4:25). The parts are in separate books (very handy), and there are separate treble clef books for both euphonium 1 and 2. The ranges (listed below) are appropriate for high school players. The voicing, which can be tricky in this kind of ensemble, is well handled with good spacing between the two tuba voices. By far the best feature is contained in the score book. Dr. Gray has a three-page article entitled “Keys to Establishing a Successful Tuba-Euphonium Quartet.” Here he has included many good practical tips about promoting good tone quality, intonation, blend, matching articulations and note releases, listening to each other, and developing good musicianship. This gives us the benefit of his vast experience with low brass ensembles and is invaluable to one who is starting their first effort in this field. He even lists good high school level tuba-euphonium quartet literature, helping to advertise other composers, arrangers, and publishers. I would say that this well-arranged set of pieces is a must for high school ensembles. The ranges are: euphonium 1 c–a-flat 1 ; euphonium 2 A-flat–f 1 ; tuba 1 C–g; and tuba 2 FF–d. ~ Michael Short, Drake University

Six Tuba Duets for Two Tubas by Scott Schlesinger. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. $12.
Here is quite the mixed bag. Each one of these duets is in a different style (some very different). One is in the style of a Bach Invention, another a study in half-step intervals followed by a jazz pastiche. One is a reprise of the mid-1960s style with 12/8 metered episodes mixed with 4/4 meter. There is a beautiful sostenuto cantabile that reminds me of the Sear duets that we all played so much in the 1970s (showing my age!). Rock style is the marking for the fifth duet, while the last duet seems to be honoring Raymond Luedeke. Duet No. 5 is marked “Top part may be played by euphonium,” and Duet No. 6 says “Top line should be played with E-flat or F tuba, if available,” but most of the top part in all six duets stays in the top part of the staff or above. We tried this both ways, with euphonium and with F tuba on top in all the duets, and it makes for a great sound. Not all of these will be to everyone’s taste. I can see doing a few of these on a recital, and I can also see that there is at least one of these that I will never play again, but the same can be said for how I treat that book of Sear duets. You probably won’t be giving these to high school students, but this will break in some college students. If you do these with tuba on top, you better have solid high chops—it stays up there for an extended period of time. I’d like to see some more from Mr. Schlesinger, and maybe he’ll write an extended duet in one particular style. With this book, however, there is sure to be several that will appeal to anyone’s tastes. The first part has a range throughout the duets of AA to f 1 (with the lion’s share of that above a); the second part’s range is FF to e 1 (mostly below d). ~ Michael Short Drake University

The Impresario Overture by W.A. Mozart arranged for five-part tuba/euphonium ensemble by Ronald C. Knoener. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $20.
I have always thought that Mozart would have loved the tuba. He wrote beautiful music for the horn, his bassoon concerto is quite nice, and his demands on cellos and double basses in his orchestral works show a wonderful working knowledge of our sacred tessitura. Unfortunately, we must make due with transcriptions. Ronald Knoenerhas given us a wonderful arrangement of Mozart’s Overture to the singspeil The Impresario. The ranges are: euphonium 1 B-flat–a 1 , euphonium 2 A–g, euphonium 3 B-flat– g 1 , tuba 1 BB-flat–g, and tuba 2 FF–f. This arrangement is ostensibly for a five-part ensemble, but each part has a divisi in it that will require a minimum of two players on each part. The printing is first rate, but there is a poorly planned page turn for all parts that will require a quick turn or a really good memory. Every note of the overture is accounted for in the arrangement. Mr. Knoener has done some fancy footwork to get every-thing in, which he does very well. The technical demands don’t look daunting on the page. This piece must be played with as light a style a possible. To keep the integrity of line and its movement from one voice to another, everyone playing will have to stifle the urge to play out. All the little lines that weave under-neath the melody must dovetail together perfectly to be effective. The melody is straightforward with the movement either scalar or arpeggiated in a standard tonic-dominant framework. There are instances of rapid lip slurs in the two tuba parts that will take some extra attention to play as light and smooth as possible. All the running eighth notes will take a deft touch as they chug along underneath the melody and can in no way overshadow it. I would suggest finding a recording and listening to this piece in its original form and make sure you emulate the style. If this is done, many fine performances of this work will be given. I would hope all tuba-euphonium ensembles would purchase this piece so they can perform it and further dispel the myth that the tuba cannot play lightly and politely. Highly Recommended. ~ Chuck Jackson Las Vegas

