New Materials (Mark Nelson, Editor)
The ITEA Journal encourages submissions of materials for review within the following guidelines:
1. With rare exceptions, unpublished manuscripts are not considered for review.
2. Ensemble music larger than brass quintet unless written as accompaniment for tuba or euphonium solo is not reviewed.
3. Multiple submissions by publishing companies are often spread out over several journals. All submitted material will not be returned or acknowledged. Submission of material for review does not imply that a review will be published.
4. The editor of New Materials in conjunction with the general editor of the ITEA Journal reserves the right to edit any review for style, length, and accuracy. Unsolicited reviews are welcomed that conform to established guidelines although the editor reserves the right to determine whether it is published, especially if an assigned reviewer submits a review of the same work.
5. Short works or works of similar style may be combined into a single review.
6. Reviews are the sole opinion of the reviewer and do not necessarily represent the views of ITEA or its members.
7. Corrections of factual information in a review, especially bibliographic information, are encouraged and will be printed in the next available journal.
Music Received May 1-Aug. 1 with thanks:
Brass Nation CD recording featuring Michael Davis, tuba
Where Earth Meets the Sky CD recording featuring Tom Heasley, tuba
Fantasie a tre voci by Giovani Bassano, arranged in two volumes for euphonium/ tuba trio by Michael Fischer
Salut d’amour by Sir Edward Elgar arranged for tuba or bass trombone and piano by Michael Fischer
Chanson de marin by Sir Edward Elgar arranged for tuba or bass trombone and piano by Michael Fischer
Nocturne by Franz Strauss arranged for tuba or bass trombone and piano by Michael Fischer
Romance by Camille Saint-Saens arranged for tuba or bass trombone and piano by Michael Fischer ·
Chanson de nuit by Sir Edward Elgar arranged for tuba or bass trombone and piano by Michael Fischer
Fruhlingsglaube (Faith in Spring) by Franz Schubert arranged for tuba or bass trombone and piano by Michael Fischer
Pines of the Appian Way from the Pines of Rome by Ottorino Respighi arranged for low brass ensembles and percussion by Michael Forbes
Romance for Tuba (with piano) by Elizabeth Raum
Jason and the Golden Fleece for two euphoniums, four tubas, and percussion by Elizabeth Raum
A Little Monster Music for four euphoniums and twelve tubas by Elizabeth Raum
Nebulous for six-part tuba-euphonium ensemble by Michael D. Blostein
Sonata for Tuba and Piano by Allen L. Borton
Tuba Hymns (also for euphonium) for tuba and piano by Allen L. Borton
Largo from Zerxes by G.F. Handel arranged for tuba-euphonum quartet by Joseph Skillen
Fantasia on God of Our Fathers for euphonium quartet by Jamie VanValkenburg
The New When Tubas Waltz for six part tuba-euphonium ensemble by Alfred H. Bartles
Litaniae de Beata Virgine Mary by Giovanni de Palestrina arranged for tuba-euphonium quartet by Doug Bristol
Tempus Fugit for solo tuba by Jeremy Beck
Prelude, Dance, and Fanfare for tubaeuphonium quartet by Jeremy Beck
Mutu for tuba and piano (also for solo tuba with woodwind quintet and percussion) by Leonid Bashmakov
Concerto No. I on Bb Major, First
Movement by Julius Klengel arranged for euphonium and piano by Leonard Falcone
Renaissance Choral Music arranged in two volumes for tuba-euphonium quartet by Ken Drobnak
William Tell Overture by Rossini arranged for tuba-euphonium quartet by Dawson
Scherzo for tuba-euphonium quartet by Frank Ferriano
Minuet from Symphony No. 40 by W.A. Mozart arranged by Frank Ferriano for five-part tuba-euphonium ensemble
Rag for tuba-euphonium quartet by Frank Ferriano
Showdown for tuba and piano by Jay Vosk
Beast! For Eight-Part Tuba/Euphonium Ensemble by Greg Danner
Sonata for tuba and piano by Sy Brandon
Three Songs of War for tuba and counter tenor by Jeffrey Nytch
The Legend of Heimdall CD recording featuring John Griffiths, tuba
Rondo Concertante for euphonium and piano by William Mac Davis
Ronda’s First Suite for two tubas by Rodger Vaughan
Four Bach Chorales by J .S. Bach arranged for tuba/euphonium Quartet by Keith Mehlan
March of the Priests by W.A. Mozart arranged by Donald M. Sherman
Fanfare No. 1 for tuba/euphonium quartet by Jeff Taylor
Three Chorale Preludes by Georg Telemann arranged for tuba and euphonium by Arthur Frackenpohl
Bacchanale from Samson and Delilah by Camille Saint~Saens arranged by Kenyon Wilson
Zeke and Zebedee for tuba or euphonium and narrator by Neal Carwell
Air and Dance for violin and tuba by Arthur Frackenpohl
The Cheesy Tuba Quartet for tuba/ euphonium quartet by Dan Goeller
Concert Piece for euphonium and piano by David Uber
Introduction and Allegro for euphonium and piano by David Uber
Misty Morning Ride for tuba and piano by Dan Goeller
The Quest for tuba/euphonium quartet by Harry Salotti
Holiday Etudes for tuba by Sy Brandon
Totally Tuba March for tuba/euphonium ensemble by Joseph Goble
Stylistic Etudes for Euphonium by Sy Brandon
Sonata for Tuba and Piano by David Powell
Infant Holy , Infant Lowly for tuba/ euphonium quartet arranged by Eric Henry
Fanfares for tuba/euphonium ensembles by Rodger Vaughan
Designs and Patterns for tuba and piano by Sy Brandon
Salvation is Created by Pavel Tchesnokov arranged for eight~part tuba/euphonium ensemble by E.G. Golas
The Furies for 8~part tuba/euphonium ensemble by Neal Carwell
Verdigris for solo euphonium or tuba by Gary Nelson
Three Minatures for tuba and cello by Rodger Vaughan
Duo for Violin and Tuba by Victor Yoran
Bottoms Up Rag for tuba/euphonium quartet by Keith Mehlan
Sonata for Trumpet, Tuba and Piano by Arthur Frackenpohl
Sextet for Euphonium and Woodwind Quintet by Walter Hartley
Sinfonia No . 10 for tuba/euphonium ensemble by Walter Hartley
Tubasonatina for tuba/euphonium ensemble by Thorn Ritter George
Sonata for Tuba and Piano by Thorn Ritter George
Concertina for Tuba and Piano by Thorn Ritter George
Deformation IV for tuba and piano by Gary Powell Nash Prelude and Canticle for euphonium and piano by Jack Jarrett
Fantasy for euphonium and piano by Robert Boguslaw
Entry of the Gladiators (Thunder and Blazes) by Julius Fucik arranged for four~ part tuba/euphonium ensemble by J. Kelly Diamond
Meditation and Finale for solo euphonium, strings, and piano by Neal Carwell
JuneTeenth CD recording featuring William Roper, tuba
[Ed. Note: Many thanks to David Miles for sending over 60 works from Tuba-Euphonium Press for review consideration to be published over the next several issues.]
