Tuba/Euphonium Ensemble
Chor der Engel by Franz Schubert arranged for tuba-euphonium quartet by Angelo Manzo
Six Chansons by Paul Hindemith arranged for tuba-euphonium quartet by Jeremy S. Lane
I Do, I Undo, I Redo for three tubas and percussion by John Elliott
Broadway One-Step by Karl King arranged for five-part tuba-euphonium ensemble by Ronald C. Knoener
Declarations, Op. 376 for six-part tuba-euphonium ensemble by David Uber
Two (More) Birthday Rags for tuba-euphonium quartet by Rodger Vaughan
Adagio for Four Euphoniums by Matthew Schoendorff
Shadow-Graph for four-part euphonium choir by David Uber
That Old Black Magic by Johnny Mercer and Harold Allen arranged for baritone-tuba quartet by Jeff Jarvis
Two Jazz Moods for tuba-euphonium quartet or choir by Frank Ferriano
Ave Maria by Robert Franz arranged for four-part tuba-euphonium ensemble by Angelo Manzo
O Sing Unto My Roundelay by Samuel Wesley arranged for tuba-euphonium quintet by Angelo Manzo

Brass Quintet/Chamber Music
Columbia-Greene March for brass quintet with optional drum set by Arthur Frackenpohl
Drum Taps for solo tuba with horn, euphonium, and drums by Neal Corwell
Music for CYM Brass for brass quintet by Gordon Carr
Spectrum for horn, cello, and tuba by Elliott Schwartz
Pop Suite #5 for brass quintet by Arthur Frackenpohl

Recordings
Steven Mead in Euphonium Magic CD recording featuring Steven Mead, euphonium
Big Boy CD recording featuring Gene Pokorny, tuba
Obsessions CD recording featuring Ryuji Ushigami, euphonium
Tuba Carnival CD recording featuring Øystein Baadsvik, tuba

Texts
Mastering the Tuba Complete Book by Roger Bobo

Euphonium
A Jazz Rhapsody, op. 378 for solo tuba or euphonium and piano by David Uber.
Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $10. 2002.

I’m sure that most of our readership is familiar with David Uber. As the opus number indicates, he is highly prolific, and many of his works have been written for tuba and euphonium, including several pieces that have become widely played. A Jazz Rhapsody is one of his latest additions to his output.

A Jazz Rhapsody is a short (c. 4:00) piece in one movement, nominally in F major, taken at a “medium jazz tempo” of quarter note=112. Technically the piece is easily accessible. A good high school player (either tuba or euphonium) can manage the range, and the most significant technical requirement is performing sixteenth notes at the indicated tempo. Formally the piece makes use of a few recurring melodies, but doesn’t really follow a standard jazz form (or a standard classical one, for that matter). The manuscript is clear and easy to read, and the print quality is up to the publisher’s usual high standard.

A Jazz Rhapsody is a useful sight-reading piece for high school or younger college students, and perhaps it’s intended to be an introduction to jazz style for that level player. However, I have several issues with notation. First of all, it’s not entirely clear which eighth notes are to be swung and which are not. “Medium Jazz Tempo” would seem to indicate swung eighths, but twelve measures into the piece, dotted eighth-sixteenth figures suddenly appear, and the performer is left to wonder whether they should be played the same as the preceding eighth notes—or whether the eighth notes should be swung at all. Complicating matters are the sixteenth-note figures that occur later, sometimes combined with eighth notes—should the sixteenths be swung? Should they be straight? How do they combine with the eighth notes? Finally, the piece is almost completely devoid of accent markings, which are crucial to a novice jazz player’s comprehension of the style. This is surprising coming from David Uber, who is usually clear about how he wants things played. Perhaps a second edition is in order?
~Richard Perry, University of Southern Mississippi

Fantasy for Euphonium and Piano by François Glorieux. Glorious Sound, De Hulsten 53, 2980 Zoersel, Belgium; order@francoisglorieux.com, FAX: +32 (0) 3 605.04.42.
http://francoisglorieux.com. Prices vary.

Françoix Glorieux has earned a reputation as one of the most versatile working musicians in the world today, equally busy as a composer, conductor, teacher, and commentator, including a stint as a guest professor at Yale University. His compositions not only span the realm of classical music but also have earned the respect and patronage of important figures in popular music. The Fantasy was dedicated to the Belgian euphoniumist Nick Ost, who recorded the work on his compact disc, Euphonic Moods. The reviewed version is with piano accompaniment, but this piece is available in string orchestra, brass band, and wind ensemble versions too.

The Fantasy is tonally-centered beginning with a flowing Lento introduction that abruptly accelerates to a bouncy Allegro section with syncopations and sixteenth notes in two-measure chunks. The Allegro section is in an ABA form that at first hints at a possible rondo; it is, however, cut short, and interrupted by an extensive cadenza that is punctuated by numerous tempo changes. The piano is silent during most of the cadenza, giving the euphoniumist complete freedom of interpretation within the bounds set by the composer. The cadenza ends with material from the opening Lento, setting up the final section, a tarantella-like Presto. The euphonium is in 12/8 meter, but the piano is in 4/4; there are cross-rhythms, however not simultaneous, as the two performers alternate their “licks.”

The range of the Fantasy is G-flat to c1, but stays basically within a comfortable middle register, the c1 being the last note of the piece. Each section is fairly brief; the advanced player should not have any endurance issues. The piece’s charm, however, should make it attractive to all high school to professional level performers.
~Shawn Pollard, free-lance euphonium, Tucson, Ariz.

Tribes for solo euphonium with brass ensemble by Neal Corwell. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $30. 2002.

Neal Corwell is one of the elite few holding a doctoral degree in euphonium performance. A long-time euphoniumist with the U.S. Army Band, he has also worn the hats of a professor, clinician, and free-lance composer. In addition to his compositional contributions, Corwell has served on the ITEA executive committee and has been featured at ITEA conferences.

Tribes is scored for solo euphonium accompanied by E-flat trumpet, three B-flat trumpets, horn, three trombones, and tuba. This is a piece for the advanced performer, featuring 32nd and 64th-notes, constantly changing tempos and meters, irregular meters, cadenzas, wide melodic leaps, extreme tessituras, and an overall range of C to d-flat2 (which is outlined in one tall leap in m. 186). Endurance is a major issue in performing this piece since rests are few and widely scattered; the virtuosic techniques required occur during long stretches of playing.

As formidable as the music looks on the page, the use of recurring motives and intervals (especially the minor second and major seventh) give the piece a melodic coherence that should engage the performer and audience. There are hints of tonal centers juxtaposed with clusters and quartal chords. Tribes, however, is not heavy-handed and one-dimensional. The wide melodic leaps are usually in contexts that require graceful execution; the frequent dovetailing and passing around of 16th-note figures requires much musical taste within the ensemble. All in all, this is a fascinating piece for the musically and physically mature player that will hopefully increase the euphonium’s importance within brass ensemble literature.
~Shawn Pollard, free-lance euphoniumist, Tucson, Ariz.

