NORTHWESTERN UNIVERSITY THE TUBIST’S GUIDE TO THE BRASS QUINTET: A SURVEY OF HISTORICAL DEVELOPMENTS AND PERFORMANCE TECHNIQUES A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Tuba Performance By Thomas Walsh Curry EVANSTON, ILLINOIS DECEMBER 2015 2 ABSTRACT The Tubist’s Guide to the Brass Quintet: A Survey of Historical Developments and Performance Techniques Tom Curry Since the standardization of the modern brass quintet in the middle of the twentieth century, extensive research has been dedicated to the history of the genre, ensembles which have promoted and advanced brass chamber music and the growing body of original brass quintet repertoire. Such scholarship has provided practical benefits to performers and reflected the increased validity of the brass quintet as a chamber music entity equal to that of its string and woodwind counterparts. No instrument has benefitted more from the progress and recognition of the brass quintet than the tuba. Despite this fact, relatively little scholarly activity has been devoted to the specific demands and applications of the tubist’s role in brass quintet performance. The current study serves as a performer’s guide for the tubist in a brass quintet. Following a brief introduction, the second chapter provides historical context by studying several ensembles and individuals who developed the genre of brass chamber music and the tuba’s function therein. Based on writings, interviews and recordings of these and many other preeminent chamber musicians and pedagogues, Chapter Three includes an overview of equipment considerations and elements of tuba performance unique or relevant to the brass quintet setting. Chapter Four applies these performance elements to Victor Ewald’s Quintet no. 1, op. 5, demonstrating a model for repertoire-specific research and performance preparation. By examining the history of the tuba in the brass quintet and performance aspects related to playing 3 tuba in a chamber music setting, this document serves as both a reference for advanced performers and a pedagogical tool for students. 4 ACKNOWLEDGMENTS I would like to express my sincere gratitude to Rex Martin for his guidance throughout the process of completing this document, for his mentorship and generosity over the past six years and for motivating me beyond what I had ever considered achievable for myself as a musician. My thanks go to Gail Williams and Bernard Dobroski for their assistance as members of my committee and for their influence throughout my graduate studies. Thank you to John Stevens for igniting my passion for chamber music, and to my colleagues in the Wisconsin Brass Quintet for reinvigorating that passion on a regular basis. I extend my deepest thanks to my parents and family for their unwavering support, without which my life in music would not be possible. Finally, thank you to my wife, Sarah, for her encouragement, motivation and inspiration. 5 CONTENTS ABSTRACT....................................................................................................................................2 ACKNOWLEDGMENTS...............................................................................................................4 LIST OF FIGURES.........................................................................................................................6 LIST OF TABLES...........................................................................................................................7 Chapter 1. INTRODUCTION..........................................................................................................8 ! 2. A HISTORICAL OVERVIEW OF THE TUBA IN THE BRASS QUINTET............11 3. PERFORMANCE TECHNIQUES...............................................................................43 4. CASE STUDY: VICTOR EWALD’S QUINTET NO. 1, OP. 5..................................80 5. SUMMARY AND CONCLUSION .............................................................................10 BIBLIOGRAPHY........................................................................................................................114 APPENDIX A – DISCOGRAPHY: COMMERCIAL RELEASES OF THE NEW YORK BRASS QUINTET ......................................................................................................................121 APPENDIX B –DISCOGRAPHY: RELEASES FEATURING THE PHILIP JONES BRASS ENSEMBLE ................................................................................................................................123 APPENDIX C – DISCOGRAPHY: EMPIRE BRASS QUINTET.............................................126 APPENDIX D – PUBLISHED EDITIONS OF VICTOR EWALD’S BRASS QUINTET NO. 1 IN B-FLAT MINOR, OP. 5.........................................................................................................128 APPENDIX E – DISCOGRAPHY: VICTOR EWALD, BRASS QUINTET NO. 1 IN B-FLAT MINOR, OP. 5.............................................................................................................................129 6 LIST OF FIGURES Figure 3.1. Standard Brass Quintet Setup, Indirect Tuba Sound...................................................46 Figure 3.2. Standing Brass Quintet Setup, Direct Tuba Sound.....................................................47 Figure 3.3. Standing Brass Quintet Setup, Indirect Tuba Sound...................................................48 Figure 4.1. Ewald, Quintet No. 1, Movement III, mm. 1-4, alto horn and tuba............................92 Figure 4.2. Ewald, Quintet No. 1, Movement II, mm. 1-2, first cornet and tuba..........................93 Figure 4.3. Ewald, Quintet No. 1, Movement II, mm. 67-68, tuba...............................................93 Figure 4.4. Ewald, Quintet No. 1, Movement II, mm. 79-80........................................................95 Figure 4.5. Ewald, Quintet No. 1, Movement II, mm. 44-51........................................................96 Figure 4.6. Ewald, Quintet No. 1, Movement I, mm. 34-38..........................................................97 Figure 4.7. Ewald, Quintet No. 1, Movement I, mm. 68-75, tuba.................................................98 Figure 4.8. Ewald, Quintet No. 1, Movement I, mm. 138-143, tuba.............................................98 Figure 4.9. Ewald, Quintet No. 1, Movement I, mm. 143-147......................................................99 Figure 4.10. Ewald, Quintet No. 1, Movement II, m. 9...............................................................100 Figure 4.11. Ewald, Quintet No. 1, Movement I, mm. 95-103, tuba...........................................101 Figure 4.12. Ewald, Quintet No. 1, Movement III, mm. 79-86...................................................102 Figure 4.13. Ewald, Quintet No. 1, Movement II, mm. 12-19, tuba............................................103 Figure 4.14. Ewald, Quintet No. 1, Movement I, mm. 1-4, tuba.................................................103 Figure 4.15. Ewald, Quintet No. 1, Movement III, mm. 39-41, tuba..........................................104 Figure 4.16. Ewald, Quintet No. 1, Movement III, mm. 25-32, tuba..........................................106 Figure 4.17. Ewald, Quintet No. 1, Movement I, mm. 54-60, tuba.............................................107 7 LIST OF TABLES Table 4.1. Articulation Markings for Tuba in Ewald, Quintet No. 1...........................................106 8 CHAPTER ONE INTRODUCTION Purpose of the Study Since the standardization of the modern brass quintet in the middle of the twentieth century, extensive research has been dedicated to the history of the genre, ensembles which have promoted and advanced brass chamber music and the growing body of original brass quintet repertoire. Such scholarship has provided practical benefits to performers and reflected the increased validity of the brass quintet as a chamber music entity equal to that of its string and woodwind counterparts. No instrument has benefitted more from the progress and recognition of the brass quintet than the tuba. Despite this fact, relatively little scholarly activity has been devoted to the specific demands and applications of the tubist’s role in brass quintet performance. The purpose of the current study is to serve as a performer’s guide for the tubist in a brass quintet. This guide will provide historical context by studying several ensembles and individuals who developed the genre of brass chamber music and the tuba’s function therein. Based on writings and recordings of these and many other preeminent chamber musicians and pedagogues, the study will also include an overview of equipment considerations and elements of tuba performance unique or relevant to the brass quintet setting. These elements of performance will then be applied to an examination of Victor Ewald’s Quintet no. 1, op. 5, providing a model for 9 research and performance preparation. By examining the history of the tuba in the brass quintet and performance aspects specific to playing tuba in a chamber music setting, this document will serve as both a reference for advanced performers and a pedagogical tool for students. Limitations This document will focus on the role of the tuba in the brass quintet. As such, all discussion of historical information and performance elements will be limited to the tubist’s perspective. While general background information will be necessary to facilitate this discussion, the study will not attempt