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Samuel Adler

Adler: Tuba Concerto - Version for Tuba, 2 Pianos & 2 Percussionists

$ 156.50
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Theodore Presser  |  SKU: 114-42356  |  Barcode: 680160688081
  • Composer: Samuel Adler (1928-)
  • Format: Score & Set of Parts
  • Instrumentation: Piano I, Piano II, Percussion, Tuba
  • Work: Tuba Concerto (Version for Tuba, 2 Pianos & 2 Percussionists)
  • UPC: 680160688081

Description

"There are too few concertos for tuba" remarked Samuel Adler about the composition of his own CONCERTO FOR TUBA AND ORCHESTRA in 2017, now available in a new arrangement by the composer for solo tuba, two pianos, and two percussionists. Wishing to showcase the instrument's lyricism and dexterity alike, Adler cast his concerto in three movements, with a substantial cadenza between the second and third. The first movement, Cantillation, is free-flowing and songlike, while the second and third (Scherzo and Finale) are brilliant and virtuosic. The cadenza before the third movement is a display of musicality rather than technical prowess. "I felt I wanted to give the soloist [David Saltzman] another opportunity to emphasize the beauty and [lyricism] of this neglected solo instrument," says Adler, "a chance to ‘sing' by himself."

Theodore Presser

Adler: Tuba Concerto - Version for Tuba, 2 Pianos & 2 Percussionists

$ 156.50

Description

"There are too few concertos for tuba" remarked Samuel Adler about the composition of his own CONCERTO FOR TUBA AND ORCHESTRA in 2017, now available in a new arrangement by the composer for solo tuba, two pianos, and two percussionists. Wishing to showcase the instrument's lyricism and dexterity alike, Adler cast his concerto in three movements, with a substantial cadenza between the second and third. The first movement, Cantillation, is free-flowing and songlike, while the second and third (Scherzo and Finale) are brilliant and virtuosic. The cadenza before the third movement is a display of musicality rather than technical prowess. "I felt I wanted to give the soloist [David Saltzman] another opportunity to emphasize the beauty and [lyricism] of this neglected solo instrument," says Adler, "a chance to ‘sing' by himself."

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