Serenade for Bass Tuba (Serenade for Euphonium) by Stephan Kac. Both with piano accompaniment. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12. 2003.
Ranges: Tuba: GG–f1; Euphonium: D–b-flat1 (with optional lower sections to BB).

In 2001 Stefan Kac had an excellent plan—to compose a serenade for tuba and arrange it for euphonium too. The Serenade for Bass Tuba is approachable by most college or professional players with a good high range and fair amount of stamina. Much of the first page lies on or above the staff so that when you reach the lower notes on pages two and three it feels like “blessed relief” to get the chops “balanced.” There are adequate measures of rest that make pure endurance not an issue, and nice interplay with the accompaniment makes the piece “fun.” The work delves through several minor tonalities through use of accidentals rather than printed key signatures. This is not a problem (as long as you’ve been diligent in learning your scales), because the melodic lines have a good sense of direction.

Tempos with metronome markings and dynamics are clearly marked. The only encountered problem was sometimes an inability to know what “a tempo” was referring to. The Tuba-Euphonium Press has done another admirable job with good “clean” copy and formatting the page turn to fall on a rest!

The only difference in the euphonium version is that 23 of the 170 measures are taken up one octave. The introductory notes explain: “A player who possesses a very strong low range may wish to play the original bass tuba part.” There are several instances where optional lower parts are offered in an added staff located above the original. This is rather visually distracting, and I for one would rather hear the euphonium part played “in the staff” rather than in the basement. Overall: “good work.” It would be a good addition to a recital program for CC or F tuba (or euphonium).
~Phillip C. Black, Wichita State University

Tuba

Divertimento for tuba and piano by Carson P. Cooman. MMB Music Inc., Contemporary Arts Building, 3526 Washington Avenue, St. Louis, Mo. 63103-1019. (314) 531-9635. www.mmbmusic.com; mmbmusic@mmbmusic.com. $9.95. 2000. 5:00.

The music of Carson Cooman is rapidly becoming known to audiences around the world. With over 450 works to his credit, his music is being performed by major groups and organizations internationally. He has been a recipient of the ASCAP Standard Award each year since 1997 and has received many other awards for various works. He has served as a guest composer for the RASPTA Piano Festival and the De Nacht Music Festival at the Brabants Conservatorium.

Divertimento for tuba and piano (2000) is a welcomed new work to the constantly growing solo tuba repertoire. The work is dedicated to one of our great tubist-composers, Barton Cummings. Comprised of three movements, Allegro, Adagio, and Vivo, the work is relatively short and easily accessible to upper-level undergraduate performers. The range of the work is from GG to d1, which is easily playable on either CC or F but seems to lie best for F. The accompaniment is also playable by most any pianist.

The first movement opens with a rhythmic motive in the piano reminiscent of a Native American chant. This feel is further enforced by the modal melody of the solo part. The second movement has more of a pop/blues-ballad feel, and the third movement sets up a brisk 6/8 pattern giving the solo line a dance feel akin to the finale of the Broughton Sonata.

In conclusion, it is refreshing to see composers of this stature writing easily accessible literature for the tuba. It sometimes seems as though bigger name composers feel compelled to write only for the upper echelon of performers. Younger players can benefit greatly from exposure to works by masterful composers. It is my hope that more will follow Mr. Cooman’s lead. Bravo!
~Tim Olt, Bowling Green State University

Aeolus for solo tuba by Áskell Másson. Editions BIM, Jean-Pierre Mathez, CH-1674 Vuarmarens, Switzerland. 2003. $14. ca. 3:00. Grade 5.

Áskell Másson (b. 1953), an Icelandic composer, formerly studied the clarinet and percussion instruments. He has been engaged as a composer for the National Theater of Iceland, a producer for the Icelandic Radio, and has served as Secretary-in-Chief of the society of Icelandic Composers. Aeolus for solo tuba was written to commemorate ITEA’s thirtieth anniversary in 2003 as part of the ITEA Gem Series.

Aeolus for solo tuba begins with a decisive andante section followed by a more intricate, technical section including wind sounds, alternate fingerings, and half valves. The final section concludes this piece with a lyrical section reminiscent of the opening andante. While tonally centered on D-flat, this piece has several difficult intervals and demands good ear-training skills. Additionally, as a solo piece, the performer must have a clear understanding of the music to present a convincing performance of this contemporary work.

The music itself is computer-generated, clear, and easy to read. Másson includes tempo and dynamic markings, which he defines as suggestions, expanding the expressive possibilities for the soloist. The range of this piece extends from E to the g1 but frequently remains in the upper portion of this tessitura. The extent of the musical range together with the technical challenges suggest that Másson’s Aeolus for solo tuba is a work appropriate for upper-level collegiate, graduate, or professional players.
~Daniel Johnson, University of North Carolina at Wilmington

Burlesque for tuba and piano by Robert Gulya. Editions BIM, Jean-Pierre Mathez, CH-1674 Vuarmarens, Switzerland. $12. 1995. 3:40. Grade 5–6.

Hungarian composer Robert Gulya (b. 1973) studied piano and composition at the Budapest Conservatory and Liszt Academy. He has won numerous awards for his compositions at prestigious festivals including the international Vienna Summer Academy of Music, the Budapest Academy of Music, the International Festival of Monteverdi Choirs, the Alban Berg Foundation, and the Hungarian International Composers’ Competition. Gulya attends the University of Southern California on a Fulbright Scholarship, and several of his scores have been recorded at Paramount and Skywalker Studios.

Burlesque for tuba and piano was written for Roland Szentpáli, a fellow composer, Melton/Meinl Weston and B&S artist, and student at the Liszt Academy. Technically, this piece is quite demanding, including large leaps and difficult intervals. The range is also challenging, encompassing more than four octaves from BBB to c2. The piano accompaniment is also difficult, although not as challenging as the tuba part. Some devices used are meter changes, sung pitches, and a brief “ad lib” section.

As suggested by the title, this single-movement burlesque contains flashy and exciting segments with a contrasting brief lyrical section. The parts themselves are computer-generated and quite legible; numerous sections in tenor clef, however, may present an additional challenge to some performers. A rhythmically and technically difficult piece for both tubist and pianist, Burlesque is a demanding but worthy challenge for graduate students or professional players.
~Daniel Johnson, University of North Carolina at Wilmington

Tango Images for tuba and piano by Adriana Figueroa Mañas. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $20. 2003.

This new and exciting composer from Argentina is setting high standards for melodic tuba music including a recently composed concerto premiered in Brazil last year and now this set of four tangos for tuba and piano. Commissioned by Mark Nelson and premiered at a faculty recital at Pima Community College in Tucson, Arizona, each tango is unique while still retaining the flavors of this national dance form. Popular music riffs and chord progressions also permeate this work making it accessible to the audience yet challenging to the performers. The tuba range is a rather conservative BB-flat to e1, but the tessitura is often in and above the bass clef staff. The more agile E-flat or F tuba with its lighter tone would do well with this work.

