ITEA Journal

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The Horn Call

The American Organist

ITEA Journal

Volume 33, Number 4 - Summer 2006:
Scherzo Allegro for solo euphonium and piano by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalog No. BW151. $14. 2005.

This is a very difficult modern arrangement suited for a high level accomplished player to tackle due to the extreme ranges using both the lower and upper reaches of our instrument and the extreme interval skips in a very fast-paced meter. Rhythm is fast and tricky for both the soloist and accompanist (quarter note =120). This is a very technical piece with the challenge to do it well and sound very musical in its rendition. The work demonstrates extreme stretches of intervals in fast leaps and fast-paced, complex rhythms. The piece stays in the key of B-flat, but one must watch for the numerous accidentals.

This is a short piece, made even shorter by the speed of the meter with several repetitive sections, some with variation within the section. The time it will take to study the piece and perform it well with accompanist will be at odds with the quickness of the actual performance. The performer should articulate the sixteenth and eighth notes in this piece with a light touch, avoiding any heaviness on the quick notes but giving preciseness as to each of the pitches, especially during the extreme skips of intervals. There are only 3 repetitive instances with a two-bar phrase using quarter notes in a descending decrescendo where I would recommend a legato, connected use of the articulation in contrast with the rest of the piece.

I think the composer includes some very interesting uses of the line, and, if done well, will very much demonstrate to the listener the musical skill and ability of the performer.

Range is BB-flat to a-flat 1 (b-flat 1 , optional). The piece has quite a few low Cs and Ds, which are always a challenge to keep in tune and in center on the euphonium, depending on your specific instrument model. The euphonium performer should definitely include in preparation for this piece much practice in the low range by using bass trombone literature.
~Cynthia Short, Des Moines Municipal Band

Volume 33, Number 4 - Summer 2006:
Largo from Böhme's Trumpet Concerto by Oskar Böhme arranged for euphonium solo and brass quintet by Mick Hesse. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . 2003/2005. 4'30”. $16. (New Price of $15 as of January 07)

In researching Oskar Böhme's Trumpet Concerto , one of my colleagues in the United States Military Academy Band pointed out that this work comprises the entire body of romantic literature that was written for the trumpet in a solo setting. Obviously, as he mentioned, following the Baroque and Classical periods, the trumpet entered a severe famine as far as solo literature was concerned. Regarding the trumpet, composers had taken an active interest in discovering what it could do in the orchestra. Apart from the solo scene, some of the trumpet's best orchestral literature came in the Romantic period. Nevertheless, Böhme's Trumpet Concerto is perhaps the work that he is most identified with trumpet players and music scholars alike, as the nature of the piece embodies what is considered authentic music of the Romantic period.

My hat goes off to Mick Hesse for taking the time to transfer this melody to the euphonium repertoire, as I believe that he has truly given something wonderful to us via this arrangement. Mick's work is very true to the original orchestral scoring with the exception of a few minor deletions from the violin parts and some tastefully added triplets throughout the quintet parts in the last three bars. I personally favor all the changes that Mick has made, as all of his deletions (there really aren't many at all, and I'm not making a big deal of this) are parts that would not be tasteful in a brass quintet arrangement. Without question, he has captured the essence of the music: slow, romantic, and, above everything else, beautiful.

The great tragedy of a brass quintet is that it doesn't contain a euphonium (hence, my unrestricted bias toward the brass septet), but I do admit to liking this work in this setting. Of primary importance to the soloist is the need for a great sense of melodic shape, coupled with an excellent legato style. The range on this work is not taxing, stretching only from B-flat to b 1 , allowing the soloist an even greater, and necessary focus on the line. As with everything I have seen from Brass works 4 Publishing, each part (including the score) is neat and clean. Although there are no rehearsal numbers, each line is numbered according to the bar that begins it, making it easier to find rehearsal spots (there are only 69 bars in the movement, anyway).

If you are looking to program a beautiful melody in your next performance and want to perform it with some unusual accompaniment (so far as the euphonium is concerned), you would do yourself a disservice not to consider this wonderful arrangement. It comes with a high recommendation.
~Jason D. Ham, Yamaha recording artist

BW274 Lacrime e Fiamma (Tears and Flame)
BW272 Lamentation & Celebration

Volume 33, Number 4 - Summer 2006:
Lacrime e Fiamma (Tears and Flame) for euphonium and piano by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue # BW274 $14. (New Price of $11 as of January 07)

Lamentation & Celebration for euphonium and piano by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue # BW272. $14. (New Price of $11 as of January 07)

Joe Miserendino is a composer who has been seriously writing music since 2000. He has written for a variety of instruments, but he has especially written for euphonium and tuba. He lists 11 works for euphonium just recently composed. He is obviously in love with the sound of bass clef instruments, and he is quickly becoming a familiar composer for the instrument. His latest work, The Willson Concertante , was premiered by the City of London Winds in late May.

These solos for euphonium and piano, Lacrime e Fiamma (Tears and Flame) and Lamentation & Celebration by Joe Miserendino, are fine additions to the euphonium repertoire. Lamentation & Celebration is a solo that has interplay throughout between the low register and the high register. Whether it is the opening line of the solo that starts in the depths of the instrument and moves up to a shrill repeated piano chord or the alternating of low and high between the piano and euphonium, the movement between high and low is an inspiration throughout. The range of the solo is B-flat 1 to b-flat1. There are some sections in the solo that may require double tonguing in multiple ranges depending on the chosen tempo. This solo is also very well typeset and easy to read. It comes with a treble clef and bass clef solo part. The approximate solo time is four minutes.

Lacrime e Fiamma begins with a floating melody in the upper range of the euphonium. The chord progression is not predictable, but it is very enjoyable. The piano enters and there is interplay between the two instruments, each playing their own melody, intertwined with the other instrument. Throughout the solo Miserendino utilizes the full range of the euphonium from BB to c-sharpt 2 . After a well-developed fast section, Miserendino returns to the floating melody used at the opening of the solo to close the work. Miserendino has presented a highly crafted solo for the euphonium that is sure to be another favorite. The piece comes with both a treble clef and bass clef solo part. The length of the work is approximately six minutes. The typesetting is very clear, and Miserendino is very lucid in his compositional style. I would highly recommend this work for the intermediate to advanced soloist.
~Kelly Thomas, University of Arizona

BW313 5 Episodes for Tuba and Piano

Volume 33, Number 4 - Summer 2006:
5 Episodes for tuba and piano by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M .87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . BW313. 2006. $14 (New Price of $12 as of January 07)

Each of the five episodes in this solo are less than a minute long and seem to be intended as “movements.” After the first episode, each starts with a measure of rest in the new tempo and all are titled with tempo markings: Moderato, Allegro, Adagio, Adagio, and Con Fuoco. The first episode is a dialogue between the tuba and the piano, the tuba stating and the piano answering in similar but not slavish imitation. The second is a march-like exercise in sevenths and tritones. In the first adagio the tuba has a lyrical melody over polytonal chords. While in the second adagio, the solo line centers around the pitch of e-flat 1 , moving a whole or half step above and below, while the piano quotes from the second episode and continues the polytonal chords. The final episode uses material from the first episode and recreates the statement/answer but with shorter rhythmic intervals, ending with a solo sweep by the tuba up the A minor scale to a 1 .

This solo is not for the traditionalist. Some audiences will have a hard time understanding how the material is presented (not to mention some performers). As filler (and I do not use the term in a derogatory way) on a college recital program, this could expose the listeners to some previously unheard abilities of the tubist. I think this would be ideal for a college student's first F tuba recital. The range of the solo part is BB – a1.
~Michael Short, Drake University

Volume 33, Number 4 - Summer 2006:
American Folk Medley arranged and adapted for tuba-euphonium quartet by Barton Cummings. Brassworks 4, 461 Sunrise Pkwy Farmington, NM 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . $18. (New Price of $16 as of January 07)

This a very workable arrangement of a selection of—you guessed—American folk tunes. Barton Cummings, an extremely well known and respected name in the tuba world, has selected and “artfully” arranged these songs into a well-crafted set which could be used by high school through college-level ensembles as a concert balancer. Ranges are euphonium 1 c to a 1 , euphonium 2 g to g 1 , tuba 1 GG to c 1 , and tuba 2 EE-flat to c.

This work has been good for teaching purposes in our ensemble. After an initial four-bar introduction, the works are presented mostly as a series of verse, repeat, brief interlude, lead into the next piece. It is very beneficial to have students each take a turn in leading the ensemble through these treacherous interludes. Many a student conductor crashes in the midst of “second ending, hold, ritard , a tempo , new tempo for next tune.”

Nicely laid out, clearly printed parts include a set for either treble or bass clef euphonium. The score is super-legible and easy to work from. Voicing is well balanced between solo and accompaniment figures. Even the low (ly) second tuba part gets a few times to carry the tune, though it is mostly relegated to beats 1 and 3. For those of you who tire of stopping to turn pages in the International Tuba Day books, this collection fits the bill. Selections include Turkey in the Straw, The Blue-tail Fly, She'll Be Comin' ‘Round the Mountain, a Tavern in the Town, Buffalo Gals, The Arkansas Traveller, Wait for the Wagon, and Yellow Rose of Texas. The true test presented in this work for both ensemble and conductor is getting gracefully through the interludes between the songs. If given lyric sheets, this would be excellent for audience participation as a sing along feature. “It works for me.”
~Phillip C. Black, Wichita State University, Wichita Symphony

Volume 33, Number 4 - Summer 2006:
Duets from the “Notebook for Anna Magdalena” by J.S. Bach arranged for two tubas by Barton Cummings. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Series #BW113. 2005. $20. (New Price of $12 as of September 06)

This set of six duets is a delightful new addition to the tuba duet repertoire. The duets chosen include the March , Minuet , Musette , Minuet in G Major, No. 1 , Minuet in G Minor , and Minuet in G Major, No. 2 . Barton Cummings has done an admirable job of arranging these duets for more advanced players than the most common previous edition published in the early 1970s by Southern. The ranges extend a bit more with tuba 1 utilizing d to f 1 and tuba 2 utilizing GG to c 1 . Each tuba stays within its own defined range so there is no doubt that tuba 1 functions as the melody and tuba 2 functions as the accompaniment unlike some of the earlier Ken Singleton tuba duet arrangements.