Andante Cantabile by Piotr I. Tchaikovsky from the String Quartet No. 1 arranged for four-part tuba/euphonium ensemble by Ken Drobnak. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com. www.tubaeuphonium press.com. 2002. $10.
I have always felt that the string quartet literature is a perfect vehicle for the tuba-euphonium ensemble. Both ensembles are inherently “consort” in nature and the blend of sound in both ensembles is basically similar. Unfortunately, the technical demands of even the most rudimentary of string quartets may stretch the tuba and euphonium technique to the limit. Thankfully, this does not always include slower, lyrical movements. Mr. Drobnak has graced the tuba-euphonium ensemble literature with a strong arrange-ment of one of Tchaikovsky’s most beautiful melodies. The ranges are: euphonium 1 d-flat–g 1 , euphonium 2 B-flat– g 1 , tuba 1 BB-flat–c 1 , tuba 2 AA–e-flat. As always, the printing from the tuba-euphonium press is first rate. First off, don’t let the rather limited ranges fool you into thinking that this is an easy piece. It will require total musical commitment from each player. The problems with blend alone will take many hours of practice to perfect. Each voice must be in perfect harmony with each other, and no voice can be allowed to stand out from the rest. Next, the handing off of the melody will require the performers to know to the last detail what each other is doing and lead from one voice to another with a perfect balance of blend, musical thought, and intonation. Every part has a chance to play the melody, but the two euphoniums handle most of it. The second tuba part is very critical as the performer must play with a smooth, sustained legato and then produce a perfect replication of cello pizzicato without becoming too tubby or present. Then there are the dynamics to contend with. Andante Cantabile goes to a lyrical forte for only four or so measures. The rest of the piece is marked at piano or pianissimo. This will require ultimate control over every facet of playing to do this piece justice. I suggest that any ensemble undertaking a performance of Andante Cantabile should listen to a seasoned string quartet perform it first to grasp all the musical and ensemble nuances required. Under no circumstances would this reviewer suggest this piece be played by anything larger than a quartet. It is chamber music of the highest order and should be played as such. Every serious tuba-euphonium ensemble should have this piece in their libraries. The chance to perform great music in a musically satisfying way should be the goal of every chamber group. This arrange-ment is one of the best this editor has seen to help achieve that goal. Highly Recommended. ~ Chuck Jackson Las Vegas

Ricercare del Duodecimo Tono by Andrea Gabrieli arranged for four-part tuba/ euphonium ensemble by Ronald Davis. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $8.
The Ricercare del Duodecimo Tono is one of the best-known pieces by Andrea Gabrieli, uncle of Giovanni Gabrieli. I have used this piece, in a different tran-scription by Richard Barth, with high school and college groups for years. Ron Davis, Professor of Tuba and Euphonium at the University of South Carolina, has provided an excellent alternative transcrip-tion that includes valuable background information on the piece. What was new to me was the fact that this was the first piece to be performed by the Los Angeles Tuba Quartet (Roger Bobo, Tommy Johnson, Jim Self, and Don Waldrop— how come this group never recorded?), on a recital given in May of 1976! However, it is unclear whether this was the arrangement performed. This piece should be a staple in every tuba-euphonium ensemble library. It provides a good introduction to late Renaissance instrumental style (Davis mentions how this work shows many of the characteristics of the instrumental canzona in spite of its title) and is easily accessible by a good high school or average college group. It works well with either a quartet or a large ensemble. The only real musical challenge is a change in meter and tempo in the middle of the piece, which can easily be worked out with a conductor or with a metronome (Davis has clearly marked the tempo change and thoughtfully provided a metronome marking, which makes it even easier). For the record, the ranges of the individual parts are: euphonium I B-flat to g 1 , euphonium II A to c 1 , tuba I F to g, and tuba II BB-flat to c. The typeset and printed parts are clear, open, and easy to read. This is a well-thought- out transcription of a good piece, one that can and should be played by a variety of groups. Further kudos to Ron Davis for providing informative program notes for those of us who like to know about the pieces we play without having to resort to library or Internet searches! ~ Richard Perry University of Southern Mississippi

Seven Miniatures (Based on Native American Themes) for euphonium/tuba duet by Antony Paasch. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. $8.00. Ranges: euphonium B–f 1 and tuba BBB-flat–g.
Composer Antony Paasch, 30, was born and raised on a farm near Wimbledon, N.D. He earned a B.A. in Music at Connecticut College and a M.A. in Music Theory and Composition at the University of Northern Colorado. It would be interesting to know how/if his upbringing and schooling exposed him to the themes serving as the basis for this work. Aptly titled, Seven Miniatures contains seven movements, none of which last more than a minute. They are subtitled as: “Freely,” “with war-like intensity,” “Lively,” “Delicately,” “Chanted,” “Driving,” and “Smoothly.” There is much “good learning” packed into these short works. It would be a good challenge to get these duos past the “Hey, we didn’t fall apart” stage and prepare them for a chamber music concert or ensemble contest. Range would not be a big issue to the performers, providing the tubist can reach the final BBB-flat (Mr. Paasch is an avid tuba player!) There are many good rhythmic chal-lenges throughout. Shifting meter, mixed meter, lining up grace notes, matching articulations and accents all combine to make this work much “deeper” than it appears at first glance. Each movement changes key signature, and there is excellent use of dissonance—not your every day ho-hum V–I. Two very nicely printed parts are provided for the performers. ~ Phillip C. Black Wichita State University Wichita Symphony

