Program Notes for Commissioned
and Adjudicated Works

2020 In Modo Humano/Rüedi & Climate Strike/Zegiel
2015 Crossroads/Balmages
2010 URSA/Larsen
2007 Double F Fanfare/Gillingham
2005 Fantasia di Falcone/Curnow
1999 Hieronymus/Burghardt
1997 Three Pieces for Tuba/Newman
1995 Blue Lake Fantasies/Gillingham

2020 

In Modo Humano (In a Human Way) by Thomas Rüedi for unaccompanied solo Euphonium is set out to explore some of the characteristics which mostly define us as who we are, as human beings. The first movement “La Fantasia” (Fantasy) plays with the imagination and creativity through the means of different sound colors, textures, and motions. The spirit is calm and thoughtful, but also has a sense of daring optimism through trying out different ideas. The second movement “La gioia” (Joy) explores the feeling of great pleasure and happiness; in the middle section, Beethoven sends his regards with a quote from the Pastoral Symphony, entitled Scene by the Bank of a Stream. The third movement “L’amore” (Love) freely follows the feeling of warm personal attachment or deep affection, as for a parent, child, or friend; the music flows gently in the form of a Sicilienne. The fourth movement “La curiosità” (Curiosity) plays with the characteristics of inquisitiveness — the desire to learn or know about anything!

This piece was a winner of the 2020 Falcone Festival Solo Works Competition and was premiered by its composer during the 2020 Virtual Falcone Festival.

Climate Strike by Evan Zegiel for unaccompanied solo Tuba is structured in three roughly through-composed movements, each one reflecting an issue related to the changing climate of our world. The first movement reflects the most recent and devastating brush fires all over Australia, and presents the performer with challenging rhythmic motives which are developed in unexpected ways, representing the unpredictable nature of the sparking embers which ignite brush fires. The second movement meditates on the reality of the melting glaciers at the poles of the Earth, the consequent loss of habitat for arctic creatures, and the rising sea levels in coastal regions; the indication for an unstable tempo at the beginning should be taken literally throughout the movement. The final movement, Super-Hurricane, imagines the possibility of intense, world-changing storms in the future; the musical gestures resemble gusting winds. The reality of climate change will have dire consequences for all the species of the world unless decisive action is taken by humanity at every level of society. I was inspired to write this work after watching and reading of the recent climate change protests taking place in various parts of the world by schoolchildren.

This piece was a winner of the 2020 Falcone Festival Solo Works Competition and was premiered by its composer during the 2020 Virtual Falcone Festival.

2015

Crossroads by Brian Balmages for solo Euphonium and wind ensemble seeks to explore the various personalities of the euphonium. The first movement “High Road” focuses on the more artistic side of the instrument. The harmonies and textures are more contemporary and the melodic lines are more angular. The entire movement is based on the opening three-note motif presented by the soloist. The second movement “Low Road” explores the carefree and boisterous side of the instrument. It is highly rhythmical and covers a wide range of styles, including bebop. The 10/8 meter mixes with 5/4 (and conductors may find it appropriate to occasionally switch between the two meters when it helps with rhythmic accuracy).

This piece was commissioned in celebration of 30 years of Falcone Festivals and was premiered by Lance LaDuke during the 2015 Falcone Festival.

2010

URSA by Libby Larsen for solo Tuba with concert band or piano accompaniment is a composition in two movements: "sings to the night" and "at high noon." It is music from the soul of a bear articulated through the Tuba. This piece gives voice to the bear, the mountain, and the question, the energy of beauty, great strength and a certain fierce joy and fortitude. In the poem Spring by Mary Oliver (1935- ) she writes (excerpted by the composer):

This piece was commissioned in celebration of 25 years of Falcone Festivals and was premiered by Jens Bjørn-Larsen during the 2010 Falcone Festival.

2007

Double F Fanfare for concert band by David Gillingham: So much music in so little time! Primarily a brass fanfare, Gillingham adds his signature mallet percussion and wind parts to highlight the virtuostic style in this piece.

This piece was commissioned by the Leonard Falcone International Euphonium and Tuba Festival in celebration of the leadership provided by Donald Flickinger, Falcone Festival Chair (1992-2005), and was premiered by the Blue Lake Festival Band, Donald Flickinger, Conductor, during the 2007 Falcone Festival.

