Mark Nelson, Associate Editor
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Music Received Nov. 1 -Feb. 1 with thanks:
Alles, Was Ihr Tut by Dietrich Buxtehude arranged for tuba/euphonium quartet by William D. Pardus
Three Quintets by Victor Ewald edited by Bryan Doughty
Fantasia di Concerto by Eduardo Boccalari arranged for solo euphonium and brass band by Thijs Oud
That’s A Plenty CD recording featuring the Carolina Brass
Fanfares and Passages CD recording featuring the Atlantic Brass Quintet
Fifty Short Beginning Studies for the Tuba Player by David Uber
Polovetsian Dance No. 1 by Alexander Borodin arranged for brass quintet by Harry P. Salotti
Polovetsian Dance No. 2 by Alexander Borodin arranged for brass quintet by Harry P. Salotti
Polovetsian Dance No. 3 by Alexander Borodin arranged for brass quintet by Harry P. Salotti
Polovetsian Dance No.4 by Alexander Borodin arranged for brass quintet by Harry P. Salotti
REVIEWED IN THIS ISSUE:
Romance, Op. 36 by Camille Saint-Saens arranged for euphonium and piano by Dr. Michael A. Fischer
Sonata inC Major by Johann Friedrich Fasch edited by Adam Frey and David Randolph for euphonium and piano
All Those Endearing Young Charms by Simone Mantia arranged for solo euphonium and band by Harold Brasch
Concerto for Euphonium and Orchestra by “Bear” Thomas C. Woodson
Chanson de nuit by Edward Elgar, Op. 15, No. 1 arranged for euphonium and piano by Michael A. Fischer
Chanson de Matin by Edward Elgar, Op. 15, No. 2 arranged for euphonium and piano by Michael A. Fischer
Fruhlingsglaube (Faith in Spring) by Franz Schubert arranged for euphonium and piano by Dr. Michael A. Fischer
Salut d’amour, Op. 12 by Edward Elgar arranged by Dr. Michael Fischer for euphonium and piano
Puttin’ On the Ritz by Irving Berlin arranged by James Christensen for tuba and piano
Puttin’ On the Ritz by Irving Berlin arranged by Lennie Niehaus for tuba/ euphonium quartet
Sae Hungarian Dance #5 by Johannes Brahms arranged by Frank J. Halferty for tuba/ hm
Ride of the Valkyries by Richard Wagner ex< euphonium quartet
arranged by David Uber for tuba/ eel euphonium quartet pet qu
Fugue No. 1 by Clara Schumann AI arranged by Angelo Manzo for tuba/ me euphonium quartet ke
Prairie Suite by Antony Paasch for tuba the and euphonium quartet wt ph
Evening Prayer by Engelbert ba Humperdinck arranged by Angelo Manzo for tuba/euphonium quartet ex
The Long Day Closes by Arthur Sullivan arranged by Angelo Manzo for four bass tubas
Sault Suite by Joseph Goble for tuba/ euphonium quartet
Them Basses by G.H. Huffine arranged for tuba/euphonium quartet by Joseph D. Goble
Tuba Loca by Jeff Correll for tuba/ euphonium sextet
Brass Quintet/Chamber Music
Procession of The Nobles by Nicolai Rim ky-Kor akov arranged by Roger M. Brown for brass quintet
Three Short Duets by Angelo Manzo for euphonium and tuba
M:Y America CD recording featuring James Self, tuba
Von Brahms und Koetsier CD recording
featuring World Brass
The following pitch notation is referred to in the reviews:
Romance, Op. 36 by Camille Saint-Saens arranged for euphonium and piano by Dr. Michael A. Fi cher. Piano part edited by John Cozza. Tuba-Euphonium Press, David Mile , editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. email@example.com. www.tubaeuphoniumpre s.com. 2001. .00.
You can hardly go wrong with Saint- aen ‘ mu ic. Anyone who has played his Cavatina (arranged for trombone) knows how lyrical this composer can be. This panicular piece follows that pattern exactly. Written originally for hom or cello and orche tra, the euphonium is the perfect in trument to imitate the singing qualities of those two instruments. In ABA form, it is fairly short, probably not more than three minutes at most. The key is D-flat major, with an excursion in the B ection that involves B double flats, which hould not tax most high school player . Most of the solo occurs above the bas clef staff, with very little of it in the taff. Even so, the high range is not exce ive,withonlyonea-flat1.Thereare
a lot off and g-flats1that should exercise the ears of the high school players to whom you assign this solo. College players would also benefit from studying this style of lyricism. The range is c to a- flat1 and is also available (though not given to me to review) in an edition for tuba or bass trombone by the same arranger. – Michael Short Drake University
Sonata inC Major by Johann Friedrich Fasch, edited by Adam Frey and David Randolph for euphonium and piano. Athens Music Publishing, P.O. Box 81727, Conyers, GA 30013. www.soloeuphonium.com. 2000. $19.