Six Duodecadent Duets for Two Euphoniums by Andrew J. Glick. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. Approximate duration: 10:00. $10.
The composer’s purpose in writing these duets is to acquaint euphoniumists of intermediate to advanced ability with twentieth-century compositional techniques—and have some fun doing so. Each of the six is derived from a pitch set. The titles of the duets generally reflect the processes of their composition: Inclusively Yours (tetrachords), J.S. Lived Here (a serial twist on the B-A-C-H anagram), Holy Whole-Tone, Batman! (whole-tone scale), Mode Indigo (bimodal sets with a tricky meter), Igor Here, Igor There (octatonic pitch sets à la Stravinsky), and I Cannot Tell a Fib(onacci). The composer includes the above information in an introduction for each performer, very helpful regardless of one’s experience with these styles of music. Tempo and metronome markings are consistently given and the numerous tempo changes and irregular meters are a refreshing break from the duet norm. The tempo markings are clearly written in English, sometimes colorfully so (e.g. “pretty darn quick” and “pedantic”). Dynamics and articulation markings are used in a precise manner and are an integral part of the compositional process and performance. The duets are from 30–57 measures in length; the euphonium parts range from D-flat to g 1 , and the only special techniques required are flutter tonguing and half-valve glissandi. The only flaw from a presentation viewpoint is the page setup: five of the six duets have awkward page turns. Overall, this collec-tion of duets should prove an interesting addition to the euphonium repertoire, and performers should be encouraged to explore its possibilities. ~ Shawn Pollard Tucson, Arizona

Theme and Variations by Al “Corky” Fabrizio for tuba solo and tuba/euphonium choir. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $10.
Corky Fabrizio, born in 1936, is a composer currently working with the Penfield Commission Project. He is currently in residence at McQuaid Jesuit High School in Rochester, New York. He recently retired from a 34-year teaching career in the public school, during which he directed primary, secondary, college, and community groups. He has conducted over 300 festival bands and has served on a number of college faculties. The ranges of each part are as follows: solo tuba BBB-flat to b-flat 1 , euphonium 1 A to d 1 , euphonium 2 A to b-flat, tuba 1 BB-flat to f, and tuba 2 FF to B-flat. As you can see from the given ranges the accompaniment is not difficult at all. It is very playable by a high school level player on up to the professional ranks and could even be performed by four tubas. This brings me to my only concern about this piece, which is that it can be quite “muddy” sounding at times due to the close spacing of the four parts, especially the two tuba parts. At times they are a third apart and that usually occurs below the staff. If the composer was after a certain “thickness” in texture then it was definitely achieved. As a performance suggestion the solo tubist might want to perform on a small horn to cut through the ensemble. As for the piece itself, the theme is a sixteen-measure melody followed by the standard interlude. The first variation is sixteenth-note-based and very reminiscent of any Clarke, Arban, or Pryor theme and variations. Another interlude occurs and then we have variation two. It is comprised of triplet sixteenths in arpeggios. At this point we have another interlude and then a cadenza that is to be performed ad libitum. Absolutely no notes were written in as guidelines. It is all up to you the performer to make your mark and shine away. Then the ending is a fast flourish of running sixteenths all the way up to a high B-flat and finally ending on a pedal B-flat four octaves down. All in all Theme and Variations is a short and virtuoso-type work. Duration is about four minutes without your cadenza. If you are looking for a stepping-stone to Arban’s Carnival of Venice, you might want to give this piece a try. ~ Raúl I. Rodríguez Texas State University, San Marcos

Trois Chansons by Claude Debussy arranged by Jeremy Lane for four-part tuba/euphonium ensemble. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphoniumpress.com. 2002. $18.
Here is a nice treatment of three Debussy songs for tuba ensemble. Those of us who never took French were left guessing how the movement titles should translate. It would be a nice addition to give English subtitles. The ranges are euphonium 1 c-sharp–f-sharp 1 , euphonium 2 A–d 1 , tuba 1 E–c 1 , and tuba 2 EE–e. Though the scoring feels rather “thick” at times, the dynamics and phrasing are clearly marked throughout, and an ensemble could learn a great deal of stylistic subtleties by preparing this for performance. The first two movements do not get above a marked mezzo forte (rather a pleasant relief from some of the zealous dynamics our students inflict upon us), and there is an added solo euphonium/ contralto part for the second movement which could add an unusual “touch of class” to an ensemble concert. The score and parts are well-printed, clear, and easy to read. However, what sets this work beyond the reach of most high school ensembles are the key signatures of the movements. Movement one is in B major, which quickly took the wind out of my ensemble’s sails. Move-ment two sits in F-sharp minor and has some very effective tambourine-like motives. The third movement shifts between E major and e minor (and they finally get to pump up the volume at the end!). Given a bit of diligent attention to phrasing and working out the problematic keys, this piece would fill out an ensemble performance very nicely. One could easily research the lyrics and have them translated for the audience. ~ Phillip C. Black Wichita State University Wichita Symphony

