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I have just been looking at the tuba part for Rienzi in preparations for rehearsals in the New Year.

I assumed it would be a bass tuba part, as it is an early Wagner opera. However having played through and listened to recording, I rather wonder if it might work better on contrabass tuba (CC)? It is certainly not a lightweight part.

I would be interested in thoughts from those who have previously played.

BTW The orchestra will be about 85 strong - so good size symphony orchestra

Different times, I have used larger F’s (bass tubas) as well as a couple of times out with CC’s. There are elements of each that I like, but have ultimately wound up thinking the weightiness of the larger instrument (CC)worked better for this piece (particularly when sitting amongst larger numbers of players).

FWIW.

When I played this, I used an F (PT-10) and I thought made for a better blend.

Your 182 might work, but I suppose that the MW EEb would work quite well for this piece.

JMO.

I played it on C this year in the orchestra (around 50 players) in a concert where we also played tannhäuser and it was a nice blend, even though no german tubist whould play these pieces on the C tuba!

the conductor also gave me a serpent part (i think from a really old edition of reinzi) which i did not play because it didn't have the "juicy" parts with the trombones. i ended up playing the tuba part from my excerpt book.

I assumed it would be a bass tuba part, as it is an early Wagner opera. However having played through and listened to recording, I rather wonder if it might work better on contrabass tuba (CC)? It is certainly not a lightweight part.

I have played this piece a bunch and always played it on whatever was available. There were times when I used it to test out new or borrowed horns. I like it on F better than CC because it is in the best possible range for that particular instrument and it always served my vision of sound better than any horn I played it on prior to that discovery.

Given your circumstances, I would take the cue from your countries enlighted brethren and play it on a bass tuba. The best recording I have ever heard of the piece is the Klemperer/Philharmonia one. The tuba player was obviously playing a bass tuba and sounds better than any tuba ever recorded on this piece.

If you are not playing the piece with a 90+ member professional orchestra you may find yourself sounding like a "bellowing herd of brontasouri" (Thank You Robert Smith, RIP, from the NYC Ballet and aimed at yours truly during a rehearsal of "Coppelia" on an Alex CC, which soon was exchanged for an F tuba of unknown origins).

Remember, it's not a contest to hear the tuba player, but to hear a well balanced, musically thought out performance. One shouldn't let a fascination with bright shiny objects become ones sole source of inspiration.

Chuck

Rienzi was originally scored for serpent and ophicleide; the serpent functioned primarily as 3rd bassoon and occasionally reinforced the double basses, while the ophicleide provided a bass voice for trombones and the rest of the brass.

More important than what instrument to use, it is best to understand the part's function, and fulfill the role called for--which may, of course, influence the choice of instrument.

Richard Morgan

I played Rienzi earlier this month with a CC in an orchestra of about 70-80ish members. The range is, in my opinion, better suited for a bass tuba (the part stays mostly within the staff). I used my CC only because I needed it for another piece on that concert and I didn't feel like lugging around another tuba.

That having said, there were several instances in the piece in which I had to consciously hold back or mark down the dynamics. The edition I played had an abundance of forte and fortissimo markings, many of which ended up being mezzo-whatevers.

Neptune wrote:I have just been looking at the tuba part for Rienzi in preparations for rehearsals in the New Year.

I assumed it would be a bass tuba part, as it is an early Wagner opera. However having played through and listened to recording, I rather wonder if it might work better on contrabass tuba (CC)? It is certainly not a lightweight part.

I would be interested in thoughts from those who have previously played.

BTW The orchestra will be about 85 strong - so good size symphony orchestra

I've done this a few times and always on CC - either a 188 or a CB-50. Both were fine, neither felt overbearing or heavy in an Orchestra of about 65 members, but I wasn't pushing any of it, either.

Hi Neptune--

On this one I tend to side with the elephant, Chuck Jackson and others who seem to be careful to avoid pushing too much sound out there. The soli parts on this are just that. They work together with the brass in an overall sound carpet where the group sound needs to blend and project -- NOT dominated by the tuba.

Depending on the size of the group that you're playing with, the CC horn might be all right, but you'll want to be careful not to over-blow it -- which you could easily do. Sort of a 4/4 Mirafonish type of approach would probably work best, being mindful of the overall blend. As you say, it is definitely not a lightweight piece, and you'll need to strive for a certain crispness in the delivery. Hope some of that helps.

Thanks for all the feedback guys!

RSMorgan wrote:Rienzi was originally scored for serpent and ophicleide

I had not realized it was originally an ophicleide part (is says just "Tuba" on my music). That rather makes me swing towards using a smaller tuba.

I think I will try using my Melton Eb at the first rehearsal next week and see how that works with the orchestra.

Jonathan "who enjoys the piece"