REVIEWED IN THIS ISSUE:
Nessun Dorma from Turadot
by Giacomo Puccini, edited by Adam Frey for solo euphonium and piano
Tuba Hymns and Euphonium Hymns arranged with piano accompaniment by Allen L. Borton
15 Etudes sur le phrase et la velocite ( 15 Etudes for Phrasing and Velocity), Book 7 in the Etudes contemporaines series for the Saxhorn/Tenor Tuba or Euphonium
15 Etudes de concours ( 15 Competition Studies) , Book 8 in the Etudes contempo~ raines series for the Saxhorn/Tenor Tuba or Euphonium
Pastorale for Baritone Hom and Wind Ensemble by Jan Krzywicki. Reviewed edition: Baritone Horn and Piano.
Fruhlingsglaube (“Faith in Spring” )
for tuba or bass trombone and piano by Franz Schubert arranged by Michael A. Fischer, piano part edited by John Cozza
Tuba Hymns and Euphonium Hymns arranged with piano accompaniment by Allen L. Borton
Salut d’ amour by Sir Edward Elgar arranged for tuba or bass trombone by Dr. Michael A. Fischer
Showdown! for tuba and piano by Jay Vosk
Sonata for Tuba and Piano by Thorn Ritter George
Chanson de Matin by Edward Elgar, arranged by Michael A. Fischer for tuba or bass trombone and piano
Mutu by Leonid Bashmakov for solo tuba and piano
by William Byrd, arranged for 4-part tuba/euphonium ensemble by Patrick Schulz
The Star Spangled Banner arranged by Gail Robertson for tuba/euphonium quartet or ensemble
Rag for Tuba~Euphonium Quartet by Frank Ferriano
Ronda’s First Suite by Rodger Vaughan
Brass Quintet/Chamber Music
Quintet No. 1, Op. 5
by Viktor Vladimirovich Evald, for brass quintet, edited by Paul Schmidt
Mutu by Leonid Bashmakov for solo tuba, woodwind quintet and percussion
Adam Frey – Listen to This!! CD recording featuring Adam Frey, euphonium
The Romantic Bass Trombone CD recording featuring John Rojak, bass trombone; Robert Koenig, piano
The Legend of Heimdall CD recording featuring John Griffiths, tuba
Nessun Dorma from Turadot by Giacomo Puccini, edited by Adam Frey for solo euphonium and piano (bass and treble parts included). Italian text and the English translations are included. Athens Music Publishing, PO Box 81727, Conyers, GA 30013, www.soloeuphoium.com, email: email@example.com. Phone (770) 241-9119 or fax (770) 542-2773. Duration 2:57. Cost $10. Grade 4. Range f- a’.
Adam has done a fine job of providing an edition of this technically simple but beautiful aria. There are a “variety of accents and phrasing” provided that Mr. Frey hopes will help maintain the textual integrity. He has also provided a solid historical basis to Puccini and to Turandot .
This edition is full of suggestions and musical recommendations for an authen- tic performance but provides ample space for an individual musical interpretation. This makes it a worthwhile effort for the growing artist and professional alike. Don’t be fooled by the seeming simplicity of this work; it will take some time to make this sound easy. Nessun Dorma is a very dramatic selection that will certainly be a “crowd pleaser” in any recital performance.
~Andrew Hoefle South Suburban College
15 Etudes sur le phrase et la velocite (15 Etudes for Phrasing and Velocity), Book 7 in the Etudes contemporaines series for the Saxhorn/Tenor Tuba or Euphonium. Published by Gerard Billaudot (Robert King is a good source for this publisher) No Price. Range FF- d , (most etudes GG – a’ ).
This collection of 15 etudes breaks the mold of normal euphonium etude books. The most important aspect about this work is that it has immense variety across all stylistic and technical areas – it is an etude book for advanced players. Not only does it explore a variety of key signatures, but also most of etudes written in “C” contain a myriad of accidentals that would make ANY player question their ight-reading abilities – definitely a good thing. Further, some etudes are left without a time signature and bar lines.
Thus, allowing the player great latitude in ·rhythmic phrasing as well as providing some variety from the common meters. Girard also uses some unusual, but traditional notation. One lyrical etude does not use note stems to assign note values thus making the performer use rubato and vary note lengths according to their melodic importance. Others use split notation on one staff, similar to what one might see on string works, providing a different look at phrasing for a “single- line” instrument. One etude even has a middle section using multiphonics.
The other great boon for this book is the expansive range, especially in the low tones. So many times euphonium and tuba players can play Bordogni’s down an octave (or two), but Girard’s etudes explore both lyrical and technical facility from low f to the pedal FF because they were written in the French tuba style. These etudes are definitely great exercises for building skills in the low range, even on a professional euphonium playing level. Finally, the moods and styles shift gears from etude to etude. Many books tend to address only one facet of playing (Bistch, Arban, Bodogni, Tyrell, etc.), but this book provides changes constantly. Almost eliminating the need for an advanced student to have to work from a lyrical and a technical etude book.