There are plenty of opportunities in each movement to experience the molto expressivo character found in virtually every measure. The combination of harmonies and tuba line make each movement a gem with a different intoxicating flavor. The pianist will have to put some time into the score to produce the stylistic nuances, particularly with the repeating bass ostinati patterns in the left hand. However, having now performed this piece on several occasions, the effort has been certainly worth it! Considering the faltering national economy in Argentina, please help support this composer with your purchase! I personally look forward to commissioning another work in the near future.
~Mark Nelson, Pima Community College

Enchorial Landscape: Concert Music for Tuba and Piano by Thomas L. Read. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $15. 2003.

T.L. Read is an eclectic and prolific composer who has taught at the University of Vermont since the late 1960s. His music is sophisticated and highly organized. Many of his compositions are published by C.F. Peters although I persuaded him to consider Tuba-Euphonium Press for this new work. He agreed! Premiered at the 2003 Tuba-Euphonium Southwest Regional Conference at the University of Arizona in June 2003 by Mark Nelson, this work represents another serious attempt at pushing the tuba into new directions in melodic and harmonic writing. Read has also written an earlier work entitled Brillenbass for tuba, celeste, and cymbals that may be forthcoming in the Tuba-Euphonium Press catalogue.

Enchorial Landscape is basically a tonal work although dissonance and rhythmic diversity are used frequently to provide the basis for how the composition progresses from one idea to the next. There are a plethora of changes throughout the entire one movement work. Beginning with an almost pointillist beginning marked Poco andante, the work explodes in energy at measure 27 marked Molto allegro and really never looks back aside from a brief Poco adagio passage that allows the performer to catch a breath before pushing on to the final Presto! Syncopation and multi-metrical passages make counting a challenge but not so much that the advanced college performer and the professional could not make it work after some practice. The range of the tuba is FF to e-flat1.

This work is exciting and adventuresome. It is not for someone looking for an easy melodic work! It is, however, a great addition to the serious tuba repertoire.
~Mark Nelson, Pima Community College

Tuba/Euphonium Ensemble

Chor der Engel by Franz Schubert arranged for tuba/euphonium quartet by Angelo Manzo. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $10. 2002.

This quartet is obviously meant for younger players. In almost four minutes of playing, there are only three eighth notes—almost everything else is quarter and half notes. I initially thought that a more advanced group could use this as an intonation study, but what attracts the listener are rich sonorities. Mr. Manzo has exquisitely voiced this arrangement to perfection with each voice properly spaced from the others. If you have a middle school ensemble or a new group, this is definitely for you. But I would not rule it out for a more advanced ensemble. The beauty of this piece is one that would be appealing for all audiences, and, though at first glance would be simple to play, the benefits far outweigh the investment in rehearsal. The ranges of the individual parts are euphonium 1 f to g1, euphonium 2 c-sharp to c1, tuba 1 D to g, and tuba 2 AA to e-flat.
~Michael Short, Drake University

Six Chansons by Paul Hindemith arranged for tuba-euphonium quartet by Jeremy S. Lane. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $15. 2002.

These Chansons were written by Hindemith in 1939 for mixed chorus based on a text by the German poet Rainer Maria Rilke. I will not bore the reader with details about the form or how these sound—most of us are familiar with Hindemith’s writing, and these are certainly characteristic of his compositions. The six are “The Doe,” “The Swan,” “Since all is passing,” “Spring Time,” “In Winter,” and “Orchard.” Two of these are upbeat whereas most of the rest are solemn. “Spring Time” has 12/8, 9/8, and 6/8 meters, but it is quite easy to follow. Mr. Lane’s expressions are well marked and thought out, and for the most part the voicings are quite good. At times, the closeness of the euphonium 2 and tuba 1 parts are such that with a younger ensemble there could be some muddiness, but we did not have a problem at our reading. “Spring Time” also spends some time with sharps, and there are some b-sharps and double sharps to contend with that might intimidate less experienced players. A good high school ensemble would probably do well with this set of songs, and an audience would be interested in hearing them. It’s nice to see music like this coming out for all to enjoy. The ranges of the parts are euphonium 1 c-sharp to a-flat1, euphonium 2 b-flat to d1, tuba 1 C to g-flat and tuba 2 EE-flat to c-sharp.
~Michael Short, Drake University

I Do, I Undo, I Redo for three tubas and percussion by John Elliott. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $20. 2002.

At first glance, I imagined that the title of this composition had to do with someone’s marriage experience, but the subtitle is “Inspired by the sculptures of Louise Bourgeois.” Being fairly ignorant of the more visual forms of art, I did what anyone in the 21st century does—I used the Internet. I am amazed at how many sites show paintings, sculpture, or any type of art. I found that this particular sculpture is in the Tate Modern Collection in London, England. Ms. Bourgeois is an abstract expressionist who is particularly fond of spider sculpture (draw your own conclusions). This one, however, is three steel towers representing three activities in our lives. Ms. Bourgeois explains, “The Redo means that a solution is found to the problem. It may not be the final answer, but there is an attempt to go forward….” This sounds like most attempts at any kind of art, whether we call it painting or music or anything else.

According to Mr. Elliott, “this piece is an attempt to convey in sound the impact of my first experience with Ms. Bourgeois’ sculpture of the same name. I had been asked by Jay Rozen to compose a piece …three tubas representing three large metal structures, and the percussion portraying ‘Maman,’ the towering spider sculpture whose presence in the gallery I could never ignore.”

The scoring is for two bass tubas, one contrabass tuba, and one percussionist who plays tam-tam with a normal beater and stiff scrubbing brush, suspended cymbal (soft stick), snare drum, mart tree, hand bongos, and three temple bowls (or wineglasses). A cascading theme used in the First Promenade (Arrival) appears in “I Do” over the insistent tapping of the snare drum. The parts are all very angular, mirroring each other to create a sort of wave impression. Short solos with no indicated pitches appear, where tuba 1 sets the mood, then tuba 2 imitates the first part and tuba 3 imitates that. The second promenade (The Dark Stair) requires multi-phonic chords in the tuba 1 part. In “I Undo,” tubas 2 and 3 are muted while the percussion is silent. Flutter-tonguing is required. The third promenade, Toward the Reflection, is in an 8/8 meter stressed 3+3+2 and very quick. “I Redo” combines many aspects of the earlier movements including muting and a 6/8 section that combines duple and triple rhythmic figures together. The final promenade (A Backward Glance) combines ascending and descending lines in that order, fading out in low eighth notes.

