ITEA Journal Volume 48 Number 3 (Spring 2021)
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New Materials
Tom Curry, Associate Editor
The ITEA Journal encourages submissions of materials for review.
Guidelines:
EUPHONIUM AND TUBA LEVELS
I Beginner (up to one year)
II Intermediate (two to three years)
III High School
IV University
V Professional
Level I (Beginner)
Euphonium range, approximately one octave: Bb-b-flat.
Tuba range, approximately one octave: Bb-B(d).
One year of instruction. Limited rhythmic/technical requirements. No note values greater than eighth notes, no syncopated rhythms. Music of a tonal nature.
Level II (Intermediate)
Euphonium range approximately F-f1.
Tuba range approximately AA-e.
Two/three years of instruction. Rhythmic/technical requirements involve
simple sixteenth note patterns. Simple, limited syncopated patterns.
Level III (High School, Secondary School, Pre-college)
Euphonium range approximately F-b1.
Tuba range approximately FF-b.
Moderate tessitura. More rhythmic complexity. Extended syncopations,
sixteenth note patterns, triplets, and so on. Moderate amount of multiple
tonguings.
Level IV (University/College)
Euphonium range approximately Bb-c2.
Tuba range approximately (BBB) CC-f1.
Higher advanced tessitura. Increased rhythmic complexity/multimetric. Angular melodic lines. Dissonant harmonies/contemporary harmonies. Endurance factors. Introduction to avant-garde techniques (flutter tongue, multiphonics, etc.). Multiple tonguings. Dynamic control and extremes.
Level V (Professional)
Euphonium range: CC-f 2.
Tuba range: (CCC) DDD-b1 (c2+).
Extended high tessitura. Rhythmic/technical complexity of highest order.
Angular lines/large skips in melody. Advanced twentieth- century
techniques. Extreme dynamic contrasts.
REVIEWED IN THIS ISSUE
Tuba
15 Orchestral Etudes for Contrabass Tuba . Tuba. Ben McMillan. Edited and supplemented by Dr. Preston Light. Cimarron Music Press. www.cimarronmusic.com. CM 4224. 2019.
Concerto. Tuba and Piano. Wes Flinn. Cimarron Music Press. www.cimarronmusic.com. CM 4055. 2019.
Scenes from the Andalusia . Tuba and Piano. Elizabeth Raum. Cimarron Music Press. www.cimarronmusic.com. CM 4255. 2019.
Euphonium
Concerto for Euphonium . Euphonium and Piano. Wan-Yun Liang. Cimarron Music Press. www.cimarronmusic.com. CM 4014. 2018.
Dueling Fundamentals: Advanced Fundamental Exercises for Two Tubas . Two Tubas. Alexander Lapins. Mountain Peak Music. www.mountainpeakmusic.com. MPM 16-020. 2018.
Neon Dream. Solo Euphonium and Fixed Media. Ian Lester. Cimarron Music Press. www.cimarronmusic.com. CM 4319. 2020.
Rite of Passage: Variations on a theme by Paganini . Euphonium and Piano. Alan Lourens. Cimarron Music Press. www.cimarronmusic.com. CM 4123. 2019.
Chamber Music
A Euphonious Quartet . Euphonium, Violin, Viola, and Cello. Samuel Adler. Theodore Presser Company. www.presser.com. 114-41763. 2016.
Every Day an Alleluia . Two Tubas and Piano. Barbara York. Cimarron Music Press. www.cimarronmusic.com. CM 4064. 2018.
Five Duets for Tuba and Euphonium . Tuba and Euphonium. Justin Beaman. Cherry Classics Music. www.cherryclassics.com. 2020.
Messa da Requiem . Euphonium Quartet. Giuseppe Verdi. Arranged by Justin Weis. Self-published. www.justinweismusic.com. 2020.
Quoniam tu solus Sanctus from Mass in B Minor . Tuba-Euphonium Quartet with Euphonium or Horn Obligato. J.S. Bach. Arranged by Justin Bland. Cherry Classics. www.cherryclassics.com.
Twelve Duos for Tubas . Two Tubas. Petros Shoujounian. Cherry Classics Music.www.CherryClassics.com. 2020.
Audio
Don't Look Down. Curry, Hetzler & Di Sanza, featuring Tom Curry, tuba. Self-released. curryhetzlerdisanza.bandcamp.com. 2020.
Fascinating Brass . Denver Brass. The Denver Brass. www.denverbrass.org. 2020.
Firestorm: The Music of Stephen Bulla . The Brass Band of the Potomac, conducted by Stephen Bulla with euphonium soloist Brandon Jones. Hal Leonard. www.halleonard.com. LIC 1530. 2020.
Message in a Tuba . Kent Eshelman, tuba with In-Ja Eshelman, piano. Soundset Recordings. www.soundset.com. SR1118. 2020.
Mountain Song . Paul Carlson, tuba and Brian Ciach, piano. Potenza Music. www.potenzamusic.com. PM1065. 2020.
Out on the Coast . David Angel Jazz Ensemble, featuring Jim Self, tuba and bass trombone. Basset Hound Music. www.jimself.com. BHR102-18. 2020.
Salztuba . Michael Salzman. Self-released. www.salztuba.com. 2020.
Songs for One and More . Matthew Murchison. Self-released. www.murchmusic.net. 2020.
Under Tennessee Skies. Chris Combest. Self-released. www.chriscombest.com. 2020.
REVIEWS
Tuba
15 Orchestral Etudes for Contrabass Tuba . Tuba. Ben McMillan. Edited and supplemented by Dr. Preston Light. Cimarron Music Press. www.cimarronmusic.com. CM 4224. 2019.
Range: DD to d1
Difficulty Level: IV
Introducing aspiring orchestral tubists to standard audition excerpts has always been a challenging balancing act for educators. Often very little value can be derived from simply practicing the same forty bars ad nauseum. In my experience, that type of practice can engrain bad habits in young high school tubists. The excerpts themselves, after all, are just small snippets of a large overall work that encompasses a much larger portion of sound, colors and styles. In my professional years, I was able to conceptualize and consequently perform an excerpt much more convincingly after having the opportunity to perform the piece with the rest of the orchestra. But how, then, are we as educators to help students achieve similar results with such limited capacity for them to experience performing these works? Ben McMillan's new contribution helps to bridge that gap.
McMillan's work 15 Orchestral Etudes for Contrabass Tuba is composed around the idea of fully exploring the idiosyncrasies of each excerpt's core style. In the composer's own words, the intention is to "round out the performer's mastery of each excerpt." Each of the fifteen short etudes are directly linked to a commonly seen except in orchestral tuba auditions. Many of the connections are obvious, such as the low soaring lines in one of the etudes titled "Porko Darko" drawing directly from the challenging phrasing from Prokofiev's Symphony No. 5, or the rhythmic groove of the etudes paired with Hindemith's Symphonic Metamorphosis. Others are less obvious, but center on the more finicky technical aspects that can get in the way of a tubist conveying his or her musical ideas through their performance. With helpful editorial contributions and forwards to each etude from Dr. Preston Light, mastering this set of etudes is sure to aid the aspiring orchestral tubist in his or her foray into the world of standard excerpts. Pairing each etude with its source excerpt can be a fruitful endeavor, focusing first on details in the etude before simply enjoying the residual benefits when playing the excerpt itself.