Johann Fasch (1688-1758), a contem- porary of J. S. Bach, was a German organist and composer. Fasch founded the Collegium musicum at Leipzig and was appointed Kapellmeister at Zerbst in 1722.
This sonata is in a typical slow-fa t- slow-fast Baroque de ign. The melodic lines and harmonies are what one would expect of the period, such as arpeggiated passages, scalar lines, and sequenced ideas. Some sections in the accompaniment contain unusual Baroque voice leading. Each movement in this sonata is in binary form.
The editors have included two copies of the solo part, one with additional ornamentation and one without. Both parts include dynamic markings and metronomic suggestions for tempo (there are more dynamics in the ornamented edition). Repeated musical period are written out with embellishments, such as mordents and passing tones. The editors include a discussion on the realization of ornaments at the beginning; however, nothing is mentioned on the issue of double-dotting, which is relevant to this sonata.
The music is computer-generated, easy to read, printed on heavy paper, and nicely bound. Measure numbers and rehearsal marks are included, but the second and third movements lack a time signature. Most of the solo part lies between F and f. For the passages that fall to C, alternatives are provided for those who do not have a fourth valve. This solo would be appropriate for a first or second year undergraduate, advanced high school player, or just someone looking for a Baroque work to program on a recital.
Thi is a good addition to the euphonium repertoire. – Ken Drobnak Olivet College
All Those Endearing Young Charms by Simone Mantia arranged for solo euphonium and band by Harold Brasch. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org. www.tubaeuphoniumpress.com. 2000. $40.
This familiar theme has long been a staple of the trumpet repertoire. The euphonium setting requires considerably more technique and range, thus allowing the performer to display his or her virtuosity on stage.
The structure of each variation allows for a certain amount of freedom on the part of the soloist; however, the ability of the accompanying group may limit this freedom. There are two unaccompanied cadenzas: a short introductory idea at the beginning and a second, lengthy cadenza at the end of the work. The printed upper range is c2 with optional extended notes included.
Each section lies predominantly in F major. The first variation adds passing tones and arpeggios to the main theme. The range is expanded in the second variationthroughextendedscalarpassages and arpeggios. The third variation con- tains straight chromatic sixteenths written in duple meter, which are grouped in fours around the harmony. The tune is lost until the final cadenza.
The band parts are computer generated and easy to read. The font size of the score is quite small and difficult to read with a quick glance.
The accompaniment is scored for full band and is mostly homophonic. The clarinets, flutes, and trumpets generally double each other throughout the work. Due to the doublings, a reduced ensemble may be able to perform this work. A high school ensemble should not have difficulty beyond the intonation issues between doubled parts. A talented junior high school group with a good sense of pitch and a few trumpets and clarinets with a controlled upper register should be able to perform this edition.
This arrangement is an effective technical showcase for the advanced player and a good addition to the euphonium-band repertoire. – Ken Drobnak Olivet College
Concerto for Euphonium and Orchestra by “Bear” Thomas C. Woodson. Arranged by the composer from his Concerto for French Hom. Reviewed edition for euphonium and piano. Published by Bear Woodson Music, Tucson, AZ. (520) 881-2558 phone. (520) 575-2077 voice-mail and pager. email@example.com. $20 (piano reduction).
This Concerto was assembled with the intention that it would be set for euphon- ium and French horn from the early planning stages. In the tradition of J. S. Bach, Woodson has used a B-flat toE to A to D progression to represent his nick- name, “Bear.” To overcome the lack of an “R” in music, the composer states: “Since E-flat is called Es in German, then [sic] since R comes before S, R must equal the note D.” This compositional idea is used primarily in the third movement.
The first movement is a spirited and driving monothematic force. The opening measure is a disjunct figure based on pitch class set (0, 1, 6). The following measures fill the intervals with conjunct pitches. This longer idea is then heard at different pitch levels and various manipulations. The Bear motive does not appear until the end of the first movement. There is an extended cadenza based on the mono- thematic idea at the end of the movement
The second movement is structured 01 a slow two-measure passacaglia theme in 11/8 (5/8 + 6/8). The passacaglia is mani· pulated through inversion, retrograde, and retrograde inversion. The lack of rhythmic drive contrasts with the previous movement.
The third movement is modeled on a I hunting rondo and written in 6/8 meter, which remains fairly consistent. The A section of this five-part rondo is based on the Bear idea. There is a cadenza at the end of the movement, which is based on musical ideas heard throughout the movement.
The range required is extensive, from AA to f. In fact, several passages would be more approachable down an octave.