Two Contrasting Pachelbel Fugues arranged for tuba-euphonium quintet or choir by Frank Ferrino. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711; dmiles@erols.com; www.tubaeuphonium press.com. 2002. $12.
Fugue No. 1 is the Chromatic Fugue in d minor arranged for five parts. It can be configured for two euphoniums and three tubas or three euphoniums and two tubas. The ranges are euphonium 1 g to c 2 , euphonium 2 c to a-flat 1 , euphonium 3/F tuba c to d 1 , tuba 4 BB-flat to g, and tuba 5 EE to c. As the title suggests, the piece is chromatic and fugal. It will require atten-tion to proper pitch placement, intonation, and precise rhythmic interpretation. The rhythms are not difficult. It is set in common time at a quarter note pulse of 72–76 beats per minute. The only difficult aspect might be the euphonium 1 part being consistently high. Aside from that the only complaints pertain to the score. While not difficult to decipher, it is jam-packed with three systems per page. Double lines // had to be hand-written in to highlight the space between the systems. Plus, several dynamic markings are hidden within staves and beams making them difficult to recognize. At least the extracted parts are cleaner and easier to interpret. Fugue No. 2 is the Magnificat Fugue. The time signature is 12/8 and tempo is set at a dotted quarter note pulse of 100–108 beats per minute. The fugue is in the key of F Major. The ranges for this fugue are euphonium 1 B-flat to a 1 , euphonium 2 G to c 1 , tuba 1 BB-flat to a, and tuba 2 FF to a. Again, it’s a fugue, so great ears and great time are needed for precision. This fugue is not too difficult aside from perhaps trying to maintain the triplet pulse throughout and not letting the piece get to heavy. There is a nice balance between legato and marcato sections. The two fugues combined encompass about 5 minutes. If you’re looking to program some fugues and have performed parts of the Art of the Fugue one too many times, you might want to take a look at this two movement arrangement. It’s a contrast from Bach fugues but should be well received in any tuba ensemble recital program. ~ Raúl I. Rodríguez Texas State Univeristy, San Marcos

BRASS QUINTET REVIEWS

Three Quintets by Victor Ewald for brass quintet edited by Bryan Doughty. BVD Press, 178 Ledyard Street, New London, Conn. 06320 USA. 2002. (860) 443-6866; www.bvdpress.com. $55.
This is a newly edited set of the first three Ewald brass quintets. The score and individual parts include all three quintets ITEA Journal Winter 2004 13 in a spiral binding. The price is comparable to buying the three quintets published by G. Schirmer separately ($19.95 each). Although having all three in one book makes it a little bulky, the spiral binding allows the pages to easily open flat. I compared the first quintet to the Robert King edition and the other two quintets to the Empire Brass Quintet edition, published by G. Schirmer. None are drastically different from previous editions, but, through careful editing, they have all been improved. In a few places parts have been re-voiced, sometimes to keep higher parts in an upper voice, sometimes for a color or register change. Some articulations, dynamics, and tempo changes are different, but they all work well. Bryan Doughty is more judicious in his use of extremely soft and loud dynamics and has taken care to clear up dynamic inconsistencies in previous editions. Some notes have been written enharmonically to make the accidentals more logical and tenor clef is not used in any trombone parts. This is especially helpful for student musicians. In the third quintet, Doughty has included repeats that do not appear in the Schirmer edition and the second movement is in 4/4 rather than cut-time. This may make the movement feel different but not wrong. The BVD Press scores are all in transposed keys for trumpets and horn, which I personally prefer. The printing is very easy to read, rehearsal letters are well placed, and page turns in the parts are extremely well planned. In all three quintets, I find any changes to be well considered and not significant enough to make the pieces sound different from what we are all used to hearing in performance. This new edition is a welcome improvement. Bravo to Bryan Doughty on an excellent job of both editing and printing. ~ Mark Mordue, Ball State University

RERCORDING REVIEWS

From the Balcony CD recording featuring Matt Tropman, euphonium; Gail Novak, piano; Chris Rose, percussion; and Eric Sabo, bass. Summit Records DCD 316, www.summitrecords.com or Box 26850, Tempe, Ariz. 85285 USA. 55:24. $17.99.
This new recording from Matt Tropman, former member of “The President’s Own” U.S. Marine Band, includes highlights from West Side Story and Prokofiev’s Romeo and Juliet. Jason Fettig completed these difficult arrangements for Mr. Tropman, which includes an accompanying ensemble of piano, percussion, and bass. This ensemble works extremely well in West Side Story. Included are “Prologue,” “Scherzo,” “Mambo,” “Cha-cha,” “Maria,” “Tonight,” “One Hand, One Heart,” “Cool-Fugue,” “Somewhere,” “I Have a Love,” and “Finale.” This ensemble is not as effective in the Prokofiev since the original depended on a variety of orchestration. Included selections from Romeo & Juliet are: “Introduction-Masks,” “The Montagues and Capulets,” “The Young Juliet,” “The City Awakens,” “Public Merryment,” “Mercutio-Fight,” “Romeo and Juliet at Parting,” and “Juliet’s Funeral and Death.” Mr. Tropman’s performance is very impressive and showcases his technical and lyrical abilities. His performance displays the quality of the euphonium sound in all ranges. The only disappoint-ment I found with the recording was that the euphonium seemed to have a distant sound on some tracks. This is a great disc for euphonium enthusiasts to have in their personal libraries, but there is not much here a student could perform on a recital. Highly recommended! ~ Ken Drobnak Olivet College

