The Evolving Role of the Solo Euphonium in Orchestral Music: An

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THE EVOLVING ROLE OF THE SOLO EUPHONIUM IN ORCHESTRAL MUSIC: AN

ANALYSIS OF LORIN MAAZEL’S MUSIC FOR FLUTE AND

ORCHESTRA WITH TENOR TUBA OBBLIGATO AND

KARL JENKINS’S CANTATA MEMORIA

Boonyarit Kittaweepitak, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2020

APPROVED:

David Childs, Major Professor Eugene M. Corporon, Committee Member Donald C. Little, Committee Member Natalie Mannix, Interim Chair of the Division of Instrumental Studies Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School

Kittaweepitak, Boonyarit. The Evolving Role of the Solo Euphonium in Orchestral

Music: An Analysis of Lorin Maazel’s “Music for Flute and Orchestra with Tenor Tuba

Obbligato” and Karl Jenkins’s “Cantata Memoria.” Doctor of Musical Arts (Performance),

August 2020, 52 pp., 15 musical examples, 7 appendices, bibliography, 24 titles.

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel’s Music for Flute with Tenor Tuba Obbligato (1995) and

Karl Jenkins’ Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.

Boonyarit Kittaweepitak

ii TABLE OF CONTENTS

Page

LIST OF MUSICAL EXAMPLES ...... iv

CHAPTER 1. INTRODUCTION ...... 1 Background and Significance ...... 1 The Different Roles of the Euphonium in the Wind Band and Brass Band ...... 3 The Role of the Euphonium in the Orchestra ...... 5

CHAPTER 2. THE INFLUENCE OF BRIAN BOWMAN AND DAVID CHILDS ON THE COMPOSITIONAL PROCESS...... 7 Influence of Brian Bowman on the Compositional Process of Maazel’s Music for Flute and Orchestra ...... 7 Influence of David Childs on the Compositional Process of Jenkins’s Cantata Memoria ...... 10

CHAPTER 3. MUSICAL AND TECHNICAL ANALYSES ...... 14 Lorin Maazel, Music for Flute and Orchestra, with Tenor Tuba Obbligato, Op. 11 (1995) ...... 14 Sir Karl Jenkins, Cantata Memoria (2016)...... 19

CHAPTER 4. CONCLUSION...... 26

APPENDIX A. LIST OF REPERTOIRE FOR SOLO EUPHONIUM WITH ORCHESTRA .... 28

APPENDIX B. QUOTATIONS USED BY SIR KARL JENKINS IN CANTATA MEMORIA .. 33

APPENDIX C. IRB APPROVAL ...... 35

APPENDIX D. LETTER OF CONSENT FROM BRIAN BOWMAN ...... 37

APPENDIX E. LETTER OF CONSENT FROM DAVID CHILDS ...... 39

APPENDIX F. TRANSCRIPT OF BRIAN BOWMAN INTERVIEW, MARCH 28, 2020 ...... 41

APPENDIX G. TRANSCRIPT OF DAVID CHILDS INTERVIEW, MARCH 18, 2020 ...... 46

BIBLIOGRAPHY ...... 51

iii LIST OF MUSICAL EXAMPLES

Page

Example 1: Lorin Maazel, Music for Flute and Orchestra with Tenor Tuba Obbligato, Comodo, flute solo, rehearsal number 1 ...... 15

Example 2: Maazel, Music for Flute, Comodo, tenor tuba obbligato, rehearsal number 3 ...... 15

Example 3: Maazel, Music for Flute, Comodo, flute and tenor tuba, rehearsal number 7 ...... 16

Example 4: Maazel, Music for Flute, Playful, tenor tuba plays melody, rehearsal number 20 .... 17

Example 5: Maazel, Music for Flute, Languid, Flute solo with bass clarinet, tenor tuba, and cello obbligato, rehearsal number 2 ...... 18

Example 6: Maazel, Music for Flute, Finale, tenor tuba solo, rehearsal number 65 ...... 18

Example 7: Sir Karl Jenkins, Cantata Memoria, Cortège, Bb euphonium solo, mm. 21-31 ...... 20

Example 8: Jenkins, Cantata Memoria, Cortège, horn in F doubling part with euphonium in Bb, mm. 18-21 ...... 21

Example 9: Jenkins, Cantata Memoria, Cortège, euphonium in Bb, mm.18-21 ...... 21

Example 10: Jenkins, Cantata Memoria, Lacrimosa Lullaby, baritone solo, m. 22 ...... 22

Example 11: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium obbligato,...... 22

Example 12: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium obbligato, ...... 23

Example 13: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium solo, mm. 19-22 . 24

Example 14: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium. mm. 47-51 ...... 24

Example 15: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Violin solo, mm. 47-51 ...... 24

iv CHAPTER 1

INTRODUCTION

Background and Significance

The purpose of this dissertation is to explore the evolving role of the solo euphonium in

the orchestral environment through analyzing the role it takes in Lorin Maazel’s Music for Flute

and Orchestra with Tenor Tuba Obbligato, Op. 11 (1995), and Karl Jenkins’s Cantata Memoria

(2005). Specifically, the euphonium can contribute its singing line in both solo parts and

counterpoint. In Chapter 2, I assess the contribution made by euphonium players and

collaborative relationships between composers and players, also presenting interviews with Dr.

Brian Bowman and David Childs, who gave the word premieres of the works by Maazel and

Jenkins, respectively. In Chapter 3, I analyze both works, focusing on the musical language that

both composers use in writing for solo euphonium in orchestral music.

The euphonium is a fairly new voice when compared with other brass instruments such as

the trombone and trumpet, although its lineage goes in to with its earliest predecessor—the

serpent, a bass member of the cornett family. The serpent has a conical bore and is snake-like

shape—thus the name—and, like the euphonium, requires a cupped mouthpiece to play.1 It has a

tenor voice similar to that of the euphonium. The serpent was used in a number of important

works of the eighteenth and nineteenth century, such as George Frideric Handel’s Music for

Royal Fireworks (1749) for orchestra, Beethoven’s Military March in D major (1816) for wind band, and Richard Wagner’s opera Rienzi (1842).2

1 Lloyd E. Bone Jr., Eric Paull, and R. Winston Morris, Guide to the Euphonium Repertoire (Bloomington: Indiana University Press, 2007). 2 Clifford Bevan, The Tuba Family (New York: Charles Scribner’s Sons, 1986), 67.

1 Hector Berlioz’s Symphony Fantastique (1830) also featured the serpent together with

another of the euphonium’s predecessors, the ophicleide. The ophicleide was introduced in 1817

by Jean Hilaire Asté as the lowest member of the family of keyed bugles, making its first appearance in Gaspare Spontini’s coronation march Olimpie (Paris, 1819),3 before Felix

Mendelssohn famously wrote for it in his incidental music to A Midsummer Night’s Dream

(1826). Although the ophicleide has a bassoon-like appearance, it is made of brass and, like the

serpent, played using a cupped mouthpiece similar to that of the euphonium.4 The ophicleide’s

key system, which controlled pitch with greater accuracy and efficiency than the serpent, led to

the instrument’s development for playing solos.

The piston valve system for brass instruments developed by Heinrich Stölzel and

Friedrich Blühmel around 1815 paved the way for William Wieprecht’s Tenorbasshorn in 1823,

before Carl Moritz invented what was known called the Tenor Tuba in 1838. These developments led directly to Ferdinand Sommer’s invention in 1843 of what we now know as the euphonium, a product of the Industrial Revolution. His piston valve instrument patented as the “euphonion” in 1844 has been seen as the first model of the modern-day euphonium.5

For several reasons, the euphonium grew in popularity and eventually superseded its

predecessors. Having only three to five piston valves, early euphoniums were generally much

easier to operate than the ophicleide key system and were also easier for manufacturers to mass-

produce, resulting in it replacing the ophicleide in British brass bands.6 The tone of the

3 Anthony Baines, Brass Instruments: Their History and Development (New York: Dover, 1993), 199. 4 Bevan, Tuba Family, 67. 5 Ray Farr, The Distin Legacy: The Rise of the Brass Band in 19th Century Britain (Newcastle upon Tyne: Cambridge Scholars Publishing, 2013), 145. 6 Farr, Distin Legacy, 16.

