Tuba and Piano

with Piano

…and sundry movements of the heart… for Tuba and Piano. The four movements of this work explore very diverse (“sundry”) musical territories: abstract and serious, songlike, humorous, pensive and transcendent. Many of the musical ideas were generated in spontaneous improvising sessions or by singing–hence, “movements of the heart.”

“Prelude” is anchored in its structure by a bold, serious gesture that is heard at the beginning, middle, and end of the movement, developed differently each time. The two intervening episodes are contrasting in tempo, and materials: the first is more abstract, the second a strong, focused melody.

“Song,” the second movement, is a warmly lyrical tune in a straightforward setting.

The third movement, “Vaudeville,” is light-hearted and witty.

“Standing Stones” is titled after numerous sites in the British Isles where ancient people erected huge stones in circles, singly, or even lining broad avenues. The incredible effort required to do so is mind-boggling, given the tools available to the people. And that they were able to make near-perfect circles, with stones aligned by the positions of sun and moon and seasons is further evidence of their intelligence and dedication to ideas and deep feelings far beyond the daily tasks of survival. The music begins very quietly, in deep tones, enigmatic harmonies, and introspective melodies. The music gradually takes on a brighter sound until it reaches an ecstatic climax.

with Piano

From the editor:

Bel Canto is an elusive term to define. While it literally translates to beautiful voice, it was a style of singing that emphasized beauty of tone, flexibility, and ease of execution. The music written in this style was characterized by florid lines and an emphasis of musical line over text. The term bel canto was, interestingly enough, not used until the style had faded somewhat. Rossini, at a dinner party in 1858 said, “Alas for us, we have lost our bel canto.”

The 12 Vocalizzi in this volume have depth and stand on their own merit amongst the more serious works of Rossini. I recommend these as recital pieces without reservation. They are the equal to-albeit in a different style than-Rachmaninov’s famous Vocalise Op. 34 No. 14 and are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lessons, juries, and solo recitals. I hope you will enjoy working on these pieces as much as I have. They breathe fresh life into the somewhat stale world of bel-canto-for-brass repertoire.

with Piano

I. Lights far out at Sea - Gatty
II. Down Deep within the Cellar - Fischer
III. The Water Mill - Diehl
IV. Unforgiven Days - Roeckel
V. By the Sea - Schubert
VI. Romance - Rubinstein
VII. The Pilot - Nelson
VIII. Tom Bowling - Debdin
IX. Minstrel's Song - Nicolai
X. Come brave the sea - Bellini
XI. Oh, My home - Abt
XII. The Melodies of Many Lands - Glover
XIII. The Fairy Jane - Marzials
XIV. The Harmonious Blacksmith - Handel
XV - See, The Conquering Hero comes - Handel
XVI. Faith -Glover
XVII. The Hour of Prayer - Nelson
XVIII. Peace of Mind - Sponholtz
XIX. Dear old Songs of Home - Abt
XX. On Wings of Song - Mendelssohn

with Piano or downloadable backing tracks

Giulio Marco Bordogni (1789-1856), usually called Marco Bordogni, was an Italian operatic tenor and singing teacher of great popularity and success, whose mature career was based in Paris. Bordogni was born in Gazzaniga, near Bergamo, Italy. He was a product of the exceptional Bergamo tenor school which originated with Giacomo David and Gaetano Crivelli, and in which can also be counted, in addition to David’s two best pupils, his son Giovanni and Andrea Nozzari, the excellent Domenico Donzelli and Giovanni Battista Rubini. Bordogni made his operatic debut at La Scala, Milan in 1813 in Rossini’s Tancredi, and became very active in promoting that composer’s music. He appeared in many of Rossini’s operas in their premieres in various towns and theaters. In 1825 he created the role of Conte di Libenskof in Rossini’s Il viaggio a Reims. He sang for many years at the Theatrea des Italiens in Paris. He became a teacher at the Paris Conservatoire in 2810 and continued to teach there until shortly before his death in Paris. He was the author of a published singing method, and composed many sets of vocalizes which remained in use by singers for a century afterwards. They remain popular as transcriptions for many instrumentalists today. He was probably the single most influential teacher of the English tenor Sims Reeves, who came to study with him in 1843, Bordogni was awarded the Legion d’Honneur on May 10, 1839 by M. de Gasparin, at the same time that it was awarded to Director of the Opera Duponchel, and to composer Hector Berlioz, who wrote that Bordogni was the best singing-master of the time.

- Alessandro Fossi

with Piano

From the editor:

The pieces in this volume came from a collection of 18 Gorgheggi, 4 Solfeggi and 12 Nuovi Vocalizzi by Gioachino Rossini (1702-1868). The Gorgheggi are scale patterns and exercises for learning, turns, ornaments and other embellishments. The 4 Solfeggi are training pieces that are much more musical than the Gorgheggi. They are melodic, have accompaniments, and are functionally wordless songs. I would put these in a similar category to several of the Kopprasch horn etudes; quite musical, but still primarily pedagogical in nature. While an effective performer can bring enough musicianship to these to make them viable exam jury or recital repertoire, they still have the feel of training pieces due to the limited ranges, simpler harmonic designs, repeated melodic figures, etc. The Vocalizzi (published separately by Potenza in versions for both euphonium and tuba) have much more depth than the Solfeggi, and stand on their own merit amongst the more serious works of Rossini. They are the equal to-albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14.

These Rossini etudes are another entry into the realm of performative-yet-pedagogical material. They are truly in the bel canto style, yet to my ear, have more depth than your average Bordogni etude. Each of these etudes requires-or develops-flexibility, beauty of sound, and the utmost lyricism possible for brass musicians.

These etudes are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lesson, juries, and solo recitals.

with Piano

“The mind is a fertile garden – it will grow anything you wish to plant –

beautiful flowers or weeds.” – Bruce Lee

A Stroll Through Mind Gardens depicts an imaginary journey inwards to the

realm of imagination, where thoughts bloom and float by like flower petals on the wind.  Connected by variations on a dance-like ‘strolling’ rhythm, the listener is taken on a colorful and vibrant tour of a vast ‘aural mind garden.’

Written during the autumn of 2019, the work was commissioned by David Saltzman to be premiered at the Northeast Regional Tuba/Euphonium Conference (NERTEC) at Ithaca College. It’s intended to have stately-dance feel that acts as a

musical anchor point for the changing melodies and harmonies, although this rhythm itself also undergoes several variations throughout. The sectional structure of the piece and the transitions between them are written in a way that often flow in and out of one another, similar to a typical stream of thought.

The piece provides a moderate challenge for the performer, demanding an expressive, musical approach, and quick changes of style.