Carnegie VI CD recording featuring the Tennessee Tech Tuba Ensemble, R. Winston Morris, Director. Mark Custom Recording Service, Inc., 4769 MCB, Clarence, N.Y. 14031-0406. 2003. No price specified.
This is a recording of the ensembles’ sixth and latest appearance in Carnegie Hall on 25 January 2003. It includes Handel’s Arrival of the Queen of Sheba arranged by Joshua Hauser, Vivaldi’s The Seasons, No. IV “Winter” transcribed by Scott Beaver, Faure’s Pavane, Opus 50 arranged by Kenyon Wilson, Dvorak’s Slavonic Dances, Opus 46, No. 1 arranged by David Butler, Prokofiev’s “Troika” from Lt. Kije Suite arranged by David Butler, Greg Danner’s Scherzo transcribed by James Vaden, Vladimir Cosma’s “Giocoso” from Euphonium Concerto transcribed by Seth Fletcher, James C. Mobberley’s On Thin Ice, Leroy Osmon’s Frescos De Bonampak, and Fisher Tull’s Tubular Octad. Please get this disc and listen intently. Don’t take a “tone bath.” Listen intensely. Listen to the articulations. At times during the Handel and Vivaldi there seemed to be rosin dust rising from the speakers (actually it was snow flurries outside my window). For legato phrasing, pay attention to the Faure. In the Dvorak, you can hear (and almost “see”) the slogging shoes of the peasants. Any one of these tracks would be suitable for a large analysis paper. Special mention must be made of the remarkable performances of Scott Beaver (tuba) and Seth Fletcher (euphonium) who are soloists on the Vivaldi and the Cosma respectively. The program notes are thorough and offer many facts about the pieces and the arrangers and composers. Most of the composers and/or arrangers represented on this recording have a relationship with the ensemble. The recording quality is excellent. You are seated somewhat up-close. My B&W DM7 Mark II’s were given a real workout. The Martin-Logan’s in the listening room received the same challenges. All of this is a tribute to the pedagogical genius of R. Winston Morris. The sound quality is always consistent, whether in the high, medium, or lower ranges. Arrangers and composers should pay attention to the vertical textures, which contribute to the harmonic clarity. The musical values are always present even when the styles change. The blend is wonderful and the ensemble is flawless. These students are fortunate to have such a musical director. This could be a much longer review containing pages and pages that can’t be included in this format. If it was a minimalist review it would simply state: Superb, spectacular playing in EVERY way! Well, Mr. Morris, keep it up. But, what is next. How can you follow this? ~ Rodger Vaughan is retired from California State University, Fullerton and living in Colorado. He continues to compose, arrange, and practice the tuba, even at 7,500 feet.

Le Monde du Serpent (The World of the Serpent), CD recording featuring Douglas Yeo on bass and contrabass serpents with the Berlioz Historical Brass, Gloria Dei Cantores Choir, members of the Boston Symphony Orchestra, Deborah DeWolf Emery (piano), Jennifer Ashe (soprano), and Craig Kridel and Phil Humphries assisting on serpent and ophicleide. Berlioz Historical Brass -number BHB 101. Available at www.yeodoug.com or select dealers specializing in recordings of low brass. 2003. No price specified.

The serpent, well known for its dual role as a predominant bass wind instrument for hundreds of years as well as for being the predecessor to the tuba, has had its sounds and music documented by more than 80 recent recordings on compact disc alone. Collectively, these have covered the entire breadth of the serpent’s rich repertoire, from chant to avant-garde jazz, but none have attempted to cover all bases on a single album. Those interested in getting to know the instrument’s flavors and capabilities would purchase many diverse recordings, a daunting undertaking for all but the most enthusiastic listener (for a list of the aforementioned recordings, see www.serpentwebsite.com). Fortunately, the instrument and its audience have what was long missing: a virtuoso with the resources, connections, and sheer energy needed to conceive and execute a recording dedicated to the world of the serpent. Douglas Yeo, bass trombonist with the Boston Symphony orchestra, is also that institution’s serpentist and ophicleideist and is one of the world’s leading players on serpent.

In 1994 he broke the serpent barrier by playing on the historic instrument for the BSO’s presentation of the Berlioz Messe Solennelle and in 1997 he similarly broke the ice by playing the Proctor Serpent Concerto with the Boston Pops under John Williams. In 2003 his long awaited personal recording project has reached the listening public as Le Monde du Serpent (The World of the Serpent). With this recording, Yeo has combined the goals of introducing the record-buying public to the instrument, documenting the different ways the serpent has been used over the centuries, and giving recorded life to important yet obscure contemporary compositions for serpent. The CD includes pieces from most major deliberate applications of the serpent: plainsong, method books, harmoniemusik, and contemporary compositions. Notably absent are military band selections (although these can be treated as part of the “harmonie” tradition) and West Gallery music, the latter of which used serpent incidentally albeit frequently and is happily still represented by other commercial recordings.