2 euphonium is characterized as mellow and warm, with a rich tenor voice.7 The instrument

quickly found a home for itself in the military (wind) band in the United States and the brass

band in the United Kingdom. In the orchestra, the tuba replaced the ophicleide as the lowest

member of the orchestra brass section. Yet in his Orchestration, Samuel Adler suggests that the

euphonium rather than the tuba was closer in sound to the mellow quality of the ophicleide.8

The Different Roles of the Euphonium in the Wind Band and Brass Band

Although the euphonium has been used sparingly in the orchestral setting, it has been used with great regularity as a member of both the wind band and brass band. Since, the wind band repertoire employed many orchestral transcriptions,9 we can see from the parts assigned to

the euphonium that it was regarded as the “cello” of the band. Clair W. Johnson observes that in scoring for concert band the euphonium can take on various roles: the melody, a tenor countermelody, or the baritone voice. The euphonium sound blends well with both its brass counterparts and the lower woodwinds.10 One of the most significant works for euphonium in the

wind band repertoire is Arnold Schoenberg’s Theme and Variations, Op. 43a (later arranged for

orchestra as Op. 43b). In Variation Five, the main theme is heard as a euphonium solo. Stephen

Plate writes of the role of the euphonium (known as baritone horn at that time) in comparison with Schoenberg’s orchestral version in which he uses the cello: “The solo clarinet and baritone

horn … Variation V, for which Schoenberg took such care in regard to the phrasing, is given

7 Gail A. Robertson, “The Euphonium and Why We Need it in the Wind Band” (lecture, American Band College, June 29-30, 2015).

8 Samuel Adler, The Study of Orchestration, 2nd ed. (New York: W. W. Norton, 1982), 298-99. 9 Grove Music Online, s. v. “Band: Repertory,” by Armin Suppan. 10 Clair W. Johnson, Practical Scoring for the Concert Band. (Dubuque, IA: Wm. C. Brown, 1961), 44-45.

3 wholly to violin I and cello in the orchestral version.”11 Other significant wind band excerpts for the euphonium include Gustav Holst’s Second Suite in F (1911), Percy Grainger’s Lincolnshire

Posy (1937), Paul Hindemith’s Symphony in B flat (1951), and Vincent Persichetti’s Symphony

No. 6 (1956).12

In discussing the characteristics of the instruments in the standard (British) brass band,

Denis Wright points out that there are three major soloists in the ensemble: the cornet, euphonium, and trombone. He suggests that the euphonium section can be used in various ways, including playing the melodic line or the countermelody, like the cello section of an orchestra.

However, Wright also believes that the euphonium is most effective when used as a solo voice for delicate cantabile melodies.13

Orchestral transcriptions were important resources for both wind bands and brass bands,

before composers contributed original works. In such transcriptions, the euphonium regularly

played a significant role, often exploiting the instrument’s unique sonority and cantabile

capabilities. In 1913, Percy Fletcher composed Labour and Love, the first original work for brass

band, commissioned as a test-piece for the National Brass Band Championships of Great Britain.

In this work Fletcher inserted a melodic solo for the euphonium, as well as a recitative,

supporting the characterization of the euphonium as a soloist within the band.14

Since 1913, a great number of compositions have been written, and transcriptions made,

for brass band, requiring a high level of euphonium playing. Examples of significant brass band

11 Stephen W. Plate, “A Study and Comparison of Arnold Schoenberg’s ‘Theme and Variations,’ Opus 43a and b” (DMA document, University of Cincinnati, 1986), 63. 12 Barbara Payne, Brian Bowman, and David Werden, Euphonium Excerpts: from the Standard Band and Orchestra Library (Cimarron Music Press, 2005). 13 Denis Wright, Scoring for Brass Band (London: Studio Music, 1986), 61. 14 Trevor Herbert, The British Brass Band: A Musical and Social History (Oxford: Oxford University Press, 2000).

4 works include: Moorside Suite (1928) by Gustav Holst, Severn Suite (1930) by Edward Elgar,

Ballet for Band (1983) by Joseph Horovitz, The Year of the Dragon (1984) by Philip Sparke,

Cloudcatcher Fells (1985) by John McCabe, and Paganini Variations (1991) by Philip Wilby.

The Role of the Euphonium in the Orchestra

Richard Strauss scored for a tenor Wagner tuba was in Don Quixote (1896-97).

According to Anthony Baines, Strauss stated in his Instrumentationslehre that the Wagner tuba

has a harsh sound,15 so the euphonium would be a more suitable instrument. Eventually, in

German-speaking countries, the instrument was replaced with the “Baryton,” which is the

German term for euphonium. In the early twentieth century, in orchestral circles in English-

speaking countries, the euphonium became known as the “tenor tuba.” Gustav Holst, for

example, used the term in The Planets (1914-16).

Gustav Mahler called for a “Tenorhorn” in his Symphony No. 7. His meaning was unclear, but nowadays the part is often taken on the British baritone horn, an instrument similar

to the euphonium but of narrower bore. American orchestra tend to substitute the euphonium.

Brian Bowman’s dissertation discusses other orchestral repertoire featuring the “tenor tuba,” such as Richard Strauss’s Don Quixote (1896-97) and Ein Heldenleben (1898) and Leos

Janáček’s Sinfonietta (1926). Bowman highlights the instrument’s use as both a member of the tutti brass section and also a remarkable solo voice. For example, in Ein Heldenleben, Strauss required both delicate playing in a duet section with tuba and strong playing to support the horns, tuba, and lower trumpet parts.16

15 Baines, Brass Instruments, 265. 16 Brian L. Bowman, “The Bass Trumpet and Tenor Tuba in Orchestral and Operatic Literature” (DMA document, Catholic University, 1975), 13.

5 The euphonium has also been part of large-scale orchestrations, such as Ottorino -

Respighi’s Pines of Rome (1924) and Havergal Brian’s Gothic Symphony (1919-27), one of the

longest symphonies ever written with a huge orchestra.17 The euphonium was possibly added in response to the trend of extending the size of orchestra during this period. Composers were also

searching for new timbres through new choices of instruments.

During the past three decades, the euphonium has been featured with increasing

regularity as a solo instrument in front of the orchestra, which seems to have been a significant

influence on how some composers distribute lines in orchestral tutti sections. There is now an

extensive repertoire for solo euphonium with orchestra, including several concertos,

demonstrating the instrument’s capabilities and versatility as a solo voice. Examples of

significant repertoire for the euphonium solo with orchestra are the concertos by Jan Bach

(1994), Vladimir Cosma (1995), Alun Hoddinot (2004), Sir Karl Jenkins (2009), Paul Mealor

(2017), and Edward Gregson (2019) (see Appendix A).

The expanding original repertoire for euphonium and orchestra could reflect the rising

popularity of the instrument. However, the reputation of specific euphonium players may have

also impacted the euphonium’s treatment in orchestral compositions, as I will discuss in the next

chapter.

17 Malcolm MacDonald, The Symphonies of Havergal Brian (London: Kahn & Averill, 1974).

6 CHAPTER 2

THE INFLUENCE OF BRIAN BOWMAN AND DAVID CHILDS

ON THE COMPOSITIONAL PROCESS

The works by Lorin Maazel and Karl Jenkins were influenced by and dedicated to prominent euphonium players. Both Brian Bowman and David Childs have both had a major influence on the progress of the euphonium through their performance as soloists, their involvement in euphonium education, and their contribution to the continued development of the instrument’s literature. They have been driving forces in the increasing importance of the solo euphonium in wind and brass bands, playing a significant role in euphonium as a concerto or concertante instrument with orchestra. I interviewed both players regarding their association with the works by Maazel and Jenkins, to gain insight into the compositional process for music suitable for the euphonium.

Influence of Brian Bowman on the Compositional Process of Maazel’s Music for Flute and Orchestra

Brian Bowman has dedicated his whole life to the euphonium as a soloist, clinician, and

educator. He held position as soloist and principal euphonium in the United States Navy and Air

Force bands, promoting the instrument as a solo vehicle in all fifty states and around the world.

