New Materials

FALL 2004

Materials Received May 1–August 1 with thanks:
Midsummer Songs for tuba-euphonium quartet by Carson Cooman
Fnugg for solo tuba by Øystein Baadsvik
Collected Works CD recording featuring Adam Frey, euphonium
The Four Seasons Suite
for euphonium trio by Yukiko Tsomura
American Music for Tuba: Something Old Something New CD recording featuring David Zerkel, tuba
Allegro Maestoso
from Horn Concerto No. 2 by W.A. Mozart arranged for solo tuba and saxophone quartet by Craig Garner
Egmont Oveture by Ludwig von Beethoven arranged for brass quintet by Craig Garner
Symphony No.1
by Gustav Mahler arranged and abridged for brass quintet by Craig Garner
Ancient Airs and Dances Suite No. 1
by Ottorino Respighi arranged and abridged for brass quintet by Craig Garner
Me and My Tuba
for tuba and piano by David Uber

Reviewed in this issue:

Three Studies for Euphonium and Piano by Merle E. Hogg
By Gaslight
for euphonium and piano by Tadeusz Kassatti
Faustbuch: A Concerto in Three Movements
for euphonium (piano reduction) or optional tuba by Elizabeth Raum
The Clock Tower
for euphonium and compact disc recording by Roy David Magnuson

20 Supplementary Tunes for Tuba by Edward Gregson
Easy Winners: 75 Well Known Tunes transcribed for tuba by Peter Lawrance
A Little Light Music
for tuba with piano accompaniment by John Iveson
tuber music
solos in treble or bass clef with piano accompaniment by Simon Proctor
for solo tuba and orchestra (piano reduction) by Roland Szentpáli
for tuba and piano by Scott Gendel
Suite in B-flat Minor
for solo tuba by Grant Harville

Tuba/Euphonium Ensemble
Canzona in d by Dietrich Buxtehude arranged for four-part tuba-euphonium ensemble by Angelo Manzo
Night on Bald Mountain by Modeste Mussorgsky arranged by Reginald Curtis for nine-part tuba-euphonium ensemble with percussion
Highway 336 by Joseph Goble for tuba-euphonium quartet
Swingin’ Ukrainian Christmas arranged for baritone-tuba quartet by Lennie Niehaus
Malaguena by Ernesto Lecuona arranged for 8-part tuba-euphonium ensemble by Tom Senff
Jingle Bells
by James Pierpont arranged for four-part tuba-euphonium ensemble by Timothy Olt
Menuets from Music for the Royal Fireworks
by George Frederic Handel arranged for tuba quartet by Frank J. Halferty
Ohlone Suite for euphonium-tuba ensemble by Barton Cummings
A Vermont Gathering
by David Uber for four euphoniums or tuba-euphonium ensemble
Sinfonia No. 9 in F Minor
by J.S. Bach arranged for three euphoniums by Andrei Strizek
Midsummer Songs by Carson Cooman for tuba-euphonium quartet
Threnody, opus 41 for solo flute with 4-part tuba-euphonium ensemble by Neal Corwell
Que Pasa
for 8-part tuba-euphonium ensemble by Scott Schlesinger
Rosa Mystica
by Jeff Cottrell for five-part tuba-euphonium ensemble
Song Without Words by Scott Schlesinger for tuba-euphonium quartet
The Quest by Harry Salotti composed for tuba-euphonium quartet

Brass Quintet/Chamber Music
Blue Skies
by Irving Berlin arranged for brass quintet by Jeff Jarvis
Puttin’ On The Ritz
by Irving Berlin arranged for brass quintet by Arthur Frackenpohl
Have You Ever? for soprano and tuba by Rodger Vaughan
Duet for Flute (or Piccolo) and Euphonium
by Elizabeth Raum
Bring a Torch, Jeanette, Isabella
arranged for brass quintet by Lennie Niehaus

David Thornton’s Three Worlds
CD recording featuring euphoniumist David Thornton accompanied by the Black Dyke Band, Dr. Nicholas J. Childs, conductor and pianist Fenella Haworth-Smith

Euphonic Moods CD recording featuring Nick Ost, euphonium soloist and music composed and conducted by Franois Glorieux with the Revivat Scaldis Chamber Orchestra


Faustbuch: A Concerto in Three Movements for euphonium (piano reduction) or optional tuba by Elizabeth Raum. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 2003. $20.

Composer Elizabeth Raum is a native of Boston, a graduate of the Eastman School of Music, and is currently principal oboe with the Regina Symphony Orchestra in Saskatchewan (Canada). She has written in every major musical genre and her commissions are for a who’s who of contemporary soloists, including Christian Lindberg and Roger Bobo [Ed. Note: and of course, John Griffiths, for whom she has written many works]. Her reputation in Canada is such that she is widely known as the “performer’s composer.

In the program notes, the composer explains that the piece’s title, Faustbuch, pays homage to the Faust legend’s first published incarnation in the 1500s. Raum has chosen Goethe’s version, ending in Faust’s redemption, as the inspiration for this programmatic concerto. The three movements are “Faust and Mephistopheles,” “Faust and Gretchen,” “Walpurgis, Death, and Redemption.

There is passionate drama in the music; it is tonal, but laced with chromaticism, diminished sonorities, sequences, and extended runs in the solo and accompaniment that are reminiscent of the late Romantic period, especially Tchaikovsky (with a nod perhaps to Francesca da Rimini). There is a remarkable compositional similarity between each movement in that the drama never lets up. The second movement at times has a cadenza-like quality to it that is not as furious as the rest of the concerto; its ending does hint at the redemption to come. The first real mood change does not come until the end of the first movement, when the most cherished of all gestures—the modulation to C major—announces Faust’s repentance.

Although Faustbuch looks like a technical terror on the page, there is a wonderful flow and logic to the writing that guides the ear and therefore the fingers. The gestures are familiar to anyone who has seriously played nineteenth-century-style etudes and concert music but are embellished tastefully with modernisms like metric modulations. The piece is for euphonium and piano and is thus accessible for those without a “Mahlerian” orchestra handy. The range is BB-flat to c2. There are bass clef and treble clef parts, as well as a part for bass tuba in F that has been modified from the euphonium part.

~Shawn Pollard, Free-lance Euphonium, Tucson

Three Studies for Euphonium and Piano by Merle E. Hogg. Tuba-Euphonium Press, 3811 Ridge Road, Annandale, Va. 22003 USA. (703) 916-7011;; $12. 1975, Revised 2003.

First of all, thank you, Dr. Hogg, for writing music for the euphonium. More, More!!

This piece is in three movements with the first movement being an Allegretto with challenging rhythms, constantly in movement with changing meters from 4/4 to 7/8. This is definitely not a piece to perform while sight-reading. It needs much work for the performer to sound good with effortless movement in the difficult intervals and changing rhythms presented in this movement.

The second movement is an Adagio that begins with a great melodic line for the soloist. I felt the B section, which requires multi-phonics, interrupts the simply great melodic feel of the opening. I would have liked to see the beginning melodic line more developed for this movement.

