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I've been looking around (with no success, obviously) for a band arrangement of the Lebedev Concerto in One Movement. Starting to wonder if one actually exists.

Anyone have any information at all on this?

Unless someone has arranged it on their own, there's none that I've ever heard of. The orchestral accompaniment is available from Hoffmeister and is under the title "Concerto No. 1." Allen Ostrander edited the original and retitled it "Concerto in One Movement" in 1960 (also omitting 4 bars of the intro and changing a few notes and rhythms from Lebedev's original...that's another thread).

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I arranged the accompaniment for string orchestra last year if you want, but do not have one for band.

Doesn't "Blasorchester" translate to "brass band"?

Todd S. Malicoate wrote:Doesn't "Blasorchester" translate to "brass band"?

'Blas' is 'wind', so it literally means 'wind orchestra'

Thanks, guys...my mistake. Sounds like the arrangement the OP wants is available. Also, James' link provides the name of the arranger for that setting of the Lebedev in the comments - Dr. Joseph T. Spaniola. Perhaps his arrangement is available for purchase as well.

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I'll go out on a limb and say that I'd pass on using band accompaniment if at all possible. The piece was written with piano in mind, and has a very "piano" sound in mind for the background. While not in the league of Robert Schumann's Fantasiestücke, they seem to evoke the same feeling, and thus translate poorly to the timbre of a wind band. A string orchestra would sound better, but still not the same.

While I know orchestra parts are often reduced for the use of practicality in the solo literature, and sometimes with good success, I don't think that the process works as well in reverse.

If I were performing this piece as part of a solo festival or whatnot, I might be inclined to let the band take this piece off.

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Hey, thanks everyone for your support and help - I'm going to go check out those sites.

And yes, my director approached me about playing a solo with the band next year. Since I really don't want to revisit the Haddad and the Jager is too long for this kind of situation, I'd like to do this piece since it's accessible for the audience and fun to play.

Again - many, many thanks!

Matthew Gilchrest wrote:I'll go out on a limb and say that I'd pass on using band accompaniment if at all possible. The piece was written with piano in mind, and has a very "piano" sound in mind for the background. While not in the league of Robert Schumann's Fantasiestücke, they seem to evoke the same feeling, and thus translate poorly to the timbre of a wind band. A string orchestra would sound better, but still not the same.

While I know orchestra parts are often reduced for the use of practicality in the solo literature, and sometimes with good success, I don't think that the process works as well in reverse.

If I were performing this piece as part of a solo festival or whatnot, I might be inclined to let the band take this piece off.

I don't mean to be rude, but I'm pretty sure that the piano part for this is actually an orchestral reduction. I could be wrong, but I thought that this was originally written for Tuba and Ochestra?

TubaGoon wrote: I don't mean to be rude, but I'm pretty sure that the piano part for this is actually an orchestral reduction. I could be wrong, but I thought that this was originally written for Tuba and Ochestra?

From the history I know about the piece, it was originally written for tuba and piano.

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Well, the title is Concerto in One Movement for tuba/bass trombone and orchestra, so I believe it's fairly reasonable to conclude that it was originally written for orchestra, then transcribed. I could be wrong, but that's my guess.

Yes, my director approached me about playing a solo with the band next year. Since I really don't want to dig up the Haddad again and the Jager is too long, I would like to do this one. It's accessible for the audience and fun to play.

Thank you everyone for all your support - I'm going to be emailing the arranger to ask him details about his transcription.
Again - many, many thanks.

-McKenna

cute_lil_tuba_gurl wrote:Well, the title is Concerto in One Movement for tuba/bass trombone and orchestra, so I believe it's fairly reasonable to conclude that it was originally written for orchestra, then transcribed. I could be wrong, but that's my guess.

Yes, my director approached me about playing a solo with the band next year. Since I really don't want to dig up the Haddad again and the Jager is too long, I would like to do this one. It's accessible for the audience and fun to play.

Thank you everyone for all your support - I'm going to be emailing the arranger to ask him details about his transcription.
Again - many, many thanks.

-McKenna

Sounds like you are playing the Ostrander edition. The original is a bit different, and has a bit more melodic interest in one or two spots due to it not being edited to "fit" the bass trombone.

As James has pointed out, the original was indeed written for tuba and piano. There is valid conjecture that Lebedev might have intended for this to have the potential for usage in an ensemble setting, but he never wrote the transcription.

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I know that on the cd "Passages" by Jeff Funderburk are both of the Lebedev concerti.
And I agree about the Arutunian concerto. Over the summer, I got it for my little CC as a birthday present, and it lies great on there. Everyone is always so surprised that I can play it on tuba, though...

MTuba - Yes, the title is Konzert Nr.1 für Tuba / Baßposaune und Orchester. I was simply using the translation.
As a clarification for everyone, I do not have the Ostrander translation - I have the original piece that is provided by Friedrich Hofmeister.

That is the exact title as it appears on the piece and the copyright date is 1995.