He performed in the first full euphonium recital ever given at Carnegie Hall in New York, a

milestone in the history of the instrument. In order to expand the limited repertoire of original

music for the instrument, Bowman reached out to notable composers.18

During his time in academia, Bowman made exceptional contributions to the music

18 Sharon Elise Huff, “The Life and Career Contributions of Brian L. Bowman through 1991” (DMA document, University of Illinois at Urbana-Champaign, 1994), 66.

7 education field. He held the only full-time euphonium professorship in the United States, at the

University of North Texas from 1999 to 2018. Before that, he was the head of the Brass

Department at Duquesne University in Pittsburgh from 1991 to 1999.

It was teaching in Pittsburgh that presumably led Bowman to meet Lorin Maazel, music director of the Pittsburgh Symphony Orchestra in 1995. Maazel had a worldwide reputation as a conductor. He was less known as a composer, partly because he composed and published only a few works late in his career. However, one of his main works, Music for Flute and Orchestra with Tenor Tuba Obbligato, written in 1995, was premiered by the Pittsburgh Symphony

Orchestra the same year. In the premiere performance, Bowman played the “tenor tuba”

(euphonium) alongside Sir James Galway as the flute soloist, and Maazel himself as the conductor.

While composing the work, Maazel contacted Bowman to hear him play privately to gain more idea of the euphonium’s capability. I asked Bowman why Maazel came to include the euphonium in this work and how he was engaged to perform the premiere.

In 1995 I was in Japan doing some playing and teaching. The night before I was to return, I called my wife to check in with her and she told me that the manager of the Pittsburgh Symphony had called to say that Maestro Loren Maazel, the music director, wanted me to come and play for him. I arrived home on Saturday afternoon from Tokyo, and the next day at 2:00 pm arrived at Heinz Hall, not really knowing what to expect. I thought that maybe he wanted me to play some “tenor tuba” things for him. He told me that he was writing a flute piece with orchestra for James Galway and was interested in writing a “tenor tuba” part and wanted to hear me play something. I asked if he had anything in particular in mind, and he said no he just wanted to hear the instrument. I played a little of a Bach cello suite and then the Fantasia di Concerto by Boccalari and some other things. He asked me several questions and then I left. The next week he called me and asked what clef I would like the part written in, to which I replied bass clef. It is interesting to note his enthusiasm for using the full capacity of the euphonium in writing his tenor tuba part for the Music for Flute. He seemed to enjoy my playing and was interested in the technical as well as tonal aspects of the instrument. He asked about the

8 range, which I demonstrated to him, including the fourth valve bridge into the lower register.19

Bowman chose to demonstrate two important pieces in the euphonium repertoire, part of a

transcription of one of Johann Sebastian Bach’s solo cello suites and Eduardo Boccalari’s

Fantasia di Concerto for solo euphonium and band, written in the early twentieth century. The

cello, unlike the euphonium or any other brass instrument, is able to jump large intervals easily,

moving from string to string. So enormous flexibility and control are needed to play Bach’s

suites on the euphonium, even though the range is similar. The Fantasia di Concerto, originally

written for clarinet, requires great skill in technique, style, and range (four octaves), and has a

cadenza-like section in the middle.

In the interview, Bowman describes his musical relationship with the composer which

plays an important role to increase euphonium appearance in the orchestra. After Bowman

performed Music for Flute with the Pittsburgh Symphony Orchestra, he was invited to play

Strauss’s Don Quixote, and Ein Heldenleben the same year.20

There is a part in Music for Flute where the euphonium imitates the flute solo (see Ex. 1-

2 below). Bowman mentioned that the “tenor tuba” part is mostly in the middle range, which

sounds good, as well as the surprisingly low range, fourth valve.21 Bowman felt that Maazel used

the euphonium effectively and incorporated his own his capabilities on the instrument.

The tenor tuba played such an important role that Maazel later added “with tenor tuba

obbligato” to the title for the performance of the piece with the New York Philharmonic

19 Brian Bowman, email interview by the author, March 28, 2020 (see Appendix B). 20 Ibid. 21 Ibid.

9 Orchestra in 2008. I asked Bowman, “Do you feel the euphonium had a positive impact on the work?” He replied:

At first the title of the piece was just Music for Flute. The New York Philharmonic under Maestro Maazel scheduled the piece, and this time titled the piece Music for Flute but adding the words “with Tenor Tuba Obbligato.” The soloist this time was Robert Longevin, who was the principal flute of the Pittsburgh Symphony Orchestra at the time of the premier performance in 1995 and now was principal flute with the New York Philharmonic. It was helpful to be able to play the euphonium for Maazel and have him hear the capability of it as a solo instrument as well as an instrument within a group. I believe that is why he wrote the part more soloistically and named it as an obbligato rather than just a member of the orchestra.22

Bowman believes that the piece could influence orchestral composers to become more interested in using the euphonium in orchestral pieces. The euphonium’s warm, rich sound is unique among brass instruments.

Influence of David Childs on the Compositional Process of Jenkins’s Cantata Memoria

David Childs is an international euphonium soloist who continues to inspire players around the world. He used to be the principal euphonium of the top brass band in the world, the

Brighouse and Rastrick Brass Band from West Yorkshire, England, and the Cory Band from

Wales. Childs promotes the euphonium in many ways, has premiered fifteen concertos for the instrument, and regularly performs worldwide with wind bands, brass bands, brass quartets, and orchestras.23 Childs’s ability on the instrument has proved attractive to audiences, especially outside the brass-band tradition. Moreover, his skill and virtuosity led to the new commission for a euphonium concerto, a genre that emphasizes the transformed role of the euphonium in the symphony orchestra. Peter Reynolds writes on the official website of Boosey & Hawkes, a distinguished English publisher:

22 Ibid. 23 David Childs, email interview by the author, March 18, 2020 (see Appendix C).

10 The perceptions of the instrument have begun to change, largely due to the vision of one man: the young Yorkshire-born player David Childs, who has done much to develop for it a new character in fitting with the twenty-first century. A major part of his campaign to win the euphonium new audiences has been to commission new pieces. One of the most important is Karl Jenkins’ Concerto, premiered in July 2009 at the Welsh Proms, Cardiff, by David Childs with the BBC Concert Orchestra conducted by Owain A. Hughes.24

Sir Karl Jenkins’s Euphonium Concerto (2009) is one of the most remarkable works in

the instrument’s repertoire, calling on its full capabilities. Childs later took part in Cantata

Memoria (2015) as one of four soloists, in addition to violin, soprano voice, and baritone voice. I

asked Professor Childs in the interview how the composer came to include the euphonium and what led him to take part in the premiere.

In 2000, I was fortunate enough to win the Brass Final of the BBC Young Musician of the Year. My prize was the opportunity to perform a concerto with a professional orchestra (BBC Philharmonic under Yan Pascal Tortelier) on national television in the Grand Final (my first time to play a concerto and my first time to play with an orchestra). At this stage, we only had the Horovitz (1972) and the Wilby (1995), which the composer had transcribed from brass band to orchestra (2000), for me to perform in the competition. This exposed the euphonium to a new audience as well as the competition’s adjudicator Christian Lindberg. However, Lindberg suggested “If you want to make it as a soloist playing the euphonium, you need to find new clothes for your instrument to wear!” By this, he meant commission new music for euphonium and orchestra.25

The euphonium has been employed little as a solo instrument with orchestra, unlike the

brass-band culture, it has flourished as a solo instrument. Childs saw a critical need for

innovation in the orchestra to feature the euphonium as a soloist. Eventually, original pieces for

the euphonium and orchestra began to gain in number (see Appendix B). Childs’s collaboration

with Sir Karl Jenkins at the beginning of the composing process, which led to the creation of

Cantata Memoria, is beneficial for examining, how the role of the euphonium in the orchestra.

I sent him a letter, together with a recording from the BBC Young Musician of the Year. To my amazement, he telephoned me a few days later congratulating me on my

24 Peter Reynolds, Program notes for Karl Jenkins, Euphonium Concerto; http://www.boosey.com/cr/music/Karl- Jenkins-Euphonium-Concerto/53290/. 25 Childs, email interview.

11 performance and we chatted about the instrument. We later met up and discussed the commission, but due to his stature as a mainstream commercial composer, it took many years to get finances in place and bring the project together. However, during that time we became friends, and the work finally came to fruition in the form of a Concerto for Euphonium and Orchestra, receiving its premiere with the BBC Concert Orchestra at the Last Night of the Welsh Proms in 2009.

