Materials Received Nov. 1- Feb. 1 with thanks:
Around Europe CD recording featuring Harri Lidsle, tuba
Selections from Carnival of the Animals by Camille Saint-Saëns arranged for tuba/euphonium quartet by Frank J. Halferty
Pie Jesu by Gabriel Fauré arranged for tuba/euphonium quartet by Mike Forbes
Connections CD recording featuring Gerry Pagano, bass trombone and brass quintet
Tubby’s Revenge CD recording featuring the New York Tuba Quartet and the New York Brass Quintet
The Anniversary Album featuring the Philidelphia Brass, Scott Mendoker, tuba.
Concerto for Tuba by Johann Baptist Wanhal arranged for solo tuba and wind ensemble by Janet Yarbrough
String Quartet No. 4 by Dmitri Shostakovich arranged for brass quintet by Paul Erion
Tales of an Old Grandmother by Sergei Prokofiev arranged for tuba (bass trombone) or euphonium and piano by Ralph Sauer
Trois Sarabandes arranged for five trombones (euphoniums) by Ralph Sauer
From Potenza Music:
Tuba Quartet, Op. 59 by Crawford Gates
Suite for Tuba by Crawford Gates
Quattro Canzoni by Giovani Gabrieli arranged for tuba/euphonium quartet by Mike Forbes
Go for euphonium quartet by Mike Forbes
Mahzel (Good Luck) by Jack Beekman and Artie Wayne arranged for tuba/euphonium quartet by Ryan McGeorge
Wind Sketches for tuba/euphonium quartet and percussion by Brian Balmages
Rabecando for solo euphonium by Fernando Deddos
Ratatá for euphonium and snare drum by Fernando Deddos
Fantasia Fandango for euphonium and piano by Fernando Deddos
Frevo do Besouro for euphonium and piano by Fernando Deddos
Syrinx by Claude Debussy arranged for solo tuba by Justin E. Brinkman
Concerto by Domenico Cimarosa arranged for euphonium and piano by Pat Stuckemeyer
NIHIL for euphonium and piano by Fabrizio Fontanot
Pavane by Gabriel Fauré arranged for euphonium and harp by Vanja Lisjak
Gypsy Earrings by Ardeshir Farah arranged for euphonium duet and rhythm section by Ryan McGeorge
In Modo Religioso by Alexandre Glazounow arranged for tuba/euphonium quartet by John Stevens
Concert Etude by Alexander Goedicke arranged for euphonium or trombone or trumpet solo and five part low brass ensemble by Pat Stuckemeyer
Convalescence for tuba/euphonium quartet by Drew Worthen
Dance of the Comedians by Bedrich Smetana for eupho9nium or trombone or trumpet solo and tuba/euphonium sextet
The Jolly Roger for tuba and electronic keyboard by Jeremy Schwinger
Gretchen am Spinnrade by Franz Schubert arranged for euphonium and piano by Gretchen Renshaw
Fon-Fon: Tango by Ernesto Nazareth arranged for tuba/euphonium quartet by Dan Brown
Unseen Colors for horn, tuba, and piano by Brett Miller
Milori Blue for euphonium and piano by Jonathan Newman
Clear Lake for tuba and piano by Stephen Oberheu
Concerto for Euphonium and Orchestra (piano reduction) by Shawn E. Okpebholo
Calypso by Adam Rapa arranged for tuba/euphonium quartet by Ryan McGeorge
Take This Hammer for tuba/euphonium quartet by Steven Snowden
Allerseelen by Richard Strauss arranged for euphonium and piano by Pat Stuckemeyer and Ellen Bottorff
A Song for Night for euphonium and piano by Noah D. Taylor
Concerto for Euphonium by Noah D. Taylor
Sonata for Tuba and Piano by Noah D. Taylor
Fire Suite for brass quintet by Noah D. Taylor
The Bone of Lucifer for solo bass trombone, trombone quartet, and tuba by Jonathan Hansen
Blues for Tuba by Michael Burns
Kol Nidrei by Max Bruch arranged for euphonium and piano by Steven Mead
Organ Fugue in G minor by J.S. Bach arranged for tuba/euphonium quartet by Gretchen Renshaw
Morceau de Concours for euphonium and piano by Joseph Eduard Barat
Chickenyard Social by Les Hooper arranged by Ryan McGeorge for tuba/euphonium quartet and rhythm section
Uprising for trombone quintet and tuba by Jonathan Hansen