Students familiar with these tunes from playing the piano versions will not be surprised that Cummings has chosen to remain in the original keys and work around the pedagogical problems by strategically placing the most common range of the tuba for each part. With the advent of many more players owning CC and F tubas, the duets are not as much of a challenge as they might have been a few decades ago. However, they do require some practice to sound smooth and light. The tuba 1 part would be a challenge to the typical high school and college student due to range and facility requirements.

The print quality and binding are excellent. There are no awkward page turns and the second tubist is supplied with a separate part. The $20 price tag is too steep to make these six duets a bargain. A more modest price of $10 to $12 is more reasonable for the amount of music in this arrangement. In all, despite the price, the duets are fun to play and a different and more interesting experience from previous editions.
~Mark Nelson, Pima Community College

Volume 33, Number 4 - Summer 2006:
Grecian Gambol for three euphoniums and tuba by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue #BW275. 5'00”. 2006. $14.

Composer Joe Miserendino professes a lifelong love of music that he was only recently able to turn into more than a fancy. Starting in 2000, he has ventured into the musical world as a composer, exploring various instruments and musical genres. Among his most notable works is the Willson Concertante , which was recently premiered by noted British euphonium soloist Charley Brighton.

A gambol is defined as a skipping or leaping play or dance. Upon hearing Grecian Gambol it is easy to find the context for the name, with the intense, driven rhythmic qualities of the faster sections often reminiscent of a tarantella. The harmonic structure makes regular use of modal harmony and scales, also fitting in with the ethnic flavor of the title. The work itself is divided into three main sections: an opening dance section with several themes, a slower lyric section, and a return to the opening dance motives. The ranges of the parts are euphonium 1 from F-sharp to b 1 , euphonium 2 from E to a 1 , euphonium 3 from D to a 1 , and tuba from BB-flat to a-flat.

While the piece has some wonderful ideas and writing, I find the piece to be fragmented and rambling at times. There are wonderful sections of ideas, but in many cases it seems like the ideas are randomly pasted together, with somewhat obtuse changes of direction. I also feel that the tempo changes desired would be clearer if written as accellerandos from a starting printed tempo to a final tempo, rather than the measure-by-measure tempo indications. Another point I would like to offer is that the instrumentation is rather non-standard. The range of the tuba is by no means a challenge as written, so I wonder if it might serve better to lower the overall keys of the arrangement to facilitate use of a bass tuba on the euphonium 3 part. This would bring the work into a broader market. Of course, with modern technology, the last couple fixes would be easy to execute at the discretion of the composer and publisher.

As a conclusion, I feel it is only fair to say that while I felt the piece was somewhat lacking in cohesion, my students had a great time playing the work. They enjoyed the overall effect of the dance sections and also liked the contrast of the lyricism. From a performing standpoint, the work is fun to do from behind the horn. I am just not sure how the listener will react. I will leave that for you to judge. A sound file of the work is available on Mr. Miserendino's website at www.joesmusicroom.com/brassworks.html .
~Tim Olt, Bowling Green State University

BW310 Irish Popular Song Suite

Volume 33, Number 4 - Summer 2006:
Irish Popular Song Suite arranged and adapted for six-part tuba-euphonium ensemble by Barton Cummings. Brassworks 4, 461 Sunrise Pkwy Farmington, NM 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue #BW310. 6'30”. 2006. $20. (New Price of $16 as of January 07)

It is quite possible that the best thing that happened in recent times to the euphonium/tuba ensemble world was the retirement of Barton Cummings. From the prodigious output it is hard to believe he is actually retired. In the past few years Mr. Cummings has written numerous arrangements for various ensemble settings, from quartets to large groups. This recent work, Irish Popular Song Suite , was written for Ed Owen and the Arkansas State University Tuba-Euphonium Ensemble. He often gifts these works to various teachers and performers, with myself among the lucky recipients ( Of Highlands, Lochs and Heather ).

This work is a collection of five folk songs: The Wearing of the Green , Mother Macree , My Wild Irish Rose , Danny Boy , and The Kerry Dance . The parts have the following ranges: euphonium 1 from B to a1, euphonium 2 from B-flat to f1 , euphonium 3 from G to d1, tuba 1 from BB-flat to b-flat, tuba 2 from GG to a, and tuba 3 from EE to c. The tuba 1 part works equally well on either bass or contrabass tuba. The tuba 3 part does have a few optional CCs. In addition, both treble and bass clef parts are included for the euphoniums. The difficulty level is within the grasp of a good high school group, though some of the finer points will be more accessible to collegiate ensembles.

Mr. Cummings does a nice job of passing the melodic responsibilities around the entire group. The writing is occasionally a little thick in the tubas with the voices relatively close together, making clarity somewhat of a challenge. There are also a few fairly dexterous passages in the low register within the tuba 3 part. These items being said, the piece functions very well with the above challenges being issues that we face daily in our performing. I found these to be a good pedagogical challenge for the group to have to overcome, making this piece very worthy in the educational realm. Add to that the audience appeal and it makes for a solid work for any concert.
~Tim Olt, Bowling Green State University

Volume 33, Number 4 - Summer 2006:
From Dylan's Land arranged for tuba-euphonium choir by Barton Cummings. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . BW205. 2005. $20. (New Price of $16 as of January 07)

This is a set of five traditional Welsh songs arranged by one of the most knowledgeable arrangers for our instruments. Barton Cummings has arranged these for Winston Morris' Tennessee Tech Tuba Ensemble and so can be used for a minimal number of players or as many as you have. The basic numbers are three euphoniums and three tubas, but there are divisi spots in All Through the Night where you need to have three more tubists for the full effects of the rich harmonies to come through.

The other tunes include Men of Harlech , which features running sixteenth notes in the tubas while the euphoniums march over them; Suo Gan , a lullaby that alternates the melody between the low voices, then the high, back and forth in alternation; The Ash Grove , where the second tuba tries to make itself heard with the melody while the three euphoniums and an additional tuba play harmonies above him (there are also divisi bell tones); and The Hirlas Horn , a lilting 6/8 time that belies the subject of the tune—a drinking horn used as a battlefield alarm. The music in this last is so congenial, I would not have guessed that the implication of the title is menacing.

All in all, this is a delightful set of tunes that would play well on a recital or at an event concert of some sort. My one complaint relates to the printing itself. In The Ash Grove , which is in 3/4 meter, there is a quarter note pickup. Somehow in the score the quarter note in the euphonium parts became complete bars in the tuba 1 and tuba 2 parts, So when the parts were printed there was not a quarter note rest before bar 1 but a full bar instead. So those two tuba parts have an extra bar rest. Perusal of the score before the reading prevented a disaster and much confusion. (Notation Error corrected September 06) There are treble clef parts for each of the three euphonium parts. The range of said parts are euphonium 1 d to c 2 , euphonium 2 c to a flat 1 , euphonium 3 G to a flat 1 , tuba 1 C to e 1 , tuba 2 GG to c 1 , tuba 3 CC to g.
~Michael Short, Drake University

BW314 Lighthearted and Lowpitched

Volume 33, Number 4 - Summer 2006:
Lighthearted and Lowpitched for three euphoniums and tuba by Joe Miserendino. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue #BW314. 3'40”. $15. (New Price of $14 as of January 07)

Upon retirement, Joe Miserendino decided to pursue his first love: music. He has been seriously writing music since 2000 and has turned out a great number of works. The bulk of his output is comprised of solo works for euphonium, tuba, or cello, but he has experimented with many formats. His works are available through Brassworks 4, BVD Press, Wehr's Music House, MMI Publishing, and rightnowmusic , as well as self-published works available through his website at www.joesmusicroom.com .

Lighthearted and Lowpitched is scored for a non-standard tuba-euphonium quartet of three euphoniums and one tuba. It could be attempted by a standard 2 and 2 tuba quartet (if you have a tubist with solid high chops up to g 1 ), but it is clearly written with three equal voices in mind. In fact, the tuba part could be played on a bass tuba (or even euphonium) to better match the sound of the euphoniums. The third euphonium will need four valves and will likely be better off with the compensating system as they are called upon to double the tuba down to BB-flat. The ranges of the parts are euphonium 1 from B-flat to a 1 , euphonium 2 from E-flat to a 1 , euphonium 3 ranges from BB-flat to g 1 , and the tuba part from AA to a. All three euphonium parts are included in both bass and treble clefs, and the tuba part is in bass clef. The score and all parts are computer generated and easy to read. One inconsistency: the same rhythm is notated and beamed in two different ways in bars 5 and 7. This may be purposeful as these bars are notated in the same way during the recap (bars 75 and 77), but this reviewer found it to be confusing for the purposes of sight-reading.