The compositional process during the concerto he wrote for me showed a thoughtful composer, willing to adapt and take idiomatic suggestions on board. I’ve also played for Karl when he’s been on the podium as conductor, and in this setting he has always been sympathetic to the performers, who seem to thrive off his relaxed and friendly approach. I would say respect and admiration are the foundations of our musical relationship, but I can only speak for myself!26

If more musicians reach out to composers to commission original works, the euphonium repertoire would undoubtedly expand. I asked Professor Childs, “In what ways do you feel the composer used, or did not use, the euphonium effectively? Do you feel your capabilities on the instrument influenced the composition in any way?”

The narrative surrounding this particular work is extremely important. I believe the composer used the euphonium, not only because of its qualities as a solo voice, but also because the instrument is intrinsically linked to the Welsh Valleys through their brass band communities. He alludes to this in his program note and, to this end, his use of the instrument is extremely effective.

On a musical level, the composer also makes great use of the lyrical qualities of the instrument. He is aware more than most what the technical capabilities of the euphonium are, but in Cantata Memoria he writes for the instrument in a way that fully exploits the instrument’s greatest asset—its unique warm tone and ability to play in a cantabile style, which works particularly well in conjunction with the baritone voice.

It is difficult to answer whether my capabilities necessarily influenced the composition; only the composer can answer that. However, in this emotional work he does put great trust in the euphonium player to deliver at integral moments, and I imagine with the premiere performance and recording in mind, that trust is something that was built over many previous performances together. Had we not worked together previously, it is difficult to know whether the composer would have given such an important role to the instrument, or a player he was unfamiliar with.27

26 Ibid. 27 Ibid.

12 Jenkins incorporates the euphonium as an orchestral member, engaging several soloistic roles, which directly reflect the capability of Childs as a euphonium virtuoso. I asked Professor

Childs, “Do you feel that the euphonium had a positive impact on the work?”

I do believe the euphonium had a positive impact on the work. I couldn’t imagine another member of the orchestral brass family blending so well with the baritone voice, or lending itself to the style and emotion the composer intended at those important moments in such an effective way.

Jenkins wrote Cantata Memoria to commemorate the Aberfan tragedy of October 21, 1966, when 116 children and 28 adults lost their lives when a coal waste dump collapsed, slid down a mountain, and enveloped a primary school in Aberfan, South Wales (UK).28

28 Karl Jenkins, Cantata Memoria for the Children, Vocal Score (London: Boosey & Hawkes, 2016), iv.

13 CHAPTER 3

MUSICAL AND TECHNICAL ANALYSES

This chapter focuses not only on the euphonium part in the works by Maazel and Jenkins,

but its association with other instruments: mainly the flute in Music for Flute and the baritone

voice in Cantata Memoria.

Lorin Maazel, Music for Flute and Orchestra, with Tenor Tuba Obbligato, Op. 11 (1995)

Music for Flute and Orchestra, with Tenor Tuba Obbligato, Op. 11 (1995) by Lorin

Maazel is a great addition to the orchestral repertoire. In Bowman’s opinion, “Maazel

understands all aspects of the euphonium, including tone quality, range, technical facility and

musical possibilities.”29 The euphonium, here called “tenor tuba,” has an independent and

soloistic role in the work. Although Sir James Galway stated that the concerto is atonal, Maazel

has tonal centers and even diatonic melodies in the piece.30 The euphonium displays its ability to

play in a singing style on many occasions.

In the first section of the piece, “Comodo,” the first entry for tenor tuba imitates the flute

part, with the same melodic line, although the flute has more ornamentation. The euphonium melody displays the instrument’s ability to play lyrically; the passage is even marked lirico. See

Ex. 1 and 2.

The first three notes of the melody in both parts are E, A, C#, the second inversion of an

A-major triad. Both instruments play different groups of fast notes (quintuplet, sextuplet,

septuplet) with great dexterity, and dip down into the low register at one point, immediately

showing a different side of each instrument. In the second measure of rehearsal number 3, the

29 Bowman, email interview. 30 Robert Croan, “Maazel Shows his Stuff as Composer,” Post-Gazette Music Critic (October 1995).

14 descending line is based on two scale, E minor with lowered D down to pedal E fortissimo, and F minor in the middle of the passage starting with low Bb but omitting the G to low C, the common tone with E minor. Jenkins plays with the dynamic range, from piano to fortissimo. At rehearsal number 4, the melody again outlines a triad but this time of B minor. The second measure has the complex rhythm of four notes in three beats. The section ends on low F, leading to F# at rehearsal number 5. The leaps and chromaticism may suggest atonality but it more a succession of tonal scales.

Example 1: Lorin Maazel, Music for Flute and Orchestra with Tenor Tuba Obbligato, Comodo, flute solo, rehearsal number 1

Example 2: Maazel, Music for Flute, Comodo, tenor tuba obbligato, rehearsal number 3

15 Euphonium imitating the principal line is also found at rehearsal number 8. This time

Maazel changes the character to more comic, with leaps, triplet rhythms, and ornaments to the

melody (see Ex. 3).

Example 3: Maazel, Music for Flute, Comodo, flute and tenor tuba, rehearsal number 7

At rehearsal number figure 8, the tenor tuba part answers the flute part from number 7.

Although the flute plays idiomatic grace notes in large intervals, Maazel gives the euphonium

small intervals. He generally employs the softer dynamics of the euphonium, presumably adjust

the balance with the flute. At rehearsal number 9, the euphonium drops down to pianissimo

before taking the forefront. Maazel avoids a smooth melodic line by using octave leaps similar to

the first entry at number 8, but the melody is based on major and diminished triads. The melody

comprises an ascending G# minor triad until beat 2, which omits the G# in the tenor tuba part

(but that is played by the cellos as a bass line). The next triad outlines F# major starting on B as an appoggiatura, leading to A#, C#, and F# on beat 1 of the next measure. Then the music continues the outline with descending F major, omitting C, and C# diminished. Maazel plays

16 with the rhythm gesture to create tension and release. The broader rhythm comprises a triplet

rhythm with a quarter note and an eighth note in each beat, which may encourage the performers to use a freer style.

In the second section, “Playful,” the motive is again introduced by the flute at rehearsal number 18. The same melody comes back at number 20 in the tenor tuba and the flute has a countermelody (see Ex. 4). The “conversation” between flute and tenor tuba requires accuracy in the rhythm. In the first measure of rehearsal number 20, the tenor tuba plays the melody on the down beat, but the flute plays on the off pulses in duplets and triplets. In the next measure the flute plays sixteenth-note octaves against eighth notes in the euphonium, followed by a fast ascending scale with complex rhythm as if it is a variation. In the second measure of rehearsal number 21, Maazel changes the emphasis of the beat from six to three per measure with a broader rhythm. The flute and tenor tuba need to line up well rhythmically. Maazel displays a playful style with staccato and dramatic changes in dynamics in various places in this section.

The melodic line consists of leaps laid out in different octaves.

Example 4: Maazel, Music for Flute, Playful, tenor tuba plays melody, rehearsal number 20

17 In section three, “Languid,” there is a dreamy sequence for solo flute with tenor tuba,

bass clarinet, and solo cello obbligato with orchestral accompaniment. Example 5 illustrates how the flute provides the principal theme, and the bass clarinet has the countermelody, while the tenor tuba and cellos follow one another. This section has a different timbre and independence of melody and rhythm in each line of the quartet. The flute sounds almost like an improvisation in a cadenza-like style.

Example 5: Maazel, Music for Flute, Languid, Flute solo with bass clarinet, tenor tuba, and cello obbligato, rehearsal number 2

The Finale is based on the motive from “Playful.” Maazel takes the melody from

rehearsal number 20 illustrated in Ex. 3 and transposes it up a major third in mm. 4-9 of rehearsal

number 65 in the tenor tuba part. This time, the time signature changes from 3/2 meter to mixed meter, constantly shifting between 3/4 and 3/16 meter (see Ex. 6).

