We are deeply saddened to learn of the passing of Fritz Stansell, founder and president emeritus of the Blue Lake Fine Arts Camp. Fritz Stansell was also one of the original founders of the Falcone Festival and had an incredible impact on the music world. Our most sincere condolences to the Stansell family and BLFAC community during these difficult times.Uncategorised
The Monarch Tuba-Euphonium Quartet
ROGER BEHREND — An internationally recognized euphonium virtuoso, clinician, and educator, Mr. Behrend holds a BA in music education from Michigan State University, where he studied with the legendary Leonard Falcone, and an MA in euphonium performance from George Mason University, where he is currently on faculty. A professional military euphoniumist in Washington, DC, he is a strong proponent of the euphonium and takes an active interest in securing the future of the instrument.
DAVID MILES — Currently a professional military euphoniumist in Washington, DC, David Miles holds degrees from Appalachian State University and Morehead State University, and he completed the first Doctor of Music degree in euphonium performance awarded by the University of Maryland after extensive studies with Brian Bowman.
MARTY ERICKSON — Recently retired as principal/solo tubist with the United States Navy Band in Washington, DC, Marty has earned international acclaim as a soloist/clinician, with performances in Germany, Japan, Sweden, and extensively throughout the US. He has appeared with the Boston Pops, US Navy Band, US Army Band, National Symphony, and the Brass Band of Battle Creek. He is a past president/chairman of the Board of Directors of the Tubists Universal Brotherhood Association and adjudicating chairman for the Leonard Falcone International Euphonium Festival.
KEITH MEHLAN — The late Keith Mehlan held a bachelor degree in music performance and music education from Illinois State University. An internationally recognized composer and arranger of tuba-euphonium quartet literature with numerous published and unpublished works to his credit, Keith remained a professional military tubist in Washington, DC, until his death April 23, 1995.
1......... Petite Caprice in the Style of Offenbach (2:29)
2......... Bottoms Up Rag (2:20)
3......... The Marriage Of Figaro (4:06)
4-6....... Three 16th Century Flemish Pieces (2:55)
7......... Turkish March (3:14)
8......... Fantasy (5:57)
9......... A Nightingale Sang In Berkeley Square (3:56)
10........ El Capitan (2:10)
11-14... Quatre Chansons Pour Tuba Quatour (11:35) Save
15........ Aragonaise (1:43)
16........ Now Hear This! (2:39)
17........ Carnival Of Venice (7:14)
18........ Londonderry Air (4:04)
19........ Fanfare No. 1 (1:25)
20........ Eine Kleine Schrekens Musik (5:16)
Total Time (62:15)
In METAMORPHOSIS, their first recording, The Monarch Tuba-Euphonium Quartet performs fifteen specially chosen pieces of music. Each piece reflects aspects of the group's superb musicianship and hard work.
Accomplished musicians individually, euphoniumists Roger Behrend and David Miles, and tubists Marty Erickson and Keith Mehlan, combine their talents to achieve the distinctive blend, balance, and sonorities that are the trademark of The Monarch Tuba-Euphonium Quartet.
The MTEQ strives to pursue and perform the highest quality literature for tuba-euphonium quartet, and many of the pieces on this recording have been written for or inspired by them.
Ralph Martino's Fantasy is an exciting new composition for tuba-euphonium quartet. The virtuosic setting juxtaposes driving multi-meter rhythms and soaring lyrical melodies against a backdrop of jazz-inflected harmonies. Its five sections are written as one continuous movement.
Three 16th Century Flemish Pieces was transcribed for tuba-euphonium quartet by Kenneth Singleton. This music effectively combines the drive and lightness of sixteenth century music with the sonority of twentieth century brass instruments. The energetic first and third sustained second movement.
Sousa's El Capitan march, transcribed by R. Winston Morris, is an example of a traditional march set for tuba quartet. He has captured the true spirit of one of Sousa's most popular works.
Bottoms Up Rag, an original composition by Keith Mehlan, pays tribute to the ragtime era. Traditional in form, the piece takes advantage of the idiomatic characteristics of the tuba and euphonium.
A mainstay in the repertoire of The MTEQ is the Quatre Chansons Pour Tuba Quatour by Raymond Dempsey. These fresh settings of four well-known French melodies are a welcome addition to quartet literature. The first movement is the popular and "Ma Normandie" (My Normandy). "V7a lbon vent" (The Good Wind) features a rapid 16th note accompaniment to the main theme. Each member of the quartet is spotlighted in a challenging cadenza which includes well-placed impish musical jokes. The lovely sentimental ballad "Le Temps des Cerises " (The Time of the Cherries) features the first tuba. The final movement, "Aupres de Ma Blonde,' (Compared to my Blonde) begins with the melody being whistled in unison with the solo euphonium. After a short section of contrasting material, the melody returns as the subject of the fugue. This leads to a final technical display which ends the piece with a flourish.
Rossini's Petit Caprice In The Style Of Offenbach was arranged by Ronald Davis and provides a demanding yet lighthearted recital selection for the tuba-euphonium quartet. Originally written as a piano piece, Rossini wrote this music as a parody on Offenbach's music after Offenbach had parodied Rossini in one of his own operas.
Massenet's "Le Cid" is the source for Aragonaise, arranged by M.S. Erickson. This arrangement features the first euphonium in a popular encore piece.
Londonderry Air remains a crowd favorite and is a natural choice for The MTEQ. Keith Mehlan's treatment ranks among the best settings of this melody. Starting with a lyrical euphonium solo, each member of the quartet is featured in turn. The interweaving of melody and counter-melody brings the arrangement to an emotional climax and to a serene final conclusion.