This book can help tubists in two ways: it can help introduce a specific style to a student that has yet to tackle an excerpt, or it can help keep those styles fresh and less "robotic" for the more experienced audition taker. Regardless of how it is used, these etudes are a welcome addition to the repository of teaching material. I enjoyed learning them and plan to continue exploring and using them in my own personal practice.
Joshua J. Biere, Madison Symphony Orchestra
Concerto. Tuba and Piano. Wes Flinn. Cimarron Music Press. www.cimarronmusic.com. CM 4055. 2019.
Range: EE - f sharp1
Difficulty Level: IV
Piano Difficulty: Medium
Wes Flinn is a composer and music professor at the University of Minnesota-Morris. His Concerto for tuba was written in 2019 and premiered by tubist Mike Odello. The piece unfolds in a traditional three-movement concerto form with fast-slow-fast tempos in each respective movement.
The composer utilizes a short rhythmic figure through the concerto's opening theme that ties the entire first movement together. A haunting lyrical melody follows, and both of these main ideas return before a cadenza finishes the movement. The second movement again returns to the lyrical language of the first, articulated by short melodic fragments and interrupted by a more dance-like 6/8 section. Finally, the third movement is a study in contrast between compound and simple time signatures, as the solo part features multiple ascending technical lines.
The harmonic writing of this piece definitely tends to be more contemporary in nature, with a great deal of chromaticism and non-tonal melodic writing. Since the rhythmic writing is straightforward, this would make a great piece for a college student looking to expand their harmonic vocabulary into more modern tonalities. Studying and performing this concerto will allow musicians to expand their ability to process non-tonal melodies and will stretch their ear training abilities.
Dr. Scott Roeder, University of Texas Rio Grande Valley
Dueling Fundamentals: Advanced Fundamental Exercises for Two Tubas . Two Tubas. Alexander Lapins. Mountain Peak Music. www.mountainpeakmusic.com. MPM 16-020. 2018.
Range: BBB flat - g1
Difficulty Level: IV
I am always telling my students to find ways to play together more often, as learning to adjust to other players is a critical skill to master. Generations of tuba players have done what we do so well-adapt material to get what we need. With Dueling Fundamentals, Alex Lapins, Professor of Tuba and Euphonium at the University of Tennessee-Knoxville, offers original studies that allow players to build their fundamental skillsets together. Lapins takes players through five sections-Long Tones, Stabilizers, Flexibility, Range Extenders and Scales and Arpeggios-each of which contain five exercises. Clever titles reminiscent of the Tommy Pederson duet books describe each work with just the right amount of "dad-joke" humor. "Weeping Willow" evokes the long, curving branches of the tree, matching the lines written on the page. "It's Hip to Be Square" both describes the exercise accurately and introduces a younger generation to the 80s band Huey Lewis and the News. Another feature of this book is that many of the exercises serve as preparatory studies for major works in our repertoire. Wagner's Ring Cycle, Holst's Second Suite, the cadenza from Vaughan-Williams' Tuba Concerto, and Berlioz's Symphonie Fantastique will all be much easier to learn having mastered the drills in this book.
Ring bound to lay flat on the stand and with clearly laid out manuscript that avoids awkward page turns, this is a well-designed, fun book that keeps what can be a stale part of playing the horn fresh. I cannot recommend it highly enough.
Jarrod Williams, East Carolina University
Scenes from the Andalusia . Tuba and Piano. Elizabeth Raum. Cimarron Music Press. www.cimarronmusic.com. CM 4255. 2019.
Range: GG - d1
Difficulty Level: IV
Piano Difficulty Medium
Scenes from the Andalusia is an evocative transcription and expansion of themes from Elizabeth Raum's ballet titled Carmen, The Passion. This new adaptation for tuba and piano was written for and premiered by Sergio Carolino at the Gravissimo! Festival in Portugal during August 2019. This composition is divided into three sections that each emulate the unique and vibrant style of Andalusian music and are titled "Soldier's March," "Gypsy Fortune Teller," and "Bullfight." This composition is roughly eight minutes and thirty seconds in length, and the piano writing is of medium difficulty.
The opening of Raum's new work features an embellished musical dialogue between the piano and tuba in a brisk minor modality. The characterization of this "Soldier's March" is clear due to the driving rhythmic motives which oscillate between duple and triple patterns, and the composer's use of the Phrygian mode in parts of this section feels distinctly reminiscent of the Andalusian region of Spain.
Near the end of the "Soldier's March" section, an acrobatic new motive begins to emerge in the tuba writing, signaling a transition to the melancholy second section of this work. "Gypsy Fortune Teller" assumes a much more somber mood in a slower tempo after a short interlude by the piano. Lush harmonies swell in the piano beneath the tuba's gentle upper register melody, and the musical intensity gradually builds into several dramatic flourishes between both instruments as they approach the climactic and unexpected conclusion to this section. After a relatively brief and rhythmically free transition, the final section of this piece begins with a lively rhythmic ostinato pattern in the piano.
In "Bullfight," the composer reestablishes the Phrygian modality with a bright 6/8 tempo full of embellishments and flourishes from both the tuba and piano. The tuba writing in this section is both delicate and acrobatic, exploring the instrument's middle and upper registers. This section of new melodic material is the shortest of the piece but features exciting and idiomatic writing for both the pianist and tubist.
Scenes from the Andalusia concludes by abruptly calling back to the themes from the opening of this piece in a constantly accelerating coda, culminating in a dramatic and satisfying finale.
Dr. David Earll, Ithaca College
Euphonium
Concerto for Euphonium . Euphonium and Piano. Wan-Yun Liang. Cimarron Music Press. www.cimarronmusic.com. CM 4014. 2018.
Range: F - d2
Difficulty Level: IV
Piano Difficulty: Medium
Wan-Yun Liang is a Taiwanese composer whose works have been performed by ensembles and soloists in several countries. Her piece, Concerto for Euphonium, was written for euphonium or baritone. Taiwanese baritone player Shih-Yao Huang commissioned the concerto, which was published in 2018 and premiered by him later that year.
Concerto for Euphonium contains three movements. The first, "A Mezza Voce," is in sonata form with an introduction followed by exposition and development of two melodies. The second movement begins with a slow dance-like three, becomes a quick waltz for the middle section, and ends with a slower section. After a short moderate-tempo introduction, the final movement, "Cantabile," transitions to an animato in 12/8 which persists to the end of the piece.