Example 6: Maazel, Music for Flute, Finale, tenor tuba solo, rehearsal number 65

18 Maazel not only presents the tenor tuba as an instrument with a lyrical voice, he also demands

considerable technique and dynamic contrast.

Sir Karl Jenkins, Cantata Memoria (2016)

Cantata Memoria is scored for full symphony orchestra, chorus, and children’s chorus, as

well as the aforementioned vocal and instrumental soloists.31 Although solo voices are considered conventional in a cantata, the inclusion of a children’s chorus, solo harp, and especially a solo euphonium could be considered unorthodox since the euphonium has not been

involved with orchestra and choir much so far in music history. The euphonium part is written in

treble clef transposed for the Bb instrument, as in a brass band (where composers also sometimes

use bass clef at pitch).

Cantata Memoria is a large-scale reflective work consisting of eleven movements, played

without pause. The movements are: Pitran, Patran; Then Silence; Cortège; Lament for the

Valley; Lacrimosa Lullaby; Did I Hear a Bird?; Satin Feathers; And-A-Half; And Once upon a

Time; When the Shadow Dies and Lux æterna. Much of the music derives from existing melodies

(see Appendix B), including the Cortège, which makes use of Joseph Parry’s popular Welsh

song Myfanwy, first published in 1875. Myfanwy was sung by the Ynysowen Male Choir, formed

after the Aberfan Disaster with the intention of raising money for charity while providing a

social activity for the local men.32 For the Welsh, Myfanwy seems to represent home, Wales, and

peace. In this setting, the solo baritone voice begins the movement, and then “a haunting

euphonium, both redolent of the Welsh Valleys’ musical tradition.”33 The simple but sorrowful

31 Grove Music Online, s. v. “Cantata,” by N. Lee Orr. 32 Ynysowen Male choir, “About Us,” https://ynysowenmalevoicechoir.webs.com/about-us. 33 Jenkins, Cantata Memoria for the Children, iv.

19 text is sung by chorus with full orchestra accompaniment. The euphonium plays the beautiful singing voice, illustrated in Ex. 7.

Example 7: Sir Karl Jenkins, Cantata Memoria, Cortège, Bb euphonium solo, mm. 21-31

In m. 22, the euphonium repeats the melody from mm. 18- 21, sung by the choir and

accompanied by the full orchestra. The four-measure phrase in Welsh may be translated, “Give

me your hand, my sweet Myfanwy, but one last time to say farewell.”34 Then the full orchestra is

reduced to a string-section accompaniment in m. 22, to emphasize the euphonium solo. The use

of euphonium as a soloist in this section perhaps recalls the voice of the children in Aberfan, and

may also represent the coal-mining valley, as an iconic instrument of community brass bands.

The euphonium is also used in the orchestra to support other instruments by doubling,

especially brass instruments. In Cortège, Jenkins developed a six-note segment of the euphonium

solo melody from mm. 28-29 (a bridge to the next section) to interact with the chant-like melody

in the chorus significantly in the rest of the movement, as illustrated in Ex. 7, mm. 30-31. The euphonium doubles the horn section throughout the rest of the movement.

In m. 29, the key signature changes from Bb major to minor, and the articulation changes from legato to accents, and the character changes because of the broken melodic line. In the

minor-key section, Jenkins inserts the full names of each victim of Aberfan into a four-part

34 Ibid, 21-22.

20 chorus. The melody is chant-like with a different rhythm. To me, this alludes to paraphrase

technique from Renaissance sacred music. Jenkins incorporates the Benedictus in the Latin text

of the Mass in this movement, too. It is very smooth, since he inserts right in the middle of the

victims’ names, with evocative orchestration.

Jenkins truly understands the capabilities of the euphonium in the extreme high range, which may reflect the playing of David Childs, as illustrated in Ex. 8 and 9. The euphonium

passage goes up high to Eb5 in m. 19, still doubling the horn. The melodic line in both

euphonium and horn in mm.18- 21 is a countermelody to the tutti melody based on a Bb scale

with chromatic touches.

Example 8: Jenkins, Cantata Memoria, Cortège, horn in F doubling part with euphonium in Bb, mm. 18-21

Example 9: Jenkins, Cantata Memoria, Cortège, euphonium in Bb, mm.18-21

The euphonium is used throughout the work but is featured most prominently in the fifth

movement, Lacrimosa Lullaby. Jenkins exploits the instrument’s sonority and singing quality to

great effect. Example 10 illustrates the baritone solo voice in this movement, Ex. 11 the legato

euphonium line forming the accompanying obbligato.

21 Example 10: Jenkins, Cantata Memoria, Lacrimosa Lullaby, baritone solo, m. 22

Example 11: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium obbligato, mm. 9-13

In Ex. 12, the euphonium again plays the countermelody, derived from the baritone’s melody. In m. 9 the euphonium plays high G, an octave higher than the first beat of the baritone solo, and changing the note length from an eighth note to a half note. Jenkins then uses escape tones, namely concert F, Eb, and G, as a legato line to connects a dotted half note F in the next measure which is also taken from a half note in beat three in the baritone. The euphonium range is similar to that of a baritone voice, which might be why the instrument blends well with the baritone solo as an obbligato line, creating a unique timbre. At rehearsal number 26, the euphonium again presents an obbligato but this time like an improvisation (see Ex. 12).

22 Example 12: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium obbligato, mm. 27-34

Jenkins then presents a virtuosic euphonium obbligato based on the diatonic scale, and

arpeggios in the euphonium part to support the baritone. For example, in m. 29, a running

passage on the first and second beats is based on a Cb-major scale, followed by Eb arpeggios.

Similarly, in m. 27, the obbligato opens with C-minor arpeggios in second inversion.

In mm. 19- 22, the euphonium is used as an important solo line over a string accompaniment (see Ex. 13). This cantabile melody on euphonium occurs for the first time in the work. The range on the euphonium tends to be in the upper register, producing a haunting sound similar to the cello playing in its high register. Jenkins slowly allows the euphonium to emerge in a solo line against only strings, creating a beautiful timbre. The leaps in the high range of the euphonium create a scenario of mourning after the baritone solo. As David Childs comments: “In Cantata Memoria he writes for the instrument in a way that fully exploits the instrument’s greatest asset: its unique warm tone and ability to play in a cantabile style, which works particularly well in conjunction with the baritone voice.”35

35 Childs, email interview.

23 Example 13: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium solo, mm. 19-22

In addition, Jenkins calls for the euphonium to play with other sections in the orchestra, both strings and woodwinds. At the end of Lacrimosa Lullaby, he uses the euphonium to double the violin melody a third lower (see Ex. 14 and 15). Jenkins makes use of the last two stanza of the Latin Mass text, “Dies irae” (from the Mass for the Dead) in Lacrimosa Lullaby. “Lacrimosa dies illa” is employed to paraphrase the main text. The counterpoint melody is introduced by the violin in the opening section of the movement as well as the closing section, joined by the euphonium. The same melody occurs in the middle of the movement as the countermelody with another Latin text of Dies irae, “Pie Jesu Domine, dona eis requiem.”36

Example 14: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium. mm. 47-51

Example 15: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Violin solo, mm. 47-51

36 Jenkins, Cantata Memoria for the Children, iv.

24 Jenkins uses the euphonium with good understanding of its capabilities. With its rich and warm singing sound, the euphonium appears as a solo instrument, a collaborative instrument, supporting other brass instruments, doubling the low woodwind, in a duet with strings, and receiving a prominent part with the baritone soloist. I am also pleased to see that he used the term “euphonium” rather than the obsolete “tenor tuba” to label the part.

25 CHAPTER 4

CONCLUSION

Even though the euphonium was introduced to the orchestra in Richard Strauss’s Don

Quixote (1897), it has not regularly appeared in the brass section. But Maazel’s Music for Flute and Orchestra with Tenor Tuba Obbligato and Jenkins’s Cantata Memoria both illustrate how to score for the instrument in modern music. In Maazel’s work, the euphonium interacts well with the solo flute part as well as other parts in the orchestra such as bass clarinet and cello. Similarly,

Jenkins presents the euphonium as a solo instrument in his vocal composition, Cantata Memoria.

The euphonium cooperates with the baritone voice as a solo instrument and counterpart. Jenkins also uses the euphonium to partner the violin, as well as other instruments in the orchestra, creating new timbres.

