Debussy composed this breathtaking unaccompanied work in 1913, and it became the first solo work for the Böhm flute and the first solo work by a major composer since C.P.E. Bach almost 150 years earlier!
The music allows wide latitude for interpretation and can really show off the musical imagination of the performer.
The great French flautist Marcel Moyse is credited with adding phrasing and barlines to his friend Debussy's new work.
In classical mythology, Syrinx was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous Greek god Pan, she ran to a river’s edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god’s frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes, which were thereafter known as syrinx.
This work of 2 1/2 minutes for advanced performers can add a new dimension to your recital, as it is often performed offstage.
The sample performance was recorded by Trombonist Ralph Sauer in May 2012.
Sir Arnold Bax composed in a style that blended Romantic, Impressionist and Celtic flavors together in a brilliant way. Mr. Sauer has taken these two works originally for Piano and brilliantly transcribed them for Euphonium & Piano. Country Tune begins with a beautiful melody which turns into a jaunty dance. Burlesque is also dance-like, but mixes 3/4 and 4/4 time in a most inovative way. These works are light, airy & very pleasant to perform and listen to.
The Petite Suite, published in 1885, is Borodin's major work for the Piano and originally comprised of seven movements. Mr. Sauer's arrangement incorporates three of them: Intermezzo, Rêverie and Sérénade. The Petite Suite was dedicated to the Belgian Countess Louise de Mercy-Argenteau, who was a supporter of Borodin and his music. After Borodin's death in 1887, Glazunov orchestrated the Suite. The music has that "Eastern flavor" so indicative of Borodin's melodies, mysterious, lyrical and subtle. Advanced performers will enjoy this work of almost 7 minutes which has been so beautifully arranged by Mr. Sauer.
Over 250 works and 5000 pages of orchestral Low Brass parts in the public domain including Beethoven, Brahms, Berlioz, Bruckner, Dvorak, Mahler, Mendelssohn, Strauss, Stravinsky, Tchaikowsky, Wagner and many more. All in pdf files on a single CD ROM and includes future updates. Sorry, no sales outside the United States.
Elgar wrote two lovely contrasting works, opus 15, for Violin around the 1890’s, the Chanson de Nuit and Chanson de Matin. They were titled in French as his publisher suggested the British public would find them more appealing to purchase. The Chanson de Nuit and Chanson de Matin became his best selling works to that point and added much needed funds for the family finances. The Romance, opus 62 was originally written for the Bassoon as a lyrical work with orchestra, as Elgar tried to get away from the usually comical writing for the instrument. Mr. Sauer has combined the three delightful works into a three movement suite for Euphonium of about 12 minutes in length for advanced performers.
Gabriel Fauré's timeless masterpiece the Pavane, Opus 50 was composed for solo Piano in 1886. The unforgettable melancholy and bittersweet melody flows delicately and gracefully throughout the 4 minute work.
Mr. Sauer's arrangement is the first ever for the Euphonium and can be used on any recital by moderately advanced performers as a display of beauty of tone and lyricism.
The Three Romances Without Words, Opus 17 were most likely composed for solo Piano in 1863 while Fauré was still a student at the ´Ecole Niedermeyer, but not performed in public until much later. They have all of the recognizable features of the composer: simplicity, lyricism, charm and fluidity. Their inspiration may have come from the earlier works by Mendelssohn which Mr. Sauer has also lovingly given life to.
These 3 short works can be performed by intermediate to advanced performers.
Charles Ives was one of the first American composers to gain international recognition, although most of his music was unperformed during his lifetime. Ives wrote 114 songs including these four: 1. Memories, 2. The Side Show, 3. Dreams and 4. War Song No. 2. The songs include quotes of American folk songs, with whistling, singing and more making for a lively experience for performers and listeners. Mr. Sauer once again has edited a brilliant new transcription, bringing Ive's music to life for the Euphonium world. For moderately advanced performers, all in bass clef.
Le Rossignol or the Nightingale is originally a vocalise for Soprano solo from Saint-Saën's incidental orchestral music for the play, Parysatis written in 1902. This 4 minute work is all about mood. Mr. Sauer uses the original key of B-flat, which lays perfectly for all of the "bird-like" calls that are in phrases which are slurred. The music has a lot of ad lib. tempo sections which gives the performer plenty of time to create that magic call of the Nightingale. Early writers thought it was the female that sang, but in fact it is the male. The Nightingale usually sings at night or just before dawn when other birds are silent and has a strong spontaneous song with an impressive range of trills and whistles.
Satie’s strange but beautiful pieces were composed in the 1890’s and were notated without barlines or time signatures. The Six Gnossiennes consist of mysterious, hypnotic melodies supported by simple chord structures that are full of cryptic comments such as ”counsel yourself carefully” and ”be clairvoyant.” There are few restrictions on interpretation. Mr. Sauer’s beautiful arrangements of these six short works total about 15 minutes in length and are suitable for advanced performers.