Each movement presents its own challenges. With both the highest note of the piece (d2) and lowest (F), the first movement is demanding in its range. In this movement, there are also extended passages above middle C as well as technique and dynamic control concerns in the high register. The primary challenge of the second movement is musical. For less experienced performers, the challenge will be deciding how best to serve the musical line of prolonged sections of quarter notes. In movement three, the challenge is technique. The main rhythmic figure is the eighth note at dotted quarter note equals 108. With sixteenth notes scattered throughout the piece, this makes for some fairly rapid note changes.
The difficulty level of Concerto for Euphonium is level IV for extended high range, technical, and musical considerations. Piano difficulty for this piece is medium for technical passages and rhythmic challenges.
Total playing time for Concerto for Euphonium is approximately fifteen minutes. Performances of the whole piece or individual movements will make excellent additions to studio recitals and/or degree recitals. This a great new piece and a fine addition to the repertoire.
Jeremy Lewis, West Texas A&M University
Neon Dream. Solo Euphonium and Fixed Media. Ian Lester. Cimarron Music Press. www.cimarronmusic.com. CM 4319. 2020.
Range: E - f2
Difficulty Level: IV - V
Ian Lester's latest contribution to the repertoire is an undeniably fun, entertaining, virtuosic showpiece. It is a relatively short five-minute work centered around the ambiance and action of a laser tag arena. The backing track consists mostly of driving electronic drum beats as well as synth bass and keyboard sounds, and it absolutely captures the desired aesthetic. Divided into six parts with titles like "The Enemy Has Been Hit!" and "First Shot Fired!" Neon Dream offers an emotive retro groove centered around a rather athletic euphonium part. The opening parts feature driving rhythms with fast moving arpeggiated patterns and an accompaniment that certainly helps keep the energy and groove. Lester also offers a chance for the soloist to show a bit of lyricism in the middle section of his work, "Deactivated!" which features long ornamented solo lines accompanied by long synth arpeggiated organ sounds. The action quickly returns, however, in "The Final Push!" with the reintroduction of the synth bass and driving groove to close out the piece with a virtuosic flourish.
The work itself is not overly complicated-the melodies are catchy and easy to hear and would be well-received by most audiences. However, the writing is very demanding in terms of the agility and technique of the soloist. With an expansive range of E to f2, Neon Dream demands a firm grasp on extended registers and rapid articulations. The effective performer would need to have a developed sense of groove and rhythm, as well as a good amount of agility to navigate some very quick and large leaps at moderately fast tempi. This piece would be excellent for a program designed for young people, or for a performer looking for their first experience with fixed media. It would also make a very fun closing showpiece for a recital that needs to limit its participants to single performer in the current pandemic. The composer offers a recording available for perusal on his website, www.ianlestermusic.com.
Joshua J. Biere, Madison Symphony Orchestra
Rite of Passage: Variations on a theme by Paganini . Euphonium and Piano. Alan Lourens. Cimarron Music Press. www.cimarronmusic.com. CM 4123. 2019.
Range: D - b flat1
Difficulty Level: V
Piano Difficulty: Medium
Alan Lourens' aptly titled Rite of Passage brings the 24th caprice of famed Italian violin virtuoso Niccolo Paganini to the euphonium repertoire. This piece serves as a vehicle to display extended techniques and burning displays of technical pyrotechnics, just as the original work for violin does.
After establishing the theme and a predictable scalar first variation, double tonguing and rhythmically displaced accents are used in the second. The third variation (mislabeled as Variation Four) has wide intervals and glissandi as its signature. Variation Five puts sharply contrasting dynamics in different registers of the instrument. Variation Six contains multiphonics as well as half-valve glissandi and directs the performer to play into the piano in a very free tempo. The seventh variation gives the audience a respite from the flurry of notes that come before and after, using lyricism and multi-meter to stand apart from the others. The eighth and ninth variations, along with the finale, sprint to a satisfying conclusion. Idiomatic to the instrument and with an accompaniment of medium difficulty, Rite of Passage is a welcome addition to the repertoire.
Jarrod Williams, East Carolina University
Chamber Music
A Euphonious Quartet . Euphonium, Violin, Viola, and Cello. Samuel Adler. Theodore Presser Company. www.presser.com. 114-41763. 2016.
Euphonium Range: BB flat - c flat2
Difficulty Level: V
Samuel Adler (b. 1928) is a German American composer who studied composition with Aaron Copland, Paul Hindemith, Walter Piston, and Randall Thompson. His compositional style is known for its contrapuntal texture, rhythmic energy, and unique harmonic language. He is also known for his highly regarded text, A Study on Orchestration. A Euphonious Quartet was commissioned by Evan Kelsick to help expand the variety of euphonium repertoire. The composer states that he has a fondness for the euphonium, and that a greater amount of chamber music including the instrument is needed. Adler treats each instrument in the quartet equally, creating a conversational dialogue. This composition has three movements and is based on a Platonic concept that music was based on either song or dance.
The first movement begins with a slow tempo, presenting an angular melody in the euphonium that encompasses a large range. The strings present an assortment of techniques including pizzicato, harmonics, and double stops. The next section, "fast and bright," is dance-like, contains mixed meters of 5/8 and 6/8 meter, and has large interval jumps in all parts. The composer notates that any eighth or sixteenth notes that are not slurred are to be performed staccato; this creates distinct melodic contrast in euphonium and adds further vivacity to the movement. The euphonium has several leaps of nearly two octaves and double-tongued passages.
The second movement has a slow tempo and is scored with mutes in all of the parts. The euphonium has an expressive, angular, song-like melody supported by dissonant chords and enriched counterpoint in the strings. Though dissonant, there is a strong emotional effect that intensifies as rhythmic dissonance is added. The second movement ends with a five-second pause and an attacca to the third movement, allowing for the removal of mutes. The third movement begins briskly in duple meter with cascading octatonic sixteenth note runs in the strings and a melody full of large leaps in the euphonium. The finale is highly episodic in nature, juxtaposing lyricism with technical agility and concluding with an energetic ending.
Though it contains angular melodies and is dissonant, Adler's A Euphonious Quartet is highly entertaining and engaging for the performer and listener alike. The work requires a significant control of range, technical facility, and expression from all members of the quartet and is a welcome new chamber work opportunity for the advanced euphonium performer.
Dr. James M. Green, Ohio Northern University, Ohio Christian University
Every Day an Alleluia . Two Tubas and Piano. Barbara York. Cimarron Music Press. www.cimarronmusic.com. CM 4064. 2018.
Ranges:
Tuba I: G - g1
Tuba II: AA - c1
Difficulty Level: IV
Piano Difficulty: Easy
Barbara York's composition Every Day an Alleluia, published by Cimarron Music Press, is a lyrical, playful, beautiful piece for two brass voices and piano. There are four versions of this piece available from Cimarron: two horns and piano; horn, tuba and piano; euphonium, tuba and piano; and two tubas and piano.