It really is impossible to give an accurate rendition in words of what this piece is about and is nearly as hard as writing music about a sculpture. Mostly, I simply wanted the reader to know what possible performance problems are involved here. This is not a composition for a high school ensemble, and even college-level players should be at a fairly advanced level. The tuba 1 part would at first glance be playable on a euphonium because of the g1, but there is also the pitch BB that would be a problem for the usual four-valve horn. I don’t know that I could call this music abstract, but I think of it in those terms. That’s the best I can do. If this sounds like your cup of tea, get this music. The ranges are tuba 1 BB-flat to g1, tuba 2 AA to e1, and tuba 3 CC to b.
~Michael Short, Drake University

Broadway One-Step by Karl King arranged for 5-part tuba-euphonium ensemble by Ronald C. Knoener. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12. 2002.

March transcriptions always seem to work well for tuba-euphonium ensembles and are easily transcribed due to the concise thematic and compositional elements found in them. This arrangement is no exception and is a welcome addition to the repertoire for tuba-euphonium ensembles. It is not full of the technically demanding sixteenth-note runs you find and hear in most marches. But then again, it was never designed to be a march. It is much more dance-like, hence the title, and was intended to be performed as a background to the clown acts.

This arrangement is not difficult at all and quite playable by the intermediate as well as advanced player. The ranges are euphonium 1 from d to b-flat1, euphonium 2 from d to a-flat1, euphonium 3 from G to f, tuba 1 from D to f, and tuba 2 from AA-flat to d-flat. The arrangement is in A-Flat Major and a flat is added at the Trio as usual. The tempo moves along with a quarter note marking of 126. The only thing missing from the score and parts is the repeat sign indicating a return to letter B from the first ending in the second strain. Other than that, you have every reason in the world to try this piece to lighten up your ensemble programs. Your audiences will appreciate it.
~Raul I. Rodriguez, Texas State University-San Marc

Declarations, Op. 376 by David Uber for six-part tuba-euphonium ensemble. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $15. 2001.

Declarations is a welcomed addition to the tuba-euphonium ensemble repertoire. David Uber writes well for the tuba and euphonium and has composed many pieces for each respectively, including solos, etudes, and various ensembles. Declarations was composed for BASSically BRASS and is written in one movement featuring several sections. The work begins with a slow section featuring solos in almost every part leading into a nice allegretto section followed by a maestoso section. A slower section follows this, and the piece ends with a faster phrase in cut time.

Every part in Declarations will require fairly strong players. Each is featured at some point. Good technique for some sixteenth-note passages will be required, as well as strong rhythmic ability for each part. This work requires strong musicianship and technique, especially concerning dynamic control and lyrical ability. The ranges for the ensemble are euphonium 1 F to b-flat1, euphonium 2 c to g1, euphonium 3 c to g1, tuba 1 F to c1, tuba 2 AA-flat to a-flat, and tuba 3 GG to g.

This piece is a challenging work for tuba-euphonium ensemble. It is exciting and audience accessible as well. Each part is individually interesting, and the parts are scored well. Declarations will be a good addition to any tuba-euphonium ensemble concert.
~Christopher Bettler, Graduate Teaching Assistant, Bowling Green State University

Two (More) Birthday Rags by Rodger Vaughan for tuba-euphonium quartet. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $10. 2002. 8:00.

Colorado composer Rodger Vaughan has composed and arranged numerous works for tuba-euphonium ensemble. In this recent set, “Skis and Skates” (No. 16) and “Marce’s Snowshoes” (No. 17) comprise Two (More) Birthday Rags. Both rags are set for two euphoniums and two tubas and employ chromaticism to suggest sliding as well as syncopation typical of rags. Both pieces in this set are light-hearted and easy-going with a variety of dynamics and articulation to keep the listener interested.

The individual parts are appropriate for many high-school level players; perhaps the most challenging aspect of the rags would be ensemble coordination instead of technical or musical issues. The ranges are euphonium 1 f to a-flat1, euphonium 2 e to d1, tuba 1 F to a, and tuba 2 FF to f-sharp. The first euphonium part frequently carries the melody while the other parts provide harmonic and rhythmic support; Vaughan, however, shares the melody among the other parts to offer more variety in this arrangement. The parts themselves are partially hand-written but are easy to read. The addition of a score would make this set of rags easier to rehearse but is not necessary for a successful performance of these rags. While not groundbreaking works of art, these two rags are not pretentious either. They would make a valuable addition to the tuba quartet gig repertoire.
~Daniel Johnson, University of North Carolina at Wilmington

Adagio for Four Euphoniums by Matthew Schoendorff. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $8. 2002. 4:45.

Matthew Schoendorff is a 2001 graduate of Western Michigan University and is active as a composer throughout Michigan. He is a veteran of the National Band Association’s first Young Composers Mentor Project, during which he studied with Mark Camphouse, Timothy Mahr, and Jack Stamp. His Adagio received recognition at the 2000 MENC National Convention. The composer describes this reviewed edition as a transcription, possibly playable by a euphonium-tuba quartet as opposed to his original edition strictly for four euphoniums. The total range of all four parts is C to b1. The parts in order of highest notes are 3 (b1), 1 (g1), 2 (g1), and 4 (f), putting three of them within the comfortable range of the bass tuba if necessary.

Schoendorff describes the title, Adagio, as a stylistic indication and not as the piece’s actual speed. Even though the opening reads “adagio, tempo rubato, ” he recommends that the performers experiment with quicker tempos to avoid “dragging along in a rut.” This would be particularly important during the repetitive, transitional duet section in mm. 27–30 and the extended, unaccompanied solo section in mm. 44–51 that sets up the return of the original melody. The flowing melodies and tonal harmonies are enriched by non-harmonic tones that both move and linger; stressing and releasing them will certainly have an impact on the pace of the piece. This is a pleasant composition that exploits the rich sonorities that euphoniums do best in its most sonorous range. There are no awkward leaps and the high notes are approached through slurred, mostly conjunct phrases. Technically, this piece is definitely accessible to advanced high school students but may need musically mature performers to properly express its lyrical qualities.
~Shawn Pollard, free-lance euphoniumist, Tucson, Ariz.

Shadow-Graph for four-part euphonium choir by David Uber. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12. 2002. 4:20.

David Uber by now should be a familiar name to low brass players for his prodigious and valuable contributions to the literature. Shadow-Graph is dedicated to Ikuko Miura, a winner of the Leonard Falcone competition, and Shinya Suzuki. It is a one-movement composition with five sections making an ABCDA’ form. The short, opening Moderato features a bass melody underneath parallel quartal chords. The next section is more agitated but with triadic harmony and a lyrical melody. The lyricism gives way to more agitation as repeated 16th-notes build to what must be an imminent climatic moment. However, we are left hanging as the third section, Andante espressivo, proceeds softly with the lush, added-tone harmonies that are a welcomed and familiar part of David Uber’s compositional palette. The fourth section, Misterioso, is also set up by an agitated transition but again dissipates the energy with light, bouncy figures. The opening section, and its quartal harmony, returns this time building to a dramatic, tonal ending.