One could go so far as to say that the best etudes from the book could be included in a recital. A suite of three as a nice unaccompanied selection would surely show some individuality. This book should be a part of advanced students’ and teachers’ libraries that want etudes that will continually challenge them from both a musical and technical standpoint.
~Adam Frey, Euphonium Soloist
15 Etudes de concours ( 15 Competition Studies), Book 8 in the Etudes contempo~raines series for the Saxhorn/Tenor Tuba or Euphonium. Published by Gerard Billaudot (Robert King is a good source than for this publisher).)No Price. Range FF- 2c , (most etudes GG- a’).
This collection of 15 etudes bears strong similarities to the Etudes sur la phrase et velocite reviewed above. The 15 Competition Studies should also be in teacher’s or student’s library. There is a great deal of variety with regard to the use of very challenging key signatures and accidentals, and, when combined with
the lack of time signatures (only 4 have marked time signatures, while most others have a clear sense of meter with occasional tangents), produces a fresh set of etudes. This book is quite technically based as
the etudes are meant for competition, i.e. showing skills to the maximum. It runs the gamut of range and requires great flexibility with some passages that shift three octaves in a single phrase. These etudes provide a great musical opportu- nity to really create and demonstrate a strong personal interpretation of etudes. The various skills and facility needed to master each of the fifteen etudes will take time, but will produce a tremendously skilled player upon mastery of the book.
~Adam Frey, Euphonium Soloist
Pastorale for Baritone Hom and Wind Ensemble by Jan Krzywicki. Reviewed edition: Baritone Horn and Piano. Tuba – Euphonium Press. David Miles, editor, 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711. email firstname.lastname@example.org, www.tubaeuphoniumpress.com 2000. Baritone Horn and Piano edition: $12.00; Baritone Horn and Wind Ensemble edition: $60.
Though the current copyright of the work is 2000, the copy received by the reviewer indicates that the work was completed in 1970. What a shame this piece has remained unpublished until now.
Jan Krzywicki is a member of the theory faculty at Temple University’s Esther Boyer College of Music. The Chestnut Brass Company, the Colorado Quartet, and the Pennsylvania Ballet include some of the many ensembles that have performed his works. Also, Jan is active as a conductor of New Music. His brother, Paul, is Principal Tuba with the Philadelphia Orchestra.
Pastorale is based on a sixteenth- century counterpoint exercise found in the English Fitzwilliam Virginal Book, a collection of early English keyboard music. As with most music of this period, the character is modal rather functional. The composer has taken the soprano voice and transformed it into the melody, while the counterpoint forms the accompaniment.
The opening tempo marking of Adagio sostenuto fittingly describes the character of the entire work. The piece is very demanding on the musicality of the performer. The composer has provided a clear and fairly detailed outline to follow along with an extensive cadenza at the end of the work. A fluid Renaissance~singing flavor is required from the performer, in addition to a delicate high range.
The solo part includes a range from 0 to d. Performance was likely intended for a smaller-bore instrument. The double c is at a pianissimo dynamic at the end of the work. A short line follows that ends on the D. A transposed treble clef part is not included.
Structurally, the work is a theme and variations. There are numerous rhythmic and tempo alterations, but I would really like to hear the wind ensemble orchestra-tion. The piano reduction is well done, but the color possibilities of a wind ensemble would be superior to the piano accompaniment.
This work is for a mature player. This may be a college student, a professional, or even an amateur. Highly recommended.
Fruhlingsglaube (“Faith in Spring”) for tuba or bass trombone and piano by Franz Schubert, arranged by Michael A. Fischer, piano part edited by John Cozza. Tuba-Euphonium Press, David Miles, Tuba-Euphonium Press Editor, 3811 Ridge Road, Annandale, VA 22003 USA, 2000. $8.00. Approximate duration 3:00; Grade 4.
This arrangement of Franz Schubert’s Fruhlingsglaube, D. 686, is a joint collaboration by Dr. Michael A. Fischer, newly appointed Assistant Professor of Tuba/Music Education at Boise State University in Boise, Idaho, and Dr. John Cozza, Assistant Professor of Piano and Director of Accompanying at Baylor University in Waco, Texas. According to Dr. Fischer’s preface, Schubert wrote three versions of the song, the first two in the key of B-flat major in 1820, and the third version in A-flat major in 1822. It is this third version that Fischer has arranged, transposing the work back to B-flat major. A feature of the work is the inclusion of the English translation of the text; how-ever, a student must locate the original song to determine the declamation and phrasing of the original German text.
The tuba part ranges from F to g. Both the piano and tuba parts are very clearly marked and engraved, with editorial suggestions in parentheses regarding breaths, tempo and dynamics. Due to the range of the work, it would make a very good selection for high school students, yet the maturity of musicianship inherent in Schubert’s embellishments of the musical line allows this work to be included even in professional recital programs.
~Dr. David Spies Southeastern Oklahoma State University
Tuba Hymns and Euphonium Hymns arranged with piano accompaniment by Allen L. Borton. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711. email email@example.com $20.00. 2001.
One of the best experiences that a young player can have is that of perform-ing in front of a group of people. Those players who regularly attend a church are very fortunate since this gives them a ready audience. My own experience when I was in junior high and high school was that the church members wanted me to bring my tuba and play special music. Never mind that the tuba was not thought of as a melodic instrument at the time; never mind that I was scared to death. This made me confront my stage fright. After the service, everyone came to me and said, “That was just wonderful!” No need to worry about niceties of phrasing and dynamics. They would compliment me even if I missed half the notes, and I probably did, having to read a hymnbook where the melodic line was in concert pitch treble clef, something I had little experience reading. But it was a great education for me.