For its original incarnation, chant-plainsong, Yeo has selected an early composition known to call for serpent, an Alleluia from the Auxerre tradition of France for three voices with serpent on the cantus firmus. Also included is Domine Salvum by Abbé Nicholas Roze, a co-author of the first published serpent method in the late 18th century. From the same period are excerpts from various serpent methods, three etudes and a duet, where Craig Kridel (ITEA Journal Historic Instrument Column co-editor) joins in on the second part. After its first life as the bass of plain-song, the serpent was reincarnated in the harmonie bands of the classical period, and Yeo has selected two representative examples. First is the Divertimento (Feldparthie) in B-flat, usually attributed to either Haydn or Pleyel, with members of the Boston Symphony wind sectionITEA Journal Winter 2004 16 joining the performance. Next is the Allegretto from the harmonie band version of Beethoven’s Symphony No. 7, also with the BSO winds (this is the only selection on the CD to feature the mighty contrabass serpent). Two pieces not specifically written for serpent have been included on this recording, and they serve to pay tribute to key players of the serpent. Handel’s March from Scipio was a favorite concert number for the London Serpent Trio and was also one of the first pieces of serpent-performed music to be included on a commercial recording, the LST’s Sweet and Low LP. Yeo plays the top and bottom parts through overdubbing while Kridel is on the middle. Mátyás Seiber’s Foxtrot was another LST favorite and was included here in memoriam to serpent guru Christopher Monk. Yeo and Kridel are joined by English serpentist and current LST member Phil Humphries. The bulk of the recording is devoted to contemporary compositions for serpent. Clifford Bevan (LST member and author of The Tuba Family), in his selection Les Mots de Berlioz, takes the text of a letter written by Berlioz to a friend, describing his Messe Solennelle, and sets it to music as a tribute to the composer’s style. The Gloriae Dei Cantores Choir delivers the text, and the Berlioz Historical Brass quartet handles the instrumental parts. Yeo is joined by Humphries on ophicleide and Ben Peck on buccin plus bassoon. Next, Yeo reads the early American poem The Pesky Sarpent, then plays Bevan’s mischievous Variations on The Pesky Sarpent joined by Deborah DeWolf Emery on a very Lisztian piano. Peter Wilton realized an organ and serpent accompani-ment in the style of Métoyen to the vocal parts of Henri Du Mont’s famous Royal Mass, and this recording presents its Credo. In a more avant-garde vein, Drake Mabry’s Quatre Tanka for serpent and soprano gives Yeo the chance to shine in a technical and improvisational manner that the other more formal selections do not allow. Indeed, it is hard to imagine another instrument being capable of playing this selection. Finally, the largest work on the album is Simon Proctor’s pivotal 1987 composition for orchestra and soloist, his Serpent Concerto, treated here in its version using piano accompan-iment. While initially one might question the use of a piano reduction on a recording such as this, and one cannot blame Yeo for not wanting to pay an entire orchestra out-of-pocket, the fact is that Proctor wrote the piano version as an equally valid performance version, and it works extremely well. The performers on this recording are all fine choices and deliver their parts flawlessly. Besides Yeo’s own sterling work on the subject instrument, special mention is due for pianist Emery, vocalist Ashe, the choir, Yeo’s comrades in the BSO, and packaging and artwork by Wayne Wilcox. Even though this is a self-produced CD, every aspect is professionally and pain-stakingly well done. I have written many reviews of serpent recordings for this journal, but this CD is the one to get for anyone interested in the serpent and its music. ~ Paul Schmidt, Heavy Metal Music

Play That Funky Tuba Right, Boy!, CD Recording featuring the Tennessee Tech Tuba Ensemble, R. Winston Morris, Director. Mark Custom Recording Service, Inc. 4757-MCD, 10815 Bodine Road, Clarence, N.Y. 14031-0406; (716) 759600; www.markcustom.com. No price specified.

This program of jazz, funk, pop, and drool contains the following tunes: Boogie Down by Al Jarreau arranged by Joe Murphy, Play That Funky Tuba Right, Boy by Rob Parissi arranged by Angelo Kortyka, Beat It by Michael Jackson arranged by Josh Rose, Brick House by King/Lapread/Mcclary/Orange/Richie/ Williams arranged by Joe Murphy, Spain by Chick Corea arranged by John W. Arnold, Jr., Walkin’ by Richard Carpenter arranged by David Esleck, Sidewinder by Lee Morgan arranged by Joshua Hauser, Favorite Things by Rogers & Hammerstein arranged by Bill Cherry, Musings by Bill Cherry,‘Round Midnight Thelonius Monk arranged by Bernard Walker, Until I Met You (Corner Pocket) by Freddie Green arranged by David Esleck, Sister Sadie by Horace Silver arranged by Joshua Hauser, Shaft by Isaac Hayes arranged by A. Gottschalk, and Chameleon by Herbie Hancock arranged by Richard Perry. I never attended the Tennessee Technological University, and that is one of the few things that I would change were I to do it all over again. Years ago on tour with The Tubafours we played in Cookeville and had an absolutely wonder-ful time. I knew then that it would have been a lot of fun to be in Winston Morris’s tuba/euphonium studio, but after listening to this CD, I know now that I missed out! In this recording we get the energizing uplift that comes to tuba and euphonium players in front of an enthusiastic and appreciative audience. We get to feel like “real” stars, and I’ll bet the groupies were really going crazy at the front of this stage. On top of the exceptional playing displayed at a “Live” performance, the arranging, energy level, choice of music, and balance between the players and rhythm section is fantastic. Adding to the fun are the moments when Winston surfs to the top to show, clearly, that he is having fun too! Very few recordings give the “feel” of being there when you listen to them at home. This CD “takes you there” and makes it feel you have a

money-well-spent purchase to enjoy. Over an hour of soul-satisfying sounds and variety give you an at home concert without the crowds, traffic, and travel. The creative treatments of the tunes on this recording are to be commended. The arrangements are challenging and the use of a bass guitar relieves the tubas of their bass line duties and allows them to be featured with the melody as an equal to the euphonium. There are also plenty of featured soloists throughout the disc. All tuba and euphonium players will enjoy this CD along with those who are not as informed about what we can do with our horns. This truly “ensemble” performance is a must have for low brass enthusiasts, especially when the “live audience” sound track puts you front row seat at such a superb performance. Enjoy! ~ Gail A. Robertson Bethune-Cookman College and the University of Central Florida