Melodic ideas are well distributed between the four parts. While the marking “solo” is consistently used to indicate melodic snippets, there is never an indication where the “solo” ends. The overall range of the piece is AA-flat to c1. The first part is consistently high and requires a mature player to maintain its musical consistency to the end. Likewise, the fourth part requires a player who has tasteful agility in the extreme low register and well-centered pitch —just plopping out pedal tones will not work here. The composer suggests a tuba for the fourth part if needed. This piece was meant for Toru Miura’s Euphonium Company and reflects the level of talent available there. In the right hands, Shadow-Graph is a marvelous addition to the repertoire.
~Shawn Pollard, free-lance euphonium, Tucson, Ariz.

That Old Black Magic by Johnny Mercer and Harold Allen arranged for baritone-tuba quartet by Jeff Jarvis. Kendor Music, Inc., 21 Grove Street, P.O. Box 278, Delevan, N.Y. 14042. $10. 2:30. Grade 4.

For those of you that are not familiar with this tune, it was featured in the motion picture Star Spangled Rhythm in 1942. It’s an up-tempo swing chart arranged for quartet that would be a nice change of pace for any ensemble recital program. The tempo is quite fast as it cruises at 208 beats a minute. While not well suited for younger players that are unfamiliar with the jazz idiom, it will work with the advanced group such as college-aged performers.

Ranges are baritone 1 from c to a1, baritone 2 from c to f1, tuba 1 from D to b-flat, and tuba 2 from FF to g. The parts and score are quite easy to read and there are no problems regarding page turns. When you decide to obtain this piece start slow and above all have fun.
~Raul I. Rodriguez, Texas State University-San Marcos

Two Jazz Moods by Frank Ferriano for tuba-euphonium quartet or choir. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12. 2002.

Jazz material for tubas and euphoniums is in distressingly short supply. Scores of tuba and euphonium players graduate with music education degrees each year, and many of them take over high school jazz programs. Unfortunately, in many undergraduate programs there are few opportunities for them to learn about jazz rhythm, jazz articulation, and jazz style. Unless the jazz ensemble director is enlightened enough to allow a tuba or euphonium in the jazz ensemble, the tuba-euphonium ensemble may be the only place where these musicians can learn about jazz. Several compositions and arrangements for tuba-euphonium ensemble have appeared in recent years to address this void, including this piece by Frank Ferriano.

Ferriano has been very prolific in the past several years, producing a lot of music for tubas, including a very usable tuba Sonatina. Two Jazz Moods is scored for tuba-euphonium quartet with a few divisi passages for use with a larger ensemble. The two “moods” are a slow “Blues” and a faster “Swing Riffs.” Both pieces are fairly short and appear to date from different times (“Blues has a copyright date of 2001 while “Swing Riffs” is copyrighted 1998). The “Blues” is the more straightforward of the two consisting of three blues choruses with a four-bar introduction (although the choruses are irregular in length—the first has the expected twelve measures, the second eleven, and the third fourteen!). A brief snippet from “In the Hall of the Mountain King” is thrown in for humor. “Swing Riffs” is an exercise in bitonality with the tubas and the euphoniums spending most of their time playing in different keys, coming together occasionally in A-flat major. The scoring is unusual—frequently the chord roots are absent.

Technically, Two Jazz Moods is within the capabilities of a good college group. If the players have the range, there is little in the way of technical challenges. The biggest challenge will be executing the rhythms, and therein lays my principal caveat with the piece. The “Blues” is marked “slow with swing style eighth notes.” No problem there. But in the last fourteen measures, Ferriano suddenly introduces quarter-eighth triplet figures, sometimes using them in conjunction with regular eighth notes. This seems unnecessary and only confuses the players. “Swing Riffs” is written in 12/8—why, when the players have just been exposed to swing eighths in the first movement? The piece would be much easier to read in 4/4 and a better introduction to jazz rhythms as they appear. In addition, the notation is not properly spaced. Some groups of eighth notes are further apart than others. This serves to make the piece even more difficult to read. This is more of a problem in “Swing Riffs” than it is in the “Blues.”

I hesitate to recommend Two Jazz Moods as an introduction to jazz style for a less experienced group, primarily for the notation issues mentioned above. It is an interesting compositional exercise for a group with some jazz experience.
~Richard Perry, University of Southern Mississippi

Ave Maria by Robert Franz arranged for four-part tuba-euphonium ensemble by Angelo Manzo. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $8. 2002.

Robert Franz (1815–1892) was a prolific German composer who wrote fifty songbooks containing around 250 songs! This work is a very good treatment for four “equal” voices. My class enjoyed their reading and requested it be kept “in the books.” The two tuba parts are nicely spaced so it never becomes too thick or muddy. Those parts also “stick to their registers” so it would be advantageous if possible to have the tuba 1 part performed on F tuba and the tuba 2 part on BB-flat or CC tuba. The euphonium parts can be handled with moderate ease providing the first player has decent endurance. The part never exceeds g1, however, like the first tuba part, it tends to stay “up in the range” compared to a very easy second part. Dynamic marks and phrasing are clearly notated, and the score and parts are very easy to read. Ranges are euphonium 1 d to g1, euphonium 2 c-sharp to d1, tuba 1 F-sharp to b, tuba 2 FF to d.

Although this work is only thirty-four measures long, endurance could become a factor because it is slow and everyone is playing almost all the time. This work proves to be another good addition to the ever-growing body of ensemble literature. It is suitable for high school through college ensembles.
~Phillip C. Black, Wichita State University

O Sing Unto My Roundelay by Samuel Wesley arranged for tuba-euphonium quintet by Angelo Manzo. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12.

Samuel Wesley (1766–1837) was father to John Wesley. His musical talents became apparent at an early age; he played organ at age three and began composing at age eight! Angelo Manzo is to be commended for the works he’s finding to arrange for tuba-euphonium ensemble. The ranges and techniques called for in this vocal style arrangement make it accessible for almost all age groups from “good, solid” high school players for contest through the college ensemble wanting to fill out a program and allow the tubists to divide into three parts. The ranges are euphonium 1 c to g1, euphonium 2 c-sharp to g1, tuba 1 G to b, tuba 2 C to g, and tuba 3 GG to c.

Comprised of ninety-one “moderately slow” measures, “Roundelay” begins in D minor and shifts to D Major about half way through. The keys are both very “user-friendly,” and the parts are clear, well spaced, and notated. There are plenty of rests in the three tuba parts, and one of the only distractions is that the measures are not grouped together as multi-measured rests.

Generally there are three or four parts moving together throughout this work. The balance and voicings change well, and there are enough dynamic and color changes to keep the piece interesting. A very nice addition to the repertoire!
~Phillip C. Black, Wichita State University

Brass Quintet/Chamber Music

Columbia-Greene March for Brass Quintet with optional Drum Set by Arthur Frackenpohl. Kendor Music, Inc., 21 Grove Street, P.O. Box 278, Delevan, N.Y. 14042-0278. $13. 2003.
4:00. Grade 4.