The third movement, an Allegro vivo, really moves with lots of notes in the first section leading to a Moderato Alla “Blues”section in 10/8 time. The piece finishes with L’istesso temp and a return to the Allegro Vivo in a higher pitch from the original A section of the movement.

This is a good technical study piece for the advanced player with challenges for making it sound polished in a performance. Range is BB-flat to c2.

~Cynthia Short, Solo Euphoniumist, Des Moines Municipal Band, Iowa

By Gaslight for euphonium and piano by Tadeusz Kassatti. Editions BIM, P.O. Box 300, CH-1674 Vaurmarens, Switzerland; ++41-(0) 21-909 1000; $12.45.

The Polish-born composer and pianist, Tadeusz Kassatti, graduated with distinction from the Cracow Conservatory. He currently resides and teaches in Geneva, Switzerland from where he concertizes throughout his adopted country and abroad. Kassatti’s eclectic output includes many works for stage, film, and radio.

Thus, we come to euphonium music By Gaslight. The piece is in an ABA’ form; its thematic bookends are formed by a melody of flowing, unceasing triplets over calm, widely spaced added-tone chords and polychords. The melody’s mood suggests someone sitting back, aloof, observing the goings on and flow of something. It is obviously up to the performer to decide whether the gaslight illuminates a theater, park, or caf?.

The short, middle section is distinguished by the terms agitato, delicato, and pi tranquillo. The chromatic and lyrical melody is, in this author’s opinion, reminiscent of David Uber’s music. There are disjunct moments, but these leaps along with the chromatic inflections give the melody good momentum. This is reinforced in the accompaniment by ascending scale figures and moving arpeggios that contrast with the melody’s contemplation. The delicato style, however, is strained where the euphonium solo picks up the piano’s scale figures, creating moments of contrast that seem to resolve awkwardly. Nonetheless, as in most things, it is the performer’s job to make it work!

The range of By Gaslight is g to b-flat1. Although the tessitura and technical demands are reasonable for most high school students, the maturity of musicianship and expression required makes this a college-level work. The contemplative mood of By Gaslight is a good foil for the euphonium’s sonority, and expressive pieces like this deserve a place in the repertoire.

~Shawn Pollard, free-lance euphonium, Tucson, Arizona

The Clock Tower for euphonium and compact disc recording by Roy David Magnuson. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 5:51. 2003. $22.

The Clock Tower is described as an electro-acoustic solo for euphonium and compact disc. As taped pieces go it is a fairly conservative one. The euphonium part is metrical in C minor with melodic themes, well-paced tempo changes, and coherent cues. The recording for the most part is not an equal partner to the soloist. The opening 25 measures or so only sparsely accompany the euphonium, giving the soloist much freedom of interpretation. Sinister but familiar sound effects punctuate the recording. When the accelerando begins, the texture is much thicker and the interplay between the parts is more active. After a sustained loud section, the piece fades out into nothing.

A dark, brooding, enigmatic poem accompanies the music, which reflects its mood throughout. There are instructions and recommendations with regards to the stage presentation and the attire of the performer. Explanations are given for certain aspects of notation, as well as for “non-traditional ways of playing the euphonium” that are requested. Overall, while taped pieces by definition imply extended techniques, The Clock Tower is an accessible introduction to the genre for euphoniumists wishing to expand their horizons.

~Shawn Pollard, Free-lance euphonium, Tucson, Arizona


tuber music solos in treble or bass clef with piano accompaniment by Simon Proctor. Brass Wind Publications, 4 St. Mary’s Road, Manton, Oakham, Rutland LE15 8SU, UK. Phone: 01572 737409/737210. Email: £7.75. 2003.

The things you learn about when you set out to review music! Of all the reviews I’ve done over the years, this had to be the strangest to research. Not because of the music specifically, but of what the titles represent. tuber music is a set of five pieces with varying styles but with a double joke involving the title of the group and the titles of each of the individual pieces. blue potato is a 12/8 blues in A minor that rocks along in a mostly scale-wise manner, the voice of the piano answering the solo tuba as though it were a friend nodding and saying “uh-huh.” ysano (the name seems to refer to a Japanese tuber variety—my Google listings for this all said that my computer would not be able to display the characters from the websites on my screen) wobbles between E minor and E major and again has the piano and tuba conducting a dialogue that becomes more agitated and then calmly settles down again in a quasi ABA form. swing that yam finds us back in 12/8 time, this time in swing style with a very minimal piano part, centered around F major. Ulloco(a Bolivian tuber the size of a ping-pong ball with red and yellow swirls) is an extended march in D major that is chromatic and challenges the player with sixteenth note runs, double tonguing, and meter changes. Meter changes are basic to oca (an Andean staple in pre-Columbian times), alternating 7/8,6/8, and quarter-note signatures. The harmonies in the accompaniment are closely voiced ninth chords, while the challenge to the tubist is to be as nimble below the staff as he is at the top of it. The entire set of solos is marked “medium-slightly difficult,” and I would concur with that. If you have a high school player who is coming along nicely, that student would find little difficulty playing these. The challenge would be to have a coherent style in each of them appropriate to what the composer is trying to say. The other challenge for some players would be that the range, although not extreme, spends a significant time above f. This is not difficult in itself, but prolonged playing above that will require separate preparation. The actual range of the piece is AA to c sharp1.

~Michael Short, Drake University

Suite in B-flat Minor for solo tuba by Grant Harville. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711.; 2003. $10.

This suite is in 6 contrasting movements, each with its own character. Unfortunately, I found myself musically unsatisfied by most of the movements, due to the over-reliance on repetition and sequence to give most of the movement’s length and cohesiveness. The fast movements seem to follow a formula of stating a two-measure melodic/rhythmic motive, then repeating and sequencing it until it leads to another two-measure motive, which is, again, repeated and sequenced. This leads back to the first motive—well, you get the idea. The material is never really developed and becomes tiresome after a while.

It is in the slow movements, the first and fourth, that the composer really has something meaningful to say. These two do make stronger musical statements. They are expressive and flowing, offering a wider range of new material than is found in the other movements. Is it a coincidence that they also have phrases that are more than two measures in length?

I’d say that this piece is definitely written with a bass tuba in mind. It is mostly in the staff or above it (up to a pianissimo high G-flat above the staff). The fourth movement ends with pedal B-flats and the sixth movement has isolated four-ledger-line low E-flats, but there is nothing else in that range of the horn. Some technical challenges of fast passage-work make this suitable for a professional or accomplished college student. The third and fifth movements are almost perpetual motion and breathing can be a problem at times.

When I played the first movement I thought, “Yeh, this may be really good.” Unfortunately, it didn’t live up to that expectation. I am not familiar with any other of Grant Harville’s music, but I like the way he writes for the tuba. And I like his melodic and rhythmic ideas. I just wish they were developed more so that this piece would have more to say to me than it does.

~Mark Mordue, Ball State University

Concerto for solo tuba and orchestra (piano reduction) by Roland Szentp?li. Editions Bim, P.O.Box 300, CH-1674 Vuarmarens, Switzerland. Tel: ++41-(0) 21-909 1000, Fax: ++41-(0)21-909 1009.