Tennessee Tech Pride CD recording featuring Timothy J. Northcut, tuba, with the Tennessee Technological University Symphony Band, Joseph Hermann, conductor. Distributed by Mark Custom Recording Service, Inc. www.mark custom.com. 62:40. 2003. $15.

Winston Morris points out in the introduction to the liner notes of this recording that this project is “…a tuba concerto recording by a Tennessee Tech graduate with the Tennessee Tech Symphony Band featuring Tennessee Tech composers conducted by the Director of Bands at Tennessee Tech recorded by one of Tennessee Tech’s biggest fans, Mark Morette.” There are the parameters! As with the hundreds of projects conceived by Winston Morris over the years, here is yet another one that brings distinction to the institution to which he has devoted his long career. His contributions through projects such as this one were recently recognized by TTU, as he received the prestigious Caplenor Faculty Research Award, TTU’s highest recognition for achievement in research/creative activity. As usual, the attention for this project is not focused on himself, but on a distin-guished graduate of Tennessee Tech, his colleagues, and the students of TTU. This recording features first recordings of all three original works and the two arrangements for tuba and band. In order of appearance, they are: Concerto for Tuba and Band (Greg Danner), “Andante” (from Concerto for Coloratura Soprano and Orchestra, Op.82) (Gliere, arr. Northcut), Concerto for Tuba and Wind Orchestra (William Brusick), Tubossa – A Concert Bossanova for Solo Tuba and Symphonic Band (Alfred Bartles), and “Nessun dorma!” (from Turandot) (Puccini, arr. Brusick). An especially unique factor in the production of this compact disc is that Danner, Brusick, and Bartles were present for the recording sessions of their works, giving input to interpretation and other aspects of performance. Therefore, the recording is indeed “composer/ arranger authenticated.” Many people in the brass world know Tim Northcut for his remarkable work with the University of Cincinnati College-Conservatory of Music Brass Choir, for his administrative prowess with the Mendez Brass Institute, and the impressive accomplishments of his euphonium and tuba students from CCM. This recording reveals the real reason behind his success – exceptional talent and outstanding artistry. The Danner (dedicated to Winston Morris) and Brusick (commissioned by Northcut in the mid-1980s) works are both significant contributions to the repertoire. Both will attract the interest of many professional/ advanced soloists looking for new things to add to their choices for performances with college/ professional bands and will attract the interest of ensemble conductors, as well. Northcut turns in superb readings of each concerto, displaying sensitive lyrical work and flawless (and very musical) technical execution. Both works have broad audi-ence appeal, featuring virtuoso display in the outer movements and reflective, lyrical second movements. The final movements of both concerti are not for the faint of heart, each having significant technical demands, but at the same time extremely attractive. These works would both be very attractive for band programs in that they truly feature the ensemble, as well as the soloist. I believe that most of our band conductor colleagues would be more than willing to devote half of a program to one of these works, especially if they have opportunity to hear this fine recording. Alfred Bartles, a former TTU faculty member and long-time educator/performer/ composer in Germany who currently lives in Nashville, Tennessee, is a household name among tuba ensemble enthusiasts. His familiar “chestnut,” When Tubas Waltz, is among the most performed and best-loved classics for euphonium/tuba quartet. Tubossa, a “full of fun” work, written for Winston Morris (originally composed for tuba and piano and more recently set for tuba and symphonic band), is a wonderful showpiece for the tuba soloist.
Tim Northcut plays the role of the bossanova soloist to the hilt in this recording, performing with a suave delivery in both line and rhythm. Your body will not be able to sit still. The other two works on this album reflect an interest that this reviewer shares with Mr. Northcut – “stealing” vocal repertoire for the tuba. The “Andante” from Gliere’s unusual Concerto for Coloratura Soprano and Orchestra is well suited to the “voice” of the tuba. In fact, I have a difficult time imagining this work being performed by a soprano, so I suppose I’m going to have to seek out a recording. Regardless, it works well for our instrument and would be approachable by a number of players. Northcut delivers a beautiful and convincing reading. Puccini’s famous “Nessun Dorma!” from his final opera, Turandot, is a classic of late Romantic opera. William Brusick’s re-scoring of the orchestral parts for concert band is masterfully done with sonorities that
allow the tuba to sing and soar in the tenor soloist’s role. This work has become one of Northcut’s signature tunes, and his reading of the work on this recording shows why. This recording very much gets to the heart of what Timothy Northcut is all about as a teacher and artist: his ability to bring his artistic sensitivity to the fore in bringing out the heart of the musical meaning in each selection. Someone once said that one should “…make your sound the expression of your soul—music comes from the heart.” Never was that more the case than in these performances. Everyone associated with this project deserves congratulations beginning with Winston Morris and Tim Northcut. According to the liner notes, Joe Hermann and the Tennessee Tech Symphony Band saw most of the (very challenging) music for this recording session less than a week before the three-day recording session. They turned in remarkable readings, both technically and musically and as true collaborators. If you’re looking for some-thing totally new to hear (and perhaps eventually play) performed by an exceptional musical artist, this is a recording you want to get right away. ~ Jerry A. Young The University of Wisconsin–Eau Claire