Arthur Frackenpohl has written a great number of works for various brass instruments and ensembles, including a wealth of material for brass quintet. To this he adds Columbia-Greene March. This is a fairly entertaining march for the brass quintet. The composer includes the derivation of the main themes at the beginning of the score. Columbia-Greene March is written in several contrasting sections using these themes in a variety of ways. The tuba part is a good blend of the traditional “oom-pah” figure found in many marches mixed with some more melodic material, although the overall function of the tuba is to provide a rhythmic foundation. There are a couple of spots that are somewhat technically challenging, but overall the tuba line is not very demanding. The range is AA-flat to b-flat, with most of the piece in the main register of the tuba.
The writing and scoring is excellent, and it would work well for younger collegiate quintets.
~Christopher Bettler, Graduate Teaching Assistant, Bowling Green State University

Drum Taps for solo tuba with horn, euphonium and drums by Neal Corwell. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $15. 2002.11:45.

Neal Corwell is a veteran composer and arranger for tuba-euphonium ensemble. His arrangements and compositions have appeared on numerous recordings released by Mark Records, Crystal Records, RJR Digital, TRYFAN, and Nicolai Music. Corwell wrote Drum Taps for Velvet Brown and Julianne Fish who premiered the work in 1997 at the International Women’s Brass conference in St. Louis, Missouri.

Corwell’s Drum Taps is an unusual ensemble piece inspired by a collection of Walt Whitman’s poetry of the same title. Specifically, Corwell cites two of the poems as inspirations for this piece. In one poem, “Come Up from the Fields Father,” Whitman recounts the tragic news received by a mother of her son’s death. In the second poem, “Beat! Beat! Drums!,” Whitman portrays war as relentless noise and fury in the form of banging drums and blaring bugles. In the score and parts, Corwell labels the sections that were directly inspired by the poems for a more informed interpretation of this work.

Drum Taps requires five performers: solo tuba, horn in F, euphonium, and two percussionists playing two snare drums, a field drum, and a bass drum. The solo tuba part encompasses a range from FF to g1. Large jumps, a wide dynamic range, and a brief cadenza make this work demanding for the tubist. The horn and euphonium are challenging as well for many of the same reasons; a conductor may be required for performance. The percussion parts are also demanding. However, Corwell provides many performance notes specifying the style and desired effect of the percussion parts. The score and parts themselves are clear and legible, including musical cues and instructions helpful for interpretation. On several pages, some text is cut off at the margins, but no essential information is lost. Given the ensemble challenges as well as the demands of the individual parts, Corwell’s Drum Taps is a work appropriate for graduate and professional players.
~Daniel Johnson, North Carolina at Wilmington

Music for CYM Brass by Gordon Carr for brass quintet. Broadbent and Dunn Ltd. 66 Nursery Lane, Dover, CT16 3EX, England. Tel +44 (0) 1304 825 604. www.broadbent-dunn.com. $30. 2001.

Music for CYM Brass is the second brass quintet by Gordon Carr. It is dedicated to Mike Hinton. The work is written in three contrasting movements. The first movement is written Alla Marcia, and it is fairly straightforward with the lower instruments providing a fundamental pulse and the upper instruments stating melodic ideas. The second movement is marked Andante and is similar to a waltz or dance. The third movement is marked Moderato in the opening followed by Allegro for the rest of the movement. This movement is very rhythmically driven. It is written in mixed meters, mainly contrasting simple duple times such as 2/4 and 3/4 with more complex time signatures such as 5/8 and 7/8. The tuba part offers moderate technical challenges. The most difficult aspect of the work is the mixed meter of the third movement, which will require a strong sense of time and good internal subdivision. The range of the tuba part is C to g. Music for CYM Brass is an interesting piece for quintet. The tonality of the work is modern, and the parts work well together. This piece will be a challenge for a younger group, and the third movement will require some work to put together.
~Christopher Bettler, Graduate Teaching Assistant, Bowling Green State University

Spectrum for Horn, Cello and Tuba by Elliott Schwartz. Tuba-Euphonium Press, David Miles, editor, 3811 Ridge Road, Annandale, Va. 22003-1832. www.tubaeuphoniumpress.com; dymiles@verizon.net. $12. 2002.

If you’ve been looking for a piece that allows your chamber ensemble to speak and shout intermittently between performed passages of melody fragments, groups of “boxed” notes, double stops in the cello and stopped notes on the horn then Spectrum just might be the contemporary “theater” piece you’ve been looking for. Composed in 1998, it was conceived as a set of short movements that were inspired by the colors red, orange, yellow, green, blue, indigo, and violet. As you can tell by the number of colors, there are seven short movements that last about eight minutes. While the notation is traditional, at times the performers are asked to perform sections of “clock time.” That’s where the boxed notes come into play. You have a random set of notes to perform in repeated pattern within a certain amount of time; otherwise known as spatial music. All performers read from their own copy of the score. The range of the tuba is from FF to d1.

There are some nice effects brought out by the combination of these three instruments. It is definitely worth taking a look at it if you’re looking for that certain “performance” piece that will provide your listeners with a topic of conversation. Who knows, you might hear a bunch of finger snaps instead of applause at the end of your performance. Groovy, man!
~Raúl I. Rodríguez, Texas State University-San Marcos

Pop Suite #5 for brass quintet by Arthur Frackenpohl. Kendor Music, Inc. 21 Grove Street. P.O. Box 278, Delevan, N.Y. 14042-0278. $12. 2003. 6:50. Grade 5.

Wow—how many of us have been touched by the works of Arthur Frackenpohl? Born 23 April 1924, Mr. Frackenpohl has had a teaching career spanning over 35 years and has composed and/or arranged hundreds of works for most every conceivable type of brass ensemble.

Those of you familiar with the works of Frackenpohl know that you usually do not have to dig too far beneath the surface to find his own, very original, “could be considered quirky” form of genius. Subtitled “Borrowings,” Pop Suite #5 pays homage to Beethoven in the first movement (“Moonlight March”), Chopin in movement two (“Ballad for George”), and Dvorak in the third (“Humorisque”). The range needed to perform this work is GG to c1. The challenges come from getting the connection and control over some soft volume, slurred passages in movement two and being able to shift gears to a jazzy, “quasi-dixie” style full of syncopation in movement three.

College and professional quintets will find this a nice addition to their “Sunday afternoon community concert” books. The delightful melodies trade-off dovetailing passages and ending with a rollicking “four parts vs. the tuba” romp. The harmonies will keep you awake and alert. These are not straight V to I walks in the park! I do feel that this piece is beyond many high school age quintets, but to make the attempt would really help them grow musically. These suites really need to be played with great attention to detail in order to be effective and keep the sense of humor “fresh.”
~Phillip C. Black, Wichita State University

Recordings

Steven Mead in Euphonium Magic CD recording featuring Steven Mead, euphonium. Catalogue no. BOCC 101. Bocchino Music 10 Old Forge Road, Fenny Drayton, Warks CV13 6BD, U.K. Phone/Fax: ++44 1827 711964; www.euphonium.net; bocchinomusic@euphonium.net. £11.50 plus shipping. 2003.

