Classical Music

Speaking of Strauss, this is another favorite of mine for organ, brass, and percussion.

The interval of the perfect fifth was one of Strauss's hallmarks -- he used it everywhere. He also loved writing in the key of E-flat major, probably to better accommodate the horns.

Once again, E. Power Biggs at the console.

 

One of my favorite R. Strauss is Ein Hildenleben (1898), one of his "tone poems". Also Till Eulenspiegel (1895). Lots of brass in those, and lots of fun to play. Very energetic.
 

One of my favorite R. Strauss is Ein Hildenleben (1898), one of his "tone poems". Also Till Eulenspiegel (1895). Lots of brass in those, and lots of fun to play. Very energetic.
The horn solo in Till Eulenspiegel's Merry Pranks is one of those always on the list of excerpts to be played in auditions. Very tough to play.

And yes! Strauss wrote a euphonium part in Ein Heldenleben (A Hero's Life)! I've never played it, but it's there and is also often on the list of excerpts to be played by euphonium players in auditions.
 
The horn solo in Till Eulenspiegel's Merry Pranks is one of those always on the list of excerpts to be played in auditions. Very tough to play.

And yes! Strauss wrote a euphonium part in Ein Heldenleben (A Hero's Life)! I've never played it, but it's there and is also often on the list of excerpts to be played by euphonium players in auditions.
Are euphonium auditions relatively common? Certainly they are for trombone, including perhaps bass trombone, and obviously tuba. But is there a euphonium chair in most orchestras? Oh, wait, there probably is for brass bands or choirs. Might a euphonium player be expected to double on trombone or tuba?
 
Are euphonium auditions relatively common? Certainly they are for trombone, including perhaps bass trombone, and obviously tuba. But is there a euphonium chair in most orchestras? Oh, wait, there probably is for brass bands or choirs. Might a euphonium player be expected to double on trombone or tuba?
Euphonium auditions happen all the time, but not for symphony orchestras. Auditions are usually held at conservatories and universities at which the student wants to study, and certainly for military bands. Often, those auditions will include excerpts from certain orchestral works, but those works are only part of the audition list. Most often, the audition list will contain works from the concert band or wind ensemble genre.

There are two Concerti for Euphonium and Symphony Orchestra I'm aware of -- one composed by William Pagán-Pérez and another by Robert Jager.

The euphonium is a relatively new instrument (first developed in the mid-1840s). Consequently, orchestral works written previous to that time didn't consider the instrument. Even today, the instrument does not comprise the standard orchestral low brass lineup -- two tenor trombones, one bass trombone, and tuba. (As we've seen, some composers add another trombone or even a second tuba, but this is not standard.) The high brass consists of three trumpets (often in C, though that is not a requirement) and four horns.

In professional orchestras, or even per-service orchestras, one of the trombone players is usually tasked to play any euphonium part that appears in the literature -- that player will be compensated for playing both trombone and euphonium. We saw that in this thread when Jay Friedman (principal trombone with the Chicago Symphony) played "Bydlo" on Pictures at an Exhibition. The part is scored for tuba per Ravel's orchestration, but Friedman played the part on euphonium.

This Wiki article presents a partial list of orchestral works in which the composer has written a euphonium or tenor tuba part (in German, the instrument is also called tenorhorn (not to be confused with the British tenor horn)):

Euphonium repertoire - Wikipedia

The good news is, repertoire for the euphonium is expanding and is much larger today than even 50 years ago!

The U.S. Navy used to require euphonium players to double on trombone, but no longer. Most reasonably competent and experienced players will play both instruments, but that isn't a requirement unless they state that in the audition packet.
 
Algirdas Matonis is one of the premier euphonium soloists in the world today. Born in Lithuania, he studied in the U.K. and has since moved to the U.S. If you want to hear what this instrument can do, please check out this theme and variations solo. Notation is shown below in both bass clef and treble clef in B-flat.

 
Algirdas Matonis is one of the premier euphonium soloists in the world today. Born in Lithuania, he studied in the U.K. and has since moved to the U.S. If you want to hear what this instrument can do, please check out this theme and variations solo. Notation is shown below in both bass clef and treble clef in B-flat.
Wow! That's impressive. But who wrote the piece? It sounds like it may have been written in the 1920s.
 
Wow! That's impressive. But who wrote the piece? It sounds like it may have been written in the 1920s.
Don't know exactly. It's clearly an arrangement specifically for Matonizz (that's his internet name). Irrespective of who wrote/arranged the piece, it's an acknowledgment from Matonizz as to the early 20th century pieces that put the euphonium on the map. Please consider looking up Simone Mantia as an example.
 
This young lady has a definite future, if she keeps up her studies. I don't know how old she is, but her teacher appears to be doing well. She has all the embouchure technique needed. She just needs more time to develop strength and, likely, endurance to be an exceptional player. Beautiful Colorado is, by the way, a standard solo piece for euphonium students.
 