The solo part moves between bass clef, [ tenor clef, and treble clef, very rapidly at l some points. Several passages already have ossia markings, but the rapid move- ment between clef• mak”‘ thi• tathe 111 lery Cidateriais confusing to read. In addition, the published edition includes several markings left by a bad toner cartridge. This work is for the advanced performer. The range lies primarily at the top of the staff and at times, at the top of the concert pitch treble clef staff, something to consider if programming this work on a recital. More arranging or rewriting is necessary to make this work accessible to the euphonium. — Ken Drobnak Olivet College Chanson de nuit by Edward Elgar, Op. 15, No. 1 arranged for euphonium and piano by Michael A. Fischer. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org. www.tubaeuphoniumpress.com. $8.00. Euphoniumists looking for challenging, melodic material to study and perform will benefit from this chanson. Originally written for violin with piano accompani-ment in the late 1800s, it was published by Novello in 1897. It is written in E-flat 0V_*24.Xlsi ITEA 0////ia/ — zing 2003 and the range is from E-flat to c2. Rhyth-mically, it is not difficult but there are several leaps of an octave or more. The piece is marked Andante. It has all the elements of a great Romantic work requir-ing much endurance; especially regarding the lengths of phrases. Phrasing, as is sometimes the norm with a transcription such as this, will require careful thought. A few suggested breath marks have been added but your performance might require more. Use your own musical judgment. The accompaniment is not very difficult and purely serves as a foundation to the solo line. This chanson is recommended as an excellent recital piece for the college euphoniumist. — Raul I. Rodriguez Southwest Texas State University Chanson de Matin by Edward Elgar, Op. 15, No. 2 arranged for euphonium and piano by Michael A. Fischer. Tuba-Euphonium Press. David Miles, editor. 3811 Ridge Road, Annandale, VA, 22003, USA. Phone 703-916-0711. email@example.com. www.tubaeuphoniumpress.com. $8.00. Solo literature transcribed and edited for tuba by Floyd 0. Cooley Currently Available IS. Bach Sonata in E flat* – $18.00 Partita in a minor – $12.00 Antonio Vivaldi Sonata No. 2 from I It Pastor Ado – $15.00 Robert Schumann Adagio and Allegro – $18.00 Three Romances – $18.00 411 Fantasiestiicke – $18.00 Marchenbilder – $20.00 *Recorded on Crystal Records 5120 + a120 Recorded on Summit Records DCD 156 Send check or MO to Tuba Classics, S&H $3.00 Wyoming residents add 6% sales tax Tuba Classics P.O. Box 186 • Kelly, WY 83011 307-734-6868 c-ri),H1 firstname.lastname@example.org • home page: www.floydcooley.corn As with the Chanson de nuit, this chanson is also a beautiful work and transcribes well for the euphonium. Originally written for violin with piano accompaniment in the late 1800s, it was published by Novello in 1899. It is written in D-flat and the range is from F to b-flat’. Rhythmically, it is not difficult. The piece is marked Allegretto with a tempo suggestion of 84 beats per minute. It has all the elements of a great Romantic work requiring an agile and nimble approach to performance, especially regarding leaps of an octave or more and the use mordents and trills. Phrasing, as is sometimes the norm with a transcription such as this, will require careful thought A few suggested breath marks have beenit added but do not always fit what has bes. taught. Use your own musical judgment. The accompaniment is not very difficult and purely serves as a foundation to the solo line. This chanson is recommende as an excellent recital piece for the college euphoniumist. Ratil I. Rodrigo- Southwest Texas State Universia Fruhlingsglaube (Faith in Spring) by Franz Schubert arranged for euphonium and piano by Michael A. Fischer. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 2200 (703) 916-0711. email@example.com. www.tubaeuphoniumpress.com. $8.00 Approximate Duration 2’45”. Dr. Michael Fischer, professor of mu education and tuba at Boise State Univ sity, has many wonderful Tuba-Euphoni Press publications to his credit. Here he has given us a beautiful arrangement t demonstrates the songwriting prowess Franz Schubert. Franz Schubert (1797-1828) establish himself as a great Viennese composer o many mediums of music, especially the solo song. Faith in Spring is an excellent example of Schubert’s rich melodies an expressive harmonies. The song is a binary form (AA’) wi very few differences during the second section. It’s in the key of G major and i harmonicallysyery straight forward with no key changes or tonal shifts and very few accidentals. The range of the solo is modest, ranging from d to e’. The piano part was edited by Dr. John Cozza and adds to the richness of the solo. While the solo is not technically demanding it an enjoyable exercise in musicianship. The arrangement contains the various articulation markings from the original vocal part. The many articulation mark, ings, dynamic changes, rubatos, rich registers, and cadences allow the soloist express and interpret this beautiful song in many different ways. A further aid in musically interpreting Faith in Spring is the English translation of the original t that is included with the solo part; along with a brief history about the song. 1highly recommend this solo! It is appropriate for advanced high school students yet would be an excellent recital piece for any level of college student. It is a perfect solo to place after a very lengthy sonata or concerto to give your audience a refreshing break. ~ Lloyd Bone Murray State University
Salut d’amour, Op. 12 by Edward Elgar arranged by Dr. Michael Fischer for euphonium and piano. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org. www.tubaeuphoniumpress.com. $8.00 postage paid. Dr. Michael Fischer currently teaches tuba, music education, and theory at Boise State University. He has over 20 arrangements to his credit. Salut d’amour, Op. 12 by Edward Elgar (1857-1934) was originally composed for violin with piano accompaniment, was completed in 1888, and dedicated to his wife ‘Carice’ (Caroline Alice Roberts) whom he married in 1889. The piece has been arranged in many forms, including orchestra, cello and piano, voice and piano, and string bass and piano. The present arrangement for euphonium and piano works equally well. (Dr. Fischer also has published this piece for tuba and piano).