This publication thus fills a need felt for years ~forty hymns, nearly all of them in general usage by most congregations. Four are even Christmas tunes. I suppose that they could be used in conjunction with congregational singing, but would probably be more useful as special music. Each hymn is staffed with the,piano part, so that the soloist can see what the accompanist is doing. Even so, each tune fits on a single page, so no page turns are necessary. Each arrangement is a standard, no frills melody. The one exception is A Mighty Fortress is Our God, where Mr. Borton, himself a choir director, chooses to eliminate the fermatas at the ends of phrases by inserting instead 5/4 and 6/4 bars that do the same thing without stopping the time flow. This would make it easier to stay with the accompanist.
The tuba book lies mostly in the staff, with a written range ofF to C1, so it would be easy (and profitable to the young student) to take all of it down an octave. This is much easier than transposing out of C treble clef if you play a BB flat instrument. The For All the Saints has the tuba starting on b flat1 that had to have been meant for the euphonium book. Practice your 15vb on this one!
The euphonium book is also in a comfortable range, f to d. Amazing Grace somehow slipped by as C treble clef, as did Blessed Assurance, but the latter is also in bass clef, and it doesn’t displace anything else; there are just two page sixes.
The bottom line is that David Miles is doing a great service with this publication, and many of us will find it useful. There are too many hymns for me to list all the titles here, but I’m sure Mr. Miles would be glad to let you know, or I would, if you contact me. For the $20 price, you get two complete identical books, one for the soloist and one for the accompanist.
~Michael Short, Drake University
[Ed. Note -one needs to purchase the tuba and euphonium books separately to obtain both.]
Salut d’ amour by Sir Edward Elgar, arranged for tuba or bass trombone by Dr. Michael A. Fischer. Tuba -Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, VA 22003 Phone 703-916-0711 email firstname.lastname@example.org $8.00 2000.
This is one of those pieces that all musicians recognize, even if they can’t immediately identify it. There is a light and almost shimmering quality to it, and I think the tessitura lends itself naturally to the F tuba. Excellent use could be made of the piece by a student newly introduced to the F tuba or by any student desiring to tackle this late Romantic style. It could also probably be done on the euphonium, since there are only three passages that go below the bass clef staff, and then only for a few beats at a time. Were I to program this on a recital, I would pair it with another short piece or two. One idea would be to use Elgar’s Chanson de nuit or Chanson de matin, both also arranged by Dr. Fischer and also published by Tuba -Euphonium Press. Dr. Fischer follows the original very closely in his arrangement of this tune, and the range here is C to d1.
~Michael Short, Drake University
Showdown! for tuba and piano by Jay Vosk. Tuba -Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711 email email@example.com $8.00 2001.
The germ idea in this composition is a rocking back and forth of tonic, one half step down, and dominant in the key of D, starting in the middle of the staff. Almost without modulation, we find ourselves in F major, with some of the rocking style still evident. Then it’s back to 0 major for more of the beginning theme, then a syncopated sixteenth note motive is developed, closing out with a sideways glance at other keys, but unmistakably 0 major.
This is a piece that might be used as a key or rhythm study, but it is not contest or recital material. The composition never gets very far away from the original idea, and there are exactly two dynamic markings indicated in the solo part, f and ff. The piano quiets down to mf and mp but the solo does not. A good teacher can help show the student where to add dynamic changes, but if the student is on his own, the result will be pretty bland. There are, I think, more interesting solos than this one for the young junior high or high school soloist to sink their teeth into. The range for the tuba is AA to d1.
Sonata for Tuba and Piano by Thorn Ritter George. Tuba-Euphonium Press. David Miles, editor, 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711. email firstname.lastname@example.org $18.00. 1994.
The Sonata for Tuba and Piano dates from 1980 and was originally recorded by Dan Perantoni on his “Tuba n’ Spice” LP (Mark Records MRS 37879) shortly after it was written. According to the program notes on the LP album, it was written specifically for Dan Perantoni in the spring of 1980. Written in four movements, it is a large-scale work that requires agility and a good accompanist. The first move-ment, Vivace e con brio, features a theme that returns many times exploring much of the range of the tuba. The ending on a sustained low EEb requires a tubist with good control! The second movement is a Scherzo marked Vivace assai and is a true duo between the piano and tuba. Clean staccato notes are required to master this movement. The third movement, Ballad: mesto, contains one of the most beauti-fully haunting melodies of all the tuba literature. It is muted for the entire move-ment and challenges the tubist with many potentially tricky intonation difficulties in keys of seven flats and four sharps. The fourth and final movement is a rondo in 6/8 time and challenges the tubist with extended leaps, dynamic contrasts, and an extended range.
This work is a major sonata in the repertoire. The range for the tuba is EEb-g1. The handwritten score is quite legible and has well-designed page turns. Having personally performed this sonata several times over the last twenty years, I can personally attest to the fact that it is full of exciting melodic and rhythmic chal-lenges within a framework of contemporary harmonies and conventional forms that are pleasing to the ear. The range and fingerings lie best with an F tuba. I recommend this work for any recital occasion for more advanced students and professional players. It can be taxing to the uninitiated. Originally published by the composer, we are now fortunate to have this work available through Tuba-Euphonium Press.
~Mark Nelson Pima Community College
Chanson de Matin by Edward Elgar, arranged Michael A. Fischer for Tuba or Bass Trombone and Piano. Tuba-Euphonium Press, 3811 Ridge Road, Annandale, Virginia 22003-1832, www.tubaeuphoniumpress.com $8.00 Solo tuba range: AA -e1 Approximate duration: 3:00.
Chanson de Matin by the English composer Edward Elgar (1857-1934) was first published in 1899 for violin and piano. However this version is another addition to the various salon-type pieces that Michael Fischer has arranged for tuba and piano. Already Tuba-Euphonium Press has available his arrangements of Elgar’s Salut d’amour and Chanson de Nuit, and the Strauss Nocturne among others.