Brink for tuba/euphonium quartet by Dan Kramer
Trummusik for brass quintet by Dagfinn Koch
Nite Flite for euphonium and piano by Dan Kramer
Fanfare and Fantasy in Eb Minor for tuba/euphonium quartet by Dan Kramer
Chiapas by Hank Levy arranged by Ryan McGeorge for tuba/euphonium quartet and drum set
Latinensity by Hank Levey arranged for tuba/euphonium quartet and rhythm section by Ryan McGeorge
Concerto for Euphonium, Brass, and Percussion by Vanja Lisjak
Concerto for Euphonium, Brass, and Percussion (piano reduction) by Vanja Lisjak
Floating Dreams for tuba and CD accompaniment by Peter Meechan
Episodes and Echoes for tuba and piano by Peter Meechan
Devil’s Duel for Euphonium and Piano by Peter Meechan
Moz! For Euphonium and Piano by Peter Meechan
Requiem Paraphrases for Euphonium and Piano by Peter Meechan
Scherzo by Felix Mendelssohn arranged for euphonium quartet by Mike Forbes
Six Moods for Euphonium and Piano by Brett Miller
Four Songs for Euphonium and Piano by Brett Miller
Born With a Hammer for trombone choir, tubas and drum set by Jonathan Hansen
La Virgen de la Macarena arranged for euphonium or trombone solo and tuba/euphonium sextet by Pat Stuckemeyer
Linden Lea by Ralph Vaughan Williams arranged by Ross Cohen for euphonium quartet
Whither must I wander? by Ralph Vaughan Williams arranged for tuba/euphonium quartet by Ross Cohen
Concerto in A minor, Op. 3, No. 6, RV 365 by Antonio Vivaldi arranged for euphonium and piano by Gretchen Renshaw
Loveletter, (postmark San Jose) for euphonium and piano or strings by Joelle Wallach
Three Expeditions for euphonium and piano by Ethan Wickman
Concert Allegro by Giovanni Simone Mayr arranged for euphonium and piano by Travis Scott
Zero Infinity for tuba and percussion by Theresa Martin
Concerto by Benedetto Marcello arranged for trombone or euphonium and piano by Pat Stuckemeyer
Auld Lang Syne for euphonium or trombone and piano by Simone Mantia edited by Matthew White
…and sundry movements of the heart… for tuba and piano by Jonathan B. McNair
Tubacus Galacticus for tuba/euphonium quartet and drum set by Ryan McGeorge
Cri de Coeur for euphonium and wind ensemble (piano reduction) by Libby Larsen
Pavane pour une indante defunte by Maurice Ravel arranged for euphonium and brass choir by Vanja Lisjak
[editor’s note – we are very grateful for the 72 works sent by Potenza Music, Pat Stuckemeyer, proprietor, which will be reviewed over several journal issues]
Reviewed in this issue:
Two Pieces, “Country Tune and Burlesque” by Sir Arnold Bax transcribed for euphonium and piano by Ralph Sauer
Four Songs, “Memories, The Side Show, Dreams, and War Song No. 2” by Charles Ives transcribed for euphonium and piano by Ralph Sauer
Sixty Counterparts by Tom Ervin for trombone (euphonium)
Six Gnossiennes by Erik Satie arranged for euphonium or tuba and piano by Ralph Sauer
Famous Jazz Duets for Euphonium & Tuba by Randy Aldcroft
Six Gnossiennes by Erik Satie arranged for euphonium or tuba and piano by Ralph Sauer
Brass Quintet/Tuba-Euphonium Ensemble/Chamber Music
Metallurgy for brass quintet by Erik Nielsen
Misty by Erroll Garner arranged for Brass Quintet by Thomas Parriott
Two Rags, Volume 2 by Scott Joplin arranged for tuba quartet by David Sabourin
Selections from Carnival of the Animals by Camille Saint-Saens arranged by
Frank J. Halferty for tuba/euphonium quartet
Around Europe CD recording performed by Harri Lidsle, tuba and Tuomas Turriago
Four Songs, “Memories, The Side Show, Dreams, and War Song No. 2” by Charles Ives transcribed for euphonium and piano by Ralph Sauer. Cherry Classics Music. 5462 Granville Street. Vancouver, B. C. V6M 3C3 Canada. 604-261-5454. info@Cherry-Classics.com. www.Cherry-Classics.com. CC 2459. 2011. $17.50.