2005

Fantasia di Falcone by James Curnow for solo Euphonium with piano or concert band accompaniment is dedicated to Mrs. Leonard (Beryl) Falcone on the 20th anniversary of the Leonard Falcone International Euphonium and Tuba competition, 2005. Beryl has been an avid supporter of musicians, from the beginning of their studies throughout their lives. She has given unselfishly of her time and effort toward the Falcone Festival, making the annual competition the best in the United States. The Falcone Festival encourages musicianship of the highest level and through this composition offers new and exciting performance possibilities.

The title makes an obvious reference to Curnow's teacher, mentor, and renowned Baritone Horn teacher/soloist Leonard Falcone and to the title of a piece of music he transcribed for Baritone Horn, which every Falcone student has played at one time or another; Fantasia di Concerto by Eduardo Boccalari. Fantasia Di Falcone is a four movement suite of fantasy variations, based on a theme from another Falcone favorite band transcription; Andrea Chanier (Opera excerpts) by Umberto Giordano. This theme is only referenced (not quoted) in the opening cadenza of Movement I, then developed throughout the overall construction of all four movements. The four movements are as follows:

Movement I "Adagio e espressivo, Adagietto e delicate" opens with a slow expressive cadenza (unaccompanied) by the soloist, which eventually draws the ensemble into a dialogue between the soloist and ensemble. A brief Adagietto (lighter and a bit quicker) showcases the soloist against several small ensembles in a moderately slow, light, dancelike section before returning the opening Adagio. Movement II "Allegro" is a fast paced, duple meter romp that features the soloist in a call and response mode with various ensembles (colors) from within the larger ensemble. Movement III "Andante moderato e espressivo" is, as the directive states, “at a moderate walking tempo and with expression.” This movement contrasts the soloist with the many wonderful colors of the wind ensemble and gives the soloist many opportunities to display the beautiful tone and expressive playing of the Euphonium. Movement IV "Scherzando" presents a very fast and delightful tour-de-force for both the soloist and ensemble.

This piece was commissioned to mark 20 years of Falcone Festivals and was premiered by Angie Hunter during the 2005 Falcone Festival.

1999

Hieronymus by Daryl Burghardt for unaccompanied solo Tuba was inspired by the bizarre and fascinating inner panels of the Triptych "Garden of Earthly Delights" created by the artist Hieronymus Bosch (c. 1450-1516). From serene scenes to downright outlandish depictions, the paintings are quite a sight to behold. Only a Tuba could properly represent such a fantastic world. The composer suggests having a look at the paintings as this may give the performer some insight into the "tongue in cheek" style of some sections of the music and the morose overtones in other parts. These are the performance notes:

Grace notes should be placed on the beat (or as close as practical). In the final movement, grace notes may be somewhat less strictly placed as the movement is depicting a drinking song, so some freedom is acceptable here. The first movement "Hell" has two measures marked "quasi gliss" which should be played somewhat glissando as the words suggest. The choice of how to accomplish the glissando effect is left up to the performer. The effect is not an exaggerated one, rather simply a very connected slur to the bottom note. Notes in brackets ( ) are optional for those players not wishing to play the pedal notes. The second movement "Paradise" presents a few more opportunities for rubato, but these moments are only a slight deviation from the original tempo. The final movement "Garden of Earthly Delights" should be presented in a lively manner. The accelerando at the end of the piece can be exaggerated, but only to the point of clean execution of the notes.

This piece was commissioned by the Leonard Falcone International Euphonium and Tuba Festival and was premiered by Philip Sinder during the 1999 Falcone Festival.

1997

Three Pieces for Tuba by Ron Newman is written for unaccompanied Tuba. These are the performance notes:

Due to the highly chromatic nature of this piece a large number of redundant accidentals are used. This may give the impression that accidentals are good only for the notes on which they are attached. However, accidentals do remain in effect through a measure.

Movement 1 "Soliloquy" should be approached in a rubato manner, with the performer free to interpret the various changes of tempo. The exceptions to this are measures 10 - 13, 16 - 17, and 37 - 53 which should be played in a strict rhythmic manner which highlights the syncopation and clearly defines the metric modulations. Movement 2 "Pavane" is closely based on the solo cello works of Bach, and should be approached in that manner. There is an underlying tonality of G minor with the expected chord progression enhanced through the use of 9ths, 11ths, and 13ths, and tritone substitutions (including the final cadence which resolves to D-flat instead of G). Originally a slow Italian dance form, the pavane is possibly best known today through the compositions of the French composers Saint-Saens and Ravel.

