Basses Loaded

Program Notes

During the planning stages of this recital, it was apparent that we needed a peppy opening number. Myself and many others, weary of the pandemic, needed a tune to wash away the dreary lingering feelings of the past. So, I asked Mr. William Cunliffe, a colleague here at CSUF to create an arrangement of  “Get Happy” for two tubas. I asked him to include the stylings of a favorite jazz musician, Johnny Costa, a truly great improvisational pianist, known for his work on the television show Mr. Rogers’ Neighborhood. Mr. Rogers and my father, although not close friends, but both ministers, had met through the Pittsburgh Presbytery. My father has a nickname “Happy Holben” because of his perpetual jovial nature, and I’d like to dedicate today’s performance of Jocundity to him. Thanks for always being such a positive and happy influence on me! Coincidentally, today marks what would have been the 100th birthday of Judy Garland, who’s performance of “Get Happy” is truly a memorable one.

Reciprocity - is a duet for tenor trombone and contrabass tuba (or bass trombone), and was written for and dedicated to Tim and Jessica Buzbee. Tim is the Principal Tuba of Iceland Symphony, and Jessica Buzbee is an internationally recognized soloist and former member of Christian Lindberg's group Unit 2000. During the collaboration, Tim and Jessica stressed the importance of a "new" sound, but they also wanted a piece that really pushed the limits of each instrument and challenged the performers. As a result, the tessitura of the trombone part is extremely high while the tuba part is extremely low, and in some places the difference between the two voices is as much as four octaves. Endurance is also tested, as there is very little rest for either instrument. Another characteristic of the piece, as suggested in the title, is the reciprocal relationship between the two voices, at times acting separately, while at other times actually sharing the same line one or two octaves apart.

The piece opens with a somewhat angular fanfare before settling into a sinister sounding march-like passage. The two voices then come together and transition to a disjunct rhythmic figure in unison octaves. This section segues into a hard funk rock section that morphs back to the rhythmic octaves again before leading into a dark chorale where both voices battle for the melody. As things get more intense we come back to a slightly more aggravated octave figure, then on to an elaborated version of the opening fanfare. One more time the octave figure returns briefly, then the piece closes with an explosive continuation of the fanfare section.

At the request of Pete Norton, the piece was adapted for bass trombone and tuba, and later for two bass trombones, making it accessible by virtually any combination of low brass instruments. Reciprocity received its official premiere at the International Tuba and Euphonium Conference in Cincinnati, Ohio in June 2008.

- Program notes by the composer

​

In Šulek’s Sonata, the composer showcases the expressive nature of the trombone through virtuosic extremes of the instrument, creating a challenging work for soloist and accompanist alike. ‘Vox Gabrieli’ translates to “voice of Gabriel,” referring to the angel Gabriel from the Bible.

​
 

Capriccio - Capriciously, virtuoso, sparkling but nevertheless also restful; in short “Capriccio”.

This work consists of three succeeding parts, which form together one expressive, fluent musical story.  After a triumphant opening we get acquainted with the floating strength of the bass trombone as a head role player.  The other players, a six piece trombone ensemble, ensure extra thrust.  The virtuoso and technical approach of the soloist is noticed immediately.  The thrust is scaled back and the technical virtuosity makes place for the warm and romantic side of the bass trombone.  In a 3/4 meter we start dreaming with a sultry accompaniment.  Towards the end, we get in higher environments both melodically and dynamically.  The cadenza acts as a bridge to the last part.  The head role player returns sobered up to the roots.  The driving beginning topic now develops to a climax in which the soloist, in a spectacular manner, can give the best of himself.

Capriccio was written especially for Ben Van Dijk, bass trombonist of the Rotterdam Philharmonic Orchestra and was premiered in November 2005 at the Kentucky University Trombone Day.

- Program notes by the composer.

​
 

The Grand Canyon Octet was composed by Eric Ewazen and was inspired by the composer’s own experiences visiting the Grand Canyon in Arizona. One can imagine viewing the Painted Desert at twilight, just after sunset, when the shadows and shades of gray fill the sky with supreme quiet and mystery. Hear them the solemn and introspective mood of the second movement.

The title of this work, K-1, relates to the Japanese martial art of that name.