TEXTS
A College Level Tuba Curriculum Developed Through the Study of the Teaching Techniques of William Bell, Harvey Phillips, and Daniel Perantoni at Indiana University by Geoffrey Whitehead. The Edwin Mellen Press, Order Fulfillment Department, P.O. Box 450, Lewiston, N.Y. 14092-0450. (716) 754788; cs@wzrd.com; www.mellen press.com. ISBN: 0-7734-6750-5. 2003. $99.95/£64.50.
Geoffrey Whitehead has developed a book that does a fine job of skimming the surface of many topics of interest to the contemporary tubist without much depth or explanation. It is based upon his D.M dissertation at Indiana University with Daniel Perantoni. The bad news is that one has to pay about $100 for the hard copy! I wonder if it is cheaper just to purchase the dissertation from UMI! Topics in the three chapters plus a bibliography and index include a brief history of the tuba, a plethora of short topics of mostly what has been taught at Indiana University in the tuba studio since 1961 when Bill Bell joined the faculty to the present, and a chapter of repertoire considerations for solos, orchestral and band excerpts, etude literature, and selected solo recordings. The first chapter in my opinion is weak on history although there is an interesting section on the biographies of the Indiana Tuba Faculty. One would do so much better reading Anthony Baines’ book on the history of brass instruments and Clifford Bevan’s The Tuba Family, second edition, for an in-depth study of the development of the tuba (both books are liberally quoted in this chapter). Both Bill Bell and Harvey Phillips are covered in a cursory sort of way. Daniel Perantoni is almost entirely left out except for a legacy of performers who studied with him, many who never attended IU! Carole Nowicke has a much more in-depth biography of Bill Bell including personal anecdotes and testaments of people who knew him and there are articles and biographies of Harvey Phillips that do him so much more justice. Chapter two has many short topics such as career choices, performance requirements, chamber music, tuition format, recital preparation, grading/ evaluation, curriculum, teaching style, camaraderie, literature, literature inter-pretation, recruiting students, general concepts, intonation, and equipment choices. Most of these sub-headings are specific to Indiana University and may not have any bearing on the reader unless they wish to know how Indiana University charges for tuition or why the tuba faculty do not teach chamber music. There is more substance to the general concepts sub-chapter with examples of how to play in a particular register, breathing, articula-tion, and so forth. Interestingly enough, not one actual example of Bill Bell’s teaching is given except as interpreted through his publications or by Harvey Phillips’s recollection. Not one Bill Bell student is interviewed as to “how it really was” and for that matter, none of Harvey Phillips’s students were interviewed either. A total of eleven teaching lessons were used through Daniel Perantoni’s students to formulate basic teaching concepts. It’s a good thing this was not a scientific inquiry with such a small sample and the diversity of the sample itself. Given some of the diversity of teaching at IU over the past 40 years, I find it person-ally difficult to find a consistency in the teaching approaches of the three professors. The equipment choices presented another difficulty. Credence was given to the popularity of CC and F tubas in the IU studio as opposed to the BB-flat and E-flat tubas. In fact, it was noted that the CC and F tubas are more ideal as evidenced that the entire tuba studio at Indiana University played only F or CC tubas in 1998–1999! Wow – if we go to University of Wisconsin-Madison and find John Stevens playing an E-flat tuba, should we disregard the many successful students he and many other teachers around the world have who play E-flat instead of F?? Chapter III contains basic repertoire lists such as solo literature, large ensemble excerpts, etudes, and solo recordings. The lists are not extensive and the recording and solo lists in particular are somewhat dated. It’s amazing that on p. 37 Whitehead claims that “the tuba faculty at Indiana University have consistently had a world-wide reputation of being at the forefront of solo recital performance…” yet so many of the cutting edge tuba compositions past the early 1990s are not present in the repertoire lists. Of particular note is that many of Whitehead’s unpublished manuscript transcriptions are listed as basic repertoire even though none have been peer-reviewed or published or received consistent performances over time. The lack of recent tuba recordings is also noted although some of Phillips’s out-of-print recordings are featured. One can only hope they will soon be re-released on CD format! The bibliography is again, inconsistent. One would have so much more material available by purchasing the Tuba Source Book than is present here. Better yet— hold out for the Tuba Source Book, second edition, currently in preparation! Of course, this book is based on a dissertation requirement, not on providing any kind of definitive bibliography. In all, there are many shortcomings to this one volume book that, by definition, covers so much more material in a cursory way than perhaps it should. An uninitiated educator looking for a one-stop book that has all the basic elements of what the tuba is and does might profit from this book, but, to most serious tubists, it would be better to look elsewhere for the same information in much greater depth. ~ Mark Nelson Pima Community College

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