A tuba recital : perspectives for a combined historical, analytical and personal approach

Abstract

Chapter one presents a general overview of the tuba and its evolution. The overview commence with the predecessors of the tuba, being the Serpent and the Ophicleide, continues with the invention of the valve, the different types of tubas and the key repertoire for the tuba. A Baroque-style score with the name Sonata no.I in F composed by Benedetto Marcello is the subject of the second chapter. The main Baroque elements are widely found in this score. Ornamentation is an essential element. Multiple trills are found in this piece, and these trills are analyzed in detail on the best way to achieve a smooth and a flowing trill during the performance. Andante and Rondo by Antonio Capuzzi is the theme of the third chapter. These two movements form part of the famous Concerto for Double Bass by the same composer. Andante is a slow and lyrical movement with many arpeggiated figures. These figures deal with intonation problems that have been encountered. The Rondo is by far more technically challenging, and here intonation problems still persisted. Details on how the issue has been tackled in order to achieve the tone wanted, has been treated in detail. Chapter four is about the famous Tuba Concerto by Edward Gregson. Composed in 1976, the concerto is considered as one of the major works in the tuba repertoire. It consists of three movements: Allegro Deciso, very rhythmical and technically challenging, presents a difficult task for the tuba player especially in tongue and finger co-ordination. The second movement, Lento e mesto, very lyrical, cantabile and rather slow presents one of the most difficult challenges for the tuba player, the high register. Allegro giocoso, very close in character with the first movement, gathers both these problematic factors. Sonata for Tuba, another major work for the tuba repertoire composed by Paul Hindemith shall be the score analyzed in chapter five. The sonata is divided into three movements: Allegro pesanto, Allegro Assai and Variationen: moderato comodo. Wide leaps in range (both tongued and slurred) and legato articulation, are amongst the difficulties encountered in the study of this sonata. Chapter six is about Serenade no.12 by Vincent Persichetti, a work for solo tuba. The serenade consists of six movements. Being a solo work, the soloist needs to work a lot on the interpretation in order to make the work interesting to hear. Articulation is one of the key factors to achieve this result. In fact, accents and diaphragm accents are the basis of the discussion found in this chapter. The ending chapter describes the piece Sleeping with Cats by the local composer Ray Sciberras. This piece was commissioned by my friend Josef Attard and myself specifically to be utilized for our final recital. Syncopation is crucial element in this piece making it the main concern, so I seeked to discuss in detail how I managed to sub-divise and tackle this syncopation problem.