This piece is in mixed meter; an easy mix of 3/4, 2/4 and 6/8. It is lyrical and buoyant throughout, with underlying eighth notes in the piano supporting more sustained lines in the brass voices. The range of the first part (G-g1) requires secure high range and would be much easier on a bass tuba, while the lower part (AA-c1) could easily be played on a bass or contrabass tuba. The Tuba I part would also be entirely midrange if played on euphonium.
The piece mostly follows the initial marking, "Joyful Allegro," but there is a contrasting slower section in the middle followed by a "Maestoso glorioso" transition, both in 6/4, before a return to the allegro in mixed meter. Harmonies are traditional, living mostly in a happy G major with visits to C major and related minor keys.
The piano part is not difficult, and, while it is always enjoyable to hear good music made by professionals, this would be an excellent piece for college students to perform. It is certain to be an audience favorite.
Dr. Alexander Lapins, University of Tennessee-Knoxville
Five Duets for Tuba and Euphonium . Tuba and Euphonium. Justin Beaman. Cherry Classics Music. www.cherryclassics.com. 2020.
Ranges:
Euphonium: E flat - b sharp1
Tuba: EE flat - b flat
Difficulty Level: III
Justin Beaman (b. 1997) studied Music Education and Euphonium Performance at Northwestern University and is a former section leader for The Cavalier's Drum and Bugle Corps, where he will be a brass intern for the 2021 season. Beaman's Five Duets for Tuba and Euphonium is a delightful selection of short and varied movements, coming in at just under eight minutes. Each duet offers up a variety of challenges that are appropriately leveled toward undergraduate tuba and euphonium students.
The first duet requires consistent fast articulation, utilizing sixteenth notes throughout in both parts. Written in the key of D flat major and incorporating a fair number of accidentals, this duet calls for equal technical skill from both musicians.
Duet No. 2 allows ample opportunity for the two performers to practice ensemble technique, including rubato and cueing. The sustained intervals throughout and the unison section at the end provide ample discussion of intonation and blend.
The modality of the third duet makes for some challenging technical passages, with trills and accidentals throughout. This movement is also one of the most rhythmically challenging of the five, with dance-like interchanges between the tuba and euphonium.
Duet No. 4 offers a lovely study in dissonance and consonance as well as dotted rhythms, triplets, and syncopation. The simple thematic material requires the musicians to stretch their dynamic and phrasing abilities as well.
The final duet of this series is an upbeat study in clarity and technique, challenging the performers to play fluidly in F sharp major while performing a driving rhythmic melody that brings the piece to an enthusiastic end.
With parts that are relatively equal in difficulty and tuba writing that is well-suited to a contrabass instrument, this piece would make an excellent addition to an undergraduate recital program. It would also be useful as an avenue to work on various technical, lyrical, and ensemble skills during applied lessons. These duets use a mixture of duple and triple time signatures, as well as less familiar keys and accidentals, all in the context of well-written and memorable melodies.
Dr. Genevieve Clarkson, Oklahoma City University
Messa da Requiem . Euphonium Quartet. Giuseppe Verdi. Arranged by Justin Weis. Self-published. www.justinweismusic.com. 2020.
Ranges:
Euphonium I: G - c2
Euphonium II: D - a1
Euphonium III: D - g1
Euphonium IV: FF sharp - g1
Difficulty Level: IV
Giuseppe Verdi was a prolific Italian composer during the nineteenth century best known for his operas. Verdi's music became a patriotic symbol in the unification of Italy during the 1860s and is still popular and performed today. His Messa da Requiem, composed in honor of Alessandro Manzoni, was written in 1874 during a sixteen-year period of reduced compositional output.
Two of the most iconic sections of Verdi's Messa da Requiem include the "Dies Irae" and the "Tuba Mirum." Euphonium performer and educator Justin Weis has arranged both of the aforementioned sections in a new setting for euphonium quartet. The opening passage begins with the familiar opening to the "Dies Irae" with forte chords, descending melodic passages in the inner parts, and rapid sixteenth-note runs in the outer parts. Euphonium IV stands out as difficult at the beginning because there are several articulated GG pitched notes, and quick sixteenth note passages are performed conjunctly with Euphonium I. The inner parts are not lacking, as they contain a large amount of the melodic material. Euphonium II has leaps over two octaves in successive pitches and Euphonium III has thirty-second note figures. The punchy, fortissimo opening is juxtaposed with a softer chorale-like section that serves as the transition to the slower "Tuba Mirum" movement. The transition has a repeated ostinato in the inner parts and slap tongue technique in the outer parts, representing the whisper-like chant of the chorus. The slap tongue technique also adds musical effect that dissolves the monotony of the ostinato.
The "Tuba Mirum" section starts with a soft hocketed fanfare between the four parts that is followed by homogenous triplet rhythms and increasing volume. As the dynamics increase, the parts become progressively independent with sextuplets, triplets and dotted eighth-sixteenth rhythms scored simultaneously. Syncopated patterns are also introduced as the arrangement concludes with a triumphal finale.
Weis has done a spectacular job arranging two sections of Verdi's Messa da Requiem into a through-composed arrangement. Each of the euphonium parts has sufficient presentations of the melody, accompaniment, and technical passages. This arrangement is highly entertaining and shows off the virtuosity and tonal clarity of the euphonium quartet.
Dr. James M. Green, Ohio Northern University, Ohio Christian University
Quoniam tu solus Sanctus from Mass in B Minor . Tuba-Euphonium Quartet with Euphonium or Horn Obligato. J.S. Bach. Arranged by Justin Bland. Cherry Classics. www.cherryclassics.com.
Ranges:
Obligato: d - b flat1
Euphonium I: F - e flat1
Euphonium II: F sharp - c1
Tuba I: BB flat - c1
Tuba II: AA - f
Difficulty: IV
Trumpeter Justin Bland is an active performer, specializing in early music and baroque trumpet. These insights are evident in his arrangement of Quoniam tu solus Sanctus from Johann Sebastian Bach's Mass in B Minor. This edition is in five parts consisting of a tuba-euphonium quartet with euphonium or horn obligato. The basso solo, originally set to a religious text, is performed by Tuba I.
Bland's arrangement of Quoniam tu solus Sanctus is moderately advanced and transposed to the brass-friendly key of B flat major. The arrangement is both true to the original and idiomatic for the medium of tuba-euphonium quartet. The quartet is densely scored due to the condensed range from the original piece. This results in the occasional voice crossing, particularly in Tuba I and Tuba II. The obligato is placed in an upper tessitura, allowing it to project easily but also creating an endurance challenge for the performer, as it remains above the staff through most of the piece. Euphonium I and Euphonium II maintain a more modest range and are often in unison rhythm. In terms of range, Tuba I can be performed on the bass or contrabass tuba. A bass tuba may be preferable, allowing for a lighter timbre and ease of projection given the compressed range of the ensemble. The arrangement is active with frequent technical passages, ornamentation, and minimal rests. For that reason, it may be beneficial to employ two musicians on each part in the quartet to allow for the occasional rest.
George Palton, DePauw University
Twelve Duos for Tubas . Two Tubas. Petros Shoujounian. Cherry Classics Music. www.cherryclassics.com. 2020.