Fanfare No. 1, by Jeffrey Taylor, was written especially for The MTEQ and serves as a vehicle to demonstrate the abilities of the ensemble. Bold statements, rapid technical flourishes, and driving rhythms are the highlights of this work.
Now Hear This!, an original work by Raymond Dempsey, was written to exhibit the technical and musical capabilities of The MTEQ. Originally conceived as a fanfare, the music is useful for a variety of programming situations.
A Nightingale Sang In Berkeley Square is a transcription by Keith Mehlan of the familiar Maschwitz and Sherwin ballad. The MTEQ's version emphasizes the lush harmonies and singing style which breathes new life into this old standard.
David LeClair's Carnival Of Venice is a cheeky, innovative new arrangement of this established standard. After a traditional theme and first variation, the listener is treated to a Latin setting, a swing variation, and a final technical tour-de-force.
Transcribed from Mozart's Piano Sonata K. 331 by Keith Mehlan, Turkish March requires smooth feathering of parts as the melody is traded between the various voices.
The Marriage Of Figaro is a new transcription by Al Fabrizio. Rapid technical passages display the virtuosity of the ensemble, while maintaining the sensitivity necessary to perform Mozart's music.
Eine Kleine Schrekens Musik (A Little Fright Music) finds arranger Keith Mehlan at his tongue-in-cheek best. By combining classical melodies with movie and television themes, he weaves fun and mischief into one of The MTEQ's perennial crowd-pleasers.
2012 Festival Required Music
For All Divisions
Euphonium Artist | Tuba Artist | Euphonium Student | Tuba Student
EUPHONIUM ARTIST
Preliminary Round (recorded with piano accompaniment)
Joseph Turrin: Concert Piece No. 1 (Editions-BIM)
Errata from Joe Turrin: BIM Editions and I have already made corrections in the piece. The pdf file should answer some questions about the cadenzas. The file is in bass clef but that should answer the treble part questions also. Download errata pdf
Semi-Final Round (unaccompanied)
Howard Buss: Three Euphonics (Brixton Publications)
Semi-Final Round (accompanied)
Ethan Wickman: Three Expeditions (Potenza)
Final Round
Georges Bizet/arr. Vertommen: Carmen Fantasy (Band Press VOF)
TUBA ARTIST
Preliminary Round (recorded with piano accompaniment)
Darrol Barry: Concerto, Movement 1 only (Studio Music)
Semi-Final Round (unaccompanied)
Krzysztof Penderecki: Capriccio (Schott Music)
AND
Verne Reynolds/arr. Beauregard: 48 Etudes for French Horn (Tuba), Etude No. 22 (bmacmusic.com)
Semi-Final Round (accompanied)
Anthony Plog: Three Miniatures (Editions BIM)
AND
P. I. Tchaikovsky/arr. Jacobs: Aria of King Rene (Encore Music Publishers)
Final Round
Thom Ritter George: Sonata for Tuba and Piano, Movements 2, 3, & 4 (TubaEuphoniumPress)
EUPHONIUM STUDENT
Preliminary Round (recorded with piano accompaniment)
Philip Sparke: Fantasy for Euphonium (R. Smith & Co.)
Semi-Final Round (unaccompanied)
Nicholas Falcone: Mazurka (TubaEuphoniumPress)
AND
Jean Baptiste Arban/arr. Alessi/Bowman: Characteristic Study #2 (Encore Music Publishers)
Semi-Final Round (accompanied)
John Hartmann: Fantasia Brillante on La Belle Americaine (Wright & Round)
Final Round
Antony Roper: Sonata for Euphonium (Studio Music)
TUBA STUDENT
Preliminary (recorded with piano accompaniment)
Michael McFarland: Sketches for Tuba and Piano, Complete (Theodore Presser Co.)
Semi-Final Round (unaccompanied)
Johann Sebastian Bach/arr. Sauer: Cello Suite No. 1, G Major (Cherry Classics)
III. Courante, V. Minuet, VI. Minuet, VII. Gigue
No repeats & no Da Capo (after VI. Minuet to V. Minuet)
Semi-Final Round (accompanied)
Michael Forbes: Capriccio (Kendor Music)
Final Round
Rodney Newton: Capriccio (Winwood Music)
Falcone Festival Endowment
The Festival Endowment Fund was initiated in 2005 in order to augment our regular annual operating funds and to secure the financial success of the Festival for many years to come. In the Falcone Festival's initial challenge match in 2012, when an anonymous donor provided an incredible one-for-one matching gift up to a maximum of $35,000, met its goal. The Festival Endowment Fund has now reached a level where its resources will provide valuable support to the operation of the Festival on an annual basis, while continuing to grow. The Festival wishes to sincerely thank all of the contributors to the 2011-12 endowment fund matching funds drive for their support.
Our record of success and growth over more than 30 years would not have been possible without the generous support of our individual donors, corporate advertisers, and sponsors. Since our founding in 1986 we have evolved into the world's premier annual competition for euphonium and tuba! We hope to expand our list of donors to the Festival in order to secure the future of the Festival. Please consider a cash gift. This may be used:
- in support of general operating funds
- toward building our Festival Endowment Fund
- in support of the prize sponsorship and enhancement
- toward guest artist sponsorship
- toward our next commissioned performance piece to enhance the solo repertoire.
We welcome contributions of any amount! Feel free to speak with any Festival Board Member regarding opportunities to contribute. The Falcone Festival is a 501(c)(3) non profit organization (tax ID # 20-0752701) and your individual contribution is tax deductible to the extent allowed by law.
A donation form can be found here. As always, we welcome your support not only toward our Endowment drive, but also toward general operating funds via unrestricted gifts and designated gifts. Please feel free to contact Phil Sinder, Falcone Festival President, for more information regarding opportunities to contribute to the Festival.