The web site would be happy to bill your credit card in Swiss Francs for this piece. However, my advice is “let your local music store figure the exchange rate.” Close as I could figure, the price is around $24.

Roland Szentpáli was born in 1977 in Hungary. At the age of 16 he won the national “Brasses and Percussion” competition, then wrote and performed his first concerto for tuba and symphony orchestra. He has wasted no time in establishing his international reputation as a performer and composer. Open most any recent ITEA Journal and you can find Roland featured somewhere for touring, performing, or winning yet another international competition. The man is “on fire.”

I can see this piece “setting the standard” for the next generation of soloists, much like the Vaughan Williams continues to do for most of us. The range DD to a1 is covered in the player’s first four measures of the “Quasi Cadenza.” From there continues a musical challenge not for the faint of heart.

The piece is beautiful, extremely Hungarian, and filled with wonderful dancing melodies, which literally make you want to jump. There is so much written “above the staff” that even on F tuba, I would advise learning it at half speed and down an octave to start. It is a musical style and language that you need to “live with” and get under your fingers slowly in order to achieve the sense of freedom and wildness called for “at tempo.”

At seventeen minutes, this concerto would be an excellent length for performance as soloist with an orchestra. As a recital piece however; special care would have to be taken in program order and pacing oneself to fit this in without “running out of gas.” This should not be any average students “first ever” concerto to study because of the huge demands in range and technique involved.

~Phillip C. Black, Wichita State University, Wichita Symphony

Effusion for tuba and piano by Scott Gendel. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; $12. 2000.

Composer Scott Gendel is a name we may not be particularly familiar with, but I believe that may soon change. Mr. Gendel has served as an associate lecturer in composition at the University of Wisconsin-Madison while he was working on his DMA in composition. His works have been performed by the Riverside Opera Ensemble and the American Symphony Orchestra, and he has received commissions from the Edgewood Community Orchestras and the Madison Children’s Choir among others. In addition to his compositional skills, he is a gifted conductor and pianist.

The dictionary defines effusion as “an unrestrained expression of words or feelings.” This idea is very indicative of the work. The use of changing meters and complex rhythms leads to a feeling of emotional angst at times. While we often think of works for tuba and piano as solo and accompaniment, Effusion is more of a duet, or even better, a dialogue between two equal voices. The interplay between the voices takes on the effect of a heated emotional exchange between impassioned parties.

The tuba part spans a range from EE to f-sharp1. The work seems best suited for F tuba but is approachable on CC. There are several challenges for the performer. First would be the rhythmic and time structure. These will take some individual work, and the ensemble will also be tricky. The tuba part has some demands from a technique and range standpoint. There are some interesting intervals to maneuver but most fall within an octave.

It is always welcome to come across a work that treats both parties equal. When performing a recital I prefer to work with the pianist as a duet partner rather than an accompanist. This work lends itself well to this approach. Bravo Mr. Gendel!

~Timothy J. Olt, Bowling Green State University

20 Supplementary Tunes for Tuba by Edward Gregson. Brass Wind Publications, 4 St. Mary’s Road, Manton, Oakham, Rutland LE15 8SU, UK. Phone: 01572 737409/737210; Fax: 01572 737409; £5.25. 2003.

Mr. Gregson’s conception for these etudes is that it will “span a period of 12 to18 months of technical and musical development” from start to finish. Even at the outset, the first etude consists mostly of quarter, half, and whole notes, but there are time signature changes, which is something he uses consistently through this book. 5/8 and 7/8 meter and triplets are introduced before the bookends, and the theme and variations concept is used as well as differing styles such as “habanera” and “ragtime.” Range is not a problem, as it stays in the staff most of the time with a few excursions down to C. There must be something about the British attitude toward young students and key signatures that I’m missing. In my review of Peter Lawrance’s Easy Winners (reviewed in this issue), I complained that most of his book used the keys of E-flat and A-flat. 60% of this book uses those same two keys, and the remainder is made up of flat keys. I realize that a lot of British instruments are e-flat horns, but don’t they need to learn the other keys sometime? Well, this is probably still a book you can use. Maybe your student’s first steps into transposition?

~Michael Short, Drake University

Easy Winners: 75 Well Known Tunes transcribed for tuba by Peter Lawrance. Brass Wind Publications, 4 St. Mary’s Road, Manton, Oakham, Rutland LE15 8SU, UK. Phone: 01572 737409/737210; Fax: 01572 737409; £4.95 (piano accompaniment not included CD accompaniment also available, £8.95 for the package). 2000.

One of the hardest things to come by is a set of short melodies for young players, say sixth or seventh grade age, to perform at home that will keep their interest. Over the years, when I teach my college low brass methods class, I have my students review the band methods that are out available. The constant complaint is that the melodies the students are made to play are dated to, say the least, and definitely hokey. Mr. Lawrance has a wide variety of melodies here. There are classics, such as Mozart’s A Musical Joke, the Anvil Chorus, and a theme from Sheherazade. Pops tunes include Don’t Sit Under the Apple Tree, California Here I Come, I Feel Pretty, Tijuana Taxi. More modern offerings include the themes from Cagney and Lacey, Titanic, James Bond and even Red Dwarf. In the front of the book, most of these are only two or three lines long, but toward the back, there are half-page offerings.

There is a separate CD backing track available as well as a piano accompaniment for some of the tunes (I can’t speak to the CD itself, as it was not included with the book). If it is on the CD or piano part, there is the symbol of a keyboard along with an explanation of the accompaniment pickup into the tune, if any. 35 of the tunes have this symbol, so there is quite a bit of this book that can be used to acquaint the student with playing with an accompaniment. The first few pages could be played by a beginner, but most of the book is in the middle school range.

My one complaint comes from the variety of key signatures used in this book. I had an impression that the keys of E-flat and A-flat were used a lot. When I counted them, there were 31 tunes that used the former and 34 that used the latter! Simple mathematics leaves only 10 tunes left over. One of these was the key of C-flat, but the rest were all flat keys. There were absolutely no tunes in C major or the sharp keys at all! Of course young players need the experience of playing in keys other than what they find in band arrangements, and this would seem to be the perfect setting to get them to play in keys like A major—that is, on a tune that they already know.

~Michael Short, Drake University

A Little Light Music for tuba with piano accompaniment by John Iveson. Brass Wind Publications, 4 St. Mary’s Road, Manton, Oakham, Rutland LE15 8SU, UK. Phone: 01572 737409/737210. £6.75. 1997.

This is a collection of light pops music arranged by well know Philip Jones Brass Ensemble musician John Iveson. It includes Chattanooga Choo Choo, Leaning on a Lamp-post, If I Were A Rich Man, That’s My Baby, Colours of My Life, I Got Rhythm, Pick a Pocket or Two, and Come Follow the Band. For the most part, these are straight ahead arrangements generally with the tuba playing the tune twice and a lot of the variation coming in the piano accompaniment. There is some brief call and response in That’s My Baby, but generally these are straight ahead renditions of the tunes named. This would be a good vehicle for teaching style to a young player who aspires to do some jazz A departure point, if you will. The music is marked as being a grade medium, which I take to be a young high school player. This publication is available for either bass clef or treble clef readers. You might expect range to be a consideration as with some British publications, but this does not go above b-flat or below BB-flat.