Ranges:
Tuba I: EE - e1
Tuba II: EE - d1
Difficulty Level: IV
Several Armenian composers, including Alexander Arutiunian, Adam Khoudoyan, and Sam Pilafian, have significantly influenced the tuba repertoire. Petros Shoujounian (b. 1957) is an Armenian born composer who writes music for a variety of ensembles. His Twelve Duos for Tubas is a set of works based on the collections of Armenian ethnomusicologist Komitas Vardapet. Komitas notated and transcribed over 3000 song and dance works from Armenian villages, similar to Bela Bartok's collections of Hungarian folk music.
The twelve duos are divided into independent movements, each containing colorful melodies filled with appoggiaturas, evoking the folk-like Armenian style. The movements contain several key signatures, ranging from six sharps to five flats. Each of the movements has a unique style. The duets that are more technical in nature consist of rhythmically independent melodies with syncopation and embellishments. In contrast, the slower selections have longer lyrical phrases that create unique harmonic dissonances through suspensions and their resolutions.
The first four duets, with parts notated Tuba I and Tuba II, have ranges that are suitable on bass and contrabass tubas. Duets five through eight are notated with the top part as "tuba" and the bottom part as "bass tuba." Both parts on selections nine through twelve are labeled as "bass tuba" and are playable on both the contrabass and bass tuba. The scoring of the "bass tuba" parts are generally in the lower range, while the "tuba" parts are in the middle to upper register. At times, the ranges are closely scored between the parts. As the nomenclature from tuba and bass tuba is historically ambiguous, performers with access to both instruments should experiment to get the maximum clarity of the style and timbral clarity between the parts, especially in sections where the ranges have close scoring between the parts.
Reading through these duets caused me to reminisce about my undergraduate studies, when my professor would begin each lesson with a duet. Many of the pieces we played were transcriptions, because there was not an abundance of original duets for tuba. In addition to Twelve Duos for Tubas being a much-needed addition to the tuba duet repertoire, it can be used as an educational supplement to teach musical style and as an application to studying ethnomusicology.
Dr. James M. Green, Ohio Northern University, Ohio Christian University
Audio
Don't Look Down. Curry, Hetzler & Di Sanza, featuring Tom Curry, tuba. Self-released. curryhetzlerdisanza.bandcamp.com. 2020.
Tom Curry currently serves as Faculty Associate of Tuba and Euphonium at the University of Wisconsin-Madison's Mead Witter School of Music and tubist with the Wisconsin Brass Quintet. His virtuosic debut album, Alight, released by Summit Records in 2018, showcases works that align with his interest in modern works for tuba. Curry's second album, Don't Look Down, released in 2020, again showcases the many talents of Curry, this time joined by his UW-Madison colleagues Mark Hetzler (trombone) and Anthony Di Sanza (percussion).
The album begins with Hetzler's "Open Your Eyes," in which a simple ostinato performed on piano, in combination with shifting, timbrally diverse electronic tones, serves as a foundation upon which Hetzler utters a haunting and poised recitation. Suddenly, a crooning electric trombone solo wails and soars above the dense texture. As the work sonically and polyphonically grows and decays, the movement ends as it began, fading seamlessly into the next track. This minimalistic and emotionally effective work establishes the unique concept and tone of the album.
In stark juxtaposition, "Vicious World," also written by Hetzler, consists of aggressive rhythmic motives executed with masterful precision by both Curry and Hetzler. Playful, surprising and groovy, this work showcases the incredible technique of all three performers while creating a unique fusion of jazz, improvisation, funk, samba, and conga through an entirely modern minimalistic language.
Curry's meditative and reflective "Rules and Wisdom," featuring tuba, electronics and multiple percussion instruments, serves as a sort of incantation and tranquil interlude. Reminiscent of the structure, harmonies, and modes of Indian classical works (e.g., the works of Lakshminarayana Subramaniam), this movement allows Curry to craft an ostentatiously serene and beautiful scene while showcasing his dazzling tone and genuine musicality.
"Wait It Out," also written by Curry, is strikingly different from the contemplative "Rules and Wisdom," as angular and intense motives are masterfully performed by Curry and Hetzler while an incessant electronic bass line propels the work forward. Di Sanza also shines, performing on a variety of hand drums throughout. Organized in a straightforward A-B-A form, the B section offers Di Sanza the opportunity to perform an extensive hand drum solo, after which "Wait It Out" culminates in a powerful return to the aggressive A section. A brief electronic interlude (or perhaps a quasi-postlude to the previous track), "Memento mori," ensues, offering respite from the tumultuousness of "Wait It Out."
Ambient and patient, Curry's "Noise Signal I" begins with glacial stepwise motives in the tuba, accompanied by ever-changing electronic drones. Evocative of works from Pauline Oliveros, Stuart Dempster and Panaiotis' album Deep Listening, increased resonance serves as a third collaborative voice. Fans of Oliveros' Anthology of Essays on Deep Listening (edited and complied by Lawton Hall) will find particular delight in exploring and reexploring this track.
Comprised of a slinking and ever-expanding melody, Curry's "Noise Signal II" begins with an invocation played in perfect unison by Curry and Hetzler. Eventually, the monophonic texture is abandoned, as a complex and harmonically diverse counterpoint ensues. As harmonies become increasingly disjunct, intervallic motives imitate and interrupt one another. Unlike the other works on this album, Curry and Hetzler perform unaccompanied, offering a welcome change in texture in addition to an opportunity to observe and enjoy the masterful execution of both performers.
Hetzler's tongue-in-cheek "I Love Documentaries" employs satirically similar compositional techniques typically found in both film and radio (e.g., Ira Glass' This American Life), as persistent ostinatos and heavily produced synths combine to produce a quintessential documentary soundtrack. Rising and falling, "I Love Documentaries" effortlessly fades into "All Played Out (Interlude)," a brief electronic interlude comprised of ethereal drones and another poetic recitation.
"Eventual Reset" begins with garbled electronic ramblings, ever-changing timbres, and incessant additive rhythmic figures, eventually submitting to another crooning electric trombone solo, which is in turn joined by a feverish drum solo. This swirling eddy steadily crescendos, abruptly ends, and fades into a timid and fragmented variant of the original piano ostinato from "Open Your Eyes."
The culmination of "Eventual Reset," and perhaps the entire album, reveals itself to be the final track: Hetzler's "Momentum is Bruising." Comprised of elements heard throughout the album, this work serves as a sort of epilogue to the odyssey-like journey of Don't Look Down, borrowing electronic timbres, rhythmic and melodic motives, and recitation from almost every previous movement. Don't Look Down ends peacefully, fading into the ether from which it came.
Collaborative by design and execution, Don't Look Down offers Curry, Hetzler & Di Sanza opportunities to follow a variety of creative and performative avenues as a multifaceted chamber ensemble. Inventive and compelling, Curry, Hetzler & Di Sanza's episodic Don't Look Down achieves something quite exceptional: the establishment, expansion, and destruction of distinct soundscapes which enthrall the listener, fostering moments of epic power and subtle sincerity.