After meeting and hearing their respective euphonium players, the two composers employed the full range and technical capability of the instrument. In their ability to demonstrate the musical potential of the euphonium so convincingly, Brian Bowman and David Childs played an important role in the creative process of these works and made a major contribution towards the progress of the instrument in the orchestra.

Because the euphonium has been historically underrepresented in the orchestra, collaborations with modern-day orchestral composers present an opportunity for the euphonium to gain recognition in the orchestral environment.

Maazel and Jenkins looked beyond the euphonium as an auxiliary member of the orchestral brass section and instead capitalized on its qualities as a solo instrument. The works by these composers can other composers to write for the euphonium as well as encourage players to

26 develop their technique and cantabile sonority and seek the expansion of the instrument’s inclusion in the orchestra.

27 APPENDIX A

LIST OF REPERTOIRE FOR SOLO EUPHONIUM WITH ORCHESTRA

28 Aagard-Nilsen, Torstein. Euphonium Concerto. Euphonium solo and orchestra.

Ahmas, Harri. Euphonium Solo and Chamber Orchestra with Percussion. 2001.

Andresen, Morgens. Prelude and Chaconne. Euphonium solo and orchestra.

Angell, Martin. Concerto for Euphonium and Winds. Manuscript.

Bach, Jan. Euphonium Concerto. Euphonium solo and orchestra. 1992. Beasley, Rule. Concerto for Euphonium. Euphonium solo and orchestra.1967.

Bourgeois, Derek. Concerto, Op. 114. Euphonium solo and orchestra. 1988. ______. Euphonium Concerto, Op. 120. Euphonium solo and brass band. 1990.

Boutry, Roger. Tubaroque. Bass saxhorn and orchestra. Leduc, 1955.

Bowen, Brian. Euphonium Music. Euphonium solo and orchestra. 1984.

Bozza, Eugène. Concertino. Bass saxhorn and orchestra. Leduc, 1967.

Bristol, Doug. Fantasy for Euphonium and Orchestra. Euphonium solo and orchestra

Butterworth, Arthur. Summer Music, Op.89. Transcription of bassoon solo

Constantinidies, Dinos. Concerto for Euphonium. Euphonium solo and orchestra

Corwell, Neal. Meditation and Finale. Euphonium solo and orchestra. 1999.

______. Of the Water. Euphonium solo and chamber orchestra. 1999.

______. Sinfonietta. Euphonium solo and orchestra. 1999.

Cosma, Vladimir. Euphonium Concerto. Euphonium solo and orchestra. 1998.

Croley, Randell. Soliloquy, Op. 36. Euphonium solo and orchestra. 1964.

Curnow, James. Concerto for Euphonium. Euphonium solo and orchestra. 1997.

______. Symphonic Variants. Euphonium solo and orchestra. 1984.

Desjonquères, Romain. Une Blague (A Joke) for euphonium or saxhorn, strings, and drums.

Dubois, Pierre Max. Piccolo suite. Bass saxhorn and orchestra. Leduc, 1957.

Ellerby, Martin. Earthrise. Euphonium solo with chamber winds and 18-part string orchestra.

______. Euphonium Concerto. Euphonium solo and orchestra. 1997.

29 Feinstein, Allen. Concerto for Euphonium: Swimming the Mountain. Euphonium solo and orchestra. 2004.

Filas, Juraj. Concerto for Euphonium. Euphonium solo and wind band. BIM, 2002.

Forsberg, Charles. Serenade, Op. 21. Euphonium solo and orchestra. 1979.

Furlong, Greg. Euphonium Quintet. Euphonium solo and string quartet. 2000.

Gaines, David. Concerto. Euphonium solo and orchestra. 1987.

Gileadi, Michael. Concerto. Euphonium solo and chamber orchestra. 1981.

Glorieux, François. Contemplation. Euphonium solo and strings. 2001.

———. “De Kar” Waltz. Euphonium solo, glockenspiel, and strings. 2001.

———. Elegy. Euphonium solo, violin solo, and strings. 2001.

———. Euphonic Moods. Euphonium solo and strings. 2001.

———. Fantasy. Euphonium solo and strings. 2001.

———. Regrets. Euphonium solo and strings. 2001.

———. Revivat Scaldis Fanfare. Euphonium solo and strings. 2002.

———. Sunrise on the River Scheldt. Euphonium solo and strings. 2001.

Habbestad, Karl-Heinz. Med Jesus vil eg Fara, Op. 41. Euphonium solo and orchestra.

Hoddinott, Alun. Euphonium Concerto “A Sunne Rising—The King will ride,” Op. 182. Euphonium solo and orchestra. 2004.

Hopkinson, Michael. Concerto euphonique. Euphonium solo and orchestra.

Horovitz, Joseph. Euphonium Concerto. Euphonium solo and chamber orchestra. 1972.

Hovhaness, Alan. Concerto No. 3: Diran, the Religious Singer, Op. 94. Baritone horn solo and strings. 1962.

———. Symphony No. 29, Op. 289. Baritone horn solo and orchestra.

Jager, Robert. Concerto for Euphonium. Euphonium solo and orchestra. 1995.

Jarett, Jack. Diversions for Euphonium. Euphonium solo and orchestra.

Jenkins, Karl. Concerto for Euphonium and Orchestra. 2009.

30 Johnson, H. Preludium. Euphonium solo and orchestra.

Kassati, Tadeusz. Kino Concertino. Euphonium solo and string orchestra. 1996.

Koper, Karl-Heinz. Dulcamarata Variations. Euphonium solo and orchestra.

Lindberg, Christian. Euphonium Concerto, “Olle and the Steamboat Jetty.”

Linkola, Jukka. Euphonium Concerto. Euphonium solo and orchestra. 1996.

Long, Keith B. Concerto for Euphonium (Meditation on Reincarnation).

Madsen, Trygve. Concerto for Euphonium and Orchestra, Op. 55. Euphonium solo and orchestra.

Martin, David. Suite for Euphonium and Orchestra. Euphonium solo and orchestra.

Mealor, Paul. Concerto for Euphonium and orchestra. 2017.

Ponchielli, Amilcare. Concerto per flicorno basso, Op. 155. Euphonium solo and orchestra. 1872.

Pulkkis, Uljas. Arion—A Concerto for Euphonium and Orchestra.

Raum, Elizabeth. Concerto del Garda. Euphonium solo and orchestra. 1997.

———. Pershing Concerto. Euphonium solo and orchestra. 1999.

Roper, Anthony. Sonata for Euphonium. Euphonium solo and string orchestra. 1996.

Serraiocco, S. G. Concertino for Euphonium and Chamber Ensemble.

Stevens, John D. Concerto for Euphonium and Orchestra. 2004.

Strum, Fred. Elysian Fields. Euphonium solo and orchestra.

Szentpali, Roland. Symphony Concertante for Euphonium and Orchestra. 2015.

Theobald, Jim. Concerto for Euphonium, Strings, and Percussion.

Tomasi, Henri. Danse sacrée (Ritual Dance). Bass saxhorn and chamber orchestra. Leduc, 1960.

Townsend, Douglas. Chamber Concerto No. 2, Op. 6. Euphonium solo and chamber orchestra. 1965.

Weinstein, Michael. Concerto for Euphonium and Chamber Orchestra. 1984.

Wilby, Philip. Concerto for Euphonium. Euphonium solo and orchestra. 1996.

31 Woodson, Bear. Concerto. Euphonium solo and orchestra.

———. In Memoriam for the Fallen Victims of the 9-11 Attack. Euphonium and strings. Manuscript. A work composed for horn and arranged for euphonium.

York, Barbara. Euphonium Concerto. Euphonium solo and orchestra. 2018.