~Michael Short, Drake University

Tuba/Euphonium Ensemble

Swingin’ Ukrainian Christmas arranged for baritone-tuba quartet by Lennie Niehaus. Kendor Music, Inc, 21 Grove St., P. O. Box 278, Delevan, N.Y. 14042-0278. 2:35. Grade 3. 2003. $8.

This is an arrangement of the traditional Ukrainian Christmas carol Carol of the Bells in the style of a jazz waltz. It is a fairly easy piece using standard jazz rhythms and articulations. The range of individual parts is quite conservative. Most are within an octave. The highest note for the first baritone is F above the staff. The lowest note for the second tuba is an A-flat below the staff. Baritone parts are in bass clef.

This is not a complex arrangement, just a straightforward statement of the carol in a slightly jazzy style, making effective use of dynamic contrasts. It could be played by a junior high or high school ensemble. However, it’s a nice, somewhat spicy version that brings a taste of newness to an old standard. Audiences would enjoy it, and it would be useful in acquainting students with basic jazz style and notation.

~Mark Mordue, Ball State University

Night on Bald Mountain by Modeste Mussorgsky arranged by Reginald Curtis for nine-part tuba-euphonium ensemble with percussion. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 6:00. Grade 6. 2003. $45.

This is a remarkable arrangement of one of Mussourgsky’s best-known orchestral compositions. I am always skeptical when arrangers try to shoehorn the vast palette of orchestral tone color into the homogeneous sound of any like-instrument ensemble, but in this case Mr. Curtis succeeds admirably. The primary themes of the original are intact and actually make musical sense when performed by five euphoniums, four tubas, and percussion. Curtis carefully edited a few melodic gestures to better suit this ensemble, a practice that is not only necessary and appropriate but also effective in this case. Curtis has done an outstanding job of maintaining a high degree of musical interest by frequently changing the texture of the ensemble, the dynamic level, key signature, and the melodic assignments. He provides an expert model for other arrangers to follow.

The ranges foreach instrument are as follows: euphonium 1 g to d-flat2; euphonium 2 f to d flat2; euphonium 3 A to g1; euphonium 4 A to f1; euphonium 5 A to g1; tuba 1 Db to d1; tuba 2 BB to e1; tuba 3: FF- a; and tuba 4 DD to f. The percussion parts are scored for cymbals, bass drum, tam-tam, and chimes, which could be performed by as few as two players. Due to the difficulty of the source material, performing this arrangement will require advanced college or professional players.

~Thomas Bough, Southern Illinois University-Carbondale

Highway 336 by Joseph Goble for tuba-euphonium quartet. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 3:30. Grade 4. 2003. $12.

Joseph Goble has crafted a fun, musically interesting piece of music for high school level players. The title refers to the road that connects his home in Macomb, Illinois to his adjunct teaching position at Quincy University. Goble is semi-retired after teaching for 20 years as a public school band director and serving as an officer in the U.S. Air Force. Highway 336 is constructed with a high degree of independence between the melodic lines and the background figures. He makes frequent use of syncopation against an ostinato played by tuba 2. Common time is used most of the time, but the 7/8 measure that is utilized in the latter third of the piece provides an effective musical punctuation before the final codetta. The jazz-influenced rhythmic figures make this work entertaining for both the listeners and performers. The ranges of each part are euphonium 1 a-flat to b-flat1, euphonium 2 d-flat to e-flat1, tuba 1 F to g, and tuba 2 EE to b-flat.

~Thomas Bough, Southern Illinois University-Carbondale

A Vermont Gathering by David Uber for four euphoniums or tuba-euphonium ensemble. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 2:17. 2001. $10.

David Uber is without doubt one of the most prolific tuba and euphonium composers. He has composed numerous wonderful works for our instruments both for the solo realm as well as many various chamber combinations. With A Vermont Gathering, Mr. Uber gives us a very lyrical, expressive, and relaxed quartet. This original work has many opportunities for expressive playing as there are numerous small solo passages over mostly chordal or homo-rhythmic accompaniment. It is generally slow and is reflective and introspective in nature. There are many beautiful cadences and a wonderful con moto section in the middle, which allows for some very expressive moments.

A Vermont Gathering works equally well for euphonium quartet as well as tuba and euphonium ensemble. The fourth part can be easily played on euphonium or tuba. The third part has passages that are clearly marked down an octave for tuba. However, there is one measure that would have to be played down an octave, as it would be too high for the overall texture if played as written on tuba. The ranges for euphonium are E-flat to g1, and the ranges for tuba are E-flat to b. The parts and score are all in bass clef, very easy to read, feature many clear and concise stylistic and dynamic markings and have well placed rehearsal markings. I feel this work would be a great teaching piece for a group of talented high school players or would be a fantastic work for a moment of repose on a euphonium recital or a tuba and euphonium ensemble concert.

~Lloyd Bone, Glenville State College

Malaguena by Ernesto Lecuona arranged by Tom Senff for 8-part tuba-euphonium ensemble. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 5:00. 2003. $20.

This is not the version of Malaguena made famous by the Stan Kenton orchestra or its subsequent derivative versions played by marching bands and drum corps. Rather, this arrangement is based on the original rendition of this folk tune as played on flamenco guitar. The melodies and underlying harmonies are similar to the more bombastic version known to many listeners. That said, this is an excellent arrangement. The first two euphonium parts are extremely challenging due to frequent scoring in the upper register. All of the other parts are much more accessible. Virtually all melodic interest lies within the euphonium parts. The tuba parts are confined to bass lines and chordal outlines most of the time.

The ranges of each part are euphonium 1 and 2 A-flat to f2, euphonium 3 G to a1, euphonium 4 c to a1; tuba 1 and 2 C to g1, tuba 3 C to g, and tuba 4 GG to g. The first two euphonium parts are scored in tenor clef, which may be a concern for some players.

~Thomas Bough, Southern Illinois University-Carbondale

Jingle Bells by James Pierpont arranged for four-part tuba-euphonium ensemble by Timothy Olt. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 2003. $10.

My “handy” Internet Explorer search listed Timothy Olt as tuba professor at Bowling Green State University and as tuba with CSO/Opera. I am glad he took the time to add this unique treatment of an old favorite to our ensemble repertoire. Hopefully an audience would appreciate (and forgive) the “corn” which was added to this recipe for “flavor and color.”

The voicing is very reasonable for a collegiate ensemble, and with judicious octave displacements on occasion, it would work for most high school ensembles. Ranges are euphonium 1 f to b1, euphonium 2 G to d1, tuba 1 G to g, and tuba 2 BBB-flat to g.

The melody is kept in the outer voices, euphonium 1 and tuba 2, with the inner voices being relegated to the “ooms and paas.” The ensemble would be challenged by Mr. Olt’s treatment of time in the refrain and matching style and weight of articulation in the accompaniment parts. There are some good pyramid effects which might be a challenge to get lined up “tight enough” in the ensemble; however, to make this arrangement come across as “seriously funny” all the musical details would need to be ironed out.

I look forward to adding it to the program at our “Holiday Feast,” and it would be a good low brass feature on a high school winter-seasonal holiday concert.