Dr. Steven Darling, University of Tennessee-Martin
Fascinating Brass . Denver Brass. The Denver Brass. www.denverbrass.org. 2020.
Recorded live in 2020 just before the COVID-19 shutdown, the newest album from the Denver Brass reminds us of the magic that is live performance. Under the direction of Warren Deck, the musicians of the ensemble shine throughout this recording as both captivating soloists and sensitive ensemble players. Moving fluidly from energized bass-driven charts to heartfelt renditions of jazz standards, the Denver Brass showcases their versatility and talent for programming.
Of particular note are two new original compositions by Grammy-nominated trombonist, composer, author, and cartoonist Steve Wiest: New Seasons and George's Dilemma. New Seasons draws on influences from the Baroque era but incorporates modern harmonies and compositional techniques. Inspired by Antonio Vivaldi's The Four Seasons, Wiest's four-movement work follows the same passing of time from an entirely new perspective. The fourth movement, "a Hike to the Lake," is particularly memorable with its antiphonal scoring and lush harmonies. Do yourself a favor and listen to this piece. You will not be disappointed!
George's Dilemma features tubist Emanuel Jester III in an angsty blues solo that offers Jester the opportunity to showcase the full range (emotional and otherwise) of his instrument. Jester's rich sound floats on top of the ensemble and follows him through extended techniques and soulful solo exchanges with the rest of the group.
It is clear from this live album that the Denver Brass feeds off the energy of their audience, and that the audience loves them for it. This recording left me hitting "repeat" and looking forward to future live performances.
Dr. Genevieve Clarkson, Oklahoma City University
Firestorm, The Music of Stephen Bulla . The Brass Band of the Potomac, conducted by Stephen Bulla with soloist Brandon Jones. Hal Leonard. www.halleonard.com. LIC 1530. 2020.
Firestorm, The Music of Stephen Bulla features a wide range of the composer's output spanning decades. It is performed by the Brass Band of the Potomac and showcases a number of soloists including trombonist Joseph Alessi. In Firestorm, Bulla calls upon Brandon Jones, a member of the United States Air Force Concert Band and Principal Euphonium of the Brass Band of the Potomac, to perform his Euphonium Fantasia. The composition incorporates melodic material from a 17th-Century Chorale composed by Henry Purcell, Westminster Abbey. The solo accompaniment is also available in a piano reduction and is published by Hal Leonard.
In the Euphonium Fantasia, Jones performs with a sense of ease and fluidity across all registers of the euphonium, blending with the magnificent colors of the brass band while commanding the spotlight. He brings a sense of energy and charisma to the brighter tempi and a warmth to the legato hymn. Jones' sense of timing in the cadenza is particularly impressive, setting the stage for flourishing coda section. The Brass Band of the Potomac, Stephen Bulla, and Brandon Jones are to be commended for a brilliant performance.
George Palton, DePauw University
Message in a Tuba . Kent Eshelman, tuba with In-Ja Eshelman, piano. Soundset Recordings. www.soundset.com. SR1118. 2020.
Message in a Tuba is yet another stellar tuba album released by Kent Eshelman and pianist In-Ja Eshelman. About the album, Eshelman writes, "I've always been intrigued by the old 'message in a bottle' idea-writing a note and throwing it out into the ocean, hoping it will reach someone. In the same way, I hope that the musical messages of this CD will traverse the sound waves and find their way to a receptive audience." The recording includes original works for tuba as well as several terrific transcriptions from the clarinet, oboe, and even the tenor horn repertoire. Overall, this recording demonstrates the keen melodic flexibility of both players and the remarkable versatility the tuba can convey when borrowing music written for other instruments.
Tracks 1-3 comprise transcriptions of oboe and clarinet music written by William Lovelock. These opening tracks are a delight, largely in part because of the duo's performance, but also because the music ranges from beautiful to just plain fun. Lovelock's charming, expressive writing partners well with the tuba's capabilities. You will hear particularly elegant and emotive playing in the "Romance" movement of Lovelock's Two Pieces for Clarinet. Continuing with the theme of borrowing from the woodwind repertoire, tracks 4-9 yield transcriptions of some entertaining Madeline Dring compositions. Kent and In-Ja's playing perfectly captures the playful, vibrant personality of the composer's oboe music. One cannot help being captivated by the music's groove and the unexpected yet delightful quirks. The album then explores even more of Dring's music with the Three Piece Suite, originally composed for harmonica (of all instruments) and later arranged for oboe and piano. These recordings of this doubly-borrowed repertoire (tracks 7-9) are nothing short of inspiring-a must hear for the community!
Tubists are quick to recognize the name John Cheetham because of those tried-and-true brass quintet classics like his Scherzo andA Brass Menagerie or perhaps from his Sonata for Tuba and Piano from 2000. Track ten is the result of Kent's fascination with the tune from Cheetham's Homáge for tuba-euphonium quartet. Continuously struck by the main melody from the quartet, Kent asked the composer to arrange the work for tuba and piano. What we hear in this recording is a gorgeous, lyrical melody expertly rendered by Kent and In-Ja. The ear will crave more after the brief three-minute tune.
Track eleven (César Camargo Mariano's Curumim arranged for tuba and piano by Kent) showcases the Brazilian jazz style with its grooves, contrasting characters, and easy listening sensibilities. Hats off to pianist In-Ja Eshelman. Here, In-Ja impressively renders many of the piano playing traits for which Mariano was so well known. You will likely find yourself pleasantly tapping your foot along to this track. Next, track twelve draws your attention to a familiar figure in the brass band world, Martin Ellerby. Among his many concertos for a brass instrument and brass band is this tenor horn concerto. The middle movement included on this album- "Elegy"-is touching, evocative, serene, and at times bittersweet. Upon hearing this recording, tubists will undoubtedly want to program this work on an upcoming recital. You will find more tenor horn music in track thirteen (Erik Leidzén's The Old Rustic Bridge), and you will not be disappointed. After hearing the nostalgic theme near the outset, what follows is a pristine and stylish performance of frequent technical twists and turns for both tuba and piano.
Joseph Turrin's Concertino for Tuba and Band was premiered by Harvey Phillips in the 1970s with subsequent performances by Toby Hanks. The piece sat in manuscript form in Turrin's office and was on the verge of being forgotten. Kent collaborated with Turrin to create this tuba and piano version, heard on the album for the first time and with the new title of Kronos. This is a large, one-movement work in which you will hear Kent and In-Ja's clean execution of rapid scalar passages, syncopations, and sonorous tunes over lush writing in the piano. This recording will command your attention.