After just finishing a Music History class regarding “Authentic Performance” at Michigan State University, it was perfect timing to receive the Four Songs by Charles Ives. I really enjoyed the class, but as a euphoniumist, I often felt left out since the euphonium never had concertos composed by Mozart or works by Charles Ives written specifically for it. Thanks to Ralph Sauer for this wonderful transcription for us all to play. The collection contains the original lyrics to each movement and the music layout is excellent. There are no B-flat treble Clef parts included in the set that I received to review. I always suggest that there are T.C. parts as well as B.C. so that our T.C. players are not left out.
“Memories” has two short movements, Very Pleasant and Rather Sad. They are contrasting in style and they lay well for the Intermediate player. There is optional whistling in the first movement that can be done by the euphoniumist, the pianist, or both. I would suggest both sing since there is not very much time to switch from playing to whistling.
“The Side Show” is a short movement with multiple meter changes that makes me think of a short circus clown act since it is a Waltz, but a little “twisted” or “altered” due to the meter changes. VERY FUN!
“Dreams” has a beautiful melody that includes excellent dynamics and phrase markings. It is always helpful to have all the markings in the music so that younger players can really make the music work, especially if they play “the ink” and add a little extra expression of their own.
“War Song No. 2 (He is There!)” is my favorite of the collection. This one has very similar humor to Ives’ Variations on America. It quotes several patriotic songs and gives the player a chance to have fun with a work that will especially be good for a patriotic concert!
~Gail Robertson – University Distinguished Fellow, Michigan State University, Willson Euphonium Artist
Six Gnossiennes by Erik Satie arranged for euphonium or tuba and piano by Ralph Sauer. Cherry Classics Music. 5462 Granville Street, Vancouver, BC V6M 3C3 Canada. 604-261-5454. email@example.com. www.cherryclassics.com. CC 2443 (euphonium) and CC 2442 (tuba). 2011. $15.
Erik Satie (1866-1925) was a prominent French composer and pianist that strongly influenced later movements in music such as minimalism and the Theatre of the Absurd. The first three of the Gnossiennes were composed around 1890 and published in 1893. The remaining pieces were not published until 1968, well after Satie’s death. He referred to himself as a “phonometrician,” one who measures sounds. Satie sought to create music that was free from time (hence the lack of bar lines in the original compositions), an idea that led to his mysterious and often hypnotic melodies above transparent chord structures. The composer often coined new terms such as gnossienne, an approach he used to describe a new kind of composition. The word is derived from the Greek word gnosis that means knowledge.
Mr. Sauer’s arrangement of these beautiful pieces capture Satie’s characteristic writing because they retain the composer’s quirky original markings such as questionnez (questioning), sans orgueil (without pride), and seul, pendant un instant (alone, for a moment), to name a few. Mr. Sauer added bar lines for ease of reading the parts and for ensemble issues with a pianist. Marked at very slow to moderate tempos, these pieces are wonderful for focusing on tone, phrasing, and overall musicianship. There are not that many technical demands, for this music consists of mainly sustained tones, series of eighth notes, and occasionally sixteenth-note ornamental passages. Gnossienne 5 contains some tricky rhythms and borrowed divisions, but a very slow tempo, the effect is that of a recitative. Though not technically demanding, the player must make musical decisions at all times. This is true because Mr. Sauer places few restrictions on the player, therefore allowing many different varieties of interpretation. The ranges, d-c2 (euphonium) and C-sharp-d1 (tuba), suggest these pieces are appropriate for a university/college player. The extremes of range are brief, but they do require security and a lyrical approach appropriate to the music.
