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I answered (3) but technically that's not right. I played it on Eb on a faculty quintet concert some years ago. My slide technique is good enough (though there are some who might disagree), but I didn't want to have to schlep the trombone around for just the one piece. There were some admittedly dicey moments and if I ever do it again I'll use my kaiserbariton instead.

I would choose either #3 or #5 with the tuba choice depending on the program/room.

I normally play a larger CC tuba in the Navy Band Brass 5tet and this piece is in our "standards" folder.On the Dahl, I play the same octave choices regardless of the tuba in my lap. (I do occasionally play a large piston F tuba in settings which are really small and live). For further justification of this octave-choice freedom, in my Dahl part it states "Tuba ad lib".....in actual print...not penciled in

James

Been there, and can empathize with the decision to be made.

FWIW, here is what I did: Choice 3/

3/ play the 5th part on an F tuba, take parts of it down an octave, and not seek a 6th part player.

After all, it WAS a quintet decision to play this work AS A QUINTET.

Depending on the circumstances and solidity of "the gig" with the group itself (i.e., especially if I only get paid when hired to play!) – in the future I’d probably lean toward choice 7 – with one edit:

7/ tell my quintet that this piece would better be played with two tenor trombones and a TUBA, and discourage the other players from moving towards programming it.

The edit is there to keep me playing (i.e., working... = $; just in case they do go ahead and program it...).

I do like the piece, but it seems to be one that requires a fair amount of tessitura "energy exerted" by the tubist in comparison to the "musical return" when there are other works that are already "tuba quintets" that sit better with the tuba as the intended fifth voice.

My experience, perspective, and opinion, for whatever help it offers. Let us know how it plays out.

I chose 3, but again, Eb was not a choice.

I'd use the Eb, and do what I needed to.

I don't know what sound Dahl had in his head, Swiss brass, American brass, ?? brass

But after all, if you're playing it with a quintet, you're playing an "arrangement". Nothing wrong with that, lots of music not originally written for quintet sounds great. If you and your quintet think it sounds OK, why obsess over it?

windshieldbug wrote:I chose 3, but again, Eb was not a choice.

I'd use the Eb, and do what I needed to.

I don't know what sound Dahl had in his head, Swiss brass, American brass, ?? brass

But after all, if you're playing it with a quintet, you're playing an "arrangement". Nothing wrong with that, lots of music not originally written for quintet sounds great. If you and your quintet think it sounds OK, why obsess over it?

Unless very fat an Eb would be in the same category as an F.

The name of the composer caught my attention, because it can only be Nordic (DK-NO-SE). The nationality of the composer’s parent proved me right. He is of Swedish roots.

Sweden had a unique format of 3 flugelhorns (high and low Eb, Bb), 2 valve trombones, and small F tuba. The German speaking Protestant areas have 4 part Posaunenchöre of very varying compositions.

Wikipedia lists this piece as a brass quintet. I never had the score in my hands, but from bloke’s description it is in quintet format with an optional doubling of the lowest part. The only edition policy displaying this uncertainty around the lowest part, that i have heard of, is the Robert(?) King Edition. I have no idea who issued this piece, but Dahl may have wanted to fit a then current ensemble format.

From the description I would play the euphonium part on a bass tuba and take it down an octave in the passages, where the tuba enters the written setting. But in real life I might take it down whenever the euphonium octave would make the bass tuba sound strained. Not very original approach by me, as that is what I hear bloke suggesting between the lines.

Klaus

This is such a great piece. My favorite reason for liking this piece is watching trumpet players fold on the chorale section "Christ Lay In the Bonds of Death." (Just Kidding) If you have a lead trumpet player willing to play the Dahl, it is a piece that deserves to be played.

My vote is for six players. Play some kind of tuba for the body, and use bass trombone for the edge and shortness that comes closer to the trumpet sounds.

If this piece will be performed in and around Mississippi, I'd recommend calling Jason Beghtol. Currently teaching at NE MS Community College. Wonderful person and excellent player. Known to the trumpet hosses in the region.

For that matter, if the piece is to be done in MS, how about the following suggestion. Why not combine the prowess of Elephant AND Bloke, and do an all conical version of this piece? Two cornets, horn, euph (or F) and larger tuba. That would be a pretty interesting blend. The Chestnut brass played Ewald I on all conical instruments at a Brassfest (Indiana?). It was stunning.

Screw the horn. That thing is barely conical! I vote for a solo alto horn or some such thing.

I played this piece a year ago and it was a total blast! Very affective when well done.

I chose option 6 but that isn't really what we did.

We brought in an haus of a bass trombone player for the 5th part and I played the 6th part on a large CC.

If I can dig out the recording I made and don't discover that I'm embarrassed I'll gladly share it here.

I have performed this piece where I played the 5th part alone (on CC years ago and on F later) and I have performed it with a bass trombone on the 5th part while played the 6th part on tuba. Given that, I wish there were a eight choices with the 8th being...

have a bass trombonist play the 5th part you play the 6th part on tuba, as the work is written.

I loved playing it as a sextet! As the tubist, I did not feel slighted at all. I felt the tuba added the right bottom the way Dahl scored it and I enjoyed the voicing with the 2 bones as written. If I were to program this piece again, I would program it as the sextet that it is.

Just my 2 cents.

When I first played the Dahl (many, many moons ago...), I played it on BBb (the only horn I had at the time). As I recall, I did not take anything down the octave, but I did omit the part that is in unison with the first trombone, in the fugual section of the 3rd movement. The absence of the 5th voice in that section did not seem to hurt the integrity of the music.

I don't have a recording of that performance (I think I am glad of that!). If I were to do it again today, I would use either a small F tuba, or euphonium on the 5th part.

I voted for option 4--the last two times I played this I used my MW 182. But I also played it with a compensating euphonium years ago and I might consider doing it that way again, IF I had a euphonium and mouthpiece I liked.

I only recently started learning this piece with a quintet. After hearing the American Brass Quintet's recording I think I'm a fan of the more transparent texture of bass trombone. I suppose euph would do OK also.

I'm not sure me playing my orchestral F is helping the music. The last page is really meant to be one line between the two trombone parts - it may be time for me to remember where 5th position is!

What is the range on the 5th and 6th parts?