The style of the piece delivers on its “lighthearted” name, but it does have its difficulties. It is a modern rag in a simple ABA form. Non-standard voicings and extended harmonies make this a difficult piece to approach. At times the three low voices are stacked in seconds in the low register. There is a MIDI recording of this piece available on Mr. Miserendino's website (www.joesmusicroom.com) that would likely be an important tool to help each player understand where his part fits into the harmony. All parts have an equal share of the melodic content, but there is no development of ideas; they are simply passed through the ensemble. The length and lighter nature of this piece means that it will not be used as the cornerstone of a recital, so the amount of effort needed to make the piece fly may be more than many are willing to put in.
~Thomas J. Ricer, All the King's Tubas

Volume 33, Number 4 - Summer 2006:
Songs from the South arranged and adapted for six-part tuba-euphonium choir by Barton Cummings. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . Catalogue #BW316. 7'15”. $20. (New Price of $16 as of January 07)

Barton Cummings has been an advocate of the tuba's validity as a melodic instrument throughout his career. During his playing days he was responsible for the commission of more than five dozen works for solo tuba. In his “retirement,” he has turned that enthusiasm for the instrument to his own composing and arranging. His latest effort for Brassworks 4, Songs from the South (arranged for Dennis Askew and the UNCG TubaBand), is a return to arrangements of folk tunes for tuba ensemble (see also American Folk Medley, Irish Popular Song Suite, etc).

This suite contains versions of De Camptown Races , Aura Lee , Polly-Wolly Doodle , Deep River , and When Johnny Comes Marching Home. The ranges are euphonium 1 from e-flat to a 1 , euphonium 2 from c to a-flat 1 , euphonium 3 from A-flat to g 1 , tuba 1 from D to c 1 , tuba 2 from AA-flat to f, and tuba 3 from BBB-flat to d. All parts are included in bass clef, as well as a treble clef version for each euphonium part. The parts and score are computer generated and quite clear. The score is printed quite a bit smaller than the parts and may prove problematic when the oldest eyes in the group belong to the conductor.

The scoring/voicing is quite well done, providing some lush harmonies and exploiting the capabilities of the tuba and euphonium. The melody is nearly exclusively the domain of the first euphonium and the third tuba. The only exception to this rule comes in Deep River when the third euphonium plays the melody for one phrase. This is not to say that the other parts lack interest. Cummings provides interesting, if a bit light-hearted, developments and accompaniments to the simple, traditional melodies. One notable spot is in Polly-Wolly Doodle when the second euphonium introduces the melody from Swanee River as part of development. The main performance consideration for this piece is the speed of articulation throughout the ensemble, especially the third tuba part in the low register. The sixteenth notes in De Camptown Races and Polly-Wolly Doodle (at 120 and 100 bpm, respectively) can lie between different players' thresholds for single and double-tonguing speed. Overall, this is a very worthwhile effort for a college tuba-euphonium choir, providing challenges while still maintaining an enjoyable listening experience for the audience
~Thomas J. Ricer, All the King's Tubas

Volume 33, Number 4 - Summer 2006:
Hussar's Hurrah by Joe Miserendino for euphonium quartet. Brassworks 4, 461 Sunrise Pkwy Farmington, N.M. 87410. (505) 860-8122; bw4@brassworks4.com ; www.brassworks4.com . 2'45”. $15. (New Price of $14 as of January 07)

As a quartet composed of two cornets, trombone, and euphonium, Brassworks 4 was one of the more unique professional ensembles in the U.S.A. No longer together (the group lasted from 1994–2003), the remnant of this ensemble is an excellent publishing company based out of New Mexico. If you are not yet familiar with Brassworks 4 Publishing Company, my advice is that you do so. With an extensive database of brass music, this company possesses a website that is easily navigable, in spite of having a large amount of music to view.

Hussar's Hurrah is a work from the pen of Joe Miserendino, a composer who has only been seriously composing since retiring from another career in 2000. Composed for euphonium quartet (although it appears to also work well for three euphoniums and one tuba as well) the work is quick and lively with the tempo indicated as quarter = 200. As the time signature is in 3/4 (with a feeling of one working best), the style is very dance-like, reminding me of one of Bach's gigues. The range of the work is very accessible (b-flat 1 in euphonium 1, 2, and 3 to E-flat in euphonium 4), so any quartet has a chance to make the style effective without too much worry about the range.

My only complaint about the work itself is that the rhythmic figure is somewhat trite after about the first minute of the piece. Regardless, this is a good study in style for developing players, particularly those in late high school or early college.
~Jason D. Ham, Yamaha recording artist

Volume 34 Number 2 - Winter 2007
Sonata for Euphonium and Piano Op. 104 by Johann Nepomuk Hummel edited by Fred Broer. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, NM 87401. (505) 860 8122; bw4@brassworks4.com; www.brassworks4.com. #BW361. $20.

Johann Nepomuk Hummel was born in Bratislava, Slovakia in 1778 and died in 1837. The Sonata for Euphonium and Piano, Op. 104 was originally written for cello and piano. Fred Broer edited the cello part. There have been some additions by the editor for the euphonium to equalize the balance.

One unique aspect of this work is that the editor also includes performance notes covering the following topics: turns, pedaling, tempo, other embellishments, dynamics, articulations, and special notes. These three pages of notes are useful and add to the success of the work

This three-movement work is a very challenging piece for both the performer and the accompanist. The movement titles are "Allegro amabile e grazioso," "Romanza," and "Rondo." The range of the solo is from e 2 down to C, very demanding to say the least. The work is also long enough to place endurance demands on the soloist.

Mr. Broer has done a superb job of interpreting two different source materials and taking the guesswork out of performing a transcription. This solo will challenge even the most accomplished performer as only Hummel can. I would highly recommend this arrangement to all who are looking for a major sonata.
~Kelly Thomas, University of Arizona

Volume 34 Number 2 - Winter 2007
Variations for Euphonium for solo euphonium and piano by Nicholas F. Angiulo. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, NM 87401. (505) 860 8122; bw4@brassworks4.com; www.brassworks4.com. #BW337. 2006. $12.

This is a nice melodic theme with variations for solo euphonium, accompanied by piano. The piece starts at an allegretto tempo with the first two measures played only by piano. The euphonium begins an expressive 8-measure melodic line—the theme played within the medium/normal range for the instrument. This is followed by the first variation, which repeats the first half of the theme, only played an octave higher and adds a twist of the melodic line in the third measure to vary from the theme. For the second variation, the melodic line returns to the normal octave of the original theme, only now with added sixteenth-note rhythms. The third variation starts with the same rhythm as the second variation, only played an octave higher and diverges in melodic line from there. The fourth variation is taken over by piano only, with the euphonium resting for 8 measures. The fifth variation is at a new tempo—meno mosso, with the variation acting as a new melodic bridge, taking a slower pace with triplet eighth-note rhythms with increasingly wider pitch intervals, turning into triplet sixteenth-note rhythms. The sixth variation takes the soloist again up an octave but is now treating the melodic line and rhythms quite separately, staying up in the stratosphere of the high range of the instrument.

By the seventh variation, the soloist reaches the cadenza ad lib, with suggested notes shown. The eighth variation repeats the original theme, with the ninth variation repeating the beginning of the first variation at the higher octave, and a high last-four-measure finish to the piece.

I would say this would need an advanced high school to college-level player to tackle the solo, based on range and intervals. There are treble clef parts as well as bass clef parts for the euphonium soloist. The range for the instrument goes from D to b-flat 1.
~Cynthia Short, Euphonium soloist, Des Moines, IA

Volume 34 Number 2 - Winter 2007
Mein lieber Freund for unaccompanied solo euphonium by Joe Miserendino. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, NM 87401. (505) 860 8122; bw4@brassworks4.com; www.brassworks4.com. #BW366. 2006. $10.

The title is sub-headed “For my dear friend Peter Tangemann—In memoriam.” It is also noted “Should be played randomly and musingly—pausing between memories.”

This is a very beautiful, short work for unaccompanied euphonium with a very moving, expressive melody, which soars with wonderful moments, as you would infer by the purpose of the piece as a memorial to a great friend. It is an excellent piece to include in a recital program to show the beauty of the instrument in true unaccompanied sound. There are treble clef parts as well as bass clef parts. The range for the instrument is E to b 1.
~Cynthia Short, Euphonium soloist, Des Moines, IA

Volume 34 Number 2 - Winter 2007
Just We Two for 2 euphoniums by Joe Miserendino. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, NM 87401. (505) 860 8122; bw4@brassworks4.com; www.brassworks4.com. #BW380. 2006. $12.

This is a fairly straightforward duet piece, written in ABA form. The B section contains a different tempo, an added sharp to the key signature, and a mixture of 3/4 and 4/4 meters.

Interestingly enough, it appears euphonium 2 takes the lead much of the time and is actually higher in range than euphonium 1 in several places, including the last five measures of the piece. The last five notes show the two instruments playing at a continued whole step dissonance, starting an awkward run of four sixty-fourth-notes, and ending on a whole note—a trilled a-flat 1 for euphonium 1 versus a trilled b-flat 1 for euphonium 2.

This seems to be a piece that could be performed by young high-school level players, except for the fact that the range is fairly high for the instrument. There are two treble clef parts as well as two bass clef parts for the euphoniums, with both euphonium 1 and euphonium 2 shown together in all parts. The range for euphonium 1 is A to a-flat 1. The range for the euphonium 2 is much wider in scope, going from D to b-flat 1.
~Cynthia Short, Euphonium soloist, Des Moines, IA

Volume 34 Number 2 - Winter 2007
Beati Mortui by Felix Mendelssohn arranged for tuba-euphonium quartet by Thomas J. Blackwell. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401, USA. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. 2:00. 2006. $13.

Thomas J. Blackwell is a veteran arranger and plays euphonium in the Quadrangle Tuba Quartet. In this arrangement, he has set this beautiful piece for tuba-euphonium quartet available from Brassworks 4 Publications. This piece is probably most appropriate for proficient high school or early college students developing a sense of melody and lyric playing. Although not technically challenging, this arrangement offers some musical challenges and adds to the repertoire of Romantic literature in transcription.