These arrangements by Mr. Sauer are excellent study pieces by a composer that we do not regularly encounter. In addition to their beautiful yet unusual construction, these pieces require a student to be artistic and sophisticated; much like one must do in a Bordogni etude. The challenge for the performer is to translate those musical sensibilities found in a Bordogni etude into the context of a twentieth-century melodic scheme. Mr. Sauer was clever in choosing to arrange these tunes for the euphonium and tuba, for without these, members of our community would be denied the chance to experience repertoire from yet another key figure in music composition.
~Chris Dickey, Washington State University
Two Pieces, “Country Tune and Burlesque” by Sir Arnold Bax transcribed for Euphonium and Piano by Ralph Sauer. Cherry Classics Music. 5462 Granville Street. Vancouver, B. C. V6M 3C3 Canada. 604-261-5454. info@Cherry-Classics.com. www.Cherry-Classics.com. CC 2457. 2011. $12.50.
Before reviewing these selections, I was familiar with Ralph Sauer, the famous trombonist of the L.A. Philharmonic and great arranger, but I was not familiar with the composer Sir Arnold Bax. I did a little research and quickly discovered that he was an English composer and poet who was born in 1883 and died in 1953. As a student of the Royal Academy of Music, he studied composition, clarinet, and piano. All of his works that I listened to were very likable and this may be due to his multiple travels to various countries. He was obviously influenced by various composers and musical styles from around the world.
“Country Tune” is a short work that is in the key of A-major and it lies especially well for the euphonium and piano. It covers a little of the upper and a little of the lower ranges of the euphonium and has frequent short piano breaks to allow the player a little rest. I feel this work will be welcome on various kinds of programs due to the spirit and character of its melodies.
“Burlesque” is a catchy tune that allows the euphoniumist to sort of have a multi-personality while it alternates between various octaves as the melody reoccurs. Thanks to Ralph Sauer for adding another great work to the repertoire and for providing us with dynamics and breath marks that are clearly marked on the score and parts. No need to stress if you don’t have a d2, there are alternate notes if needed. My only suggestion is that there be B-flat treble clef parts as well as bass clef parts included with the score. Enjoy this one, it will make a great closer or encore to any recital!
~Gail Robertson – University Distinguished Fellow, Michigan State University, Willson Euphonium Artist
TUBA/EUPHONIUM DUETS AND ENSEMBLES
Famous Jazz Duets for Euphonium & Tuba by Randy Aldcroft. Cherry Classics Music. 5462 Granville Street, Vancouver, B.C. V6M 3C3 Canada. 604-261-5454. info@Cherry-Classics.com. www.CherryClassics.com. CC-2458. 2011. $15.
Mr. Aldcroft has done the tuba and euphonium community a considerable service by writing out eleven authentic jazz duets for tuba and euphonium. In these duets, Mr. Aldcroft has incorporated the harmonic and melodic lexicon of Bebop, bossa nova, and jazz ballad for euphonium and tuba in a fun and challenging way. The ranges utilized by both instruments are fairly large with the euphonium part written from G to c2 and the tuba part written from GG to f1. Complex syncopations, demanding wide intervallic leaps, and fairly quick tempi (if observed) are characteristic of each duet with the difficulty level increasing toward the end of the book. In addition, Mr. Aldcroft has added chord changes so the duets could conceivably be played with a rhythm section with a possibility of opening choruses of improvisation between renditions of the melodic material. A few of the duets utilize a standard jazz chord progression (albeit with extensive alterations) such as “the blues” and fragments of “I Got Rhythm” changes making them fairly accessible for a first time improviser.
I take a few minor issues with the presentation of these duets. Some guidance from the composer for opening choruses to solo over would be helpful, as this is not indicated. Also, a segno seems to be missing in duet number four, or possibly a DC al Fine was meant instead of a DS al Fine.
~Tony Halloin, DMA
Selections from Carnival of the Animals by Camille Saint-Saens arranged by Frank J. Halferty for tuba/euphonium quartet . Kendor Music Inc. 21 Grove Street, P.O. Box 278, Delevan, New York 14042-0278. (716) 492-1254. www.kendormusic.com. #18135. 2011. $13.95.