Frank Lynn Payne's Short Sonata for Tuba and Piano and his Six Bagatelles for Solo Tuba continue to show Kent and In-Ja's attention to detail, clarity, and melodic prowess. The duo plays with sustained energy and enchanting nuance in both technical and lyrical passages. When performing the unaccompanied literature, Kent shines with his rich, resonant tone and his attention to detail. What better way to conclude this enjoyable album than with another oboe transcription, this time from Franz Reizenstein. Influenced by Hindemith, this short "Humoresque" from Three Concert Pieces for Oboe and Piano presents the solo instrument against the piano in a kind of playful game. The whimsical interactions all lead the ears to an enthusiastic conclusion of this well-designed and even better played recording for tuba and piano.
Dr. Chris Dickey, Washington State University
Mountain Song . Paul Carlson, tuba and Brian Ciach, piano. Potenza Music. www.potenzamusic.com. PM1065. 2020.
Tubist Dr. Paul Carlson and pianist Dr. Brian Ciach have released their debut album, Mountain Song. They have collaborated on many projects together, most notably the music of Ciach, which is featured in this recording. Carlson is Assistant Professor of Tuba and Euphonium at Grand Valley State University as well as tubist with Dallas Brass. Ciach is a composer, educator, and pianist from the San Francisco Bay Area.
Their album, Mountain Song, features exclusively the compositional work of Ciach, who is also the collaborative pianist on the disc. The recording is full of interesting new music published between 2009 and 2017 which was commissioned by Carlson. There are a variety of pieces represented ranging from eclectic and experimental to nostalgic and evocative.
The first piece, Mountain Song (2009), was Ciach's first composition for tuba and piano. On the first listen, it sounds like more of a duet or fully collaborative effort than solo tuba with piano, as do many of the pieces included on this album. Mountain Song tries to mimic the imagery of a mountain scene and succeeds through Carlson's effortless high register and dynamic contrasts. The second piece on the album, California Ballad (2016), is a continuous suite of songs that includes several contrasting sections which showcase Carlson's beautiful vibrato and wide variety of articulation styles. Sections of this piece consist of slow and lyrical reaching to aggressively technical, the latter of which displays Carlson's low range. Next on the playlist is Dance King (2014), which makes use of a great deal of interesting sounds and timbres through the use of extended techniques for tuba (glissandi and multiphonics) and piano (muted and plucked strings). Carlson and Ciach execute the skills effortlessly throughout the piece. Carlson displays great control and a warm sound in the upper range. Throughout Dance King, the musical chemistry between Carlson and Ciach becomes most apparent.
The sole multi-movement work on the recording is Kentucky Folk Pieces (2013). The first of three movements, "Of Rolling Hills and Burning Leaves," has a dark tonality and reveals a more delicate playing style from both parties than previously heard. Movement two, "Unbridled Spirit," begins with a long introduction by the piano. The sound of the piece is both lighter and more hopeful than the first movement. This allows Carlson to reveal a beautiful singing vibrato. The final movement is "On the Bourbon Trail." It begins quickly and shows off the performers' ability to play precisely with a very tight sound. Night Song (2017) concludes the album. This is an unaccompanied piece for tuba which gives the listener a chance to hear Carlson's flowing rubato through a series of arpeggios.
Mountain Song is for sale for $18.95 through www.potenzamusic.com and can also be heard on Spotify. Total running time is 66:30. In summary, Mountian Song is a well-produced album and features new solo works for tuba as performed by two talented musicians.
Jeremy Lewis, West Texas A&M University
Out on the Coast . David Angel Jazz Ensemble, featuring Jim Self, tuba and bass trombone. Basset Hound Music. www.jimself.com. BHR102-18. 2020.
At this point in his long and storied career, the many achievements of tubist Jim Self are well known in the brass world and beyond, so it really says something about a project when the artist states: "I have just finished producing the MOST important recording project of my life, Out on the Coast by the David Angel Jazz Ensemble." To be clear, this is not a "tuba" CD in any way, though Self does have some impressive solos on a few charts throughout this extensive three-CD project. In addition, Self is an integral part of the unique thirteen-piece group that forms the David Angel jazz Ensemble, holding forth on both bass trombone and tuba in the inventive and often intricate arrangements and original compositions by the band leader and composer/arranger. The three-CD package contains fourteen original David Angel charts, along with eight innovative arrangements of jazz standards and a few not-so-standard tunes.
As a soloist, Self displays his improvisational skills on only two tunes spread across the project: "Hershey Bar" by Johnny Mandel and "Latka Variations," an Angel original. On "Hershey Bar," Self's solo follows great improvisations by Jonathan Dane on flugelhorn and Angel on tenor. To give his voice some distance between the previous two solos, Self remains mostly in the mid-to-low register of the tuba, allowing himself to lope along at a very relaxed, swinging pace, which, if you know his other recordings, is not something he always does. As is already well known, he has tremendous technique and a full command of the extended upper range the tuba can offer. He is making a clear choice to speak in the traditionally accepted voice of the tuba, but still swinging like crazy. "Latka Variations" follows a true theme and variation format in the classical sense, where everything spins out from the initial original theme, but once again the tune makes use of interesting counterpoint, straight-ahead swing, and Latin jazz elements. Self's solo here is more in line with his typical style of improvisation, but it is perhaps made even more interesting with a running musical conversation with the rest of the band, shifting rapidly between solo licks and rather complex ensemble playing.
As an ensemble player, Self's delicate style blends effortlessly with a number of different instrumental combinations throughout the various charts. Many of these compositions and arrangements are outstanding examples of writing for the wide range of the tuba in a jazz ensemble setting. Beyond the previously mentioned charts, of particular note is the original Angel composition "Wig," where the tuba explores the entire register of the horn, first anchoring the bottom end of the band, then blending with flutes and other high woodwinds, back and forth in an intricate contrapuntal dance. A few other charts that display really interesting writing for the tuba include "Between," "Leaves," "Moonlight (which is really something of a mini-suite, running almost fifteen minutes)," "This Time the Dream's on Me," and "Love Letter to Pythagoras."
This is a recording to purchase. Don't stream it, and don't listen casually in the background as we so often do these days. Read the extensive liner notes, become absorbed in the story of the band and the composer/arranger behind the music, and immerse yourself in this brilliant project. The reward for this extensive listening is more than worth the effort, and you will rejoice in the fact that these able musicians were willing to perform, preserve, and make public this largely unknown yet well respected artist, David Angel.
Jim Shearer, New Mexico State University
Salztuba . Michael Salzman. Self-released. www.salztuba.com. 2020.
Salztuba is the vibrant debut album of the New York-based tubist and educator Michael Salzman. This new album features an eclectic and engaging collection of works featuring the contrabass tuba in a variety of collaborative settings.
Salztuba opens with Salzman's own arrangement of the haunting and beautiful Romance by Sir Edward Elgar. This adaptation features an intimate musical discourse between tuba and piano, and Salzman showcases his fluid and nuanced musicality in his collaboration with Marylin Lehman. The middle section of this work showcases an outstanding display of Salzman's low and pedal register sound and control.