The work is in the key of A-flat, written in two-four time and is 86 measures in length. The range is from A to b-flatb The arrangement includes extensive information about the piece, composer, arranger, and piano editor. Both score and parts have a professional- quality appearance: clear, consistent, and easy to read. The euphonium part is scored in bass clef. Salut d’amour is playable by an advanced high school player or better and allows the performer to explore the beauty of Romantic period lyrical melodies. Many of Dr. Fischer’s tuba and euphonium solo arrangements published by Tuba- Euphonium Press are slow, melodic works from the Romantic period and are highly recommended fpr university students and professional performers who want to include music from this period in their recital programs. 640 pages, 100 illustrations, 100 music examples . . . exclusively devoted to the tuba and itsfamily! Dr, Bevan writes beautifully . . . a must for tuba students everywhere.—Andrew Pinnock, Galpin SocietyJoumcd . . . a veritable wealth o f information on every aspect o f the tuba, its variants and its predecessors . . . Run, do not walk, to the nearest mailbox and send a check on its way. Paul Schmidt, T U B A Journal The book is that rare delight, a scholarly reference work and a good bedside-table read!— Brendon Le Page, Winds Delivery to your door by 1st Class Post or Airmail: send check for $60.00 to PICCOLO PRESS, PO. Box 50613, Columbia, SC 29250; or chequefor £35.00 (Euro 60.00) to PICCOLO PRESS, 10 Clifton Terrace, Winchester, S 0 2 2 5BJ, England A German Kontrabasstuba and French Contre-basse sibftom the early twentieth century, two of 100 illustrations i«TheTuba Family T U B A ~ Dr. Stephen Shoop Ennis HighSchool, Ennis, Texas ________________________ (sMatenals 25 Puttin’ On the Ritz by Irving Berlin arranged by James Christensen for tuba and piano. Kendor Music, Inc., 21 Grove St., PO Box 278, Delevan, NY 14042- 0278. 2002. $6.00. Grade 3+. This well-known tune is well-arranged in this edition. The range is conservative and goes from the CC-f. It is graded a 3+ by the publisher, but this reviewer would lean more toward just a 3. All in all, this is a nice little arrangement and would work well for younger students who are beginning to investigate syncopation and swing style. Recommended. ~ C. Barton Cummings
TUBA-EUPHONIUM ENSEMBLE Puttin’ O n the Ritz by Irving Berlin arranged byLennie Niehaus for tuba/euphonium quartet. Kendor Music, Inc., 2002. $11.00. Grade 3.
This arrangement by Lennie Niehaus is well-done and tasteful. It will require some attention to the key changes as they are not in the typical keys for the instru ments. The ranges are fine for the grade level and the challenge will be for the ensemble to grasp the style of the music and not let it get too “square.” There is an eight-measure quasi ad-lib solo for the first euphonium and some individual solo passages for the other instruments. All in all, this is a good arrangement of a well- known tune and would be quite useful for all groups capable of playing it. Recom mended. ~ C. Barton Cummings
Hungarian Dance #5 by Johannes Brahms arranged by Frank J. Halferty for tuba/ euphonium quartet. Kendor Music, Inc., 2002. $9.00. Grade 4.
