Film composer Rolf Alexander Wilhelm, born in Munich in 1927, is often referred to as the John Williams of Germany. After a brief stint as a prisoner of war during World War II, at the age of 19 he secured his first commission and began writing for the 'new' medium called television. Wilhelm went on to compose for more than 250 radio plays, 350 television shows and 300 commercials. Among the most well-known of his works are the 08/15 trilogy (1954) and Die Nibelungen (1966). Though he experienced immense success as a film composer, his works for solo brass instruments with wind band accompaniment are also widely successful. Wilhelm composed Concertino after a chance meeting with euphonium virtuoso Steven Mead while both were attending the 1997 International Tuba-Euphonium Conference in Italy. Wilhelm was so enamored with Mead's musicianship, as well as that of other international instrumentalists at the conference, that he felt compelled to write a companion to his Tuba Concertina of 1983. Written in three movements, Wilhelm strives to express a love of music in his Concertina for Euphonium.
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Regarded as one of the greatest musicians of the early 20th century, Herbert L. Clarke made vast contributions to the field of music as both a performer and a composer. Clarke, a reformed violinist, toured with the Sousa band in the late 1890's as the cornet soloist. He also performed with the New York Philharmonic and Metropolitan Opera, playing cornet and sometimes trumpet, despite his aversion to the latter instrument. A virtuoso on the cornet, in the early 1900's Clarke began composing solos to perform with the Sousa Band; little did he know his works would become staples of the repertoire. Among these compositions are monuments such as The Carnival of Venice, Bride of the Waves, and Cousins.
Øystein Baadsvik is the only tuba performer to create a career exclusively as a solo artist, having never accepted a full time position as a teacher or an orchestral musician. Known as a virtuoso on the instrument, he is hailed for demonstrating that anything a violin can do, a tuba can do too. After studying with both Harvey Phillips and Arnold Jacobs, two of the world's most celebrated tuba players, Baadsvik's international career began in 1991 when he was awarded two prizes at the prestigious Concours International d'Execution Musicale in Geneva. Since then, he has performed worldwide, including a debut recital in New York's Carnegie Hall in 2006. Aside from his active roles as a soloist, chamber musician, lecturer, and recording artist, Baadsvik also works to expand the body of repertoire for the instrument. His own composition, Ordner Seg, is one of his first contributions to tuba repertoire.
Though contemporary composer Steven Bryant is best known for his wind band compositions, his works span a variety of mediums, including electronic pieces like Hummingbird. Commissioned by euphonium performer Robert Benton, Hummingbird is a lively, energetic work that showcases the full range and capabilities of the instrument.
From the composer: "Hummingbird is a happy, lively little piece I wrote over one weekend, primarily as a test drive of a new piece of software. Every sound in the entire piece is from my own voice (I didn't use synthesizers, drum machines, samplers, etc.). I'd never attempted anything quite like this before, and found it incredibly fun to do."
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Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of counterpoint became more constrained, particularly with regard to treatment of dissonances. In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake.
Precursor versions of many familiar modern instruments (including the violin, guitar, lute and keyboard instruments) developed into new forms during the Renaissance. These instruments were modified to respond to the evolution of musical ideas, and they presented new possibilities for composers and musicians to explore. Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full triads became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries.
The invention of the printing press in 1439 made it cheaper and easier to distribute music and music theory texts on a wider geographic scale and to more people. Prior to the invention of printing, written music and music theory texts had to be hand-copied, a time-consuming and expensive process. Demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as Giovanni Pierluigi da Palestrina, Orlande de Lassus, Thomas Tallis, William Byrd and Tomás Luis de Victoria. Relative political stability and prosperity in the Low Countries, along with a flourishing system of music education in the area's many churches and cathedrals allowed the training of large numbers of singers, instrumentalists, and composers. These musicians were highly sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers, and teachers. Since the printing press made it easier to disseminate printed music, by the end of the 16th century, Italy had absorbed the northern musical influences with Venice, Rome, and other cities becoming centers of musical activity. This reversed the situation from a hundred years earlier. Opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as a deliberate attempt to resurrect the music of ancient Greece.[3]
Principal liturgical (church-based) musical forms, which remained in use throughout the Renaissance period, were masses and motets, with some other developments towards the end of the era, especially as composers of sacred music began to adopt secular (non-religious) musical forms (such as the madrigal) for religious use. The 15th and 16th century masses had two kinds of sources that were used: monophonic (a single melody line) and polyphonic (multiple, independent melodic lines), with two main forms of elaboration, based on cantus firmus practice or, beginning some time around 1500, the new style of "pervasive imitation", in which composers would write music in which the different voices or parts would imitate the melodic and/or rhythmic motifs performed by other voices or parts. Several main types of masses were used:
According to Margaret Bent: "Renaissance notation is under-prescriptive by our [modern] standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness".[5] Renaissance compositions were notated only in individual parts; scores were extremely rare, and barlines were not used. Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note. As had been the case since the Ars Nova (see Medieval music), there could be either two or three of these for each breve (a double-whole note), which may be looked on as equivalent to the modern "measure," though it was itself a note value and a measure is not. The situation can be considered this way: it is the same as the rule by which in modern music a quarter-note may equal either two eighth-notes or three, which would be written as a "triplet." By the same reckoning, there could be two or three of the next smallest note, the "minim," (equivalent to the modern "half note") to each semibreve. 2ff7e9595c
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