~Phillip C. Black, Wichita State University, Wichita Symphony

Menuets from Music for the Royal Fireworks by George Frederic Handel arranged for tuba quartet by Frank J. Halferty. Kendor Music, Inc., 21 Grove Street, PO Box 278, Delevan, N.Y., 14042-0278. 2:30.2003. $10.

The works of Handel have long been favorites of the brass chamber world. Very few brass quintet wedding gigs have gone by without a work or two from either the Water Music, Fireworks, or both. Mr. Halferty has given us a welcome introduction of the music of Handel to use with younger players. This arrangement is very accessible while still introducing elements of advanced playing and interpretation that will allow for use in an educational environment.

The ranges of the parts are conducive to average high school players, with the first baritone (euphonium) part going from f to g1, second baritone from B-flat to e-flat1, first tuba from F to g, and the second tuba part from GG to F. From a technical standpoint the work is very approachable with the maximum rhythmic motion being eighth notes at quarter equals 116. Some basic ornamentation is included, mainly in the first baritone part. In addition, Mr. Halferty has included grace notes to assist younger performers with the proper approach to the trills. The melodic lines are mostly confined to the first and second baritone parts, with the first tuba getting a brief stint at the harmony line. The one criticism I would offer at all is that the second tuba part is confined to accompaniment.

With the many challenging tuba quartet and ensemble arrangements hitting the market today, it is refreshing to find a work coming out that is aimed more for the younger player. Kudos to Mr. Halferty!

~Timothy J. Olt, Bowling Green State University

Ohlone Suite for euphonium-tuba ensemble by Barton Cummings. Solid Brass Music Company, 71 Mt. Rainier Dr, San Rafael, Ca. 94903
. (800) 873-9798;;; Sku# BC040. 2003. $15.

The Ohlone Suite, a four-movement work, was written especially for the Ohlone College Euphonium-Tuba Ensemble. The movements, March, Waltz, Serenade, and Galop, use melodic styles and harmonies that would have been popular during the early part of the twentieth century when park bands were popular entertainment for communities.

The “March” is a traditional march in the typical march form with the sections alternating between lyrical singing melodies and virtuoso technical passages for all instruments. The “Waltz” is a slower American style waltz as opposed to the Vienna style. The “Serenade” is a slow, reflective piece, and the “Galop” is fast and furious with technical demands for all instruments.

Barton Cummings has written a very fine work that is audience friendly, fun to play, and suited for college-level ensembles. The reviewer did find a couple of minor problems with the parts: tubas 1 and 2 are missing the Fine in measure 72 of movement one, and the key change for tuba 1 in movement four is slightly covered by the barline. Ranges are euphonium 1 D3 to A-flat4, euphonium 2 E-flat4 to B-flat2, tuba 1 E-flat2 to C4, tuba 2 F1 to E-flat3. The keys are F, B-flat, E-flat and A-flat Major. The piece is highly recommended.

~Dr. Michael Fischer, Boise State University

Sinfonia No. 9 in F Minorby J.S. Bach arranged for three euphoniums by Andrei Strizek. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 3:00. 2003. $10.

Sinfonia No. 9 in F Minoris an arrangement of one Bach’s many three-part inventions for keyboard, many of which were entitled sinfonia. This is a fantastic arrangement in that it is helps with one of the biggest challenges of contrapuntal music, which is knowing where the subject is at all times. This can become very complicated as lines become more ornamented and active causing the overall texture to become very dense. Mr. Strizek has brilliantly helped to solve this problem by using big, bold numbers to indicate which part has the subject throughout the work. He also initially indicates with dynamic and phrasing markings how the subject is to be phrased and where it should peak every time it appears. He also indicates places where breaths should occur and not occur.

Sinfonia No. 9 in F Minorbegins and remains in a largo tempo. The range is C to a-flat1 and the parts are in bass clef and very easy to read. Each part receives equal allotment of the subject and countersubjects. The work is arranged well in terms of registers as each part is usually in one of three registers (low, middle, and high). A very rich sound is predominant throughout the arrangement as the parts rarely share registers. This work is accessible to all college levels as well as high school as there are very few technical or range demands. I highly recommend this work as it is very expressive, is a good study of the many performance challenges of contrapuntal music, and is as a great chamber work for a recital program.

~Lloyd Bone, Glenville State College

Midsummer Songs by Carson Cooman for tuba-euphonium quartet. MMB Music, INC., Saint Louis, Missouri. (800)-543-3771; 7:25. 2001. $34.95.

Midsummer Songs for tuba and euphonium quartet was commissioned for and is dedicated to the famous British tuba and euphonium quartet Tubalate. The work is in three movements; each proceeded with an epigraph from William Shakespeare’s famous play, A Midsummer Night’s Dream. Below I will quote directly from the score regarding each movement as the composer’s comments appropriately and concisely sum up each movement:

“The first movement takes its inspiration from the scene in which the mischievous fairy Puck is playing tricks on two of the lovers. The music represents the skittish nature of Puck with continual contrasts between lyrical and staccato playing and a number of starts and stops.”

“The second movement is inspired by the lullaby sung by the fairy band in the middle of the play. The music begins with a section of Ôunfolding,’ surrounding a gently pulsing lullaby in the middle”.

“The final movement is filled with the energy and excitement of midsummer. A dancing and sprightly opening section leads to a slower and lyrical middle section. But under this lyrical music the pulsations of the opening continue to interrupt until the music leads to a reprise of the opening and the surging coda.”

This is a great original work! The first movement primarily features the two euphoniums melodically while the second movement beautifully features the two tubas melodically in a duet at the lullaby section. In the last movement as the music grows in speed and intensity, the tubas are often used in the technical passages and have nearly equal allotment of the melodic fragments as the euphoniums!

The parts are bound in booklets and have both bass and treble clef parts for euphoniums. The score and parts are some of the most professional looking music I have ever seen! These are the easiest parts I have ever read as they are very clearly and concisely marked with no doubt of the composer’s musical intentions in each movement. The range of the euphonium parts is F to a1 and for the tubas is GG to f1.

Midsummer Songs is most accessible to college players as there are some challenging high range issues for the tubas and some technical challenges for all four instruments in the last movement. This is a great original work! I highly recommend this work as it is very expressive and exciting to play!

~Lloyd Bone, Glenville State College

Que Pasa for 8-part tuba-euphonium ensemble by Scott Schlesinger. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 5:00. Grade 5. 2002. $12.

The catalogue of the Tuba-Euphonium Press also lists this composition as scored for 4 or more parts, which is a more accurate description of the musical demands. It could be performed with as few as four players, would probably sound better with five, but eight would probably be too many to maintain the buoyant style required for this composition. As the title suggests, this composition utilizes a Latin jazz style, particularly the traditional Latin piano riffs known as a montuno. There is an open solo section with chord changes for the soloist but written out parts for the accompaniment played by the other performers. The highlight of Que Pasa happens after the solo section when the entire ensemble plays a shout section in unison and octaves. This section is both rhythmically and technically demanding and is entertaining for both the performers and the audience.