Fischer, former tuba and euphonium professor at Baylor University in Waco, Texas, obviously has a penchant for good old-fashioned melody, and this arrange-ment certainly doesn’t disappoint. One of the best reasons, however, for actually purchasing this arrangement is the piano editing done by John Cozza. He has made it possible for no textural or harmonic conflict to occur at all between the solo line and the accompaniment. An old classic, certainly a nice little programme filler or encore.
~Jonathan Baker, Principal Tuba, Auckland Philharmonia, New Zealand
Mutu by Leonid Bashmakov for solo tuba, woodwind quintet and percussion. Mutu by Leonid Bashmakov for solo tuba and piano. Tuba-Euphonium Press, 3811 Ridge Road, Annandale, Virginia 22003-1832. www.tubaeuphoniumpress.com Tuba and chamber ensemble: $30.00. Tuba and piano: $15.00. Approximate duration: 8:00 Solo tuba range: FF -a1.
This is a very fine and challenging work by this prolific Finnish composer. To quote Kimma Korhonen from the Finnish Music Information Centre website ( www.fimic.fi), “Orchestral music and concertos are the cornerstones of the work of Leonid Bashmakov (b.192 7). A ‘free tonalist’ in style he has often been associated with Neo-Classicism, and particularly Arthur Honegger, but Bashmakov’s music is bolder at times.”
Mutu was commissioned by the Tubists Universal Brotherhood Association in 1997 and composed that year. Harri Miettunen, tuba, and an ensemble drawn from the ranks of the Tampere Philharmonic Orchestra (in Finland) premiered the piece April 2, 2000. It is written in 9 short sections played continuously that blend and merge from one to another very well.
In the chamber ensemble version, the standard woodwind quintet is employed along with 2 percussionists -timpani, Chinese cymbal, triangle, tam-tam, glockenspiel and tubular bells in part 1, and vibraphone, crotales, suspended cymbals, temple blocks and cencerros in part 2. A (necessary) conductor’s score is also supplied.
Technically this piece presents a fairly substantial challenge for most of the instrumentalists involved, but certainly nothing is impossible. The range and technical demands placed on the tubist are a reflection of the quality of world-class players in Scandinavia. But, while it would require some hard work learning some of the fast passages with their unusual intervals, the extreme high register playing is very well written in that it is approached in a scalar fashion and the fastest the tubist is required to articulate is semi-quavers (sixteenth notes) at crotchet (quarter note) equal to 120. Trills are used frequently, as are quintuplet/sextuplet passages.
While in its solo tuba and piano version Mutu obviously loses some of its impact (such as beauty of tone colours and rhythmic conflict available in a mixed ensemble), this piece still rates as an excellent and interesting addition to the repertoire. The other result of the piano reduction is an expectedly difficult part. Be warned -choose your pianist carefully!
While sometimes in the solo part trill notations are unclear, on the whole part production, presentation and accuracy are to the high standard we have come to expect from the Tuba-Euphonium Press.
~Jonathan Baker, Principal Tuba, Auckland Philharmonia, New Zealand
Ave Verum by William Byrd, arranged for 4-Part Tuba/Euphonium Ensemble by Patrick Schulz. Tuba-Euphonium Press, 1998. $8.00.
The Ave Verum by William Byrd (ca.l543-1623) is typical of what you find in other works of this time period. That is, the music includes many points of imitation and open harmonies. Schulz has provided a fine, albeit difficult arrange-ment for tuba/euphonium ensemble.
The main challenge is that all parts are written in their upper ranges. The first euphonium has a range from a to a’ but is written between d’ and g’ for much of the work. The second euphonium range is from c to d’. The tuba parts range from c to c’ and D to f. In addition, few rests are provided so everyone plays all the time. The upper tessituras and lack of resting points make this a most taxing arrange-ment on everyone.
The arrangement would be more accessible if it was placed down a major third or fourth to bb or a minor. This could be easily done since the work was ypeset with a computer program. Schulz has included appropriate dynamic markings at imitative entrances and other good markings. The ranges limit this arrangement to a college or professional ensemble; however, groups may be able to skip repetitive sections to save the chops. Performing this music would be a rewarding experience.
The Star Spangled Banner arranged by Gail Robertson for tuba/euphonium quartet or ensemble. Tuba-Euphonium Press, 1998. $10.00
Gail Robertson has provided us with a wonderful arrangement of The Star Spangled Banner, which can be played by a high school or college ensemble. The most difficult part for a high school ensemble would be the first tuba part, which has a range of F to bb. The second tuba is from FF to d and getting a good open sound at the low end may pose a challenge. The range of the first euphonium p~rt is Bb to f’ while the second part is from Bb to d’.
This is a standard arrangement in 3/4 with traditional harmonies. If you are accustomed to playing the bass line, then this arrangement will be quite refreshing. There are some nice arpeggios added in the first tuba part that lead into the closing fermatas.
The arrangement has been typeset with a computer program and is easily readable. If performed with a quartet, the second tuba player will have to make a couple of choices on divisi notes, but this only happens twice. Bass clef and treble clef parts are provided for the euphonium parts.
Robertson’s arrangement could be used for groups looking to perform at a school basketball game or other athletic event. This is another way of displaying the lyricism and beauty of our instruments to the public. Highly recommended.
Rag for Tuba-Euphonium Quartet by Frank Ferriano. Tuba -Euphonium Press, David Miles, editor. 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711 email email@example.com $10.00. 2001.
My first look at this piece was rather discouraging. It breaks a lot of what many conceive to be rules. The voices are scored closely instead of spread out, there are sevenths and minor seconds every-where, chords I still can’t identify (what is C flat-E flat-F-B flat as a chord?), cross rhythms that should be very muddy, and a Euphonium 1 part that is playing below Euphonium 2 and Tuba 1.
