Finnish Compositions
for Tuba
Sorted alphabetically by composer:
AHMAS Harri
(b. 25.4.1957)
Concerto for Tuba, String Orchestra and Percussion (1995)
24 min
Fp: Harri Lidsle, Ostrobothnian Chamber Orchestra, cond. Juha Kangas, 24.1.1996, Kaustinen
The tuba concerto by Harri Ahmas has become the most popular brass concerto in Finland. A work of many stylistic dimensions, including modernistic compositional techniques, it has five movements performed without a break which, according to the composer, reflect various emotions aroused by a star-lit sky. It is a demanding work for both the soloist and the orchestra. The instrument is handled with the utmost versatility, calling for both conventional brilliance and various new techniques, such as simultaneous singing and playing, and the utterance of consonants through the instrument.
ALMILA Atso
(b. 13.6.1953)
Concerto for Tuba and String Orchestra (1986)
16 min
Fp: Michael Lind, Radio Symphony Orchestra, cond. Jukka-Pekka Saraste (?), July 1986, Lieksa
The tuba concerto by Atso Almila is the first Finnish work of its kind. It is richly melodic and comes close in style to neoclassicism. The tuba writing is rewarding for the player, for while creating a virtuosic impression, it is not particularly difficult to play and does not use any special techniques or the extreme registers. This practical, player-friendly approach is also characteristic of the string writing.
BASHMAKOV Leonid
(b. 1.4.1927)
Cassazione per tuba sola (1976)
5 min
Leonid Bashmakov's Cassazione is one of the earliest works for the tuba by a Finnish composer. It makes considerable demands of the player and effective use of the instrument's broad dynamic scale. The work contains both melody and movement
Music for Tuba (MUTU) (1997)
8 min
For tuba soloist, wind quintet and two percussion players
(also version for tuba and piano).
Music for Tuba represents Bashmakov in neoclassical mood. The solo tuba part is highly mobile and virtuosic yet at the same time rather heavy for the performer. Very little music has been scored for this unusual combination of instruments.
BORG Kim
(b. 7.8.1919)
Finnish Rhapsody (1985)
for tuba and piano (or chamber orchestra)
10-12 min
The Finnish Rhapsody by Kim Borg, an artist better known as a bass singer with a magnificent international career to his credit, represents traditional style with a tendency towards melody. It consists of a suite in three movements, the character of which is indicated by the titles: On the Road, Summer Night and Wedding. Originally scored for tuba and piano, the work also exists in a version for tuba and chamber orchestra.
EEROLA Lasse
(b. 24.9.1945)
Music for Tuba and Orchestra (1991)
11 min
Fp: Harri Miettunen, Joensuu Conservatoire Symphony Orchestra, cond. Ylermi Poijärvi
The Music for Tuba and Orchestra composed by Lasse Eerola in clear, free-tonal style is in two movements, Adagio and Scherzo. Right from the tuba cadenza with which it begins, the work makes extensive use of the tuba's entire register. It does not, however, use any very modern special techniques. The orchestral part is also suitable for a student orchestra.
Rohtokokoelma (Collection of Medicines) (1991)
for tuba and piano
10 min
Rohtokokoelma is designed for teaching purposes. It is a suite made up of six simple little pieces that are fun for young students to play. Also written with the same purpose in mind is the N-Suite for tuba and piano.
Three Pieces for Tuba and Piano (1993)
c. 12 min
Eerola's Three Pieces for Tuba and Piano are basically music that is fun to play on a variety of occasions. Their clearly free-tonal style is reminiscent primarily of neoclassicism. The first piece is also available in an orchestral version.
Allegro for tuba and orchestra (1993/1996)
5-6 min
Fp: Harri Miettunen, Tampere Conservatoire
Allegro is a version for largish orchestra of the first movement of the Three Pieces for Tuba and Piano composed in 1993. Close to neoclassicism in style, it keeps very much on the move. The tuba part creates an impression of brilliance but is not unduly difficult to play.
Lemmenleikkiä (Love Games)
for tuba and piano (1995)
10 min
Lemmenleikkiä once again represents Lasse Eerola as a composer of Gebrauchsmusik and is clearly neoclassical in style. This one-movement work is designed to show off the performer's rhythmic virtuosity but confines itself to the conventional tuba techniques.
HAUTA-AHO Teppo
(27.5.1941)
Serious Joke IV for tuba and percussion (1997)
14 min
Fp: Harri Lidsle and Olli-Pekka Martikainen, 15.3.1997, Vantaa
Teppo Hauta-aho's Serious Joke IV is a work that strongly reacts to the performing context. While precisely notated, it often gives an impression of improvisation, being rich in both rubato-like, meditative moods and traditional virtuosity. The tuba and percussion players are also required to speak to one another and to trample on plastic mugs.
