Guide to the Euphonium Repertoire: The Euphonium Source Book

FOREWORD

The publication of this volume represents the final act in an extended process that goes back many years. As one who has been involved in the private instruction of tuba and euphonium students since 1959 (over 45 years!), it has always been a dream of mine to fully document the repertoire for both instruments. Although primarily a tubist, I have always been a very strong advocate for the euphonium, which I have regarded as one of the most, if not THE most, versatile musical instruments. As a tubist, I have always considered the euphonium a member of the “tuba” family. Of course the opposite is also true: a tuba can be considered a member of the “euphonium” family. There is an element of self-identity that the euphonium has grappled with and will probably always grapple with to some extent. Nevertheless, with the documentation of the incredible repertoire, discography, and history represented in this publication, I think the euphonium is more than ever establishing an identity that can be not only recognized by the public at large but, perhaps more importantly, by fellow musicians. We invite the reader to seriously consider the evolution of the repertoire and performance standards over the past thirty or forty years. This is exemplified in numerous recordings that are listed in the discography . The quality of the highest level repertoire is equal to any modern musical instrument and the standard of performance as represented by the top euphonium performers throughout the world is comparable to artists on any other brass/wind instrument. The major detriment in the past to the acceptance of the euphonium as a contemporary instrument of equal consideration stems from the limited use of the euphonium in the standard orchestral repertoire. The instrumentation for the “standard” symphonic orchestra , which does not include the euphonium, is not likely to change, but with the influence of “world-class” euphoniumists more and more composers will be encouraged to include the instrument in their major compositions. As a tubist, I can certainly identify as one “with an instrument in search of a composer” willing to write for that instrument. Euphoniumists, and ONLY euphoniumists, hold their future in their hands. The tuba community , with the strong advocacy of a fairly large number of aggressive and dedicated individuals throughout the world, instigated primarily during the second half of the twentieth century a major “renaissance” of interest in creating repertoire for the tuba. With a similar dedication of purpose and cooperativeness amongst leaders of the euphonium world, the same thing can happen for the euphonium during the first half of the twenty-first century. But this will necessitate established euphonium artists willing to work together and above and beyond their own careers for this to happen. In my opinion, nothing less than the future of the euphonium is at stake. The Guide to the Euphonium Repertoire: The Euphonium Source Book (ESB) documents the status of the euphonium from its inception to ca. July 2005. It has been a real delight working with such dedicated professionals who have unselfishly contributed their time and immense talents to this project. All the names are listed in several different formats throughout the publication. Even more encouraging is that there was a large number of other very dedicated individuals who would have willingly and enthusiastically contributed their time and efforts toward this initial documentation of the status of the euphonium. To those and others similarly minded we ask your continued support in the future as this publication needs to be updated. But let it be clearly stated here and now that the editors and contributors for the ESB deserve all the credit possible for their work on this project. Yes, they received much support and assistance from our international consultants and colleagues throughout the world, and their “thanks” are expressed in the introductory remarks to their chapters. The individuals directly responsible for producing the ESB are co-editors Lloyd Bone and Eric Paull; assistant editors Brian L. Bowman, Neal Corwell, and Adam Frey; and contributors Marc Dickman, Bryce Edwards, FOREWORD R. Winston Morris, Advisor Seth D. Fletcher, Carroll Gotcher, Atticus Hensley , Lisa M. Hocking, Sharon Huff, Kenneth R. Kroesche, John Mueller, Michael B. O’Connor, Joseph Skillen, Kelly Thomas, Demondrae Thurman , Matthew J. Tropman, and Mark J. Walker. And, on behalf of all these individuals, we express our profound gratitude to all our international colleagues throughout the world whose assistance was invaluable. Finally, the support of all our families and ultimately...