18 News - Historic Brass Society

that the anonymous composer is actually Johann Melchior Molter who
was Kapellmeister at the Baden-Durlach court in Karlsruhe for the
last 20+ years of his career. Molter composed numerous instrumental
top lines. In both cases, the indication for “corni da caccia” is a little
misleading—these pieces are not hunting music, but multi-movement
do, especially during a time when the “primo” and “secundo” training
do not form the preponderance of the musical materials.
The
18 th century: Larghetto, Scherzo, Tempo di menuetto, Addio, Finale.
The top two parts (1 and 2, not 1 and 3) are featured prominently
as melody instruments, with the lower two in supportive roles. The
fourth part is notated in “old” bass clef, and all four parts require
some handstopping, albeit limited to notes within the diatonic scale,
and mostly in the upper range where the tone quality does not suffer
right off the bat: overcoming the intimidating visual aspects of play-
tempos that will allow all the parts to be heard, but not wear out the
The is composed along similar lines and ranges, but has only
three movements (Andante arioso, Allegro, Menuetto) and is quite a
Grand Selection from Carmen – Georges Bizet, arr. J.B. Claus
(1879), NVCB Music Editions – $40.00
In all, these are very nice pieces with simple diatonic harmonies and
students read these with me and, despite the range extremes, pronounced
them “enjoyable.” If a group was to play these on natural
horns, there would be considerable straw-drawing to see who would
tackle the high parts, but players with good high ranges, especially
— Jeffrey Snedeker
Kresser 12 Brass Quartets in two Suites for 4 cornets (alto trombone
optional on 4 th part). Edward Tarr Editor.Wolfgang Haas. M-2054-
0520-5. Pub. 2005.
We owe a great debt of thanks to Edward Tarr for once again unearthing
and bringing to light some rare and wonderful brass music. Early in
his career he brought out many important editions of Baroque brass
repertoire. His most recent scholarly and performance activities, as is
well known, have been exploring the riches of the 19 th century. This
Housed in Library of the Paris Conservatory these wonderfully colorful
and chromatic pieces bear a resemblance to the writing of F.G.A.
Dauverné who Tarr deduces was a slightly younger colleague of
that he was a trumpeter in the Académie Royale de Musique, a professor
at the Gymnase Musical Militaire, and and a member of the
Société des Concerts in Paris. Some of his trumpet exercises appear
parts in this edition are in A as they are in the original and the fourth
part is transposed from E up to A. The writing is lyrical and mainly
falls with in the general range of the staff. The fourth part explores the
low register but all four parts share in the melodic responsibilities. A
wonderful addition to the 19 th century brass literature.
— Jeffrey Nussbaum
style and repertoire of the American brass band from the period 1875-
1900 on instruments from that very time.” Established nearly three
years ago, the NVCB comprises both a 10-piece brass and percussion
core group and an expanded, 31-piece contingent that doubles some
parts and adds the woodwinds commonly included both in the bands
period music programs are now becoming available via their web
site in editions for school and civic bands, and I would be interested
in adapting these NVCB Music Editions for use also with my own
Plumbing Factory Brass Band. The PFBB is patterned after the Brit-
not attempt to adhere to NABBA guidelines for personnel and music,
so at least half of our repertoire consists of such original published
arrangements from the late 19th-century “golden age” of the band.
However, whenever I conduct this repertoire, be it with strictly brass
or with mixed concert bands, I have often been frustrated by the typical,
all-purpose, “solo cornet/conductor” part marked with numerous
cues. Usually there are not enough cues for me to know exactly what
is going on in the arrangement, but too many for the solo cornetists to
be certain of precisely which notes they should be playing.
To alleviate this perennial problem, NVCB Music Editions offers pe-
-
part into his Finale software. Details of the titles currently ready for
purchase are:
Grand Selection from Carmen – Georges Bizet, arr. J.B. Claus (1879)
– $40.00
Funeral March «Siegfried» – Richard Wagner, arr. unknown (1883)
– $10.00
Serenade «Monastery Bells» – Louis Lefébure-Wely, arr. E.C. Walston
(1883) – $10.00
Overture - Norma – Vincenzo Bellini, arr. unknown (1896) – $31.00
HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005 | 29