This movement, “Beati Mortui,” is from Zwei Geistliche Choere für vier Männerstimmen (Op. 115, No. 1) and translates as “The Blessed Dead” from Two Sacred Choirs for Four-Part Male Voices. Originally an a capella piece, this selection translates well for tuba-euphonium quartet both because no additional accompaniment is required and the range of the low brass instruments. This meditative piece has many dynamic markings to encourage musical expression. Marked andante sostenuto, most players will not find the technique challenging but may find the musical elements demanding. The range of the parts is not extreme, from f 1 in the first euphonium to FF in the second tuba, and each part's tessitura is also not excessive.

The printed music is computer-generated and very legible. Measure numbers are included at the beginning of each staff system for the performer's convenience. Euphonium parts in both treble and bass clefs are provided. In addition, the page layout and expressive markings are clear and well spaced on the page.

With musical sensitivity and expressive playing, many advanced high school and early college players will find this arrangement a bit challenging and definitely rewarding.

Borrowing from Mendelssohn's choral works, Blackwell has added this beautiful selection to the tuba-euphonium quartet library. Incidentally, Blackwell also plays horn in the Bethel Brass Quintet and has arranged this piece for brass quintet (correction, quartet), which is also available from Brassworks 4 Publications. Either as a low brass quartet or brass quintet (quartet), this piece is a valuable addition to our repertoire of Romantic music.
~Daniel Johnson, University of North Carolina at Wilmington

Volume 34 Number 2 - Winter 2007
“Menuettos I & II” from Divertimento No. 2, K. 131 by W.A. Mozart arranged for tuba-euphonium quartet by Thomas J. Blackwell. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. 4:00. 2006. $15. (New Price of $14 as of January 07)

Veteran arranger Thomas J. Blackwell plays euphonium in the Quadrangle Tuba Quartet and offers this set of two menuettos by Mozart. In this arrangement, he has set the two dance-like movements for tuba-euphonium quartet, available from Brassworks 4 Publications. This arrangement is probably most appropriate for proficient college students developing a sense of Classical style, melody, and form. Although not without its technical challenges, this arrangement offers more musical challenges and adds to the repertoire of Classical literature in transcription.

“Menuettos I & II” from Divertimento No. 2, K. 131 has a typical Classical form: menuetto, trios, an interlude, and menuetto da capo. Originally for a Classical string orchestra, these movements have been frequently transcribed for other instrumental ensembles, suggesting that the musical value of these pieces translates well into different settings. The range of the parts is not extreme, from a-flat 1 in the first euphonium to AA-flat in the second tuba, and each part's tessitura is also not excessive. Some players may find the technique a bit challenging at times, but the greater challenge is stylistic interpretation, which is made easier by this arrangement. Marked with a variety of musical interpretations and articulations, this arrangement has many cues to assist less experienced players' performance of this transcription. Nevertheless, this lively piece has many opportunities for musical expression while conveying a sense of Mozart's musical genius.

The printed music is computer-generated and very legible. Measure numbers are included at the beginning of each staff system for the performer's convenience. Euphonium parts in both treble and bass clefs are provided. In addition, the page layout and expressive markings are clear and well spaced on the page. Although the euphonium parts appear in treble clef on the score (which some directors may not prefer), all other aspects of the printed music are clear and easy to read.

With musical sensitivity and stylistically appropriate playing, many college players will find this arrangement a bit challenging but definitely rewarding. With some attention to the musical conventions typical of the Classical period, many students will be successful by following Blackwell's helpful expressive markings. As such, this arrangement is a valuable addition to the repertoire for low brass quartet.
~Daniel Johnson, University of North Carolina at Wilmington

Volume 34 Number 2 - Winter 2007
A George M. Cohan Salute arranged for tuba-euphonium choir by Barton Cummings. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. #BW369/370 (correction, BW340). 2006. 5:00. $14.

In his ongoing effort to challenge the definition of “retirement,” Mr. Cummings has produced yet another medley of light popular tunes in his A George M. Cohan Salute . The name George M. Cohan to me harks back to some of my earliest musical education. I can remember playing You're a Grand Old Flag in our jug band back in Cub Scouts. In addition to that standard, he includes Yankee Doodle Boy, Mary's a Grand Old Name, Forty-five Minutes from Broadway, Harrigan, and Give My Regards To Broadway in his latest collection.

The work is one continuous piece with only brief transitions to set up each new melody. The ranges are euphonium 1 from c to a 1, euphonium 2 from B-flat to f 1, euphonium 3 from A to f 1, tuba 1 from BB-flat to a, tuba 2 from GG to g, tuba 3 from CC to B-flat. Although he does a good portion in general distributing the duties, the euphonium 1, tuba 1, and tuba 4 will all required stronger players. Each tends to stay more in the specific tessitura (high or low) for the majority of the work, so the players must have some endurance. That being said, the piece is approachable for most college ensembles and maybe even some advanced high school groups.

Mr. Cummings presents a workable, straightforward collection of these standards. The transitions are generally good, with a couple that are a little less fluid than the others. He does a respectable job in maintaining clarity, with only a few small sections that are a little muddy due to close writing (but this is a constant challenge for anyone writing low brass ensembles). My only real criticism (if you wish to call it that) would be to mark solo/soli passages. While the older musicians around will automatically know these melodies, many younger players may not. It might be helpful to point out who has the line for sake of balance and interpretation. Overall, this is a very playable light work that will have audience appeal
~Tim Olt, Bowling Green State University

Volume 34 Number 2 - Winter 2007
Air & Allegro from King Arthur by Henry Purcell arranged for tuba-euphonium quartet by Daniel S. Augustine. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. 2006. $14.

What a pleasant and pleasurable work to have arranged for tuba-euphonium quartet. I recall as a child listening to a scratchy vinyl disc recording of the New York Brass Quintet performing this work. It was one of the first things that really turned me on to brass playing. It is nice to hear it once again—from the other side of the baton.

Henry Purcell (not “Prucell” as the cover indicates) (correction made) is known as one of England's finest composers. He was a baroque composer used both French and Italian elements to form his own English baroque style. He lived from 1659–1695, and originally composed this work in 1691. One of the trademarks of such excellent music is that it still transmits a sense of vibrant energy when performed today.

To achieve success in performance, the ensemble will need two strong euphonium players and a first tubist with a clear and relaxed sounding upper register, or access to an f tuba, or both! Ranges are euphonium 1 from f to b-flat 1, euphonium 2 from c to b-flat 1, tuba 1 from C to b-flat, and tuba 2 GG to g. The Air is slow and beautiful, a good lesson in courtly dance style. The two tuba parts provide a gentle underlying pulse for the melody to float above. After a brief 24 measures of Air, we fasten seat belts and the euphoniums begin counting ledger lines, for most of the Allegro section lies above the staff (with the second part spending eight bars in “the stratosphere”). Most college ensembles should have the horses to perform this work, though it might truly test their mettle. It is an excellent example of baroque style, and is a good study for note length, matching articulation, and playing “short and clean” on the bottom tuba line.

Brassworks 4 once again stays consistent, providing excellent quality score and parts, both treble and bass clef euphonium parts, and excellent service. Credit goes to Daniel Augustine for this fine arrangement—his “Google” also lists him being a jazz enthusiast and “back-up tubist” with the Austin Banjo Club— sounds like excellent fun!
~Phillip C. Black, Wichita State University, Wichita Symphony

Volume 34 Number 2 - Winter 2007
Christmas Medley for Tubas arranged for tuba-euphonium quartet by Dr. George Baggett. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. 2006. $14.

This is a very straightforward arrangement of four Christmas favorites. After a four-measure introduction in B-flat major, Jingle Bells is played once through, including the verse. A sudden modulation to E-flat major brings us Deck the Halls (also once through). At the end, there is a four-measure extended ending that uses similar material to the melody of the next carol, Good King Wenceslas . Dr. Baggett uses a pyramid in the melody from the tuba 2 up to the euphonium 1 part, then repeats something similar to transition into Up on the Rooftop. Another extended ending is then followed by a descending pyramid and a rather strangely voiced G minor chord to end the arrangement. The b-flat flat is doubled, and is also found in the bass—I think I would at least put the G in the bass instead. This is something that can easily be corrected by the ensemble director if he so chooses. Another thing that could be done is some judicious repeats—none of the tunes are played more than once through. With those caveats, I can say that this would be an excellent arrangement for a young high school ensemble. I would almost extend that to the junior high level, but for the high b-flat in the euphonium 1 part.

Yet a different reason to buy this arrangement comes in a message on the back of the printed score. Written by Greg Lindstrom, a member of the Harding University Class of 1988, he tells the story of Dr. George Edward “Eddie” Baggett, the arranger of these carols. He taught at Harding University for 42 years and wrote this arrangement in December 1987. Mr. Lindstrom says, “All royalties from the sale of this chart will be donated to the E.B. Baggett Memorial Scholarship Fund at Harding University…this fund was founded in honor of Dr. Baggett's father.” It's not often that the buyer of music can contribute in this manner.

There are treble clef parts as well as bass clef parts for both euphonium 1 and 2. The ranges are euphonium 1 from e-flat to b-flat 1, euphonium 2 from e-flat to e flat 1, tuba 1 BB-flat to a, and tuba 2 from BB-flat to d.
~Michael Short, Drake University

Volume 34 Number 2 - Winter 2007
Songs of Rivers, Canals, and Oceans arranged for tuba-euphonium sextet by Barton Cummings. Brassworks 4 Press (Publishing), 461 Sunrise Parkway, Farmington, NM 87401. (505) 860-8122; bw4@brassworks4.com; www.brassworks4.com. $18 (New Price of $16 as of January 07)

Barton Cummings has a rich and storied legacy as a tubist, teacher, composer, and arranger. With Songs of Rivers, Canals, and Oceans he revisits the “Americana” theme set forth in his collection of American Folk tunes, and “dredges” up a winning combination of songs with a nautical theme. The medley includes Shenandoah, Blow Ye Winds!, Away For Rio, Erie Canal, and Blow the Man Down.