The Three Etudes for Euphonium and Piano are early works of Scriabin, originally written for solo Piano. They show lyricism, passion, moodiness, chromatic harmonies and great expression. Mr. Sauer has once again brought three wonderful new works for advanced performers who wish to explore this area, largely unknown to the Euphonium world. Those who do will be richly rewarded with the depth of musicianship found in these works.
Georg Philip Telemann published his Twelve Fantasias in 1732-33, originally for transverse flute. In making this version for the Euphonium Mr. Sauer has used all of Telemann’s original tempos, slurs and dynamics, and expanded on these ideas when appropriate. This edition has been customized for the Euphonium, ie., the keys have been changed from the original to best fit the tessitura of the instrument, breath marks added & ornaments used when appropriate. This edition can also be used by Tubists to work on their upper range. For advanced performers.
Romance (Romance nach dem Albumblatt) has been beautifully arranged by Ralph Sauer for Euphonium and Piano for advanced performers. Romance by Richard Wagner first appeared as a solo piano work called Ein Albumblatt in das Album der Fürstin Metternich in 1861 (after the completion of Tristan und Isolde) but not published until 1871. It became more famous as a violin piece because of an arrangement by August Wilhelmj (1845-1908). Arrangements for many other instruments with piano and/or orchestral accompaniment followed. This arrangement generally follows Wilhelmj’s ideas (which are quite a bit more elaborate than Wagner’s simple piano writing), and makes it into a virtuosic, yet expressive piece for the Euphonium. It is about 4 minutes in length in Bass Clef.
This work is a 5 to 6 minute mostly lyrical work that captures a strong Asian flavor and the beauty of the euphonium. At the same time, it provides some moments of lyrical agility and great power. This is a welcome addition to the repertoire.
An award winning new work for tuba quartet (ensemble) from the pen of young composer, Ben Hackett. The work was named a FINALIST in the 2010 Harvey Phillips Awards for Excellence in Composition. A wonderful honor.
The first movement, which is called "Quick and Heavy," is divided into two ideas: (1) the quick trade-off between arpeggios in the 2nd tuba with parallel minor triads in the upper three parts and (2) the seemingly slow yet energetic chorale sections. This movement is a challenge to blend since the voices are often close together in the middle and low parts of the bass clef staff.
The second movement is a slow chorale that features the two euphoniums trading a melody back and forth over steady, open chords in the tuba parts. The harmonic movement is slow and not very complicated but the trading melodies and the appearance and resolution of dissonances show the beauty and blend of the instruments.
The third movement, titled "Fast and Loud," begins with a simple two note rhythmic motive in the three lower parts. This rhythmic motive is present in different forms throughout most of the movement. This movement brings back ideas from previous movements like the quick trading of melodies and a slower yet energetic chorale in the middle. Hopefully, this movement is a fun, exciting finish to the piece.
A fun and challenging work for euphonium quartet (a tuba could be used for the low part) written in 3 movements. Sample: PDF Parts: BC only Notes from the Composer: The story that I hear, which may not be the best story, is that of a typical superhero movie. The first movement introduces the hero as he (or she) is in the midst of a battle. I’m not sure that any one of the euphonium parts represents the hero; but musically, the parts all work against each other, almost mockingly, throughout the piece. The different parts step in with the main motive and then move out very quickly; like bad guys standing in a circle around a superhero, waiting for their chance to move in and take their beating. POW! The second movement portrays the love life of the superhero which, in any good superhero story, is tragic. The hero can’t be in a relationship with their love interest because they fear for their safety and blah blah blah…. The movement is about the negative feelings that are brought into the story as a result of the main character’s pining for a love that he (or she) can’t have. What do superheroes do with their free time? They PARTY. Maybe this side of the superhero isn’t well documented in the movies, but in my mind, anyone who spends their nights beating up villains deserves a good party. The last movement is just fun and rhythmic with lots of hemiola, the heart of any good “drum-setless” rock song.
Finally available in a wonderfully clear typeset piano score and solo part in both Bass clef and Treble Clef. One of the GREAT euphonium solos from the traditional brass band genre, Call of the Seasons combines dramatic lines, introspective melody, jovial character, and exciting technique to showcase the soloist all wrapped into a fine theme of the changes of the seasons. HIGHLY RECOMMENDED.