Euphonium Magic is a “must hear and have” CD. It’s a pleasure to listen to and a very unique production in that Steven Mead is the single player on this multi-track CD with music ensemble pieces containing anywhere from 4 to 17 individual parts (imagine Ride of the Valkyries in 17 euphonium parts). Parts and sound in these pieces range from low tuba & bass bone parts to high horn/trumpet ranges, and, astonishingly, he plays them all on a single horn (Besson 20252 Prestige Euphonium) with a single mouthpiece (SM3)! How does he do it? He does use a variety of different mutes, which include Denis Wick practice and metal straight mutes and Humes & Berg fiber mutes, which I think help him to achieve the different instrument sounds. Although, I believe the range is all him. His low full tuba notes sound like he’s using a CC tuba, and he gets out some mean bass bone licks. I think perhaps muting may help his success when using up to 17 parts in a piece when all he has is one instrument without sounding muddy at the least—but wow, what a variety he shows us! Hats off to the arrangers—with Maurice Bales doing several of the ensemble works! Kudos as well to the sound engineer, Mike Moor, for his magical work with recording, mixing and editing.

I applaud Mr. Mead for demonstrating the euphonium’s amazing potential and versatility! Folks, you must check out his website and see what he is doing today as well what he has accomplished. With his busy schedule of about 75 solo performances a year across the world, his production of over 35 CDs and his teaching, contributions to euphonium literature and work with multinational brass bands, I’m amazed he has had time to produce this wonderful CD, which is obviously a work of fun but hours and hours of recording time.

What a range of styles and genres he offers on this CD—from classical favorites such as Bach’s Toccata & Fugue in D minor (4 parts) and Gabrieli’s Sonata Pien’eforte (2 four part choirs and they sound like separate choirs) to swing tunes Frankie & Johnny, Fly me to the Moon, and Jump, Jive an’Wail. My favorite aspect is his sound that sings in Debussy’s Clair de Lune (6 parts) and The Girl with the Flaxen Hair. Fun to hear is his Dukas’ Sorcerer’s Apprentice (a magical 14-part work).

Thanks for breaking the mold, Steven, and proving that euphonium can be a way of life and you can be a success at this instrument! You’re doing what this reviewer has always dreamed of – I wish we could achieve in America the obvious brass band support and tradition that exists in the U.K.
~Cynthia Short, Solo Euphoniumist, Des Moines Municipal Band, Des Moines, Iowa

Big Boy CD recording featuring Gene Pokorny, tuba; with Jay Friedman, Michael Mulcahy, trombones; Charles Vernon, bass trombone; Bradley Haag, piano; Edward “Ted” Atkatz, percussion; Chris Willis, tape realization. DCD 283. Summit Records, Inc. P.O. Box 26850, Tempe, Ariz. 85285-6850. 1-800-808-4449; www.summitrecords.com; sales@summitrecords.com. $16.99. 2002.

With Big Boy, Gene Pokorny continues to cement his reputation as one our finest tubists. His previous solo recording, Tuba Tracks, is an essential in any tubist’s collection, and this new recording is equally as good and much more adventurous in its programming. The title is again a reference to Pokorny’s fascination with trains. “Big Boy” was the name given to the Union Pacific 4023, one of the largest steam locomotives ever built. It’s really worth the price of the CD to see the picture of the train on the cover. This thing is the size of a small office building!

Unlike Tuba Tracks, Big Boy consists primarily of original compositions, all of which have some connection to Pokorny. All are valuable additions to the repertoire. Perhaps the most daring piece is the only transcription on the recording, Prokofiev’s Visions Fugitives. This is a collection of twenty short pieces originally for solo piano transcribed by Beth Lodal, Pokorny’s wife. This is early Prokofiev, accessible music but with twenty movements adding up to over twenty-five minutes of music. It becomes an exercise in concentration as you try to keep up with which piece is being played.

The rest of the repertoire runs the gamut from the neo-romantic (Barry McKimm’s gorgeous Andante Tranquillo) to the minimalist (William Penn’s Capriccio) to the avant-garde (Penn’s Three Essays, ironically the oldest original composition on the CD. Maybe we need to rethink the term “avant-garde”). My favorite piece on the recording is Jeffrey Reynolds’ Skirmish and Dance, written for the Chicago Symphony low brass section. The orchestral low brass quartet (for lack of a better name) is an underutilized chamber combination, and Reynolds’ piece is a significant contribution to a limited genre.

The playing of all the musicians is stellar. The reputation of the CSO low brass section is well known and well-deserved, as can be heard on the Reynolds. “Ted” Atkatz’s percussion work on Satterwhite’s And What Rough Beast...? is first-rate, and Bradley Haag nearly upstages the soloist with his work on the McKimm and the Prokofiev. Chris Willis also receives a performance credit for his imaginative tape realization of the Penn Capriccio (originally for marimba).

But the tubist is center stage, and Pokorny raises the bar with this recording. Nearly everything is played on the famous CSO York, and Pokorny unleashes an astonishing array of sounds from this venerable instrument. There are times during Three Essays when the sound is reminiscent of the classic mid-1970s Roger Bobo LPs—the antithesis of the classic York ideal. But that ideal is in evidence, too. Listen to the warmth and lyricism of the McKimm or the textbook “bottom” to the ensemble of the Reynolds. All of this is brilliantly engineered with just the right balance of presence and ambiance. Unfortunately, I couldn’t find a credit for the engineer or the producer. I’d love to know who they are, and if I can afford them!

I highly recommend this CD. Not everyone will like every piece, but the breadth of the repertoire and the quality of the performances and recording make this as essential for your CD library as Tuba Tracks. I look forward to Gene Pokorny’s next recording.
~Richard Perry, University of Southern Mississippi

Obsessions CD recording featuring Ryuji Ushigami, euphonium with Yumi Sato, piano. Nippon Acoustic Records, Japan. NAR 2004. For more information: homepage3.nifty.com/euphoria; ryu-euph@nifty.com. 2002. 67:39.

Nothing would please me more than to be able to reiterate the entire liner notes in the course of this review but that won’t be possible since 98% of the notes are in Japanese. Good luck researching his website as well. It’s also in Japanese. What I was able to discern from the 2% that was in English is the following: Obsessions was recorded on December 27–8, 2002 in the Chichibu Myuzu Park Music Hall in Japan, and Mr. Ushigami performs on a Besson Prestige. Another interesting fact is that Mr. Ushigami won third prize in the solo euphonium competition held at the 1999 Tubamania in Australia.