The instrumentation is three euphoniums and three tubas, and, while there are plenty of “3 vs. 3” sections, the players are, on occasion, artfully grouped so that layer and pyramid effects are easily recognized and heard throughout. Ranges are euphonium 1 from A-flat to a-flat 1, euphonium 2 from A-flat to f 1, euphonium 3 from A-flat to f 1, tuba 1 from BB-flat to b-flat, from tuba 2 from AA-flat to b-flat, and tuba 3 from EE-flat to e-flat. Hopefully any college level ensemble could perform this work without endurance issues.

From a conducting standpoint, this is not a hard work to tame. Care will have to be given to leading the ensemble through the interludes between songs—this is where the players have to learn to lead, follow, or get out of the way.

Once the next tune arrives, “all is well again.” Though I was familiar with all the titles incorporated, some of my younger players got a history lesson as we read through. I got to sing the lyrics, and they learned what the melodies were originally written for. The majority of this collection is in A-flat, with a brief excursion to B-flat for Away For Rio, yet there is never a sense of “all sounding the same,” due to the refreshing treatment Mr. Cummings provides in his voicing and accompaniment figures. Brassworks 4 provides both treble and bass clef euphonium parts, and all parts are clearly printed and well spaced on good quality paper. This work is excellent recital quality material for any audience.
~Phillip C. Black, Wichita State University, Wichita Symphony

Volume 34 Number 3 - Spring 2007
Beau Soir “Lorsque au soleil couchant les rivières sont roses” by Claude Debussy arranged by Barton Cummings for solo euphonium and piano. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, N.M. 87401. (505) 860-8122; www.brassworks4.com. $12.

Barton Cummings has taken the well-known melody Beau Soir, translated Beautiful Evening, by Claude Debussy and successfully arranged it for solo euphonium and piano. Beau Soir is a French art song that was originally written for voice. The songlike and lyrical qualities of the euphonium are necessary to perform this work successfully. The arrangement is one that could be performed by a younger performer, but the musicality and lyricism can be challenging even for the most experienced performer.

Barton Cummings arranged this work for Connie Schulz, owner of Brassworks 4 Publishing and an accomplished euphonium performer. The work is only 41 measures long so endurance should not be an issue. The range of the piece is f 1 to B, very manageable for the younger performer. The beauty of this piece is that it is a timeless piece of music that has the inexperienced performer in mind. Too often inexperienced performers are only given choices of arranged pop music or music that is based on simple melodies. Not often are they given a French art song to perform. Congratulations to Mr. Cummings for his choice of source material.

The solo is typeset and very easy to read. It comes with both a bass clef and treble clef part. This work is a great addition to the young performer's repertoire.
~Kelly Thomas, University of Arizona

BW404 La Fille aux Cheveux de Lin

Volume 34 Number 3 - Spring 2007
La Fille aux Cheveux de Lin by Claude Debussy arranged for solo euphonium and tuba-euphonium quartet by Barton Cummings. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, N.M. 87401. (505) 860-8122; www.brassworks4.com. $12.

La Fille aux Cheveux de Lin is one of Claude Debussy's Préludes. These Préludes were two books of pieces for solo piano, with twelve preludes in each book. This arrangement is for solo euphonium with tuba-euphonium quartet. The range of the solo part is from b 1 to B-flat. The euphoniums in the quartet range from g 1 to F and the tubas range from b to EE-flat. The accompaniment mainly plays sustained chords underneath the moving line in the solo euphonium. Occasionally the quartet will have moving lines underneath the soloist.

The biggest challenge of this well known work will be for the members of the quartet to play soft enough so that the solo line can be heard. The dynamics are all marked the same throughout the ensemble, which could lead to the quartet covering up the soloist at times. The other challenge is that the rhythmic pulse needs to be brought out at all times to assist the ensemble in staying together.

I would recommend this work for an advanced high school quartet to a college quartet. The accompaniment part appears rather simple but will take mature playing to be musical and successful. The solo part is much more challenging than the quartet parts, but still manageable by the advanced high school performer.
~Kelly Thomas, University of Arizona

Volume 34 Number 4 - Summer 2007
Little Suite No. 3 for Solo Tuba by Barton Cummings. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, N.M. 87401. http://www.brassworks4.com. $10.

Along with many others, I have reviewed the music of Barton Cummings on numerous occasions, so I will spare the biographical details. Suffice to say that Mr. Cummings has extensive experience with our genre and is quite the prolific composer and arranger. With that out of the way, let's get to the work at hand.

The Little Suite No. 3 is exactly as it claims, a short suite of four movements for unaccompanied tuba. The titles of the individual movements give a good description of the flavor of each movement: “Dance,” “Waltz,” “Meditation,” and “Galop Off.” The suite has a distinct ethnic tinge, from the Celtic skipping of the “Dance” to the Czech “Galop.” The majority of the range is from GG-flat to g-flat 1 with one passage descending to CC. The work lies well on bass tuba but is definitely playable on contrabass tuba.

The work does have a good amount to offer to an audience. The movements are relatively short, and the bookends are lively and energetic. From a performing standpoint “Meditation” offers a lot of flexibility and opportunity for the artist. The technical challenges are minimal, making this an ideal short filler piece for a recital.
~Tim Olt, Bowling Green State University

Volume 34 Number 4 - Summer 2007
Toccata for Brass (MMV) by Randy Snyder. Brassworks 4 Publishing: 461 Sunrise Pkwy, Farmington, N.M. 87401. http://brassworks4.com. $14.

Randy Snyder (b. 1960) leads a very active musical life, filled with jazz, wind ensemble, trumpet master classes, and performing with a resident brass quartet in the Houston area. (This answered my initial question of why such nice writing with optional parts for horn, euphonium, or two trombones was not scored for brass quintet). This would however make a nice addition to a brass quintet folder if only to have a work that gives the tubist a breather.

There are basically four major thematic ideas that get passed throughout the group. Sometimes these ideas appear as fragments in the accompaniment figures and at times are elongated and use a bass line. The writing is interesting without becoming too busy and overbearing. Voices are treated with great equality and thematic material happily dispersed through all the parts. The accompanying voices go through some excellent “changes,” which would keep the work very interesting and listenable for all audiences.

As in all the Brassworks 4 publications I have seen, the parts are very clean, well printed, with great attention to making the work accessible to many combinations and clefs of instruments. This work would be suitable for any type of church prelude or special music, a nice addition to a school clinic setting to demonstrate voicing and part movement, or “gig music” while the tubist is at the buffet.
~Phillip C. Black, Wichita State University, Wichita Symphony

Volume 35 Number 1 - Fall 2007
Three Moods for Euphonium and Piano by Barton Cummings. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $12.

Part of the Brassworks 4 Series from Brassworks 4 publishing, Three Moods for Euphonium and Piano is a fine contribution to the literature by the well known author, composer, conductor, educator, and performing artist Barton Cummings.

The work comprises of three movements: “Overture,” “Arioso,” and “Burlesque.” The range for the euphonium is BB-flat to c?. The score and parts are extremely easy to read and very clear. Both treble clef and bass clef parts are included. The range issue is minimal and for the most part approached by step. There are a few passages involving leaps larger than an octave but these are descending and not rhythmically complex. The writing is characteristic to the movement titles, including some quasi-cadential material and is very accessible to the intermediate to advanced level performer.
~Chris Combest, University of Illinois at Urbana-Champaign

Volume 35 Number 1 - Fall 2007
Sonatina for Tuba and Piano by Barton Cummings. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $11.

This four-movement work is classic Cummings, with plenty of opportunity for the performer to display lyricism and expression through tuneful lines and two cadenzas. The first movement is ternary with the light middle section flanked on both ends by a flowing lyrical theme. The second movement is a lilting waltz, with good annotations of tempo changes to keep it in the mood of classic waltzes, and provides room for the performer to “own” the piece. The short, lyrical third movement fits the bill of an Air in style and context, and the fourth movement is a rollicking gigue in 6/8 with an effective accelerando to the end of the piece.

Pedagogically, much of the work’s strength is in its approachability by using traditional forms, tuneful melodies, straightforward rhythms, and conventional phrase-lengths—the only aspect of the work that does not match this is the tessitura. Most advanced undergraduates could successfully perform the Sonatina if it were not for the upper tessitura required in just a few isolated passages. The range is C to g1,which is playable by most undergraduate euphonium players with 4-valve instruments but limits the work primarily to mature F-tuba players. Only five measures in the piece go above d1, which is readily attainable by most upper class undergraduate CC-tuba players. It may be possible that the third and fourth movements could be performed alone for players without a solid g1, though the cadenza in the latter may have to be modified.

The piano part is moderately difficult, with some melodic trading between the solo and accompaniment. In spite of the brief ventures into the upper register, Bart Cummings has once again provided the tuba community with a valuable contribution to the repertoire.
~Jason Byrnes, University of Northern Colorado

Volume 35 Number 1 - Fall 2007
Four Easter Quartets arranged for brass quartet by John Jay Hilfiger. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. brassworks4.com. $14.

These four hymns are basic arrangements, each repeating the chorus once. Of course, they can be repeated at will as needed. The instrumentation is for two trumpets in B-flat, horn, and trombone. Euphonium can be substituted for trombone, and the arrangement includes parts so that the euphonium can also substitute for horn in either bass or treble clef.