It would be wrong, though, to dismiss this composition. Instead, I very highly recommend this work: Mr. Ferriano has written a gem of a piece! The close spacing works very well, and puts those chord voicings in their proper place. As long as the inner voices don’t play out too strongly, it has a sound that reminds me of the old group from the early 1970’s, Supersax, or a horn line in some band like Tower of Power. The rhythms are right out of the ragtime era, but with a very modern chordal vocabulary. The cross rhythms even work, against my expecta-tion. The only drawback, and a minor one at that, is the lack of articulation markings, although it also gives the performing group some freedom to interpret as they feel appropriate. At less than one and a half minutes, it could be an exciting opener for a tuba ensemble concert. I look forward to more work by Mr. Ferriano. The ranges on the parts are: Euphonium 1 A to f; Euphonium 2 c to f; Tuba 1 F to b flat; Tuba 2 FF to f.
Ronda’s First Suite by Rodger Vaughan written for two tubas. Tuba-Euphonium Press. David Miles, editor, 3811 Ridge Road, Annandale, VA 22003. Phone 703-916-0711. email firstname.lastname@example.org $6.00. 1994.
Rodger Vaughan is no stranger to the tuba world. His tireless efforts in composing and arranging music for tuba and tuba/ euphonium ensemble are legendary. This cute duet for tubas, written for Ronda Ellis, is a nice change of pace from so many of the more difficult works most often reviewed here. This is truly a well-crafted work that is modest in proportions but perfect for beginning and intermediate tubists. The second tuba part has a range of lightly over an octave from AA-Bb. Motivated middle school students, high school students, and brass method students in music education degree programs can easily play it. The first tuba part adds the next octave with a range of AA -b-flat. It works well as the “teacher” part for an aspiring student or as a more challenging part that could pair an intermediate player with a more advanced player. With some creative re-writing of the few notes that dip below the staff, it could even be played by an intermediate euphonium player.
The work is set in four short move-ments: March, Song, Minuet, Galop. Each movement is fairly uncomplicated and all feature harmonic diversions on occasion and some syncopation, particularly in the Galop. While there is nothing extraordinary about the rhythmic ideas, a good sense of tempo and rhythmic proficiency is necessary to make music. What I have always appreciated about Mr. Vaughan’s music is his whimsical nature. One always has a good time playing his music.
The music comes as two complete scores. The manuscript is extremely legible. The layout is designed for no page turns except between movements. This is one of the few excellent original duets in the tuba repertoire designed for the emerging player.
~Mark Nelson Pima Community College
Brass Quintet/Chamber Music
Quintet No. 1, Op. 5 by Viktor Vladimirovich Evald, for brass quintet, edited by Paul Schmidt. Heavy Metal Music (P.O. Box 954, Mundelein, Illinois 60060), 2000. Catalog Number HMQ 014. Score and parts $20.00.
For over 40 years brass musicians have been instructed in romantic brass chamber music from the St. Petersburg school of composers, namely Glazunov, Simon, Maurer, and particularly the four brass quintets composed by Victor Vladimirovich Ewald (1860-1935). David Reed and Andre M. Smith have been instrumental in clarifying the historical perspective of these works through their research, and groups such as the New York Brass Quintet, American Brass Quintet, Empire Brass Quintet, and the Stockholm Chamber Brass have provided greater exposure to these works for successive generations through their performances and recordings.
In preparing these works for perfor-mance brass musicians have from time to time voiced concerns that there are often significant conflicting annotations in both the score and parts regarding dynamics, phrasing, ties, inconsistent pitches in thematic material, and even scoring. That Ewald was an accomplished amateur musician versed in brass and stringed instruments presents valid questions for performers regarding intent by the composer of interpreting phrasing in his works. Those wishing to consult original sources for these works have very few options regarding verification of such issues, as most copies of original manu-scripts or early editions from the period reside in personal collections rather than library catalogues. Most often, the performers in each quintet in rehearsal would consult one another for a consensus, editing their music according to their specific musical tastes.
In recent years clear, consistent editions of several of the Ewald quintets have seen publication. However, the two main sources for Ewald’s Brass Quintet in B-flat minor, Op. 5, the only one to have been published during Ewald’s lifetime, have been the quintet edition published by Ensemble Publications, Inc., and the six-part Symphony for Brass edition published via Robert King. A new per-formance edition by Paul Schmidt prepared for the Antioch Brass Quintet offers a fresh look at perhaps the best-known work composed for brass quintet from the late Romantic period.
It is important to note that this is not a critical edition consulting original manu-scripts, but an edition, which attempts to provide a legible, less taxing version with consistent markings without simplifying the work. What follows is an excerpt from Paul Schmidt’s preface.to the edition:
“After much study this edition was created, using considerable ‘hocketing’ techniques to break up high and/or complex passages between adjacent players. All slurs, articulations, and dynamics were reviewed and revised, and some passages were transposed by an octave in certain parts to maintain the right texture and body after the voicing changes.”
After comparing this work to both the King edition and the Ensemble Publications edition this reviewer has determined that the Schmidt version appears faithful to Ewald’s intent, even though it provides some significant differences in performance. Of the three movements, the third move-ment seems to be the most affected, with the omission of the trumpet parts in the first four bars. Throughout the entire piece Schmidt has been able to maintain voicings and textural continuity even through octave shifts or even brief periods where he changes instrumentation. In this reviewer’s opinion this edition is much better than the Robert King edition. If the Ensemble Publications edition is unavailable, this version is definitely a viable alternative with considerably fewer editorial issues. It seems to provide greater stamina for performers without diminishing the importance or interest of each instrumen-tal line. Contrapuntally, the edition maintains its integrity. The clarity and accuracy of the sideration has been given to ease of use, as pages have been strategically placed to omit page turns during each movement. Tempo markings have been provided in each movement in addition to the stylistic indications for performance guidelines. Articulations and dynamics are very clearly marked and appear to be consistent. This edition addresses nearly every editorial question found in the Ensemble Publications version. However, it would be good to compare these editions with the original manuscript or initial publtcation in order to determine if these alternatives are acceptable as performance solutions for the work.