Included on the recording are the following selections: Partita for Euphonium and Piano by Arthur Butterworth, Euphonium Concerto by Philip Sparke, Obsessions for Euphonium and Piano by Jan Van der Roost, As Wonderful Things Drift By Fantasia for Euphonium and Piano by Jiro Censhu, Romance by Edward Elgar transcribed by Eric Wilson, and Concert Variations for Euphonium and Piano by Jan Bach.

On the whole the performance is excellent. Mr. Ushigami displays great technical facility and beautiful singing lines without overdoing the vibrato. He plays with much emotion and character weaving his way through a wide range of dynamics and tonal colors. In the Bach there is solid display of multi-phonics and other special performance techniques. Ms. Sato equally displays her craft as an able accompanist. Her musicality shines through and adds to the overall enjoyment of the performances on this recording. The engineers captured great balance and a tonal palette such as you would hear at a live performance. It’s a pleasure to hear a recorded performance as it was meant to be heard; without over producing it to remove every breath, valve pop, altering of the tone quality, etc.

When you find way to obtain this recording, do so. As an import it might be a bit pricey but definitely worth the price.
~Raúl I. Rodríguez, Texas State University-San Marcos

Tuba Carnival CD recording featuring Øystein Baadsvik, tuba and the Musica Vitae chamber orchestra, Bjørn Sagstad, conductor. BIS CD-1285 Stereo. BIS Records AB, Stationsvagen 20, S-184 50 Akersberga. Phone: 08 (Int. +46 8) 54 41 02 30; FAX: 08 (Int. +46 8) 54 41 02 40; info@bis.se. www.bis.se. 2003. Prices vary. Also available from the performer: oystein@baadsvik.com. http://www.baadsvik.com.

Øystein Baadsvik has certainly created a splash in a big way with his new CD recording. Although he has appeared at numerous conferences and as a soloist all over the planet, this is only his second solo recording. The first was released over ten years ago and his playing has only matured steadily since! The selections on this CD feature Mr. Baadsvik in a solo role with the Musica Vitae chamber orchestra on virtually all the selections. And what repertoire! His first piece was premiered at the ITEC 2002 conference in North Carolina and is titled Fnugg. It is a solo improvisatory piece on tuba conceived by Baadsvik to exploit relationships with multiphonics imitating a didgeridoo, melodic ideas from Norwegian folk music, pop/rock chord progressions, and using what he calls “Lip Beat” which is a percussive use of the tongue imitating various percussive sounds in between pitches. He brought the house down at the conference and this version does not disappoint! Next is a curious arrangement of “Winter” from Vivadi’s Four Seasons where the tuba is used in conjunction with the strings. At times, he plays right along with the orchestra in the extreme high range and uses multiple tonguing to keep up. It is an amazing feat of virtuosity although personally, I do believe there are limits to what a tuba should do in an arrangement! Evidently that limit has not yet been reached in Baadsvik’s ability!

Following are Grieg’s Norwegian Dance No. 1 and Anitra’s Dance. Both are beautifully orchestrated and show how melodic the tuba can be in the hands of a master musician. The Concerto for Tuba and Strings by Arild Plau is another great work on this disc. It was premiered by Baadsvik in 2001. Each of the three movements gives the tuba great expressiveness and technical challenges with a marvelous string accompaniment that never detracts or overpowers the soloist. There is no question that this piece really shows off the soloist’s considerable technical and lyrical abilities.

The Kesh Jig was arranged by Staffan Lundén-Welden from an old Irish folk melody into what he calls a one-movement concerto for tuba. It is patterned after the gigue form and contains many elements of the classical concerto although the composer set a fugue with the strings instead of the obligatory cadenza! It is certainly a fun and flashy work that has all the elements of virtuosity we have come to expect from this extraordinary performer. The Variations in Olden Style by trumpeter Thomas Stevens is no stranger to the compact disc world having been recorded by other tubists as well. Baadsvik uses orchestral accompaniment and proves once again his mastery of different styles and periods with this retrospective of earlier times.

The last two works, Arban’s Carnival of Venice and Monti’s Czardas need no introduction. Each have been recorded several times by tubists around the globe. Baadsvik once again calls upon unique orchestrations aptly played by Musica Vitae to show his incredible virtuosity and gift for making the tuba an instrument that perhaps finally has reached mainstream audiences.

This compact disc was one of the most enjoyable listens I have had in a long, long time. It has something for everyone. The balance and blend of the ensemble to the soloist is outstanding. Baadsvik’s playing and musicianship has raised the bar for future tubists to imitate and enjoy. Everything about the disc from the program notes to the performances is elegant. Three words: BUY THIS DISC!
~Mark Nelson, Pima Community College

Texts

Mastering the Tuba Complete Book by Roger Bobo. Editions Bim. P.O. Box 300, CH-1674 Vuarmarens, Switzerland. Phone: ++41-(0)21-909-1000; FAX: ++41-(0)21-909 1009; www.editions-bim.com ; orders@editions-bim.com.. 38.00 CHF/26.00€ /$29.50. 2003.

When the Mastering the Tuba Book I subtitled “Fundamental exercises (warm-ups)” came out in 1993, I reviewed that edition in the T.U.B.A. Journal. It is a fascinating book, all in treble clef consisting of pedagogical statements, lots of thought-provoking ideas with exercises to back up the philosophy, and a practical guide to doing warm-up and extension exercises. I eagerly looked forward to Book II and eventually Book III, which seemed to be what was planned in the future at that time. Scroll forward ten years and the “complete” book comes out. It turns out to be somewhat of a myth. True, there are few additional sections on circular breathing and vibrato, for example, that take up a few additional pages but everything else is EXACTLY THE SAME TEXT and same exercises. True, the entire book has been reset into more economical fonts and the musical examples have been condensed in form so they take up less room. The original text is 116 pages. The new “complete” text is a mere 66 pages. Nothing has been left out much like the second edition of the Bevan Tuba Family text, just condensed here and there so wasted space has been eliminated. What struck me as humorous is the statement on the front page: “This new edition revised and enlarged (complete) version replaces definitively the previous edition under titled ‘Book 1.’” True. But not much more was added.

Enough on the semantics of what a revised and enlarged edition really means. Important is that the ideas and pedagogy in either text are worth looking at. The new edition has a welcomed table of contents so pages on a particular topic can be found easily. Once one gets beyond the quirkiness of reading in treble clef, the exercises are interesting and do help with things like playing over the break, ear training in the high register, approaching a technical passage, and chromatic high register blending to name a few topics. The new sections such as the cute section on circular breathing are useful but not definitive. I did enjoy seeing pictures of a young boy demonstrating circular breathing by using water shooting out of his mouth as an illustration of how the air flows. In all, none of the appeal of the first edition is lost on this version. It does condense the type and exercises so some pages are not as easy to read as the first edition. The photo of Roger Bobo is updated, as are his conclusions and biography. Much has changed in the tuba world over the last decade but this text has not seen much of it!
~Mark Nelson, Pima Community College