Schlesinger successfully separated the lowest tuba part from the other voices to clarify the harmonic structure. But, in doing so, he obscures the melody by scoring it below many of the background figures. I recommend this composition to expose students to traditional Latin jazz style and for the entertainment value to the audience.

The ranges are euphoniums 1 and 2 G to g1, tubas 2 and 3 G to f1, tubas 4 and 5 G to e-flat1, tubas 6 and 7 EE-flat to b-flat.

~Thomas Bough, Southern Illinois University-Carbondale

Canzona in d by Dietrich Buxtehude arranged for four-part tuba-euphonium ensemble by Angelo Manzo. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; $8. 2002.

Dietrich Buxtehude (1637–1707) was a Danish born organist and composer, possibly one of the most influential of his time. Angelo Manzo, Assistant Professor at the University of Missouri-Columbia, is becoming one of the most prolific arrangers of his time. Here the two meet with some measure of success!

Canzona in d fits nicely into the “niche” of pieces, which would work well for the college tuba-euphonium ensemble or also be accessible and challenging to a good high school level group. The ranges are euphonium 1 d to a1, euphonium 2 A to e1, tuba 1 D to b-flat, tuba 2 FF to d. The first euphonium part makes seven “excursions” up to the high “a.” While college players would be unfazed by this, their high school counterparts would have to work for an open relaxed sound at all times! The second euphonium part lies in a true comfort zone and poses no problems. The tuba parts are both eminently playable with the first part staying primarily in the staff and the second part spending a good deal of time in the mid-low register. Although there are some sparse dynamic markings, Mr. Manzo has left the choice of articulation style and phrasing up to the performers and the ensemble conductor.

The work falls into three sections: a moderate 4, a brisk 3, and a moderate 4. Entrances are canonic throughout, and great care should be taken to agree on style and articulation. It would work on a concert as a “period” piece, and the players would grow musically from preparing it.

One glaring error: tuba 2 first tempo indication should be 85 (like all the other parts), the printed tempo is really the tempo for the “fast” middle section.

~Phillip C. Black, Wichita State University, Wichita Symphony

Rosa Mystica by Jeff Cottrell for five-part tuba-euphonium ensemble. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 3:30. Grade 4. 2002. $12.

Jeff Cottrell completed the DMA in euphonium performance from the University of North Texas where he studied with Dr. Brian Bowman. He is an active composer, performer, and studio teacher in north Texas, including a position as an adjunct instructor at Hardin-Simmons University. Rosa Mystica is marked adagio in 12/8 time. Harmonies are primarily created by the motion of scalar melodies sliding over a G minor drone. The dynamic shadings in the lowest tuba part are cut off in the score but easily legible in the parts. Cottrell creates many sonorous moments throughout the composition. Other moments are less effective, due to the scoring of parallel thirds between tuba 1 and 2 in the bottom of the bass clef staff. This voicing obscures the natural resonance of the harmonic series and makes the chord quality hard to hear. The euphonium scoring avoids this problem, partially due to its higher tessitura. Cottrell creates the same scoring concern by combining euphonium 3 and tuba 1 in parallel thirds in the lower half of the staff. The ranges are euphonium 1 d to c2, euphonium 2 c to a1, euphonium 3 F to e-flat1, and tuba 1 and 2 GG to f. The technical demands of the composition place it within reach of advanced high school or college players.

~Thomas Bough, Southern Illinois University-Carbondale

Song Without Words for tuba-euphonium quartet by Scott Schlesinger. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 3:30. Grade 4. 2002. $12.

This composition bears no relation to the lied by the same name. In fact, the title is deceptive since the tempo is marked at 144 beats per minute. The high degree of syncopation and rhythmic activity makes this composition more like a dance than a song. Harmonically, it makes use of a large number of seventh chords, particularly diminished sevenths. The composer does not adhere to standard beaming conventions, which made the piece awkward to read at times. For instance, he beams groups of eighth notes in threes to indicate an accent, rather than conventional notation, which creates the impression of a triplet when in fact duple subdivision is still in effect. Nor does he follow the practice of helping performers to see the middle of the measure when writing syncopation, which obscures some rhythmic figures. Finally, there are notation irregularities in the score and parts, as well as a difficult page turn in both euphonium 1 and tuba 2. The ranges are euphonium 1 e to a1, euphonium 2 e-flat to e-flat1, tuba 1 BB-flat to b-flat1, and tuba 2 FF-sharp to e-flat.

~Thomas Bough, Southern Illinois University-Carbondale

The Quest for tuba-euphonium quartet by Harry Salotti. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 6:40. Grade 5. 1996. $12.

Composer Harry Salotti is an active freelance performer on tuba and string bass in Atlantic City and the surrounding areas. Among his many strong credentials are a master’s degree in tuba performance from Indiana University where he studied with Harvey Phillips, his position as a band director in the Mt. Laurel, New Jersey school district, and winning the ITEA Intermediate Etude composition contest for tuba in 2003. Look for the publication of these etudes by Tuba-Euphonium Press in the months to come, accompanied by a play-along CD featuring demonstration recordings by Pat Sheridan.

The Quest is a challenging and worthy contribution to the literature for tuba-euphonium quartet. Based on the rhythmic complexity and independence of each part, it is suitable for advanced college or professional players. It is harmonically advanced, yet united by its programmatic elements and musical form. The work begins with a slow introduction that captures the listeners’ ear with its unusual harmonic motion. The robust “Prince’s” theme at m. 23 is developed through imitative counterpoint, which finally calms down at m. 39 where the “Princess” theme occurs. Ostinato eighth notes in m. 72 leads to the “Witches” theme in m. 76, which is also developed through imitative counterpoint and dozens of time signature changes. As one might expect, the “Prince” and “Witch” theme battle musically from m. 113 until the “Prince” triumphs in m. 136. A truly beautiful coda combines the “Prince” and “Princess” theme in a harmonically tonal yet creative ending.

The ranges are euphonium 1 b-flat1 to E, euphonium 2 b-flat1 to A, tuba 1 e-flat1 to D-flat, and tuba 2 a-flat to EE. The euphonium parts are equally difficult, but the tuba 1 part is considerably more difficult than tuba 2. Substantial rehearsal time will be necessary for most ensembles to prepare a work of this complexity, but the musical rewards are well worth the effort.

~Thomas Bough, Southern Illinois University-Carbondale

Brass Quintet/Chamber Music

Blue Skies by Irving Berlin arranged for brass quintet by Jeff Jarvis. Kendor Music, Inc., 21 Grove St., P.O. Box 278, Delvan, N.Y. 14042-0278. Grade 4. 3:25. $11. 2002.

During his 101 year lifespan, Irving Berlin wrote many of the songs that we know as “enduring classics.” Tunes we hum to ourselves and later say, “Oh yea, Irving Berlin.” Here his tune Blue Skies, voted into his “top 10 lyrics” list on a Berlin web site, received kind attention as it was set for brass quintet. Arranging Jeff Jarvis is no slouch having over 150 published jazz works and performing as a studio musician on trumpet on over 100 albums. He is a Yamaha Trumpet Artist, and (rather handily) listed as CEO of Kendor Music Inc.