This is a fine arrangement of a very well-known piece from the Hungarian Dances by Brahms. The rating by the publisher is appropriate. All parts are of equal difficulty, and all players will be required to have a light, clean, and crisp style of articulation as well as good dynamic control. The first euphonium does go to a’ above the staff which should not be a problem for good groups of this sort. All of the parts have some challenge to them and the group that attempts this arrangement will find it worth while. All in all, this is a good solid arrangement. Recommended. ~ C. Barton Cummings
Ride of the Valkyries by Richard Wagner arranged by David Uber for tuba/ euphonium quartet. Kendor Music, Inc., 2002. $9.00. Grade 5. This is a fine arrangement of this well- known part of the opera Die Walkure, and one that will take a fair amount of rehearsal from the group that attempts it. All of the parts are challenging and will require good flexibility and control in negotiating large intervals, trills, and dynamic contrasts. Because the music is so well-known, this arrangement would be a fine addition to any program and would be a real audience pleaser. Recommended. ~ C. Barton Gumirimgs
Fugue No. I by Clara Schumann arranged by Angelo Manzo for tuba/euphonium through the connection with her husband Robert Schumann and their friend, Johannes Brahms. All through music school, I had been told that she was a pianist and a composer in her own right, but no one ever played her music, and for all I knew, it had been lost. Well, have YOU ever heard any of her compositions? Well, now you can play them as well as hear them. This trio is something that a college or professional group could do quite easily, but be sure to look carefully at the parts first! There are some tricky things here, such as the inexplicable interval in the second tuba part of an E- flat followed by a G-sharp, after an A-flat earlier in the measure. This in the key of G minor, and 1 can think of no explana tion of the G-sharp with any twist of the harmony happening at that moment. As with most fugues, you cannot afford to let things get heavy or murky which could easily happen with a subject that is running sixteenth notes. Care has to be taken so that you do not play this too fast, so the lines stay transparent. The euphonium part is marked moderato (although the tuba parts have no marking at all) but that can be taken at quite a wide range of speed, and we found that in playing this, slower was better. This particularly helped me with the Tuba II part where a low EE-flat is part of a line of running sixteenth notes. A few more printed dynamics might have helped, but I think that as your group plays this, you could easily get a feel for some additional sound levels. Also, the Tuba I part could quartet. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. email@example.com. www.tubaeuphoniumpress.com. 2001. $12.00. ‘
I have almost no knowledge at all of the music of Clara Schumann. She is not an unknown name in music history, mostly be played by a euphonium without much problem and might even make the piece lighter. Of course, with two tubas and a final G-minor chord, there is a dark Germanic sound that was probably Schumann’s intention. The range of the euphonium part is B-flat to a-flat*; Tuba I E to e-flat’; Tuba II EE-flat to f. ~ Michael Short Drake University
Three Short Duets by Angelo Manzo for euphonium and tuba. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org. www.tubaeuphoniumpress.com. 2001. $ 10.00. These are three tasty little morsels, all in the key of C minor, which represent a wide range of emotions in just a few minutes. None of these last more than about a minute. The first, “Gigue,” is a rollicking 6/8 that passes the moving line of eighth notes back and forth, getting faster as sixteenth notes appear (a good reason not to be too buoyant at the beginning). The tuba stays mostly in the staff, while the euphonium does most of its work above the staff, and at the end of the B section, we find a D.S. alfine that actually takes us back to the beginning. instead of to a sign. Obviously, this is a misprint. The “Romance” is a legato 6/8 featuring the euphonium playing mostly in the staff and the tuba not far below the euphonium. The real challenge is for the tubist at the end, trying to move down ward on a G-minor chord to a CC while maintaining pianissimo. That could be entertaining all by itself. The fugue features a theme in running eighth notes which threatens to break out into a march. Or maybe that’s just the feeling you get listening to these two instruments trying to occupy the same space on the staff. Usually that’s not a good idea, but Mr. Manzo makes it work in this case. This could be a good vehicle for advanced high school students or the college student looking for something different to play. I would recommend these duets. The euphonium part has a range of G to f ; the tuba part CC to c’. ~ Michael Short Drake University
Prairie Suite by Antony Paasch for tuba and euphonium quartet. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711. email@example.com. 2001. $15.00. Approximate Duration 7’15”
Prairie Suite was premiered by the University of Rhode Island Tuba and Euphonium Ensemble conducted by former United States Coast Guard Band Principal Tubist Gary Buttery. This fun, original tuba and euphonium quartet was dedicated to Mr. Buttery by Mr. Paasch and seems to draw inspiration from Mr. Passch’s poem Tis a Noble Thing (a copy of the poem is included in the front of the score and all of the parts).
This quartet is very programmatic in nature and is in four movements: “Dawn,” “Hoedown,” “The Solitary Cowboy,” and “Roundup.” The firjt movement is in C major and is slow, smooth, and quiet beginning with a delicate, flute-like melody in the first euphonium over sustained chords. In the second half the second tuba plays the same solo. The range of the melody is from a-a’ for euphonium and an octave lower for tuba.
The lively second movement, “Hoedown,” is mostly in 2/4 in a standard march tempo and is written in A major with modest ranges throughout the parts. Ipis a good finger workout for all players as everyone has a turn at the technical melody which varies between eight, twelve, and sometimes sixteen measures of sixteenth note runs. The sixteenth note runs are mostly scalar with a few wide intervals. The accompaniment usually consists of simple down beats and off beats with occasional increased rhythmic activity at the major cadences.
The third movement, “The Solitary Cowboy,” sounds exactly like the title so much so that you expect John Wayne to appear at any moment! It is slow in F major, technically easy, and the range of all of the parts are modest. The melody rotates between the first and second euphonium parts and is a very expressive, lonesome trail song. Underneath the melody in the second tuba part is the stereotypical bass line that is used in many westerns.