The hymns are Jesus Christ is Risen Today (subtitled Easter Hymn), Christ is Alive! (Truro), Now the Green Blade Rises (French Carol), and Thine is the Glory (Judas Maccabeus). The only one that seems out of place for an Easter setting would be the third, which upon hearing the melody is the familiar Noel Nouvelet that is commonly heard around Christmas time. Apparently, some churches sing words that make it appropriate for inclusion in Easter services, but it still seems a little jarring to hear the Christmas tune at the wrong time of the year.

Overall, this is a useful set of quartets. Most young high school players would be able to execute these arrangements, as the range is not extreme. No part has much more of a compass than an octave and a half, and the trumpet parts do not go above the treble clef staff. The horn part is almost entirely in the treble clef staff. The range on the low brass parts are third part b-flat to b-flat1 and fourth part F to f1. The third part does get into the upper range, but that is because it is substituting for horn, and, if the player drops some of it an octave, there seems to be no harm done.
~Michael Short, Drake University

Volume 35 Number 1 - Fall 2007
Great is Thy Faithfulness by Runyan arranged for brass quartet (2 trumpets, 1 trombone, 1 euphonium) by Randy Snyder. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $12
I Sing the Mighty Power of God by Watts arranged for brass quartet (2 trumpets, 1 trombone, 1 euphonium) by Randy Snyder. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $14.

Randy Snyder, Fine Arts Department Chair at San Jacinto College North in Houston, Texas, has arranged a number of sacred pieces for Brassworks 4. Dr. Snyder is well versed in brass quartet, playing trumpet as a member of the Cathedral Brass at the Sacred Heart Co-Cathedral. Brassworks 4 was active as a professional brass quartet from 1994–2003, and their publishing house was the natural extension of their developing the repertoire for that ensemble. While their specialty is brass ensemble music (including many configurations of tuba/euphonium ensembles), they now carry music for woodwinds and piano as well.

The ranges of the euphonium parts are E to a for Great is Thy Faithfulness and E-flat to e-flat1 for I Sing the Mighty Power of God. The other parts are similarly reasonable in range, with the trumpets rarely playing above the staff and the trombone peaking at g1. The score and all parts are computer generated and quite clear to read. Much care has been put into marking articulations. The real strength of these arrangements is the flexibility of instrumentation. A horn part in F is included doubling the trombone part and the euphonium part is in a narrow enough range to make it accessible to a tuba, euphonium, or trombone player, so any brass quintet could use this on a church gig, or the piece can be flexible for what members of a church band show up for a given service.

Great is Thy Faithfulness is a simple setting of the choral and should be an easy chart to read. It is in the key of D throughout. Group rests and time changes from 4/4 to 3/4 and back may throw off an ensemble on the first reading but are simple enough to be worked out quickly. The trombonist will need a solid mid-high register and be independent for a solo line in mm. 9 and 10. Otherwise it is straight ahead. The fermata in the penultimate measure can be a bit awkward and might be best to simply include it as part of the overall ritardando at the end. This arrangement should sound good with minimal effort from the players and will be a welcome addition on a church gig.

After reading through I Sing the Might Power of God, one of my trumpet players remarked “Wow, that was eventful.” For a two-minute piece, there is a great deal of interest. The fanfare beginning allows all the ensemble members to get involved and shifts between 4/4 and 3/4. The euphonium player will need a strong low range to cover the bass role down to E-flat. The first statement of the melody is fairly simple with some triplet patterns on the trumpet parts. In the second statement, the trombone and euphonium parts play the offbeat in thirds while the trumpets parts have some sixteenth note figuration. After a brief modulation, the third statement moves to B-flat from the previous key of A-flat. This section may take some practice for intonation, as the euphonium and second trumpet play the melody completely unadorned in octaves with each other. The trombone and first trumpet move lightly above in sixths with each other. The articulation of this line is meticulously marked. The piece ends in a flourish with a scalar eight-note line in the euphonium part underneath the rest of the group. This arrangement my take a bit more work to put together, but will be worthwhile as an upbeat introductory piece for a church service or recital.
~T. J. Ricer, D.M.A. student, Eastman School of Music

Volume 35 Number 1 - Fall 2007
Ev’ry Time I Feel the Spirit arranged for brass quartet by Randy Snyder. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401.brassworks4.com. $14.

This gospel arrangement of the traditional song is in the standard Brassworks 4 instrumentation: 2 trumpets, trombone (substitute part for horn provided) and euphonium (treble and bass clef parts provided). The piece is musically effective, starting with a thick introductory phrase but then dropping back as it builds throughout in thickness of texture and dynamic level. Although the piece is melodically strophic, the variety of accompaniment throughout makes the piece fun to play and hear. The ranges of the parts (trumpet 1 b to g2, trumpet 2 a to c2, trombone f-sharp to f-sharp 1, and euphonium D to g) are easily playable for gigging quartets or university students; the light swing style and key of D major throughout may provide younger players with challenges. With its short duration, religious theme and climactic ending, I cannot think of a more appropriate piece to accompany “passing the plate” next time you are playing a church job.
~Jason Byrnes, University of Northern Colorado

Volume 35 Number 1 - Fall 2007
Cathedral Rondeau for brass quartet by Randy Snyder. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $14.

Randy Snyder is currently the Fine Arts Dept Chair at San Jacinto College North in Houston, Texas and has composed and/or arranged works for marching band, concert band, choir, jazz band, brass quintet, brass choir, as well as solo pieces and numerous other ensemble settings.

Instrumentation for Cathedral Rondeau is C trumpets, trombone, euphonium or trombone (Optional B-flat trumpets, horn in F included). Range for the parts is trumpets g to f2, trombone c to f1, euphonium F to b-flat. The score and parts are very easy to read and are extremely clear. The writing and voice leading are effective and well done. This is a short piece that is in cut time and does contain compound meter material, though for the most part the rhythm is not complex, there are instances of some very fast ornamentation that might be a slight issue for a younger performer. Range requirements are minimal and the use of varied dynamics is excellent and could serve as a wonderful developmental tool in a younger chamber group. Overall, this piece is well within the intermediate level and is a good addition to the brass chamber library.
~Chris Combest, University of Illinois at Urbana-Champaign

Volume 35 Number 1 - Fall 2007
Were You There? arranged by Randy Snyder for brass quartet. Brassworks 4 Publishing, 461 Sunrise Parkway, Farmington, N.M. 87401. www.brassworks4.com. $14.

This is an arrangement of a traditional hymn setting. The arranger, Randy Snyder, is currently the Fine Arts Department Chair at San Jacinto College North in Houston, Texas and has composed and/or arranged works for marching band, concert band, choir, jazz band, brass quintet, brass choir, as well as solo pieces and numerous other ensemble settings.

Instrumentation is B-flat trumpets, trombone, and euphonium (with optional horn in F included). Range for the parts is as follows trumpets a to a2, trombone e-flat to a1, and euphonium AA to e1. The score and parts are extremely easy to read and are very clear. As for the overall length of this piece, it is very short, but the writing is effective. As far as accessibility, this piece is easily in the range of a high school ensemble and is a useful addition to anyone desiring a straightforward traditional setting of this hymn for their library.
~Chris Combest, University of Illinois at Urbana-Champaign

Volume 35 Number 2 - Winter 2007
Twelve Fantasias by Georg Philipp Telemann transcribed and edited for solo trombone or baritone by James Klages. Brassworks 4 Publishing. 461 Sunrise Pkwy, Farmington, N.M. 87401. www.brassworks4.com. $15.

Having worked with the Alan Raph’s trombone transcription of these fantasias for many years, I was surprised to see this new edition almost entirely in bass clef appear (the last fantasia is in tenor clef). This new edition is significantly different than the Raph’s Carl Fisher edition dating back to the mid-1970s. First of all, the fantasias are in a different order. Most are transposed to different key signatures from the original key signatures. This edition also appears to have been edited more for the valve instrument as trills are left in and significant variations in phrasing are present that seem to favor valves over slide. However, all of this is practically moot anyway as these fantasias, originally for flute, have also been transcribed and edited by many other arrangers for viola, trumpet, and a host of other instruments over the years.

A keyword search also reveals many recordings on different instruments as well. In fact, James Klages himself has two additional editions of these same fantasias for piccolo trumpet and for trumpet or treble clef baritone published by Brass 4 Publishing. It’s not too amazing to discover that they have exactly the same editing choices although the trumpet/baritone version is in the exact keys in treble clef making each actual fantasia a step higher than this edition.

Some of the rhythmic choices are curious. No sextuplets are present having all been reworked as triplets. Perhaps it’s a software concern. I am also somewhat disappointed to see that many of the fantasias are actually transposed higher making the fatigue factor more prominent. Most of the fantasias are scored so a majority of the music is above the staff with many b-flat2 notes and the c2 and d2 above that. The total range is B-flat to d2. Using the lower range of the instrument from B-flat down to F and even E below the bass clef staff could have reduced so many of the ledger lines by as much as a perfect fourth lower. Given the difficulty of the music itself, whether the keys contain flats or sharps (this entire edition is only in flat keys) becomes a minor concern.

One of the positive aspects of this edition is the clarity of the print, the nicely bound edition that uses laminated cover stock to make it last longer, and a real attempt to avoid awkward page turns that succeeds most of the time. Given that Telemann and his contemporaries did little editing of their works because of the strong aural traditions of the time, whether Klages or anyone else can definitively come up with “the” way to interpret this music remains to be seen. Personally, I suggest taking any phrasing and ornamentation with a huge grain of salt and work up your own interpretation. A nice place to start would be reading through Quantz’s text On Playing Flute as it has excellent references to how to play Baroque music, and Quantz was a contemporary of Telemann. This edition does deliver what it promises. Most of the fantasias do hover in the higher range of the instrument but they would certainly build endurance with daily study!
~Mark Nelson, Pima Community College

Volume 35 Number 3 - Spring 2008
Adagio for Brass for brass septet by Benjamin Foisel. Brassworks 4 Publishing. 461 Sunrise Pkwy, Farmington, N.M. 87401. www.brassworks4.com. $16.