~David Spies Southeastern Oklahoma State University
Adam Frey -Listen to This!! CD recording featuring Adam Frey, euphonium. Avail-able through Adam Frey P.O. Box 459, Conyers, GA 30012 USA for $17.00 and on his website: http://www.soloeuphonium.com.
Adam Frey has an impressive list of teachers, mentors and musical experiences. He lists the most influential as Dr. David Randolph and follows with Steven Mead, James Gourlay and Bob Childs. Mr. Frey has an impressive educational and musical back ground that all comes through in his recording “Listen to This!!” and is accom-panied by pianist Damon Denton who is also a fine musician. The music performed includes Pantomime, Sparke; Vocalise, Rachmaninov; Fantasy Variations, Ito; Nessun Dorma, Puccini/Edited by Adam Frey; Euphonium Concerto, Cosma; Elegie inC minor, Faure; Flight of the Bumble Bee, Rimsky-Korsakov; Estrellita, Pance and Fantaisie Originale, Picchi.
This is a very fine recording. From the first note it is evident that Adam knows what he wants to do. His sound is clear and easily represents the influences in his life. The program is wide and varies and would be a fine recital. His technical ability is on the same level as his musical expression. He handles each selection with similar musical interest. I found this recording to be a wonderful musical experience.
~Andrew Hoefle South Suburban College
The Romantic Bass Trombone CD recording featuring John Rojak, bass trombone; Robert Koenig, piano. MMC 2098. MMC Recordings, Ltd., P.O. Box 2127, Woburn, MA 01888 USA, 2001. Website: www.mmcmusic.com. $14.95.
Some tubists and euphoniumists might find it odd that a trombone CD would be included on what is often considered a selective review list for tuba and euphonium recordings. However, with the release of John Rojak’s solo album this reviewer would make the case that the tuba and euphonium world needs to take note of this recording, for its contents amount to some of the most beautiful and lyric musicianship found on any low brass recording: period. This recording should find a home in the tubist’s and euphon-iumist’s library for its inclusion of two standard works of the low brass repertoire: the Concerto (Sonata) for Tuba or Bass Trombone by Eric Ewazen, and the Konzert by Alexi Lebedev.
For those unfamiliar with John Rojak, he is one of New York City’s finest free-lance musicians and brass teachers. A member of the American Brass Quintet since 1991, Rojak has performed with nearly every major symphony orchestra in New York City. An active studio and Broadway show musician, he has also been featured with the big bands of Mel Lewis, Gerry Mulligan and Bob Mintzer. Rojak’s New York concerto debut was in March of 2000 with the New York Chamber Symphony in Alice Tully Hall, performing Walter Ross’ Trombone· Concerto No.2, which was then recorded for MMC Records. Additional recording appearances as soloist include Eric Ewazen’s Rhapsody for Bass Trombone and Strings with the Czech Radio Philharmonic, and Double Concerto for Bass Trombone and Horn by William Thomas McKinley, also on MMC. John Rojak serves on the faculty of Juilliard, Rutgers, and the Aspen Music Festival.
The recording begins with Rojak’s own arrangement of the Chopin Etude Op. 25, No. 7 inc# minor. The left hand emphasis of the melodic material of this piano etude made the work ideally suited for the bass trombone. By turning several expres-sively ornamental passages in the piano part into quasi-cadential figures, Rojak created a unique performance practice solution for his trombone arrangement. Very beautiful, indeed!
Following the Chopin is a set of three songs selected from an eleven-song cycle by Sergei Rachmaninoff. The initial song, “The Soul’s Concealment,” is very much in recitative style. “With Holy Banner Firmly Held,” with its virtuosic piano part and heraldic vocal style, suggests a Romantic revolutionary fervor. The set culminates in a reflective and sorrowful ending with “The Raising of Lazarus.”
In keeping with the Romantic vocal nature of this recording, Rojak continues with a set of eight songs in chronological order from the sixteen-song cycle Dichterliebe, Op. 48 by Robert Schumann, based upon texts by Hein:rich Heine. The warmth and richness of tone and vibrato and the exceptional musical quality displayed by Rojak is such that one might believe that a vocalist was treating the material as a vocalise, singing the songs without the original text yet conveying the emotional intent impeccably.
Concerto for Bass Trombone by Eric Ewazen originally began as the Sonata for Tuba or Bass Trombone and Piano. The ruba version of the piece was written for and dedicated to Karl Kramer who premiered the piece as Sonata for Tuba and Piano in Miami, Florida in February of 1996. John Rojak premiered the bass trombone version with piano at the International Trombone Association Festival at the University of Illinois in May 1997. Warren Deck’s suggestion of an orchestration led to the use of the work as a competition piece for low brass at the Juilliard School, with the premiere of the orchestrated version by bass trombonist Stefan Sanders with the Juilliard Orchestra under Jahja Ling in Avery Fisher Hall in New York City on November 4, 1998.
The concerto is dedicated to the Juilliard School. Rojak’s recording is the debut recording of the work in any form. The concerto, although in a range which is suitable for either tuba or bass trombone, appears ideally suited for the ba s trombone. Ewazen’s penchant for modal harmonic and melodic writing is apparent in this work. The work opens with a slow, lyrical ballad, followed by a scherzo-like sonata form that contrasts angular arpeggiated passages with beautiful linear passages. The middle Andante expressivo movement is very vocal in nature, featuring some of Rojak’s most tender musicianship on the record-ing. The final Allegro ritmico movement utilizes a great deal of asymmetric metric activity, returning to motivic and thematic material used in the previous two movements. It is the final movement that is most athletic, particularly in the final cadenza, which features the pedal register of the bass trombone. It is this final movement that demonstrates Rojak’s ability to approach very rhythmically active passages in a very lyrical fashion.
Eduard Lassen’s ( 1830-1904) Zwei Fantasiestii.cke is actually a true Romantic work written specifically for bass trombone. A nice compliment to the works by Schubert, Rachmaninoff and Schumann, the fantasy pieces are playful in nature, perfect for the second half of a recital.