The final movement, “Roundup,” is a very energetic and dynamically powerful movement. Using keys G and B-flat major, it is technically challenging with a fast tempo and tricky rhythms. It has demand ing ranges, especially for the first euphon ium and tuba parts. The movement is mostly in 7/8 time with occasional 4/4 and 6/8 measures. It requires a great deal of independence among parts since there are generally tutti sections only at major rhythmic and harmonic cadences. How ever, when the tutti sectiorts occur, the scoring is such that creates a very power ful and rich sound from the ensemble!
Prairie Suite has many fun and wonder ful moments. I believe this is a nice addition to the tuba and euphonium ensemble literature. It is most appropriate for college level students, but this would be a very good yet fun challenge for high school students. The score and parts are clearly notated, easy to read, and in bass clef. The composer did a great job making sure that the tuba players on many occasions receive the melody. This quartet works well as an entire work or would be just as effective using certain movements as stand-alone pieces. For example, each movement, but especially the third, would work great for a Celluloid Tuba-like performance! My students and I really enjoyed reading and working on this quartet! ~Lloyd Bone Murray State University
Evening Prayer by Engelbert Humperdinck arranged by Angelo Manzo for tuba/ euphonium quartet. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org www.tubaeuphoniumpress.com. 2001. $10.00 postage paid.
Angelo Manzo teaches applied tuba and euphonium, low brass techniques, music appreciation, and fundamental theory courses at the University of Missouri-Columbia. Mr. Manzo has published over twenty works for tuba- euphonium ensemble. Evening Prayer is from Humperdinck’s (1854-1921) opera Hansel and Gretel. The present arrange ment by Angelo Manzo is for five-part tuba-euphonium ensemble. There are two euphonium parts and three tuba parts. The work is in the key of B-flat and in common time. Ranges are as follows: euphonium 1: B-flat to g‘; euphonium 2: B-flat to e-flat’; tuba 1: F to b-flat; tuba 2: FF to a; tuba 3: BB-flat to B-flat. Evening Prayer would be an excellent selection for ensembles working on a legato-tongue style of playing. The piece would certainly be accessible by an average high school-level group or better. Of the five parts, the tuba 2 part is the most challenging, technically and musically speaking.
It is good that this well-known piece has been arranged for tuba-euphonium ensemble. Due to its short length (thirty- five measures), it is the opinion of this reviewer that it would have been nice for the arranger to include several other songs from Hansel and Gretel to form a suite. It would have also been helpful to include breath marks in both score and parts. Both score and parts have a professional-quality appearance: clear, consistent, and easy to read. All parts are scored in bass clef. ~ Dr. Stephen Shoop Ennis High School, Ennis, Texas
Sauk Suite by Joseph Goble for tuba/ euphonium quartet. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. email@example.com. WWW.tubaeuphoniumpress.com. $24.00 postage paid.
Joseph Goble is a retired public school band director in Macomb, Illinois where he teaches low brass privately and at Quincy University. Mr. Goble performs in The Maplecity Dixieland Jazz Band, Quincy Park Band, and the Macomb Brass Band. His public music for tuba- euphonium ensemble has received perform ances throughout the United States. Sauk Suite, a five-movement work for tuba-euphonium quartet, is a collage of aural scenes inspired by memories of Sault Ste Marie, Michigan, where the composer lived from 1973 through 1977. Movements are “In The St. Mary’s Channel at Rotary Park,’’“Locking Through The Poe,” “Mariners’ Hymn,” “Bay Mills,” and “Big Waters (Superior).” The movements depict a journey by boat/ship up-bound from the St. Mary’s River, arriving at the Soo Locks, rising through the lock system, emerging into Whitefish Bay, and event ually entering the open waters of Lake Superior. The piece was written for a tuba-euphonium quartet at Northwestern University. Ranges are as follows: euphonium 1 B- flat to b-flat; euphonium 2 f to g-flat’; tuba 1 BB-flat to d’; tuba 2 GG to f. “In The St. Mary’s Channel at Rotary Park” is marked marziale, quarter-note at 88, and in common time (with the exception of one five-four measure). Although only 29 measures in length, this movement requires considerable facility with regard to technical demands and range, especially in the two euphonium parts. “Locking Through the Poe” is marked majestically, quarter-note at 108, and in common time. There are considerable technical and range requirements in this movement as well. The movement is 55 measures in length. “Mariners Hymn” is marked lento moderato, quarter note at 64, and in common time. The movement is not as demanding as the first two and is 31 measures long. “Bay Mills” is marked moderato, quarter note at 92, and in two-four time. The movement is at a moderate level of diffi culty and is 92 measures in length. “Big Waters” is marked presto, quarter note at 130, and in two-four time, changing to five-eight time on two occasions, but back to two-four. The movement is at a moderately difficult level and is 95 measures long. Overall, this piece would be accessible to university-level groups and better due to the piece’s technical demands, range, and length. Both score and parts have a professional-quality appearance: clear, consistent, and easy to read. All parts are scored in bass clef ~ Dr. Stephen Shoop Ennis High School, Ennis, Texas
Them Basses by G.H. Huffine arranged for tuba/euphonium quartet by Joseph D. Goble. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. firstname.lastname@example.org. WWW.tubaeuphoniumpress.com. $8.00.