32 APPENDIX B

QUOTATIONS USED BY SIR KARL JENKINS IN CANTATA MEMORIA

33 Borrowing Movement Origin Type Use in piece Similarity Composer technique hymn All Things words Cecil F. Alexander All Things Bright 1. Pitran, patran Bright and quotation and Beautiful hymn Beautiful melody Henry Monk Es ist Genug (It is hymn melody Johann R. Ahle enough) Lord, Why, oh quotation 2. Then Silence O Ewigkeit, du Why? J. S. Bach, chorale harmonized Donnerwort BWV 60 Heno, Heno lullaby Heno, Heno quotation text traditional poem words Richard Davies Myfanwy Myfanwy quotation 3. Cortège folk song melody Joseph Parry Benedictus Mass Benedictus quotation mass text N/A 4. Lament for the Agnus Dei Mass Agnus Dei paraphrase mass text N/A Valley Mass for the Dies irae Mass quotation mass text N/Av/ 5. Lacrimosa Dead Lullaby Lacrimosa requiem mass Lacrimosa quotation N/A Welsh folk 7. Satin Feathers Aderyn Du Aderyn Du quotation song traditional song Requiem Mass Lux æterna quotation Latin Text Karl Jenkins Grace Gleam and English words F. A. Jackson If I Were a 11. Lux aeterna If I Were a Beautiful quotation/ hymn Beautiful William N. Twinkling Star allusion Welsh words Twinkling Star Williams melody Carey Bonner

34 APPENDIX C

IRB APPROVAL

36 APPENDIX D

LETTER OF CONSENT FROM BRIAN BOWMAN

38 APPENDIX E

LETTER OF CONSENT FROM DAVID CHILDS

40 APPENDIX F

TRANSCRIPT OF BRIAN BOWMAN INTERVIEW, MARCH 28, 2020

41 Lorin Maazel, Music for Flute with Tenor Tuba Obbligato

1. The euphonium is not commonly found in orchestral settings, so how did the composer come to include the euphonium instrument in his piece? What led to your engagement to play in the première of the work?

In 1995 I was in Japan doing some playing and teaching, and the night before I was to return, I called my wife to check in with her. She told me that the manager of the Pittsburgh Symphony had called, and Maestro Loren Maazel, the music director wanted me to come and play for him. I arrived home on Saturday afternoon from Tokyo and the next day at 2:00 pm arrived at Heinz Hall not really knowing what to expect. I thought that maybe he wanted me to play some “tenor tuba” things for him. He told me that he was writing a flute piece with orchestra for James Galway and was interested in writing a “tenor tuba” part and wanted to hear me play something. I asked if he had anything in particular, and he said no he just wanted to hear the instrument. I played a little of a Bach cello suite and then the Fantasia di Concerto by Boccalari and some other things. He asked me several questions, and then I left. The next week he called me and asked what clef I would like the part written in, to which I replied bass clef.

It is interesting to note his enthusiasm for using the full capacity of the euphonium in writing his tenor tuba part for the Music for Flute. He seemed to enjoy my playing and was interested in the technical as well as tonal aspects of the instrument. He asked about the range, which I demonstrated to him, including the fourth valve bridge into the lower register.

2. How would you describe your musical relationship with the composer?

It was a real-life experience to get to know Maestro Mazel in 1995 for the original work and also the other tenor tuba performances with the Pittsburgh Symphony Orchestra. I was called back that same year that we premiered the Music for Flute to do both the Strauss tone poems Ein Heldenleben (November 1995) and Don Quixote (October 1995). An interesting anecdote: for Don Quixote I was sitting next to the bass clarinet rather than between the bass trombone and tuba (as I had sat for Ein Heldenleben and is the traditional seat for the tenor tubist—next to the tuba). Maestro Maazel looked back at the usual place and asked “Where is Mr. Bowman? I don’t know whether we can play without him!” I then raised my hand to show him where I was sitting, next to the bass clarinet, and he smiled and nodded his head toward me saying “Oh, there you are.”

Several years later in 2008, after I had moved from Pittsburgh to Denton, Texas, I received a call from the New York Philharmonic, asking me to come to New York to perform the Music for Flute with the orchestra, Loren Maazel conducting with principal flutist Robert Langevin as soloist. Robert Langevin had been the principal flute of the Pittsburgh Symphony during the world premiere of this piece and had subsequently become the principal flute of the New York Philharmonic. Of course, I was delighted to be able to perform this work again. When I arrived in New York, Maestro Maazel had a meeting in his office with the solo flute, myself, and others who had prominent roles in the work and went over the score again with us. When I arrived for the concerts, I found

42 that I had been assigned a solo dressing room, and looking at the program saw from the listing that the title of the work had changed from Music for Flute to Music for Flute with Tenor Tuba Obbligato, Op. 11 (1995), with my name listed just below the soloist’s name on the program.

I appreciated so very much the opportunity to have known Loren Maazel and participate in concerts with him. I remember his kindness to me and the mutual respect that developed between conductor-composer and performer.

3. In what ways do you feel the composer used, or did not use, the euphonium effectively? Do you feel your capabilities on the instrument influenced the composition in any way?

It was wonderful to have this direct contact with the composer-conductor, so that he could better understand all aspects of the euphonium, including tone quality, range, technical facility and musical possibilities. I am sure that was an influence in writing such an important role for the “tenor tuba” in his composition for James Galway. Having a good relationship with the composer allows him to have a truer picture of the instrument and its capabilities and strengths. I had not met Maestro Maazel personally before he heard me play prior to his writing his work for flute.

I got a copy of the part, and it was very different from the other tenor tuba parts of Holst and Strauss. It was full of trills and leaps, with a few virtuoso runs, including one at the end of thirty-second notes up to a high Bb. It turned out that it was a very prominent part in the orchestration, almost an obbligato at times to the flute solo. We rehearsed it and performed with James Galway in Pittsburgh and again in Carnegie Hall here in New York. This was in 1995.

This use of the tenor tuba or. better said, the euphonium in the orchestra is unique compared with other works using the tenor tuba. The style of the piece is very rhapsodic, with a great deal of soloistic writing for the euphonium. The first entrance is an imitation of the flute entrance and later adds a section of trills and mordents with a bridge to the next movement. The cadenza movement is a four-way interplay with the solo flute, the bass clarinet, solo cello, and tenor tuba. The style is very free and is again very soloistic in style. The last movement has a prominent solo section leading into the final technical thirty-second note run in turns with the solo flute. The range extends down to the low fourth valve register several times. Most of the part is written in the middle register, which sounds the best.

4. Do you feel the euphonium had a positive impact on the work?

It was helpful to be able to play the euphonium for Maazel and have him hear the capability of it as a solo instrument as well as an instrument within a group. I believe that is why he wrote the part more soloistically and has named it an obbligato rather than just a member of the orchestra.

5. From the perspective of a euphonium player, how important is this work within the literature?

43 The euphonium community is indeed indebted to Lorin Maazel for writing such a challenging and interesting, prominent part in this composition. While not as frequently performed, it is one of the most unique and challenging orchestral settings for tenor tuba. Many times, in the orchestra, the tenor tuba part is played by a trombone player. This particular part has a virtuosic run at the end which needs good valve technique. One time this part was performed, and the trombone player had difficulties, so they moved tenor tuba run to the bass clarinet. This part really does need an accomplished euphonium player. And this makes it more important in the literature, because of the soloistic and virtuosic section. The quartet section in the middle that has lots of trills and other valve techniques are important. The tone quality of the euphonium is very important in this nature that needs to be warm and rich, very “euphonistic”

6. How did performing with symphony orchestra differ from your experiences with brass band or wind band?

The part is much more exposed in the orchestra. Blending with the strings is different. It is very demanding, requiring careful listening for pitch, intonation, and blending. It is truly a “solo” experience, not doubled by other instruments (tenor saxophone) as it often is in the wind band. It is a strictly soloistic part and very individual. You need to be on tap and on top all the time. Every note is so important.

7. In what ways, if any, do you feel the role of the euphonium has changed over the years, particularly in relation to its use with orchestra?

This piece by Maazel was an important departure from the usual writing for the tenor tuba in the orchestra. t has very big solo role, but it was not very well known. I hope the dissertation can be published, so more people will know about the piece. For the most part, it is unknown, although it is an important piece. It could be an example for other composers, if we can make it more known and more present in the musical world.

