ISO Concert Band Accomp to Capuzzi Andante & Rondo

[Uncle Buck]

I'd like to piggyback a related question to this post.

Does anyone know if this concerto has ever been performed on tuba with an orchestra, using the original orchestration intended to accompany the bass concerto? Does that orchestration work with a tuba solo instead? Are parts to that orchestration even available?

While I'm on a roll, I'll add one more question. Does anyone have thoughts on why the arrangement commonly played on tuba left out the first movement of the concerto? Personally, that's my favorite movement - and it makes a great concerto for a contrabass tuba, particularly for a "good-amateur" level player.

[Chuck Jackson]

I have never understood why tuba players play the Catelinet version of the piece. The original is in F and when played down the octave from written(where the bass would sound) it is playable as a contrabass tuba solo. It lays well and is complete. All regards to Catelinet, but the original is much better and accessible to all players. The extra added bonus is that the orchestral accompianment is dirt cheap and, with a large cut in the opening 50-60 bars of the 1st movement, is playable on chamber concerts where a MD might be looking for something different.

Chuck

[Chuck Jackson]

The original Capuzzi Bass Concerto is in F Major. It is quite long and considered easy by my bass playing friends. I did the entire concerto(with the aforementioned cut in the development section in the opening accompianment)with piano, from the bass part down an octave (where it sounds) on an Honors Recital at Brevard College in the spring of 1980. It is VERY accessible to the "above-average" player and lays well on a big horn. The immediate mistake that a tuba player would make is to play it as written, not down the sounding octave. I am surprised more tuba players have not sought this work out. It stands to reason that Mr. Catelinet would drop it a step to Eb so as make use of the easy key on the BBb tuba.

Chuck

[Chuck Jackson]

Interesting Wade. That solves some of the mystery. I have just talked to my bass player friend and he told me HE (notice the capitals) thought the piece was useless in D and worked better for the modern instrument in the key of F. He said it is easily playable on a bass with Vienna tuning as he thinks that particular tuning system grew out of the three string Violone that the original was written for. He also said that the edition in F is easier because it takes out alot of the registration and stoppings inherent in the original Violone tuning. I have heard two fine players play the work, both times in F. It is not a monumental work along side it's brethren by Bottetsini, but nice in its own way. I still say it would work great with the orchestra on the big horn in the "new" key of F. YMMV.

Chuck'who knows it is a great day when he learns something new"Jackson