1have never thought much about performing this piece with a tuba ensemble since I, and 1 am sure most of us, have had the opportunity to do it with wind band. After all it is “a march in which the basses have the melody throughout.” 1 guess someone figured it needed to be done. So, here it is. And I, for one, am glad it is now available to us. This arrange ment was written for The Amazing Tuba/ Euphonium Quartet. It is true to the original in key and form. Ranges are as follows: euphonium 1 c to b-flatf euphonium 2 B-flat to f , tuba 1 BB-flat to f tuba 2 FF to f The parts and score are clear, concise, and easy to read. Measure numbers are included as well as rehearsal letters. 1 only wish the arranger had included optional percussion parts. It is lacking without the occasional cymbal crash and bass dmm hit. This is, however, a minor detail. If you never get the opportunity to perform Them Basses with a band then do yourself a favor and add this arrangement to your library. It’s a must have. —Raul I. Rodriguez Southwest Texas State University
Tuba Loca by Jeff Cotrell for tuba/ euphonium sextet. Tuba-Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. (703) 916-0711. email@example.com. www.tubaeuphoniumpress.com. $8.00.
Tuba Loca, or “Crazy Tuba” is a hip Latin chart composed for three euphoniums and three tubas. The euphonium ranges are: euphonium 1 c to df euphonium 2 G to b-flatf and euphonium 3 G to df The tuba ranges are: tuba 1 BB-flat to c’, tuba 2FFtoa,andtuba3FFtof Asyoumay surmise, the norm is not followed with regard to the higher parts receiving the hardest passages and higher ranges so this tune is not for the faint of heart. Everyone is in the spotlight and exposed at one time or another on some very difficult passages. There is a written out solo line with chord changes in the euphonium 3 part. For this composition you will exper ience better results with one on a part. Any more players on each part and the result will be very “muddy” sounding due to the intricate use of sixteenth notes in the low tuba parts. The only complaints to offer are the bad page turns in some of the parts and the lack of rehearsal letters or numbers. Measure numbers are included, however. Tuba Loca is quite a challenge and would be better suited to the abilities of advanced college level performers and professionals. This will be a fun tune to prepare and perform. Enjoy. ~ Raul I. Rodriguez Southwest Texas State University
BRASS QUINTET__________________ Procession of The Nobles by Nicolai Rimsky-Korsakov arranged by Roger M. Brown for brass quintet. Theodore Presser, Co., 588 N. Gulph Road, King of Prussia, PA 19406. 2002. Price: $27.50. Grade 5+. This piece has been arranged for all types of ensembles and the present arrangement for brass quintet is a most welcome addition to the repertoire. The ensemble that chooses this arrangement will need to spend much time in rehearsal to obtain proper balance and rhythmic precision. In addition, the individual players will have to have excellent control of dynamics, articulation, and other nuances required to fully bring this piece to life. Each of the instruments has moments of solo exposure and these will have to be played cleanly and with good control. All in all, this is a wonderful addition to the brass quintet literature and the arranger is to be congratulated on his excellent skills. Highly recommended. ~ C. Barton Cummings
My America CD recording featuring James Self, tuba. Basset Hound Records (BHR 107-2). Basset Hound Music, 2139 Kress Street, Los Angeles, CA. 90046 USA. Available through www.bassethoundmusic.com. $16.00 + $2.00 shipping ($6 overseas).
Hollywood Recording Artist Releases Latest Production! Of course the name James Self is more than familiar with everyone. Even when you don’t know you’re hearing Jim Self, you are. Having spent over twenty years as one of Los Angeles’ first-call studio musicians and recording artists. Self has not only been a featured performer on major studio productions but he has stepped to the front of the band on a number of other solo efforts that have been well documented on his solo recordings. Self is without a doubt one of the most versatile instrumental musicians on the international musical scene today. There simply isn’t any other name that comes to the fore when you factor in the ability to be completely successful and at home in everything from bebop jazz to symphonic masterpieces to esoteric solo repertoire.
