Sibelius 1

[Billy M.]

I have a LOT of classical music CDs... and by a lot I mean something along the lines of 400+. I've spent many an hour moving part of this collection to a hard drive for quick and easy access to music, whether for reference purposes or listening pleasure.

Recently, I've forced myself to listen to things that we tuba players don't have on repeat (you know, Meistersinger, Ride, Fountains, etc ad nauseum).

The recording I have is of the Boston Symphony Orchestra under the direction of Colin Davis. And I was pleasantly surprised at the amount of tuba work (particularly Mvt IV has some nice parts). So Tubenet, here's my question:

What pieces of classical music do you have in your player that have an unexpected, yet satisfying tuba part?

(This was written while listening to the Dennis Brain trio playing Brahms Brain was an artist... wow)

Ooh, that makes me wonder something else: What other classical artists due you listen to in admiration of their artistry (soloist recommendations for other instruments recommended and appreciated!)

[DCottrell]

As for orchestral music .....

You mentioned Sibelius. Try Sibelius #2 It has a famous tuba solo ("I play the tuba.. the tuba tuuuuba"). Plus much good brass chords

Vaughn Williams liked the tuba and gave it a voice in his symphonies as well as its own solo concerto.

Mahler brought his favorite tuba player to Vienna when he assumed the podium there. If my memory is correct, he became the conductor's son in law. There are solos sprinkled in his work (if you can wade through the murk).

I played Alexander Nevsky once and that was a blast. I feel that Prokofiev thought fondly of the tuba.

There are many examples, especially in symphonic music written after 1850 or so, where the tuba's voice is expanded from the 4th trombone role. Brahms has some athletic parts (Academic Fest Overt). Of course, Holst, being a trombone player, wrote fun parts for the tuba (Planets is the obvious one here)

I suspect composers were influence much by Wagner and his expanded brass section, and the rise of military wind bands (latter quarter of the 19th century) improved players' skills as well as demand for better instruments. Some composers, like Bruckner (and Holst as mentioned above) relied on their own playing experience to inform their orchestration (AB played the organ and used the brass choir to create organ-like sounding chords). Also, the increased desire for large, sweeping statements in late Romantic orchestral music required calling on the brass section to provide fire, power and depth for the ensemble altogether.

Composers wishing to get a "band" sound needed the tuba for jazz band (Rhapsody in Blue) and marching/ military band (Ives) sounds.

Last but not least are the parts written before the 1830's (the appearance of the modern tuba evolving from saxhorns) that were written for other, later extinct instruments, like ophecleide (Berlioz), serpent (an example escapes me), and (later) the French C tuba (cf. Ravel's orchestration of Pictures). These parts are usually played by the tuba (or the tuba player) in modern practice.

I did not address any chamber music for brass ensemble (like Ewald) so somebody else can have a go

[Billy M.]

As for orchestral music .....

You mentioned Sibelius. Try Sibelius #2 It has a famous tuba solo ("I play the tuba.. the tuba tuuuuba"). Plus much good brass chords

I like 2 quite a bit, but it's probably Sibelius' most famous piece of music excluding Finlandia, listening to 1 was more a gem for me. Someone mentioned a really nice part for tuba in Grieg's Norwegian Dances (I've found that rather satisfying too)

Vaughn Williams liked the tuba and gave it a voice in his symphonies as well as its own solo concerto.

VW 2 is great, the tuba concerto doesn't count as that falls under the category of common things in a tuba player's music cache...

Mahler brought his favorite tuba player to Vienna when he assumed the podium there. If my memory is correct, he became the conductor's son in law. There are solos sprinkled in his work (if you can wade through the murk).

I like a lot of Mahler's stuff... again doesn't count because it shows up as audition material and therefore falls under common things brought up.

I played Alexander Nevsky once and that was a blast. I feel that Prokofiev thought fondly of the tuba.

Great part. Favorite recording is London Symphony under Abbado... Fletcher was exceptional.

There are many examples, especially in symphonic music written after 1850 or so, where the tuba's voice is expanded from the 4th trombone role. Brahms has some athletic parts (Academic Fest Overt). Of course, Holst, being a trombone player, wrote fun parts for the tuba (Planets is the obvious one here)

I suspect composers were influence much by Wagner and his expanded brass section, and the rise of military wind bands (latter quarter of the 19th century) improved players' skills as well as demand for better instruments. Some composers, like Bruckner (and Holst as mentioned above) relied on their own playing experience to inform their orchestration (AB played the organ and used the brass choir to create organ-like sounding chords). Also, the increased desire for large, sweeping statements in late Romantic orchestral music required calling on the brass section to provide fire, power and depth for the ensemble altogether.

Last but not least are the parts written before the 1830's (the appearance of the modern tuba evolving from saxhorns) that were written for other, later extinct instruments, like ophecleide (Berlioz), serpent (an example escapes me), and (later) the French C tuba (cf. Ravel's orchestration of Pictures). These parts are usually played by the tuba (or the tuba player) in modern practice.

Berlioz, Bruckner, Holst, Wagner, again, these would probably fall under commonplace things because they're so often on audition lists. Looking for out of the ordinary stuff. Appreciate the input, though.

[timayer]

In the last year, I have taken up studying the Renaissance lute. I have observed and heard some of the best and worst musicianship in my life in doing so.

Lute (generally) uses a system of tablature, not staff notation, so there is a good opportunity to simply push the right buttons without any thought to the music. That happens a lot, and it's hard to listen to.

HOWEVER, the musical nuance and technical mastery of some of the great players is staggering. More so given that all of their musical insight comes from hearing the piece as they play it, as the tablature provides very little guidance.

I'd recommend Nigel North, Jakob Lindberg, Xavier Diaz-Latorre, and Paul O'Dette to start.

If you want a benchmark, I'm happy to play whatever piece you want to hear to compare it to one of the above players so you can hear JUST HOW GOOD they are.

[jeopardymaster]

Playing Sibelius 1 was a thrill for me as an undergrad, but I've not had the opportunity since. Terrific part. I love the way he uses tuba to bridge the brass section. It's a 5th horn voice as well as a 4th trombone voice. Dream concert program for me would be Sibelius 1, interval, Sibelius 2. Ending of #1 is kind of anticlimactic; #2 seems to pick right up where it leaves off emotionally, then goes to town.