Reading through the tuba part of this quintet arrangement, I was favorably impressed with the care and attention to detail taken with the “swing style” articulations. We’ll spend much less time arguing over the doos and daat’s as we prepare this tune for performance. The excellent looking score and parts are very clear and easy to follow. For a professional quintet, this work would shape up quickly as a wonderful “set” piece or to lighten the atmosphere after a major work. It’s the type of piece a young quintet can learn a great deal from preparing. The melody is passed fairly, (spoken like a tuba player), throughout the group, and each part has at least several bars rest. This will probably never reach the “fame” of an Ewald, but there will be times when it is just as needed on a program.

~Phillip C. Black, Wichita State University, Wichita Symphony

Have You Ever? for soprano and tuba by Rodger Vaughan. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 7:00. 2002. $8.

It’s always nice to have repertoire on a recital program that offers some color variety to the usual tuba/piano combination. There are a growing number of pieces that include voice with tuba, and I find this to be an interesting and successful pairing. The two instruments have very contrasting timbres and the voice carries well over the tuba’s full but not overpowering tone. The text supplies an invaluable additional layer of meaning to the piece as well.

The poems used in this piece were written by students in a third grade class in Colorado. Each one describes a different animal and each begins with the line, “Have you ever seen a ?.” The six short movements describe a snow leopard, a shark, a butterfly, a cheetah, a wolf, and a kangaroo.

These are not cute little ditties, like children’s songs. They are not terribly difficult or complex, but the music is definitely for mature performers, although children’s ears would enjoy hearing the performance. The soprano part is more difficult than the tuba part. It takes a singer with a good ear to hear some of the intervals. The soprano does go to a B-flat and a couple A’s above the staff, but, otherwise, the range is in the staff. The tuba part covers a little over two octaves most of the time, from the top of the staff to low E. There is one pedal B-natural at the end of the piece. For both parts rhythm and range are usually easy and comfortable. The writing uses a lot of dialogue interplay between the two parts, so that the voice is never in danger of being covered by the tuba. The only criticism I have of this piece is the text notation. Syllables often do not line up underneath the correct notes. It’s not hard to figure out the composer’s intention, but it creates an annoying and unnecessary distraction for the vocalist.

The movements are united through motivic and intervallic similarities and a common style. I would describe the compositional style as abstract but not unattractive. It doesn’t leave you scratching your head saying, “What was that all about?” In fact, each movement makes perfect sense. They are different in character, describing each animal through the third-graders’ words and images. The text painting used throughout is delightful. Rodger Vaughan is really skillful in illustrating with pitch and rhythm such ideas as panting, jumping, swishing, and sharp teeth.

What is needed to make a performance really work is a singer who can tell a children’s story well. The music is very limited in it’s indications for dynamics or expression. I think that this is to give the performers more latitude. Picture how someone reads a story to a group of children. That’s what this piece requires. A flat delivery of the notes and words would not make it. An animated voice, with lots of body language, would really sell this to an audience. There is room for the tuba player to get into the spirit of each movement too. You could have a lot of fun performing this piece.

~Mark Mordue, Ball State University

Duet for Flute (or Piccolo) and Euphonium by Elizabeth Raum. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 2:30. 2003. $10.

Canadian composer Elizabeth Raum has composed several wonderful works in various styles and genres for the tuba and the euphonium. Her works include those specifically written for tubists John Griffiths and Roger Bobo as well as a fantastic work called Monster Music, originally composed for16-part tuba-euphonium ensemble that was recently edited for 8-part euphonium ensemble.

Here Raum gives us Duet for Flute (or Piccolo) and Euphonium, a lively and effective chamber work with piano accompaniment. This one movement work in B-flat Major is marked allegretto con expressione (quarter note=112) and is very active with the flute and piano part containing mostly sixteenth note runs. The euphonium part does not have as many runs but is an equal participant with the flute and piano in terms of melody and countermelody. The euphonium runs are written well as they are easily played. The flute player who graciously played this work with me said the flute runs are idiomatic for the flute. The range of the euphonium part is D to g1, and the range of the flute part is more demanding than that of the euphonium part as it remains in the upper register for the majority of the work. The parts are very easy to read and contain both bass and treble clef for the euphonium. It was very fun to play and features several energetic and interesting melodies. This work is accessible to any level of college student as well as good high school students. I highly recommend this work as an enjoyable way to add variety to a recital.

~Lloyd Bone, Glenville State College

Threnody, opus 41 for solo flute with 4-part tuba-euphonium ensemble by Neal Corwell. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, Va. 22003. (703) 916-0711;; 2002. $15.

The tragedy of 9/11 has brought forth a large body of works for many genres, from symphonies to pop songs. It is fitting that a composer of the stature and background of Neal Corwell created a work for our instruments. Aside from his work as a composer, bringing the world many evocative works for low brass putting us in unusual settings, and bringing forth new and exciting sounds, he has also spent time in the U.S. Army. What better individual to represent our voices in lamenting this tragedy.

As is pointed out by Mr. Corwell in the notes for the work, a “threnody” is a song of lamentation. He also points out the use of the solo flute serves to indicate the isolation and “aloneness” created on that fateful day. The writing follows the idea with the quartet parts often performing as a unit while the flute part is on a completely different tangent. While the ensemble parts are much less active but extremely harmonically important, the flute often takes on a frantic quality, seeming to fight to rip itself from the body of the work. The sonorities and rhythmic structures presented are often strident and challenging to the ear. What better way to exemplify the emotional impact of such an event?

From a performance standpoint, the parts in the ensemble are relatively approachable from a technical perspective. The euphonium parts range from A to b flat1, and the tubas from EE-flat to a. Flutter tonguing is called for in the euphonium parts. The biggest challenges are with ensemble, mainly rhythmic alignment and dynamic contrasts. The solo flute part is technically demanding with rhythmic challenges and extended techniques such as flutter tonguing and pitch bending.

As musicians, we are emotional salespeople. Our job is to elicit specific feelings and reactions from the audience, to take them along with us for the ride. Mr. Corwell has made our jobs both easier and harder with a work like Threnody. From a performing standpoint, we face the challenges presented by the writing. From a personal standpoint, we face the great responsibility set forth to deliver the message. It is an extremely powerful work. Thank you, Mr. Corwell. May we all find peace.

~Timothy J. Olt, Bowling Green State University

Bring a Torch, Jeanette, Isabella arranged for brass quintet by Lennie Niehaus. Kendor Music, Inc., 21 Grove Street, PO Box 278, Delevan, N.Y. 14042-0278. 2:40. 2003. $11.

The career of Lennie Niehaus has been a diverse and impressive road. As a performer, he was a sax soloist with the legendary Stan Kenton Orchestra among others. As a composer, he has written for numerous venues, including film scoring. In 1994 he won an Emmy for his scoring of the film Lush Life for Showtime. He has also served as one of the primary composers for Clint Eastwood films. As a chamber music composer and arranger, he is one of the most prolific in the business.

Mr. Niehaus has delivered once again with this wonderful arrangement of a traditional Christmas carol in a not-so-traditional setting. The opening rhythm sets the style for the entire work, introducing a swing groove that will permeate the piece. The work divides into several smaller ensembles at times interspersed with full ensemble to give everyone a shot at the spotlight.