The Adagio for Brass is scored for flugelhorn, 3 trumpets in b-flat, horn in F, euphonium, and tuba. The range of the tuba part is EE to e-flat. The euphonium range is G to f1. The range of the 3 trumpet parts is g to b-flat2.

According to the information this reviewer could find, composer Ben Foisel is a trumpeter at Fort Lewis College in Durango, Colorado. This work is a short lyrical piece for brass. The motive of ascending perfect fourths is introduced by the flugelhorn in measure 8 after a short introduction. This motive recurs frequently, but never quite gets itself into a full-blown melody. The harmonies are jazz influenced, but they do not flow as such. There are far too many ambiguous bass progressions that do not work with the melody. That is not to say that ambiguity is not a viable aesthetic, but when you do write in a certain way, certain expectations will occur, and some must be met. Many harmonic problems occur through misplaced non-harmonic tones. It is as if the composer was trying to do too much in a short span of time. There are some very nice moments, such as the misterioso section at m. 28, but it never reaches its true potential. Some of the harmonic ideas are really quite good as well, but again, they are never carried through to a logical conclusion. I hope that Mr. Foisel will continue to write and seek instruction so that he can get these obviously good musical ideas on paper the way he wants them.
~Tony Zilincik, Capital University

Volume 35 Number 3 - Spring 2008
Americana Collection (The Star Spangled Banner; America, the Beautiful; Battle Hymn of the Republic) arranged for brass quintet by John Jay Hilfiger. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, N.M. 87401. wwww.brassworks4.com. $16.

A search found much biographical and published music information at http://users.penn.com/~jhilf. In a nutshell, John Jay Hilfiger’s musical career has spanned over thirty years. He studied horn at the Eastman School of Music, received a Ph.D. in music from the University of Iowa, and has since played professionally and served on the faculties of several institutions. Currently, provided my information is current, he is on the faculty of Castleton State College of Vermont and devotes much time to composing and arranging.

This is a most excellent collection at a very reasonable price to add to a quintet’s basic library—perfect for interspersing with marches on July 4th, providing reflective or triumphant “patriotic moments” depending on the selection. Great care is taken throughout to pass the melody around the group, and pairings are switched often enough that both listener and player will perceive these as a breath of fresh air blown into some very familiar tunes. Tuba range is from FF to e-flat and would probably “feel” best when played on BB-flat or CC tuba. While still playable on the higher e-flat or f tuba, the player might be fighting clarity at times. Range for the other instruments is no issue, and they too would probably relish a reading of this composer’s treatment of these classic hits. On this, an election year, you never know who your quintet might be asked to play for—but this set would be very handy!

Score, parts, printing, all live up to the high standard we have come to associate with Brassworks 4 Publishing.
~Phillip C. Black, Wichita State University & Wichita Symphony

Volume 35 Number 3 - Spring 2008
Pastyme with Good Company (attributed to King Henry VIII) arranged for brass quintet by Adam Krosberg (Kosberg). Brassworks 4 Publishing. 461 Sunrise Pkwy, Farmington, N.M. 87401. www.brassworks4.com. $14.

Adam Kosberg is listed as being a trombone music performance major at Millikin University, Decatur, Illinois where he has had good luck in finding a performance outlet for his compositional and arranging skills. He wrote music and arranged for several groups while attending Collinsville High School. Even at his current “ripe young” age, this quintet arrangement shows the mark of a mature hand.

The tuba part ranges from FF-sharp to b-flat with only two spots that might cause a younger player a bit of consternation. One is a leap to the top of the staff with two measures to “think about it,” and the other is a measure with some very low 16th notes in octaves with the trombone, which must be in tune and balanced for clarity. It appears that King Henry VIII (or so they say) has written a very pleasant tune with a regal G minor feel, suitable for a courtly dance while quaffing a pint with the squires.

The ranges, dynamics, rhythms, phrasing in all parts is clearly marked and very nicely published. Adam divides the parts nicely, so that most often two or three voices are playing at once. The work builds to an eight-measure section, which appears in the middle and end of the piece where all the players reach their full dynamic climax.

Since King Henry is not around to collect “royalties,” it seems to be a bit pricey to pay so much for a 30-measure tune, 38 if you count repeats. Even so, the score is but one page printed front and back. This work might “work” better as part of a period dance set on a recital, but does seem to need “good company” to fit the bill.
~Phillip C. Black, Wichita State University & Wichita Symphony

Volume 35 Number 3 - Spring 2008
Perfecting Your Practice for Peak Performancefor Trumpet or Cornet by Mick Hesse. Brassworks 4 Publishing. 461 Sunrise Pkwy, Farmington, N.M. 87401. www.brassworks4.com. 2007. $11.95. (New Price of $14.95 as of May 08 - also, please note this is not actually a Brassworks 4 publication, it should be stated as a publication by Studio 1023)

Ironically, in just a few days, I am performing Mick Hesse’s arrangement of the second movement of the Bohme Trumpet Concerto, set for euphonium solo with brass quintet accompaniment. So, to receive his 2007 method book is certainly intriguing, as I have gathered from Brassworks 4 Publishing that Mick is a trumpet junkie. Obviously, the importance of a book like this for euphonium and tuba players should not be overlooked, as I know that I learned so much of my own pedagogy for euphonium playing, in large part, from trumpet books.

The book is, overall, basic in its scope of performance, but takes some original twists. It has six chapters and 37 pages and contains a healthy amount of information in a relatively short space. It is based around the concept outlined in the first chapter, “Ascending Bending.” To quote Mick:

“To play in tune with others we often bend our pitch up or down while playing together in ensembles. In time this skill becomes second nature to us…. The practice of purposely bending a pitch a half step or more is a bit different. Training your lip to bend the pitch us much like body building or calisthenics….”

From this opening idea, Mick basically takes this concept through the rest of the book, incorporating other concepts such as warm up, scales with trills (which I found a nice idea), and arpeggios, all with an emphasis on proper practice. Of particular note, I was glad that Mick included how to properly tune with a piano in his book. I don’t think I have ever seen the proper way to tune with a piano actually written down in a method book.

Mick (and company) has done a great job with the layout of Perfecting your Practice. He has some really great ideas in here that have wonderful application in the world of the euphonium and tuba.
~Jason D. Ham, Yamaha Euphonium Performing Artist

Volume 35 Number 3 - Spring 2008
Random Passages for solo euphonium, piano, and percussion ensemble by Barton Cummings. Brassworks 4 Publishing, 461 Sunrise Pkwy, Farmington, N.M. 87401 www.brassworks4.com. 2007. $18.

Barton Cummings has again shown his ability to successfully compose works for the tuba/euphonium family. He began his career as a tuba soloist commissioning new works for the tuba (nearly five dozen). Now he has transitioned to writing quality literature for the instrument.

In his latest work, Random Passages, he showcases the solo euphonium accompanied by piano and percussion ensemble. The writing in this does not appear unbelievably difficult at first glance; however, many new challenges will be presented to the soloist by playing with a percussion ensemble. The first challenge is recognizing when to sound like a percussive instrument and when to take the soloist role with the melody. The second challenge is maintaining the rhythmic integrity in the solo with complex rhythms over a rhythmic accompaniment. The third challenge is set-up and balance. The set-up of this large ensemble can tend to be problematic, and it is important that balance is a key focus within the set-up.

The percussion writing in this solo is very enjoyable to listen to. Mr. Cummings has done a wonderful job of not letting the accompaniment role detract from the true beauty of a percussion ensemble—the unique sounds and rhythmic playing. While the solo euphonium part is not challenging in regards to range (E to b1), the rhythmic writing will require thorough preparation. I believe the title of the work captures the essence of the solo perfectly. It seems like there are many “random passages” throughout the solo. Sometimes they relate to previous material and sometimes they are completely random. The score is set is quite “clean” looking, as are all the publications from Brassworks 4 Publishing.

I recommend this solo for the college soloist, not only because of the difficulty of the source material but due to the challenges of finding a competent percussion ensemble with the sensitivity and flexibility to accompany a soloist. This work creates a unique sound palette for the listener.
~Kelly Thomas, University of Arizona

Volume 35 Number 3 - Spring 2008
Suite for Six Tubas by Barton Cummings for three euphoniums and three tubas. Brassworks 4 Publishing. 461 Sunrise Pkwy, Farmington, N.M. 87401. www.brassworks4.com. $18

The Suite for Six Tubas is a veritable study in contrasting styles, consisting of the four movements “Spanish March,” “Elegy,” “Fantasy on Chester,” and “On Parade.” The Spanish March (3 min.) has the tuneful melodies reminiscent of movie soundtracks of the Wild West, including a barn burning accelerando to the last flourish. Its percussive character contrasts well with the slow, smooth, and thickly textured second movement, “Elegy (5.5 min.),” which contains a surprising variety of timbre effects while maintaining a flowing style throughout. Although the chorale-style writing of “Fantasy on Chester (4 min.)” initially appears to contrast less with the style of the second movement, the piece soon turns to a Persichetti-esqe middle section of frequent changes of meter and tempo before returning to a grandiose version of the original chorale. The last movement, “On Parade (2 min.)” is a light march, complete with well-voiced harmonies for the euphoniums and a boisterous dogfight section in the low register for the tubas.