The final work on the recording is Alexi Lebedev’s Konzert (alternatively known as Concerto in One Movement). Rojak performs this warhorse for bass trombone and tuba very tastefully with careful attention to shape of phrase and stylistic nuance. It is worth mentioning that Rojak presents the piece having changed several commonly known errata, which enhances the work at those moments.
The musicianship is of the highest nature on this recording, with Rojak’s bass trombone tone taking on the dark, rich vocal quality of a fine baritone singer. It is odd that this reviewer at times longed for the “edge” present in many other fine trombone players’ sounds. There were points at which just the slightest bit more edge to the sound would have lent additional definition and clarity, achiev-able on the bass trombone, which occasionally was lacking. Regardless, this recording should become a staple of every brass musician’s library. For those who do not own this recording, it is their loss.
~David Spies Southeastern Oklahoma State University
The Legend of Heimdall CD recording featuring John Griffiths, tuba. LOH 14342. Canadian Music Centre Distribution Service, 20 St. Joseph Street, Toronto, Ontario, Canada M4Y 1J9. (416) 961-6601, ext. 305. FAX: (416) 961-7198. www.musiccentre.ca Price outside Canada: $20.98 Canadian plus $5.00 shipping/handling. 2001.
Recordings of solo tuba with orchestra are still rather rare other than the half-dozen or so current recordings of the Vaughan Williams concerto. To have three original tuba concerti on one disc is truly an outstanding accomplishment. John Griffiths, the great Canadian tubist who recently hosted the ITEC conference in Regina, has teamed up with composer Elizabeth Raum, her husband and con-ductor Richard Raum, and the Orchestra of the Capella of St. Petersburg in Russia to produce a fabulous CD recording of Raum’s three tuba concerti: The Legend of Heimdall, Concerto Del Garda, and the Pershing Concerto.
Elizabeth Raum has been a composer friend of the tuba for years and has the distinction of being the only non-tuba or euphonium person to ever appear on our journal cover. She is an accomplished oboist with the Regina Symphony and has written many works for tuba and tuba/euphonium ensemble. The concerti on this disc all share great melodies, lush Romantic harmonic settings, and virtuoso writing for solo tuba. Each concerto is in a standard three-movement format using traditional forms to convey the music.
The Legend of Heimdall is by far the largest of the three concerti at slightly over twenty-four minutes in length. It is based on the legend surrounding the ancient Norse god Heimdall who guards the gates of Asgard, the city of the gods. Its three movements, Heimdall’s gjallarhorn, The Tale of the Bard, and The Attack on Asgard, allow John Griffith’s world-class tone, nimble fingers, and broad and expansive melodic interpretations to fully capture the spirit of Heimdall. The range and agility of the tuba is put to the test, especially in the third movement. Griffiths shines in all respects. The orchestra displays sensitivity and grace as well as power and fury under the able direction of Richard Raum.
The Concerto Del Garda was originally written for John Griffiths as a sonata for tuba and piano and premiered by John Griffiths at the 1997 ITEC conference in Riva del Garda, Italy. Mr. Griffiths thought the music should be orchestrated and as the program notes state: “insisted it be called a concerto.” Roger Bobo was so impressed at the premiere performance he arranged to premiere the orchestrated version at the 1998 ITEC conference in Minneapolis, Minnesota. At nearly fifteen minutes, it is a compact concerto with a more classical approach of clarity and balance. The three movements, moderato grandioso, lento, and allegetto con anima recall an earlier era of clarity and balance much as though a modern day Mozart might have written it. In the outer movements, the solo part uses extensive range and alternates between expansive melodic passages and scalar and arpeggiated sequences much like concerti of the eighteenth and early nineteenth centuries. The middle movement is full of expressive melodic sequences and stays much of the time in the high F tuba register. In fact, the range is so extensive for this concerto that Raum also wrote adaptations for euphonium as well as the CC tuba. There is no question, however, that Griffiths is the supreme master of this concerto. He has complete command of every note without a trace of anything but a world class clarity in rhythmic execution despite the extreme high range and many extended scalar and arpeggiated runs. The ending cadenza is something to hear!
The Pershing Concerto was originally written for euphonium instead of tuba. It follows a similar scheme of the Concerto del Garda with classically shaped move ments and clarity of form. Originally inspired by a biography of General Pershing given to the composer by John Griffiths. It was written for Griffiths for a solo appearance with the US Army Band “Pershing’s Own” at the annual Army Band Tuba/Euphonium Conference held in January, 2000. However, the Pershing Concerto was originally written as a three movement concerto for euphonium and piano for a recital by the composer’s husband, Richard Raum. It was then re written for band accompaniment for Griffith’s solo appearance. Later it was again re written and premiered in that version by Griffiths at the ITEC 2000 conference with the Regina Symphony conducted by Roger Bobo. The concerto attempts to capture the flavor and character of General “Black Jack” Pershing and men like him through more extensive use of brass and percussion as well as march like movements. While the inner movement is more of a waltz and much more lyrical, the outer movements are a tour de force for solo tuba, complete with the obliga tory cadenza in the third movement. While Raum may have wanted a more military style for this concerto, her writing is still very romantic with expan sive melodies that perhaps soften the reflection of Pershing’s personality.
John Griffiths has produced a marvelous CD recording that is simply grand in design and in execution. The playing is nearly flawless and quite virtuosic. Conductor Richard Raum and the orchestra together create a sensitive accompaniment. Mixer/Engineer/ Producer Gerhard Tses managed to record both the tuba and orchestra with appro priate balances and depth of sound a marvelous feat for our instrument! This music represents a new generation of major works for tuba. I cannot think of a better investment than purchasing this CD for your personal library and for your school library. All of the works are also available through Tuba Euphonium at a modest price so you can start to learn these great concerti as part of your permanent repertoire.
~Mark Nelson, Pima Community College