Here's a tasty euphonium quartet from the Texas Low Brass Academy playing a clever take on D. Brubeck's "Take Five". I could have put this in the jazz thread, but thought it better placed in the euphonium thread...😄
Unless these guys are using serious electronic effects, I am not convinced that this group consists of 4 euphonium players. Two tubas and two euphs, yes (which is the fairly common chamber configuration), but not 4 euphs. Definitely sounds more like tubas on the bottom than one or two euphs playing in the low register. In any event, they've prerecorded the chart and they're "fake" playing for the camera.

I went to their YT channel and listened to another piece, XYZ by Rush, a rock group that specializes in odd meters (and do so very well). The euph quartet is definitely playing some very difficult music and they're using lots and lots of electronic effects -- much more obvious in the Rush song than in the Brubeck chart.
 
Unless these guys are using serious electronic effects, I am not convinced that this group consists of 4 euphonium players. Two tubas and two euphs, yes (which is the fairly common chamber configuration), but not 4 euphs. Definitely sounds more like tubas on the bottom than one or two euphs playing in the low register. In any event, they've prerecorded the chart and they're "fake" playing for the camera. ...
Well I'll be damned. Those tricky devils!..;)
 
This ain't the euphonium thread, but with your indulgence, I'd like to stay with the brass - in particular the Canadian Brass, a brass quintet consisting of two trumpets, horn, trombone, and tuba - with occasional variations.

This incredibly well-played performance of J.S. Bach's Toccata and Fugue in d minor (you know, the organ piece that is supposed to be the key piece of diabolical "Phantom of the Opera" types) by the Canadian Brass and its original members was done, I think, back in the 70s.

All the players, save Chuck Daellenbach, the tubist, have been replaced. Ronald Romm and Fred Mills, trumpets. Ronald is retired now, I'm sure. Fred died in a car accident about 15 years ago. The horn players have come and gone -- I don't know who this guy is. Trombone is Gene Watts, who is also now retired.

Anyway, this presentation is gold. And they are REALLY PLAYING -- none of that fake crap (I've done enough of that myself to recognize it when I see and hear it).

 
Is it too soon for Christmas music?

Once again, the early Canadian Brass. Such delicate and controlled playing -- phenomenal!

 
I'm not altogether any kind of fan of opera, but this soprano has got some serious pipes.

Mozart's "Queen of the Night" aria from "The Magic Flute". Very impressive. Imagine doing all that singing - perfect intonation - while moving around the set, brandishing daggers, and doing one hell of a bang-up job looking intense.

 
I'm not altogether any kind of fan of opera, but this soprano has got some serious pipes.

Mozart's "Queen of the Night" aria from "The Magic Flute". Very impressive. Imagine doing all that singing - perfect intonation - while moving around the set, brandishing daggers, and doing one hell of a bang-up job looking intense.
Yeah, coloratura sopranos are some of the most impressive singers in history. You're right about her fabulous technique.

I played opera for two seasons with a major company; and before that a few years with a musical comedy pit orchestra. I loved every second of it.

In 1966 the incomparable Beverly Sills starred with Norman Triegle in The Tales of Hoffman. Watching from the pit I was so blown away by her performance that I was compelled to go back stage after our performance to see if she'd let me congratulate her. She not only listened to my kudos, but she stood and chatted with me for about 5 minutes! She treated me like an equal, which blew me away. She was very kind and had a great sense of humor. Her nickname? "Bubbles".

Since those days I've been an opera fan, but I never listen to opera recordings. In my opinion opera must be seen live-- to feel it in the present, to smell the makeup and witness the orchestra.

Some movie theaters offer live streaming of opera from the Met. It's not like being there, but it's a good second choice.
 
Yes, opera is a magnificent genre. I wasn't an opera lover until my 50s. But then I discovered it. Boom! It was Puccini's "Tosca" and there especially the end of act 1 with "Tre sbirri, una carozza" and the subsequent "Te Deum" with Sherill Milnes. What an impact.


Besides Puccini I like various other composers too. You were mentioning coloratura sopranos. That's right, it's an incredible technique, which they perform. For instance Donizetti's "Lucia di Lammermoor" has a fine aria for coloratura soprano with "Il dolce suono" (the "mad scene").
Lucia di Lammermoor - Wikipedia


A short extract of the above here:


But let's come back to Verdi. The performance of his "La Traviata" by Pacific Northwest Opera is worth watching.


I am quite sure that live opera performances at opera houses are much better than recordings, but on the other hand, often it's a matter of time and money. At least some opera houses like the Met offer discounts for special groups.
 
Philip Jones, the British trumpeter who founded his brass ensemble (started with 4, but like with this recording, often used a fuller ensemble), does Aaron Copland's piece justice.

Copland took the entire brass group from a standard orchestral lineup - 3 trumpets, 4 horns, 3 trombones, tuba, and percussion (timpani, bass drum, gong at minimum) and composed this piece in 1942. I've played it and it's extremely taxing. Intonation has to be spot on and there is no room for error.

 
Beautiful performance. It brought back memories from the early '60s when I played the piece a couple of times with the Conservatory brass choir in Cincinnati.

In either '62 or '63 I met Copland. He was in town conducting one of his pieces with the Cincinnati Symphony. He came up to the Conservatory to B.S. with the students, especially the males...:cool: Great American composer.
 

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