Every movement in the Suite could very easily stand on its own, yet fit well together by offering such a variety of styles and compositional ideas. Tessitura is quite reasonable for a college-level ensemble, with c1 being the highest note in the first tubas and a1 in the first euphoniums; pedal Es appear in the third tuba part. Dynamic and articulation marks are perfect for each stylistic effect, and the orchestration is effective. Because of these attributes, I would not anticipate a great expenditure of rehearsal time to bring the piece up to performance level, though the “Fantasy on Chester” would require more than the others in tightening up the metric and tempo transitions. This is a great example of traditional music in that works well for tuba-euphonium ensemble, and contributes a great deal of valuable learning opportunities in a relatively short work.
~Jason Byrnes, University of Northern Colorado

ITG Journal

The Horn Call

October 2006
Five Easter Trios arranged for three horns by John Jay Hilfiger. BW322, 2006, $16.00. (New Price of $14 as of January 07)
Four Hymn Settings arranged for three horns by John Jay Hilfiger. BW306, 2006, $16.00.(New Price of $14 as of January 07)
Now Thank We All Our God by Johann Crüger, arranged for four horns by John Jay Hilfiger. BW276, 2005, $14.00.

These little arrangements will come in handy for those looking for more church service repertoire. The Easter set includes "Jesus Christ is Risen Today," "Come Ye Faithful Raise the Strain," "Thine is the Glory," " The Strife is O'er, the Battle Done," and "Christ the Lord is Risen Today, Alleluia." Each arrangement leaves the hymn tune intact, with one or two verses, with traditional harmonizations and nice accompaniment. The melody passes around occasionally for variety's sake, which is always appreciated by the players. Can these arrangements accompany singing? Probably. The horn usually best accompanies melodies in the alto range, and these would fall in that category. Still, they are not so low as to be impractical for leading hymns in a service.

The four hymns set in the second publication above are "Crown Him with Many Crowns," "Abide with Me," "Rise Up O Saints of God," and "Come Thou Almighty King." These arrangements are more three-part transcriptions of traditional hymn settings in a sort of medley, unlike the previous set, though there are some small wrinkles in those with more than one verse and they certainly can be played individually. Nevertheless, they could prove quite useful. The accompaniment range on these is a third lower than my hymnal, so they are probably not too low.

The final arrangement, "Now Thank We All Our God," consists of three verse/variations with short interludes between them. The hymn tune is intact throughout and the accompanying voices are handled nicely in a traditional harmonization of this well-known melody. In all cases, these arrangements are in reasonable horn ranges, with overall ranges of f-f'' (only a couple of eb's and g''s). If you have a trio or quartet that plays church services, these are good standard arrangements that should prove useful. JS (Jeffrey Snedeker)

February 2007
Lithium for horn and piano by Alexander Panos. BW331, 2006, $12.00.

Alexander Panos is an active bass trombonist as well as a composer and arranger. According to the information on the publisher’s excellent web site, “his compositions emphasize what he calls ‘The 5 Elements’ of music: clear motives, varied harmony, unpredictable rhythms, good counterpoint, and symmetrical form.” I believe this work represents those emphases very well.

Lithium is an energetic and intriguing little piece of under three minutes duration. It presents two highly contrasting motives, one of which features a couple of meter changes, and the other, a skillful and interesting fugal treatment. The melodic material is colorful. This man knows his tetra chords, and he knows how to use them. he also includes a judicious sprinkling of purely chromatic fragments.

The required horn range is low: down to Ab two octaves below the treble staff and, with the exception of one optional c’’’, extends only up to g’’. Good finger facility is required for the tetra chords and chromatics that occur in sixteenth patterns at M.M. 142 to the quarter note. An unusual feature of the piece is the funky (in the positive, modern jazz sense), disjunct and syncopated bass line that introduces the fugal theme: it stays at the bottom of the keyboard, and the horn’s statement of the theme is all on the bass staff.

Mr. Panos’ other works published by Brassworks 4 are for a brass solo and piano, and each also bears the name of a rare metallic element, but since none of those other elements are used in pharmacological compounds as mood stabilizing drugs, I am suspicious that there is an underlying joke or message there. Suspicions aside, I like this little piece and look forward to performing it, coaching it, and hearing it performed. VT (Virginia Thompson)

February 2007
Three Hymns by various composers, arranged for horn and piano by John Jay Hilfiger. BW365, 2006, $12.00.

The three hymns in this collection are “Come Thou Almighty King,” “For the Beauty of the Earth,” and “Oh, Worship the King.” Each hymn receives a different setting. The first hymns begins with a four-measure introduction, followed by a verse with the melody in the keyboard and the horn playing countermelody. next comes a verse with the horn on the melody, and then the hymn ends with a four-measure tag resembling the intro. The second hymn setting is set as a chorale-prelude, with one verse of the melody played by horn in individual phrases separated by interludes on the keyboard. The third hymns setting provides three verses with trading of the melody between instruments and some ornaments written in. In all, the settings fall into the traditional vein, with some nice variety and a very reasonable range for younger players with a decent high end (b-flat to g’’, wth the vast majority above f’). The keyboard part would work well on either piano or organ (basic three- and four-part writing), and I can see using these arrangements in church settings as preludes, postludes, or service music, especially in circumstances where there is little rehearsal time, though this will obviously depend on the level and experience of the players involved. JS (Jeffrey Snedeker)

February 2007
Christmas Trios, Volume 1 by various composers, arranged for three horns by John Jay Hilfiger. BW347, 2006, $16.00.
Christmas Trios, Volume 2 by various composers, arranged for three horns by John Jay Hilfiger. BW 355, 2006, $16.00.
Three Hymns of Thanksgiving by various composers, arranged for three horns by John Jay Hilfiger. BW378, 2006, $13.00.
Praise to the Lord - Variations for four horns, by John Jay Hilfiger. BW327, 2006, $14.00.

I have had the good fortune to review many arrangements by John Jay Hilfiger over the past few years, and these new editions are consistent with what I have seen before. Mr. Hilfiger has certainly been busy, and has found a useful niche in providing playable arrangements that are suitable for middle school and younger high school players.

Volume 1 of the Christmas Trios contains “O Come All Ye Faithful,” “Silent Night,” “Deck the Halls,” “Hark! The Herald Angels Sing,” “Joy to the World,” and “Angels We Have Heard on High.” Volume 2 consists of “God Rest Ye Merry Gentlemen,” “Good King Wencelas,” “The First Noel,” “Angels from the Realms of Glory,” “We Three Kings of Orient Are,” and “Wassail Song.” The Three Hymns of Thanksgiving are “Come Ye Thankful People, Come,” “Songs of Thankfulness and Praise,” and “Now Thank We All Our God.” Although none of these seem to be truly sing-along arrangements, I suppose they could be since the melodies are intact throughout, spread generously to different parts. These are not necessarily transcriptions either - there is a range of styles within each collection and across all three editions. The overall ranges of the different parts fall within the typical expectations for middle/high school players, with only occasional ascents above the treblae staff or descents below f. Each arrangement consists of a verse or two, occasionally with a well-placed interlude. The Thanksgiving hymns have the added nice touch of short prefatory historical backgrounds of the hymns themselves. I can see using these for performances at church or seasonal gatherings or gigs where these songs are appropriate. My students who read these with me pronounced them “fun.” I agree.Mr. Hilfiger’s Praise th the Lord - Variations is similar to those above, but different enough to be mentioned separately. The quality of the arrangements is very much the same - three verses separated by interludes, each with a different style. The melody is shared by most of the parts in different octaves. The parts are distributed in typical fashion, with the ranges descending according to the part number (thus, second horn plays in a higher tessitura than third), and the fourth has to contend with notes down to c. When dealing with four horns in the same range previously covered by three, the texture is a little muddier, but Mr. Hilfiger use some effective contrasts in texture to keep things from bogging down. Again, it is nice to have music of reasonable quality for a younger age-group. JS (Jeffrey Snedeker)

February 2008
Sonata for Horn and Piano, Op. 104 by Johan NepomukHummel adapted and edited by Fred Broer. BW362, 2006, $20.00.

J.N. Hummel (1778-1837) was a contemporary of Beethoven and an outstanding pianist.  He is probably best known among brass players for his concerto for keyed trumpet and, among horn players, a wonderful Septet (op. 74) for piano, flute, oboes, violin, cello, bass, and horn.  This transcription of Hummel's Cello Sonata was an interesting one to receive because, coincidentally, I had also just acquired a recording by Machala (The Virtuoso Horn, Polton Twin recordings PAJ119) that has a different transcription of the same piece.  There are a few differences in how the piece was adapted by Machala and Broer, but those differences are not really the point here.  What is important is that this piece has real potential as a horn piece.  The most important thing I was struck was how nicely this piece fits the horn, and has a wonderful attribute - its tessitura is lower, in a more comfortable range for the horn when transcribed at original pitch.  The adaptation by Broer, though different from that of Machala, makes a lot of sense, and the result is something that Hummel never would have heard, even if adventurous horn players of the time had experimented with the piece.

As a result of Broer's inspiration, we have a major work in an early Romantic style in three movements, lasting over 22 minutes.  I encourage players who want something a little different (and a little lower) than the Beethoven, Ries, De Krufft, or Danzi sonatas to explore this arrangement - lots more to play and long, luscious melodies in which to "bathe."  The preface is quite informative, but does provoke one of those little quibbles I have with arrangements - sometimes it is really nice to have more details about how the arrangement compares with the original.  I like critical editions that show me details from the original, even if the ink is shaded differently in the same part, at the risk of cluttering things up.  This quibble was amplified in this particular case since I had Machala's performance of an equally interesting but different version.  So I am left wondering what the original cello part looked like, if only to have options if the original can be managed. Sadly, a cello version was not available to me, but if I or one of my students ever decide to perform this piece, the first order of business will be to find one.  This extra task could be avoided if the original was included in some way in this edition, or just indications of what changes were made (and why?) - if anything, it strengthens the integrity of the adaptation.  Other cello pieces have been adapted for horn, and this one is worth taking seriously, particularly as an example of early 19th-century style. JS (Jeffrey Snedeker)

The American Organist