The original Carnival of the Animals is a marvelous work that was composed in 1886 for two pianos and orchestra and has been performed in Young People’s Concerts the world over. It was not published until after Saint-Saens’ death because he thought it a frivolous work which would hurt his reputation as a serious composer. In this arrangement, the tubist finally gets a chance to play some of these famous tunes including, The Elephant, Tortoises, and The Lion’s Royal March. Second tuba carries the melody through the elephant movement, in a stately and pompous manner. The accompaniment provides the “pa-pa” within the 3/8 time signature. The musical levity of this movement is a brief quote from Midsummer Night’s Dream in mid-movement. I can imagine the complaints issuing from the upper voices in the tortoises as they play slow triplet figures (quarter = 66) for the ENTIRE movement against the second tuba melody, “Can-Can”, taken from Orpheus in the Underworld. The lions’ march is a fitting final movement that fittingly exhibits the tubas noble nature after the first two movements playfully poke fun at the universal stereotype of the tuba being a slow cumbersome instrument. Here, all voices get a chance at passing this melody around, and the mighty loin roars are depicted by chromatic scale passages in the tuba parts.
This piece would work well in any school performance or formal concert setting since the tunes are so familiar and well loved. They do lend themselves well to low brass.
Ranges: Euphonium 1: A-a1, Euphonium II: A-e-flat1, Tuba 1: C- b-flat, Tuba 11: FF- a.
~Phillip C. Black, Wichita State University, Wichita Symphony
Sixty Counterparts by Tom Ervin for trombone (euphonium). Published by Tom Ervin. 5492 N. Via Sempreverde, Tucson AZ 85750. www.tom-ervin.com. 2011. $18.
Tom Ervin, the retired trombone professor at the University of Arizona, presents in Sixty Counterparts a duet accompaniment for the Voxman collection, Selected Studies for Trombone (1952, Rubank & Hal Leonard). The Voxman collection includes melodic and technical etudes by Blazevich, Böhme, Gatti, Vobaron and others in thirteen major keys and thirteen minor keys (B and C-flat are the only enharmonic major pair, A-flat and G-sharp the only enharmonic minor pair) followed by studies on scales, arpeggios, technique, tenor clef and cadenzas. Sixty Counterparts includes duet accompaniment for the entire Voxman text, aside from the scales, arpeggios and cadenza studies.
The Voxman, which the reviewer had not previously encountered in studying or teaching euphonium, can be compared closely in difficulty with the standard Tyrell trombone studies. The harmonic language of many of the Voxman etudes, however, can be a bit more sophisticated than the Tyrell. The same two comments can be made about Sixty Counterparts: the new duet accompaniments are moderately technically challenging and the harmonic language is compelling, but at times more sophisticated than the average high-school student might find comfortable or easy to follow.
Certainly Sixty Counterparts is an elegantly composed text. Each counterpart is quite effective in bringing harmonic and rhythmic awareness and context to the Voxman etudes. A particularly appealing aspect is that more often than not, the old and new texts play off of one another, spurring the line forward, rather than simply outlining chord changes via long, uncomplicated bass lines. When the reviewer read through the Counterparts along with another professional playing the Voxman etudes, the experience was not that of an accompanist and a soloist, but rather two collaborators, in the musically satisfying tradition of the Hindemith Sonatas or Schumann pieces for cello and piano. While playing the Counterparts along with a student playing the Voxman will help the teacher reinforce fundamentals such as pitch, time and blending, it is also a highly effective activity to heighten musical awareness, and to discuss collaboration.
While keys such as F-sharp major and D-sharp minor are not in the Voxman (and therefore not in the Counterparts), there are still many quality, musical etudes in a variety of challenging keys.
Teachers can never have too many duets in their library. Duet playing is the most efficient route for young people to learn musical fundamentals. The Sixty Counterparts by Tom Ervin are varied, challenging, effective teaching tools of not only musical fundamentals, but also collaborative musicianship.
~Alexander Lapins, Northern Arizona University
[Editor’s note: while written primarily as a trombone accompaniment, these duet parts also work easily for euphonium and for tuba down one octave]
Two Rags, Volume 2 by Scott Joplin arranged for tuba quartet by David Sabourin. Cherry Classics Music. 5462 Granville Street. Vancouver, B.C. V6M 3C3 Canada. 604-261-5454. info@Cherry-Classics.com. www.Cherry-Classics.com. CC-2203. 2011. $12.50.