This latest effort, My America, features Jim Self and a dozen of his closest friends, who all just happen to be leading studio musicians in the toughest recording market in the world, Los Angeles, Galifomia. This project features “real” music for “real people.” From the sublime to the ridiculous doesn’t even begin to describe this incredible musical adven ture. There is literally something here for everybody. We need an “adjective vocabulary list” to try and convey the essence of My America with words that express the musical extremes from poignant to swing, from surreal to hokey, from polka to bebop! But then, after all, this is a musical portrait of the most diverse nation in the world: America! So here we have a set of fabulous arrangements by Kim Scharnberg that produce everything from goose bumps (a too-simple-to-be-anything-but-incredibly- gorgeous rendition of America The Beautiful) to guffaws Quba Plays the FLUBA in Aruba about a low-down bluesy basset hound that’s so lazy he won’t hunt no mo’with background vocals by the well-known Hollywood trio of Stanley, Gus, and Buford). If you’re not quite sure what a “fluba” is then that’s all the more reason why you HAVE to have this wonderful, totally entertaining patriotic release.
Not only is Jim Self an absolute hero and master of all musical styles, he has the uncanny ability to translate vocal intentions to an instrumental setting that any listener will find entertaining. His “sidemen” on this project simply don’t get any better but special note needs to be made of the incredible artistry of trombonist Bill Booth. Once again, a name perhaps that does not sound too familiar but that everyone alive has heard dozens and dozens of times. Check out track 7, Simple Gifts, if you want to hear one of the nicest duets ever recorded by any two instrumentalists. Another special guest “narration sideman” on this effort is the well-known jazz DJ from LA, Chuck Niles, who absolutely “nails” in every way possible (scary!) the essence of “Juba,” that low down good-for-nothin’ worthless hound dawg exiled to Aruba. There are seventeen tracks on this recording with some of the most inventive, creative, imaginative (here we go with the adjective thing again) arrangements you will ever hear. Nothing on this recording is what you expect! Tennessee Waltz, I’ve Been Workin’ and Shenandoah are N C T predictable much less Sousa, Phone Home (that’s the “guffaw” part), Turkey In The Straw (and several other places with salutes to everyone from Brubeck to Gershwin to Copland) and, you gotta hear it to believe it, Pennsylvania 6-5000 Polka (remember “hokey”?).
This reviewer cannot recommend this recording too highly. If you would like to just sit back, relax, and simply enjoy some very wonderful entertaining creative musicians doing their thing with some of Americas’ classics, then this disc is for you. You WILL go away humming and laughing and thankful that you live in a country that not only allows diversity, but thrives on it! My America is on the Basset Hound Records label and until it hits the shelves of your local record store, available through www.bassethoundmusic.com. ~ R. Winston Morris Tennessee Tech University
Von Brahms und Koetsier CD recording featuring World Brass. Amati ami9901/l. 1999. Available from Tap Music Sales, 1992 Hunter Avenue, Newton lA 50208 Phone: (641) 792-0352 Fax: (641) 792-1361 email: firstname.lastname@example.org. www.tapmusic.com. $15.00 plus shipping.
The Philip Jones Brass Ensemble, London Brass, Empire Brass, and others have set the bar pretty high for new and future brass groups. TTaat is to say, musical standards have been set that are difficult to meet. Once a group achieves those standards, something more is required for that group to deserve to move into the first rank of ensembles. World Brass, known in Europe as Weltblech, takes a step in that direction by putting together a group of European musicians of very high ability. But, there are no standout “stars” here. Each musician pulls their weight, and as a result each plays with a greater evenness in sound and musical interpretation than a group that has, say, one or two musicians with greater abilities than the rest in that group. Thus, there is a better chance of the whole being greater than the sum of its parts.
The other accomplishment here is programming. Jan Koetsier’s music is in a style pleasing to the ear that no one could mistake for anything but modem 20th- century music. Brahms needs no explana tion. The similarity of styles is something I would not have guessed without the juxtaposition of these two composers on this disc. Koetsier sounds as though he is Brahms writing a century later, influenced by two World Wars and the inception of jazz. World Brass in turn brings back to the Brahms pieces some of the feel of the late 20th-century, including a very good arrangement of his Variations on a Theme by Joseph Haydn, written by group bass trombonist, Loma McDonald.
The piece of interest to the readers of this column is Koetsier’s Don Giovannis Hollenfahrt Op. 153, Scherzo Macabre fur Solo-Tuba und 4 Trompeten, Horn und 4 Posaunen. Tubist Scott MacKenzie turns in an incredible performance, interpreting Koetsier’s take on Mozart’s themes from the opera of the same name and fleshing out the drama of this interesting character. Mr. MacKenzie shows us the extremes of range and a cleanness of articulation that I think is unsurpassed.
In fact, the one word I would use to describe this entire CD would be “clean.” Everything played by every instrumentalist is precise, and as Rilke said “precision creates movement.” This works to the group’s definite advantage. Their pitch is impeccable. If I had any complaint about this recording, I would say that there wasn’t enough presence of the tuba sound (with the exception of the above named solo), and the horn sounded a bit edgy. Both of these might have been due to the set up of the recording or the mixing of tracks. Neither of these are reasons not to buy the CD. I thoroughly enjoyed the music as it was presented here. ~ Michael Short Drake University