Philip Bramwell Catelinet was born in Guernsey in the United Kingdom in 1910. At a young age, he was immersed in music and grew to be an accomplished pianist, composer, arranger, euphoniumist, and tubist. Catelinet was a dedicated Salvation Army member and occupied a number of positions for the Army during his life including becoming an officer and working in the Music Editorial Department, bandmaster at Battersea, euphoniumist with the International Staff Band, and later as a music consultant to the Salvation Army in Pittsburgh, PA. As a tubist, his name is synonymous with the world premiere of the Vaughn Williams Tuba Concerto with the London Symphony Orchestra in 1954. As a composer, Catelinet amassed a large body of repertoire including 15 orchestral works, 30+ works for wind band, 50+ works for brass band, a vast number of arrangements and compositions for brass soloists and brass chamber groups, and an astounding 200+ works for the Salvation Army. He and his family immigrated to the US in 1956 to the Pittsburgh area and one of his last teaching posts was at Carnegie Mellon University. Philip Catelinet died in 1995 and on a personal level was known as a kind and gentle man.1
Written as a theme and variations that captures the moods of the four seasons of the year, Call of the Seasons captures the tradition of the euphonium soloist and brass band exquisitely. The style of the solo part and accompaniment typify the color and character of the brass band (even when performed with the piano reduction). The excellent lyrical and technical writing results in listening enjoyment for the audience and performers. The melodic opening captures a somber mood before turning more optimistic with a quicker tempo and various counter-melodies. Variation 1 captures a more upbeat feeling with sixteenth note, diatonic runs before Variation 2 in 9/8 highlights a wonderful ascending melody that allows the euphonium to demonstrate wonderful phrasing. The finale, written as a Vivace 6/8, contains the most technical writing with a jovial melody. One fun exercise for players and audience involves determining which sections of the piece represent the various seasons.
This wonderful duet combines a lush impressionistic piano setting with a very lovely and lyrical duet line paying homage to Asian cultures. Both parts are not overly demanding, but the first does contain a high c. This work is highly recommended and very appropriate for many performance venues.
One of the best known opera duets, the Flower Song from Lakme features a very lovely pairing of melodic lines for the two soloists alongside a very lovely accompaniment. A fantastic selection with tremendous versatility. HIGHLY RECOMMENDED.
This edition contains a variety of parts so that the duet can be performed with a number of different combinations…not just euphoniums: a B-flat treble clef (euphonium, trumpet, tenor sax, and clarinet); a bass clef (bassoon, trombone, and euphonium); and a C treble clef (flute).
Another Baroque transcription worthy of performance. Prepared like the Marcello Sonata in F Major, this edition comes with both an ornamented part and an ornament-free part so that the performer can choose the particular editings preferred. This solo is more lengthy than the Marcello and requires greater flexibility in the extended ranges because the part is taken directly from the bassoon text.
Drawing influence from the paintings of French Romanticists and Impressionists, Gabriel Fauré never completely recognized his appeal to audiences. Combining his personal harmonies and hauntingly memorable melodies yielded his Elegié in C Minor, Op. 24. An expansive and beautiful work, it was originally written for violoncello and piano. This adaptation tries to bring the demands of the piece within the grasp of the euphonium player. A beautiful work that will challenge all and contains numerous ossias for adjusting to various playing levels.
The composer has created an excellent work with a wonderful programmatic theme. The solo part will challenge advanced college students. This was recorded with the New Zealand Symphony Orchestra in 2006.
From the Composer: The concerto is loosely programmatic. In the first movement the euphonium is Zeus, surveying, enjoying, and commanding his realm. The second movement depicts the eclipse, the emergence of stars in the darkness, and then the return of the sun. The third movement playfully explores musical possibilities and impossibilities, featuring interactions between the euphonium and the piccolo, timpani, and violin. The concerto is performed without a break between movements.
A four movement work commissioned by the 2009 Euphonium Foundation Consortium aimed at college and adult students looking for a challenging musical work. The work was inspired by 4 sketches that daVinci made himself (see the PDF below) and how they translate into instrumental music. There are many charming moments and superb melodic lines for the euphonium.
Commissioned by the 2009 Euphonium Foundation Consortium
Bruce Fraser (b.1947) has a vast experience as a professional performer on Trombone and also as a composer, conductor and adjudicator. He has composed a large number of titles for Brass and Concert Band and has titles with about 17 publishers throughout Europe and US. Important recent commissions include a Trumpet Concerto for John Wallace and a Tuba Concerto for James Gourlay. With his wife, he runs Lomond Music.
"I met Adam Frey at the International Tuba and Euphonium Conference in Cincinnati 2008. He invited me to write a work for him aimed at a particular level of student. The resulting work is a Euphonium Fantasy which uses musical letters from his name to form melodic cells. The basic form of the piece is a slow first half and fast second. The opening section allows for freedom of expression as well as showing off control and range in performance. The fast section is like a fast Spanish dance with lots of opportunities to show off technique. It was a pleasure to write for Adam and the recording is an absolute delight." - Bruce Fraser
A superb addition to the Baroque transcription repertoire for players of all levels. This work includes trill explanations and program notes and features 4 movements that offer the soloist a wide scope of interpretation.