Two Rags, Volume 2 is the second installment in a set of arrangements of Scott Joplin’s music by David Sabourin, longtime principal tuba with the Vancouver Opera. Mr. Sabourin has an established reputation as an arranger for tuba quartet. Two Rags, Volume 2 is the 12th of his arrangements published by Cherry Classics. The two pieces chosen here are Pleasant Moments and Heliotrope Bouquet. Both pieces are slower in character than Joplin’s more popular march-tempo works such as Maple Leaf Rag. Pleasant Moments is a slow waltz in 3, while Heliotrope Bouquet is a slow drag in 2. The pieces work well together as a set, but could also be performed individually. Pleasant Moments is the more accessible of the two, though the overall sense of ensemble style and articulation will be a challenge. Though slow in tempo, Heliotrope Bouquet has all the rhythmic difficulties and syncopations commonly found in ragtime, and is more demanding in terms of tessitura. Mr. Sabourin splits the heavy lifting here evenly between both euphonium parts, with both players required to articulate cleanly up to a b-flat1. The first tuba part is solidly in the CC tuba range (GG – c1). In both movements, the second tuba part fills the role of the left hand in the original piano part, requiring a player with a steady sense of rhythm. The arrangement is not a literal transcription in that some of the repeats in the original score are left out. Though this doesn’t affect the overall flow of the pieces, there are some spots where a change in dynamics or articulation on repeats could help to retain some of the “punch” found in a performance on the piano. It should also be noted that euphonium parts come only in bass clef. The tessitura, rhythm, and ensemble challenges make this appropriate for a college-level ensemble.
~Dr. Martin Cochran, University of Alabama-Birmingham
BRASS QUINTET/BRASS ENSEMBLE
Erik Nielsen is an award winning composer who has written works for chorus, orchestra, wind ensemble, solo instruments, chamber music of many configurations and electronic music. In 2002 he received the National Symphony Orchestra’s composition prize for Vermont. Metallurgy for brass quintet was written in 2009 and premiered by the West End Brass Quintet at the Hartt School in Connecticut. The piece contains three unnamed movement and is roughly 9’15” long. A score of the entire piece and a recording of the third movement can be found at the composer’s website.
Overall Nielsen’s writing utilizes compositional techniques that we find mainly in more modern composers. For example, the first movement starts off with continuous sixteenth note triplets but only one voice plays one triplet group at a time, thus creating a composite gesture that passed around the entire group. These complex rhythmic ideas continue throughout the movement with figures such as sixteenth notes against eighth note triplets in a hemiola fashion. Often these complex rhythmic gestures occur at the same time that a simple melodic idea is stated underneath. This movement also includes sections that are more minimalist in nature. The second movement contains more gesture than melodic line. While melodies do exist in the movement, they tend to be very short or grow out of the thick harmonies created by the composer. Often these harmonies are built by staggered entrances starting with the tuba and going upward by ascending voice. The last movement is a swing piece that for the first time employs unison rhythms in all voices and also has longer melodies that have accompaniment. In this movement, the composer does a good job of passing around the melody to all instruments.
A quick note about the instrumentation, the tuba part is designated for F Tuba. However a contrabass tuba will work just fine for the piece and some might even find it to be a better choice for the piece. Given the complexity of the rhythmic writing and the individual rhythmic precision needed for a good performance, I would recommend this piece for upper level university quintets. It would make a very good piece to put on a chamber concert for a group that is looking to feature modern works for the brass quintet.
~Scott Roeder, Texas Pan-American University
Misty by Erroll Garner arranged for Brass Quintet by Thomas Parriott. Cherry Classics Music. 5462 Granville Street. Vancouver, B. C. V6M 3C3 Canada. 604-261-5454. info@Cherry-Classics.com. www.Cherry-Classics.com. CC-2451. 2011. $15.
The popular jazz standard “Misty” by Erroll Garner has earned a lauded place in the Great American Songbook through many renditions by such greats as Ella Fitzgerald, Johnny Mathis, and Sarah Vaughan. While it has become famous for its beautiful lyrics, the original version was composed as an instrumental work for piano. This version arranged by the late Thomas Parriott who performed for many years with the Vancouver Symphony allows for a Brass Quintet to illustrate the jazz style. The performance time for this arrangement is around five minutes in length and is classified in the advanced level due to some complex jazz rhythms throughout the work.