Even though I am not a fan of this kind of sport, when Steve Rosse asked me to write something for 6 trombones and 2 tubas, (knowing what a strong player he is), something extremely wild, cruel and raw sounded spontaneously in my mind. I imagined two tubas (fighters) playing short notes as they punch each other, with some of the notes being picked up from the bass trombones (the allegorical coaches and trainers) because they are following the trainer’s screaming instructions at them in the ring! The four tenor trombones (the allegorical audience) can have a really different musical texture; sometimes just making noise, but sometimes shouting together if the fight is exciting. This situation offers a chance for a kind of theatrical act on stage! Fighters marching in, face to face, starting and ending each round with a gong hit and ending up by "throwing in the towel." This music is not beautiful, but it does have energy and excitement...just as does the sport called K-1.

- Program notes by the composer.

Poker Chips - In 1973 I had the good fortune to play the world premiere of Gunther Schuller’s Five Moods for Tuba Quartet. I later did an analysis of it as the final paper for my DMA at the University of Southern California. The Los Angeles Tuba Quartet (Roger Bobo, Tommy Johnson, Don Waldrop and I ) did the West Coast premiere in 1976. The LATQ later held a composition contest for new works for four tubas and the winner, Sieben Miniaturen fur Vier Tuben by German composer Gunter Kochan was premiered at the 1978 International Tuba-Euphonium Conference in Los Angeles. I later recorded the Kochan on my Summit CD, Changing Colors(playing all four parts). In 1993 my interest turned to writing a work for tuba quartet and the Schuller and Kochan were very much in my mind. Like them I wanted a group of short movements and, for variety, added a vibraphone. The result was “Poker Chips.” Each of the five movements is named after a poker term and has some rhythmic connection to it (i.e., Seven Card Stud is in 7/8 and 7/4 meters). The preferred instruments are F tubas on the first three parts, CC tuba on fourth and vibraphone with motor. Some improvisation in Trips to Win is required in the first tuba and the vibes–but it is simple modal harmony (G minor scales work well). “Poker Chips” was recorded on my Big Stretch CD by members of Los Tubas: Jim Self, Norm Pearson, Fred Greene and Gene Pokomy.

- Program notes by the composer.

Hide and Seek - was written and recorded by Imogen Heap in 2005. The meaning of the lyrics is shrouded, but hints to having painfully lost someone special while simultaneously alluding to how people react to someone else’s circumstance(s). This arrangement for tuba quartet exploits the beautiful harmonies created by the keyboard-controlled voice harmonizer.

Take This Hammer - When initially asked to write a piece for tuba-euphonium quartet, I knew that I wanted to focus on two concepts. First, I wanted to explore the vast, yet frequently overlooked, technical and musical capabilities of these instruments. Secondly, I wanted to address the working-class roles that these instruments often occupy in large ensembles and how this character trait could be brought to life in a chamber setting.

Work songs have been an important part of many cultures around the world. In most societies, these songs encouraged efficiency and quality of work. However, in the harsh conditions of American plantations, these songs took on a different kind of importance. The steady unison rhythms kept any one person from being singled out and severely punished for working slower than the rest. This practice continued on into the middle of the 20th Century in the slave labor conditions of southern U.S. prisons. This piece is musically inspired by two prison work songs recorded by John and Alan Lomax in the 1940’s titled Rosie and Take This Hammer.

- Program notes by the composer.

Poet & Peasant Overture - Franz von Suppé (1819-1895) was an Austrian composer of light operas and operettas. His most famous work is the "Poet and Peasant Overture," which was composed in 1846. The overture is based on a musical theme that Suppé had heard from a street musician in Vienna. He was inspired by the contrast between the refined music of the poets and the more rustic music of the peasants, and he used this contrast as the basis for his overture. The first section features the "Poet" theme, which is a lyrical melody played by the strings and woodwinds. This section is slow and expressive, and it sets the stage for the more lively and energetic second section. The second section features the "Peasant" theme, which is a fast and lively melody played by the brass and percussion. This section is marked by rapid tempo changes and frequent shifts in tonality, which gives it a sense of excitement and unpredictability. Throughout the overture, Suppé makes use of a variety of musical techniques, including counterpoint, imitation, and variation. He also employs a range of orchestral colors and textures to create a rich and varied sonic landscape. The "Poet and Peasant Overture" has become one of Suppé's most endearing works, and it is frequently performed in concert halls and on film soundtracks. Its catchy melodies and lively rhythms make it a favorite among audiences and musicians alike.

- Program notes by ChatGPT