Movement 3, "Rich Matteson" refers to Rich Matteson who was one of the great performers of jazz on both the Tuba and Euphonium. He was also an inspirational educator and mentor to the hundreds of young players, including the composer, who had the opportunity to work with him. This movement attempts to convey some of the virtuosity, musicality, and humor that Rich brought to his playing and teaching. The piece is based on the chords of the George Gershwin tune “I’ve Got Rhythm," commonly referred to as "rhythm changes." There are five choruses plus a CODA. (Notice that chorus V is a complete 32 measures even though not all of the measure are in 4/4 time. This was done to facilitate reading of the cross-rhythms.) The entire movement should be played with a jazz "bop" feel. Choruses I and II would often be played in a "half-time" or 2/2 feel. Beginning with Chorus III, the "bop" 4/4 feel begins. Whenever a string of quarter notes occurs these should be played like a "walking" bass line—legato with a little "push" on each note. Performers who are familiar with the bop jazz style should have little trouble interpreting the music. For the less experienced players the composer offers the following suggestions:

1. Don’t overdo the "swing" feel. At this tempo two 8th notes are almost equal in length with the first note being only slightly longer than the second. Don’t try to play strict triplets. 2. Many jazz players put a small accent on beats two and four of a measure consisting of four quarter notes. This is acceptable as long as it is only a slight accent. Don’t overstress these accents if you choose to use them. 3. Jazz articulation can be very confusing to a player inexperienced with jazz. There are a number of ways of articulating a particular passage which could be acceptable. The most important concept to understand is that jazz is essentially a "legato" music, with legato meaning "connected." Regardless of the dynamic or the hardness of the articulation, a string of 8th notes is usually played in a connected manner. There are three basic methods of tonguing a legato jazz passage: using breath accents, using legato tongue accents, and tonguing every note. There is no single "correct" way of playing these internal articulations, and each player should choose what is most comfortable to them based on their own sense of style, technical ability, and tempo. Always keep in mind that when playing a string of 8th notes they should be connected, a sense of "individuality" should be afforded each note and the "swing" triplet feeling should not be overdone. I would also suggest listening to the music of trombonists such as J. J. Johnson and Carl Fontana for a clear aural understanding of the style.

This piece was commissioned by the Leonard Falcone International Euphonium and Tuba Festival and was premiered by Øyvind Grong during the 1997 FAlcone Festival.

1995

Blue Lake Fantasies by David Gillingham for unaccompanied Euphonium is a virtuosic work intended for the professional Euphonium player or an advanced student. Cast in the form of a five-movement suite, the work seeks to exploit both the technical facility as well as the lyrical quality of the instrument. Each movement is a fantasy and bears a name which could be associated with this Fine Arts Camp situated at Twin Lake, Michigan. Therefore, each movement is programmatic in that it reflects the spirit or image suggested by the title.

“Firefly” is a technical etude of sorts which simulates the lightning-fast firefly on a hot summer’s night. Sudden changes of dynamics and style in this movement are indicative of the elusive firefly as it darts through the summer air, sometimes flickering and sometimes resting in the grass. The second movement “Moonlight Across the Water” is lyrical and expressive, capturing the emotion felt by the composer on many occasions while contemplating the serene beauty of a lake adorned by shimmering moonlight.The third movement “All That Jazz” salutes the jazz program at Blue Lake with its swing tempo and stereotypical rhythms. The fourth movement “Ancient Native Air” is simplistic and lyrical. It is based on the Chippewa Indian tune “My Music Reaches to the Sky.” Michigan has a rich Native American history and it seemed appropriate to include this wonderful old tune. The fifth and final movement “Party-Antics” is a musical romp with cliché melodic patterns and rhythms. The music is intended to capture the spirit of celebration at a party gathering on the last day of camp. There is, however, a bittersweet wrinkle in all this fun: a soaring and majestic secondary theme reflects the sadness as new found friends depart from camp and go their separate ways.

This piece was commissioned to mark 10 years of Falcone Festivals and was premiered by Brian Bowman during the 1995 Falcone Festival.