The arrangement starts out with the trumpet or optional flugel horn playing the melody over sustained chords in the other four voices. As the melodic line continues, the accompaniment gradually includes several rhythmic motives commonly referred to as “hits” in the jazz style. The rhythms increase in difficulty leading to the climax of the piece. It is the precision in articulation that makes these rhythms complex and often requires the player to alternate between long and staccato notes in a single sixteenth note motive. Another rhythmic figure commonly used in the jazz setting is the use of quarter note triplets followed by syncopated lines which allows for the line to increase in intensity. The slow tempo of the piece allows for the musicians to experiment with many of the stylistic interpretations of a jazz ballad which sometimes includes alternating swing rhythms with straight eighth note rhythms.
One aspect of this arrangement is that makes it attainable to younger ensembles is that the tessitura requirements for all parts is very modest and comfortable. There is no “screech” trumpet or horn parts that are sometimes found in jazz arrangements. The tuba part even displays the chord progression symbols often found in lead charts to help the tubist grasp the concept of a walking bass line.
This arrangement by Parriott works well as a slow selection in a full recital or as a standalone work displaying the ensembles ability to perform a jazz piece.
~J.D. Salas, Stephen F. Austin State University
Around Europe CD recording performed by Harri Lidsle, tuba and Tuomas Turriago. Pilfink Records. Ylämyllyntie 62 b, 80400 Ylämylly, Finland. +358 500 917928. www.pilfink.fi/en/home/. JJVCD-100. 2011. 18.90 €.
Around Europe is a masterfully performed CD by the Finnish tubist Harri Lidsle that takes the listener on an aural journey thoughout Europe. Lidsle has been a member of the Lahti Symphony Orchestra since 1990. He has appeared as soloist throughout Europe, the United States, and Canada and has been guest soloist with orchestras in Finland, Armenia, Australia, Iceland, Germany and Estonia. He has commissioned numerous works and has a passion for new music.
I first heard Harri Lidsle on the CD, Concertos for Tuba, French Horn and Trombone. He performed the Arutiunian Concerto with the Oulu Symphony and I knew an entire CD of his solo playing would be a treat!
Lidsle has created an ambitious 72-minute recording that features music with ties to Finland, Russia, Romania, Hungry, Austria, Germany, Italy, Spain, Britain, and Norway; truly a trip Around Europe. If you refer to the liner notes, you read that each selection has a special meaning to him, which brings even more interest to the listener.
Around Europe contains many works that will be familiar to listeners including Adagio from Limpid Stream by Shostakovich, Rumanian Dance No. 2 by Ionel Dumitru, Czardas by Vittorio Monti, and Variations in Olden Style by Thomas Stevens. He does a nice job of making these standard pieces his own by using nuances and thoughtful rubato throughout. He shows beautiful and sincere lyrical playing with the Shostakovich and showcases his tremendous technical abilities with the Rumanian Dance and Czardas. Of particular interest is Lidsle’s use of Cymbasso on Variations in Olden Style by Thomas Stevens. The instrument works quite well in this setting and gives us a great example a solo cymbasso performance.
There are a couple of familiar works not often performed on tuba that Lidsle executes masterfully including The Queen of the Night by Mozart, Nocturno, Op. 7 by Franz Stauss and Nessun Dorma by Giacomo Puccini.
The works that were new to my ears include Berceuse by Armas Järnefelt, Walking in the Air by Howard Blake, Michelangelo by Sigvart Dagsland, Vem Kan Segla by Niklas Hagmark, and Mr. MC by Thierry Caens. The final work of the CD, Mr. MC, is performed with Ultra Brass, a Finish brass ensemble that is a great brass showcase to conclude the album.
My favorite work and performance on the CD is the adagio from Joaquin Rodrigo’s Guitar Concerto entitled “En Aranjuez Con Tu Amor.” Lidsle uses this gorgeous work to showcase his amazing touch with lyrical playing.
This CD is a true display of virtuosity and musicianship. It is a great model of how to play interesting music beautifully and I am looking forward to future travels around the world with Mr. Lidsle!
~Steven Maxwell, Kansas State University