The ranges of the parts are all easily accessible to high school level players with the main challenges coming from the rhythms and ensemble playing. The work travels through three key centers, F, G, and A-flat. The harmonic structure is thick at times but works well for the arrangement. He also uses some interesting rhythmic motives to offset the slow melodic motion.

While traditionalists will have a hard time accepting the treatment of this classic carol, this will be a crowd-pleaser for many ensembles.

~Tim Olt, Bowling Green University

Puttin’ On The Ritz by Irving Berlin arranged for brass quintet by Arthur Frackenpohl. Kendor Music, Inc, 21 Grove St., P. O. Box 278, Delevan, N.Y. 14042-0278, USA. 2002. 3:00. Grade 4. $12.

This is a good, and not too difficult, arrangement of an old favorite. It starts out as a fairly straightforward statement of the tune and then progresses through several variations and interludes. To give it variety and keep restatements of the tune from sounding old, the composer passes short parts of the tune around, uses canonic imitation, changes keys, and changes texture. The tune goes through enough of these transformations to hold the interest of both the performers and the listeners.

The publisher has maybe graded this arrangement a higher difficulty than it really is. With reasonable instrumental ranges and fairly easy rhythms, the piece could be performed by a decent high school group. It would even be useful educationally as an outlet for introducing students to an old pop/jazz standard. The first trumpet part does go up to “a” and “b” above the staff a couple times. Melodic material is distributed throughout the group, so that every player gets some solo opportunity. Although not a “really hot” arrangement, even a professional group could find a place for this piece in their performance repertoire.

~Mark Mordue, Ball State University


David Thornton’s Three Worlds CD recording featuring euphoniumist David Thornton accompanied by the Black Dyke Band, Dr. Nicholas J. Childs, conductor and pianist Fenella Haworth-Smith. Solo Doyen Series, Doyen Recordings available in the U.S. from Tap Music Sales, 1992 Hunter Avenue, Newton, Iowa 50208; Phone: (641) 792-0352;; $19 (Catalog TUTD01 Label: Doyen 169). Available in Europe via £13 (Catalogue no. DOY CD169). 2004.


What a fine player is David Thornton and what a great brass band is the Black Dyke Band. I highly recommend that you obtain this recording. David has been principal euphonium of the Black Dyke Band since July 2000. He is regarded as one of the foremost euphonium players in the world and teaches at the Royal Northern College of Music, the University of Hudderfield, the University of Leeds, the University of Manchester, and Chetham’s School of Music.

The Black Dyke Band, officially formed in 1855, is under the direction of famous euphoniumist Dr. Nicholas Childs. There’s some fantastic musicianship in the band, demonstrated especially on this recording. I love their rich, full, flawless sound—truly an excellent cadre of performers!

David has excellent musicality, sound, range, and technique as a true virtuoso player. The Graham Bravurashows these characteristics off to a great start on his CD with British folk melodies interwoven throughout the piece in great style. Wilby’s Flight (written for flugelhorn) fits well with the euphonium and demonstrates a modern style. It’s a challenging work with quiet muted parts and a beautiful quiet singing theme in the central part of the piece. You definitely get a feeling of freedom as a listener to David’s wonderfully clean, smooth sound with band accompaniment.

Rossini’s (arr. Brennan) Theme and Variations, originally for clarinet & orchestra, works well to show off David’s graceful technique with the bold sounds of the band. The Casterede Sonatine (written for French bass saxhorn) is the only piece for solo euphonium with piano as all other pieces are with band accompaniment. This shows David’s recital format capabilities with the first “D?fil?” movement as a robust/bold piece. A quiet beautiful duet of euphonium & piano is the “S?r?nade” middle movement, and the final movement showing the skills of both players for an energetic ending.

Hohne’s (arr.Graham) Slavische Fantasie is a cornet classic with band parts that have been rearranged by Peter Graham to suit the lower timbre of the euphonium—thanks, Peter! This is an excellent performance with the rich, wonderful, full brass sounds of the Black Dyke Band showing off the excellent low brass! Sarasate’s (arr. Ruedi) Zigeunerweisen (Gypsy Airs) is a great chance to hear David’s virtuoso style; his sounds appear effortless!

The Meecham Three Stories-Three Worlds is the namesake, centerpiece, and finale of the CD. A true euphonium concerto, it was written especially for David in 2003. It is a powerful piece in three movements, written to invoke the Greek mythological story of Atreus, King of Mycanae, which involves his power, betrayal, return to power, and eventual banishment to a new life. The first movement, Hubris: the House of Atreus sounds with big bold strokes and ends with a bit of jazzy flair. The second movement, Discardation: Lament for Aerope is a very beautiful, quiet, singing, retrospective piece with a mournful feel, ending with great bites of loud bass trombone. I loved it; this was my favorite! The third movement, New Order: Flight to Spain, begins with quiet retrospection and builds to a neat, bold jazzy-style as a solo call-band answer, again showing off not only the soloist but the strength of the band and the cutting bass trombone sound. The soloist shows off his extreme range of pitches and the piece has a driving edge to the climactic ending of the piece and the CD. This was excellently performed—you must hear it!

~Cynthia Short, Solo Euphoniumist, Des Moines Municipal Band, Iowa

Euphonic Moods CD recording featuring Nick Ost, euphonium soloist and music composed and conducted by Francois Glorieux with the Revivat Scaldis Chamber Orchestra. 60:15

Franois Glorieux has garnered a reputation as a virtuoso pianist and brilliant improviser and travels the world lecturing, conducting, and giving recitals. He lectures with ease in five different languages and dedicates himself to attracting young listeners to classical music. Towards that end he has also had professorships in Belgium in the cities of Ghent and Antwerp and in the United States at Yale University.

This recording displays eleven of his 300 plus compositions. “Although Franois Glorieux has undertaken many instrumental experiments, it has never been to the detriment of melody, harmony, or rhythm.” With that in mind, Euphonic Moods features the velvety sound and sparkling technique of Nick Ost on nine pieces for solo euphonium accompanied by chamber orchestra. Ost has a definite affinity for Glorieux’s musical voice, which has a lush, easy listening quality reminiscent of older styles of popular music. Reflective and contemplative moments abound, creating expressive opportunities for the euphonium’s sonority, and Ost is up to the task.

On one hand, Glorieux’s style imparts much sameness to his music; the first five pieces could have easily been movements from the same work. On the other hand, there is still a need for contemporary euphonium music with broad audience appeal. The use of chamber orchestra as accompaniment will potentially bring this music to audiences not normally exposed to euphonium solos. Its accessibility is enhanced by the music’s perhaps pop-influenced brevity; each piece or movement is typically 3 to 4 minutes long. Even the Fantasy, at more than seven minutes in length, is divided into four short sections. There are two pieces that stand out. The three-movement title track, Euphonic Moods, has the greatest variety of dynamics, tempo changes, and overall inventiveness. Contemplation uses an ostinato that generates thicker, darker, more profound harmonies than the other compositions.

~Shawn Pollard, Free-lance Euphonium, Tucson, Arizona