The next three tracks of this album feature Salzman in collaboration with the trombonist James Decker in Double Portraits, a duo written by David Uber. The first movement, titled "Times Square," includes a lively and rhythmic tune which showcases the middle registers of each player. This slightly comic movement is approached with a great sense of control by both tuba and trombone, and they make a great musical impact as they play off the ongoing use of contrary motion in the score. The second movement, "Twilight," sets a somber mood and allows both Salzman and Decker to highlight their subtle and thoughtful musicality in a slowly moving harmonic dialogue. This composition closes with "The City Awakes," which features an angular and aggressive style in which both players really shine. The unity of their articulations and the consistency of their phrasing in the last movement of this piece is impressive and engaging.
The fifth track of Salztuba is titled "Home Again" and is the culmination of a commission project for the composer Tom Davis that Salzman led to honor the life of his mentor, Harvey Phillips. This piece opens with an upbeat setting of "Back Home Again in Indiana" that allows for Salzman to demonstrate his refined playing in the middle and upper register of the contrabass tuba. After this opening material, this work transitions into the Hoagy Carmichael classic "Georgia on my Mind" and closes with a reflective return to the work's opening theme.
Track six showcases Salzman as the player of both parts in a lively tuba duet by Stephen Melillo titled Duetto per Tuba. This piece was commissioned by two of Salzman's students and demonstrates an incredible breadth of range between the two tuba voices in this recording. This performance has a sense of drama throughout this driving and bright new composition for two tubas.
The next selection of Salzman's album features the four movements of Alec Wilder's Sonata for Tuba and Piano. The first movement demonstrates Salzman's beautiful upper register and lyrical playing. The second movement highlights Wilder's jazz writing, and both Salzman and Lehman shine as they pass musical lines back and forth in this light and comical selection. The third movement of this sonata is reflective, and the subtle musicality by both performers brings a solemn and contemplative feeling to this recording. The fourth and final movement of Wilder's demonstrates the technical capabilities of both players, and particularly shows off Salzman's strong low register.
Tracks eleven through thirteen belong to another new work by Tom Davis, his Concerto for Tuba. These three movements feature Salzman as a soloist with the Central Winds, a New York-based music educators' wind ensemble. The first movement, "Resolute," is an exciting showcase for the contrabass tuba that utilizes bombastic themes that explore the middle and upper register, which the soloist navigates with finesse and engaging musicality. "Beseeching" opens with a slow-moving melody in the muted tuba and a stirring and active accompaniment in the winds. This plaintive tuba melody is beautifully suspended and developed while an almost mechanical underlying musical motion caries us to the meditative conclusion of this movement. This concerto closes with "Joyously!" which opens with an acrobatic exploration of the contrabass tuba's upper register in dialogue with a cheerful fanfare in the wind ensemble. Throughout this new work, Davis intends to represent the tuba as a superhero, and his writing emulates the style of music one might expect in a film score in this final movement in particular. The final movement features the concerto's only cadenza, and Salzman explores the extreme registers of the contrabass tuba with dexterity and gripping expression-one moment ringing with the power of a full-stop organ, and then suddenly playing with a lightness that is rarely heard on contrabass tuba.
Salztuba concludes with an adaptation of Stephen Sondheim's "Send in the Clowns" for tuba and piano. Salzman plays with a gorgeous and subtle musicality, and the thoughtful rubato that both he and Lehman perform with here shows the impressive ensemble skills that they have developed in their ongoing collaborations. This selection, like many of the others featured on this album, was chosen to pay tribute to Salzman's musical mentor Harvey Phillips.
I am thrilled to add this debut album to my collection, especially with the knowledge that this recording demonstrates the exceptional work of one of my fellow New York tubists.
Dr. David Earll, Ithaca College
Songs for One and More . Matthew Murchison. Self-released. www.murchmusic.net. 2020.
Songs for One and More , Matthew Murchison's first solo album since 2004, is a burst of virtuosic creative activity, and, in part, a product of the pandemic. This album was recorded entirely by Dr. Murchison as the lone performer, engineer and producer. Much of the album is music he composed. The music includes tuba and euphonium solos as well as various chamber ensemble pieces.
There is no shortage of character on this album, in the compositions as well as the performances. Of the solo pieces, highlights include Murchinson's own Westward Ho! for solo tuba (and a few moments of singing), which evokes scenes of the "old west" of the southwestern United States. Krampus, also for solo tuba, is a piece about a Christmas demon. It uses several extended techniques in its characterizations, but the sheer dark, demented nature of this piece sends shivers down the spine and could be a truly bizarre but enjoyable piece as a solo feature on your next "Tuba Christmas" concert.
Chamber pieces Nature Boy and Fizz Bounce, both by Murchison, are delightful, effervescent even. Murchison's performances on all instruments are nimble and playful, and the illusion of simultaneous ensemble he creates is quite convincing.
The pieces not composed by Murchison on the album are excellent choices. A major highlight of the album is two movements of Andrea Hobson's chamber piece Songster and Songstress. These beautiful movements, one haunting and the other playful, evoke a choir-in some ways a gospel choir of the American southeast, in some ways a group like Ladysmith Black Mambazo. Michael W. Nickens' Blues in F serves as a relaxed, meandering but extremely pleasant rest stop in the middle of the album.
Dr. Alexander Lapins, University of Tennessee-Knoxville
Under Tennessee Skies. Chris Combest. Self-released. www.chriscombest.com. 2020.
Chris Combest is the Professor of Tuba at Middle Tennessee State University. Under Tennessee Skies is his debut solo album and was supported by a Faculty Research and Creative Activities Grant from MTSU. The artist writes, "Under the Tennessee Skies is an arts inclusive recording project involving the collaboration of performers and composers to create new works for the tuba inspired by the natural beauty, culture, and musical offerings of Tennessee." Every composition on this album was commissioned specifically for the project by Dr. Combest. All compositions are available for purchase through Cimarron Music Press.
The album features a mix of local Tennessee composers in addition to prominent composers in the tuba community. The title track of the album was written by MTSU colleague Jamey Simmons and features the tuba in an unaccompanied setting. The next two works are by two more MTSU colleagues, Paul Osterfield and Brian Mueller, and feature the tuba in a trio with tuba, piano, and percussion and a duo of tuba and vibraphone, respectively. Following this is prominent composer Barbara York, whose Tennessee Journey is written for tuba and piano. This piece is another great addition by York and features the tuba in a very lyrical role, playing a melody that pays homage to the region. Brad Baumgardner's Broken Echoes, written for unaccompanied tuba, shows an angrier side of the instrument and highlights the power of the tuba. To complete the album, Even Zegiel composed Synchronous Fireflies for tuba, piano, and percussion.
All of the compositions are expertly played by the performers, including Combest, whose dark rich sound fills the speakers with the sonority that we have come to expect from this top-level tubist. The recording quality of the disc is outstanding and is put together with the highest professional standards. Anyone looking to listen to a great performance of new and interesting repertoire should check out this album.
Dr. Scott Roeder, University of Texas Rio Grande Valley
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