8. In your view, could the euphonium appear in an orchestral setting with greater regularity in the future?

It is a great experience to work with the composer. It is a very important piece that should be played more often. It might not be as popular as Tchaikovsky’s symphonies, but it could be performed more, and that would give another opportunity or at least more additional pieces using the tenor tuba. So far, tenor tuba parts are performed not frequently enough to make full-time positions in the standard symphony orchestra. This work has made a great step forward for the euphonium in the orchestra, taking its place along with another important works such as Strauss’s tone poems and Holst’s Planets. Music for Flute with Tenor Tuba Obbligato has taken a place beside each of those, even more so, and has a soloistic role all the way through. In looking at the role of the euphonium in the orchestra, there are two different areas: first, as a member of the orchestra, and second performing in front of the orchestra with solos written for euphonium and orchestra accompaniment. There is differentiation of soloistic role within the orchestra itself as a member of the orchestra. This piece is one of the most virtuosic

44 and a very important orchestral role for euphonium in addition to Holst and Strauss. The Maazel part for tenor tuba is even more extensive than anything written previously.

If there were also more concerti and solo works written for euphonium and orchestra, it would also acquaint composers with the instrument’s sound and capabilities, possibly wanting to integrate the euphonium into the orchestra part itself rather than just the soloist. This is another important way of making composers aware of the instrument and what its possibilities are.

45 APPENDIX G

TRANSCRIPT OF DAVID CHILDS INTERVIEW, MARCH 18, 2020

46 Sir Karl Jenkins, Cantata Memoria

Some twenty years ago I was fortunate enough to win the Brass Final of the BBC Young Musician of the Year—a prestigious classical music competition hosted in the UK. My prize was the opportunity to perform a concerto with a professional orchestra (BBC Philharmonic under Yan Pascal Tortelier) on national television in the Grand Final. This exposed the euphonium to a new audience, including one of the competition’s adjudicators—trombonist Christian Lindberg. Following this experience (my first time to play a concerto and my first time to play with an orchestra), Lindberg gave me some great advice: “If you want to make it as a soloist playing the euphonium, you need to find new clothes for your instrument to wear!” By this, he meant commission new music for euphonium and orchestra. At this stage, we only had the Horovitz (1972) and the Wilby (1995), which the composer had transcribed from brass band to orchestra (2000) for me to perform in the competition. Following Lindberg’s advice, I began researching living composers with a view to commissioning new music for my instrument.

At the time I was a student at the Royal Northern College of Music and remember seeing a TV commercial for a building society (mortgage provider) called Cheltenham and Gloucester. The music accompanying the TV commercial was like nothing I’d ever heard before—it seemed to fuse classical music with popular music, enhancing its appeal to a wider general public—I guess that’s why it was used on a TV commercial! It resonated with me right away and I thought to myself, “Wouldn’t it be amazing if whoever composed that music would write for the euphonium and help widen my instrument’s appeal to a wider audience?” I found out that the composer was Karl Jenkins, so I sent him a letter, together with a recording from the BBC Young Musician of the Year. To my amazement, he telephoned me a few days later, congratulating me on my performance, and we chatted about the instrument. We later met up and discussed the commission, but due to his stature as a mainstream commercial composer, it took many years to get finances in place and bring the project together. However, during that time we became friends, and the work finally came to fruition in the form of a Concerto for Euphonium and Orchestra, receiving its première with the BBC Concert Orchestra at the Last Night of the Welsh Proms in 2009.

Karl Jenkins was aware of the euphonium before we met. His friend Tony Small conducted the brass band in his home village of Penclawdd in South Wales. However, following many meetings to play through his compositional sketches, and the eventual completion of his concerto, I believe his eyes had been opened to the technical and expressive capabilities of the instrument. During the years that followed, Karl would often request the euphonium to be featured in his concerts, and eventually included it in one of his original orchestral scores, Cantata Memoria. When Cantata Memoria received its UK première, Karl and I had been working together for several years, so I guess it was natural that I would be the person to play the euphonium part. When he asked me, I certainly didn’t hesitate to accept the invitation!

47 2. How would you describe your musical relationship with the composer?

First and foremost, we are now very good friends. I had huge respect for Karl Jenkins the musician before I ever met him; but having spent time in his company on many occasions over the years, the admiration I have for him as a person could not be any greater. He is one of the world’s most successful living composers and did not need to take an interest in the euphonium, or me, but he did. I’d like to think he enjoys the way I play, and I guess the fact that he’s engaged me to play his music on many occasions could be a testament to this.

3. In what ways do you feel the composer used, or did not use, the euphonium effectively? Do you feel your capabilities on the instrument influenced the composition in any way?

4. Do you feel the euphonium had a positive impact on the work?

I may be a little biased, but yes, I do believe the euphonium had a positive impact on the work. I couldn’t imagine another member of the orchestral brass family blending so well with the baritone voice, or lending itself to the style and emotion the composer intended at those important moments in such an effective way.

48 5. From the perspective of a euphonium player, how important is this work within the literature?

Extremely important; In Sir Karl Jenkins we have a composer who will undoubtedly go down in history as one of the most important composers of his generation, and here he has included an integral part for the euphonium in one of his major works.

Today we reference works such as Mahler’s Symphony No. 7, Holst’s The Planets, and Strauss’s Ein Heldenleben when looking at substantial euphonium parts in orchestral repertoire. There is much debate around the specific instrument these composers intended to be used when performing their works, and the excerpts themselves are not really proportionally extensive. However, we can be sure that the instrument we now know internationally as the euphonium was intended for Cantata Memoria, and the excerpts speak for themselves in terms of overall importance to the work.

6. How did performing with symphony orchestra differ from your experiences with brass band or wind band?

As a euphonium soloist, performing with orchestra can be a liberating experience. The balance issues that are often problematic when performing with similar voiced instruments found in the brass band and wind band don’t really exist. Although the ensemble is much larger in number, if being supported by an orchestral string section the euphonium will always be heard clearly without the need for excessive projection. Of course with a larger ensemble, sometimes accompaniment can be less flexible, but this is rarely the case with a good conductor, particularly when the conductor is also the composer of the work!

As a tutti member of the orchestral brass section, playing euphonium with the orchestra requires great stylistic awareness. Orchestral brass sections have certain performance practices and ways of approaching their role in the orchestra, which can often be very different to the brass section of a wind orchestra or indeed playing within a brass band. When the euphonium is called upon to play on its own, performance practice usually dictates a fairly symphonic style of execution that is in keeping with its surrounding brass counterparts.

For Cantata Memoria the required approach is generally that of a soloist; a cantabile style is appreciated and blends well with the vocalists. However, on brief occasions there is still a necessity to adapt stylistic instincts to conform with the ensemble as a whole.

7. In what ways, if any, do you feel the role of the euphonium has changed over the years, particularly in relation to its use with orchestra?

It is still a rarity to see a euphonium being played as a solo instrument at the front of the orchestra, but twenty years ago, it was practically unheard of. Through the development of solo repertoire, recordings, and euphonium exponents, the instrument’s reputation is gradually evolving. We now have many concertos composed for euphonium and orchestra, and they are now being programmed with increased regularity.

49 It also remains a rarity to see a euphonium being played at the back of the orchestra as part of the brass section, although repertoire from the likes of Bax, Harris, Holst, Janáček, Mahler, Mussorgsky, and Strauss have meant that it does happen occasionally. Historically, in an orchestral setting, the euphonium has been used to add an upper octave to the tuba, connect with the trombone section, support the French horns or add colour (and a lower octave) to other lines. However, through works like Cantata Memoria, we are seeing the instrument’s solo qualities brought to the fore—a trend I hope will continue.

8. In your view, could the euphonium appear in an orchestral setting with greater regularity in the future?

As a euphonium community we can only hope that other composers will follow the lead of composers like Sir Karl Jenkins and be inspired to score for the instrument in future orchestral compositions. However, I believe its use in this way will remain a novelty rather than become the norm.

Most classically trained composers invest a great deal of time in studying the master composers of yesteryear and how they wrote for the orchestra. For many years there has been an understanding surrounding the instrumentation of a symphony orchestra, of which the euphonium has never been a regular member. To see this standardized instrumentation re-invented to include the euphonium on a regular basis is perhaps a little unrealistic, particularly when the majority of promoters and orchestras still favour the programming of mainstream classical music by composers who are no longer with us.

If euphonium players continue to forge relationships with orchestral composers, I guess it is possible that we will see the instrument in this setting more often, but only if new music is also embraced with greater regularity.

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