HEININEN Paavo
(b. 13.1.1938)
Kesäoodi (Summer Ode) for solo tuba (1996)
4 min 30 sec
Fp: Harri Lidsle, 1996, Kärkölä
Paavo Heininen's Kesäoodi for solo tuba is modernistic in style - a work reflecting shifting moods and various shades of summer. Technically it is not particularly difficult, and it does not use any new tuba techniques. The difficulties are more ones of interpretation, of capturing and putting across the various moods of summer. Part of the work is included in Cantionale (1995) scored for four brass instruments.
HIETALA Timo
Snore No More for tuba and percussion (1993)
5-7 min
Snore No More is a humorous piece containing elements of music theatre and a happening. The tuba and percussion player have many different special and additional effects, such as singing, the use of tap shoes, and walking about. This is the perfect piece for an encore at a recital.
KOHLENBERG Oliver
(b. 24.1.1957)
Le torre di Bologna for solo tuba (1985)
duration open
Fp: Esa Ronimus, Kajaani, November 1985>
Made up of seven movements and a coda, Le torre di Bologna is an unusual, free-form work. It was originally composed for the opening of an art exhibition. A work stripped of all superfluous material and expression, it always begins with section A and ends with G and a coda, but the other sections can be performed in any order, repeated or omitted. According to the composer, it is perfectly in order to stop for a chat, a cigarette or a coffee if the situation so demands.
Chamber Concerto for Tuba, Vibraphone and String Orchestra (1994)
25 min
(not yet performed)
Kohlenberg's Chamber Concerto is freely chromatic music and belongs stylistically to the expressionistic tradition. The tuba part assumes many different guises and has all the "conventional difficulties", but it does not use any new instrumental special techniques.
LINKOLA Jukka
(b. 27.11.1955)
Concerto for Tuba and Orchestra (1992)
22 min
Fp: Harri Miettunen, Pori Sinfonietta, cond. Juhani Lamminmäki, March 1995, Pori
Jukka Linkola's tuba concerto comes close to neoclassicism in style. Its flowing melodies and singing quality are most in evidence in the slow middle movement; in the quick outer movements the melody is joined by striking, effective rhythms, and the finale is particularly energetic. The work is scored for a smallish orchestra and the tuba clearly dominates in addition to having several little cadenzas. The tuba part is difficult and also somewhat heavy for the performer, and has lots of difficult jumps from one register to another.
PASQUET Luis
(b. 1917)
Monsieur Tuba visite Paris (1993) for tuba, piano and string quartet
10 min
Fp: Juha Salmela, Päijät-Häme Conservatory String Quartet, March 1993
Luis Pasquet's Monsieur Tuba visite Paris is a suite in three movements evocative of the moods of Paris. Stylistically it comes close to rather old-time light music and often has a touch of jazz. The tuba is clearly a soloist, but it is not expected to show any great brilliance, being more inclined to traditional melody.
10 Easy Pieces for Tuba and Piano (1996)
20 min
Fp: Juha Salmela and Luis Pasquet
Pasquet's suite consists of ten teaching pieces for young people. Their style is light and they often reflect the influence of traditional jazz or, for example, the tango.
SAARINEN Harri
In novissima tuba (1996) for solo tuba
6 min
Fp: Harri Lidsle, 22.3.1997 Kokkola
Harri Saarinen's In novissima tuba (At the Last Tuba) is a programmatic work inspired by a fragment from the Bible, I Corinthians 51-52. Its interpretation of its text results in something in the nature of a narrative. The work calls for close attention to the dynamics, the nuances and the instrument's potential for legato playing.
SEGERSTAM Leif
(b. 2.3.1944)
Orchestral Diary Sheet No. 11i for tuba and orchestra (1981)
Fp: Eino Takalo-Eskola
Orchestral Diary Sheet 11 exists in several versions for different solo instruments. The solo part is not instrumentally virtuosic and concentrates instead on the intensity of the "now" moment favoured by Segerstam. Wallowing in late-romantic, expressionistic manner and luxuriant in its sound, the work makes use of the "free pulsative" technique typical of Segerstam's other works, permitting the performers certain limited liberties with, for example, the dynamics, rhythms and mutual synchronisation.
SERMILÄ Jarmo
(b. 16.9.1939)
Quasi come Quasimodo for tuba and percussion (1997)
10 min
Fp. Harri Lidsle and Olli-Pekka Martikainen, 15.3.1997, Vantaa
The expressive extremes of Quasi come Quasimodo are those familiar from many of Sermilä's works of the 1990s: at one extreme minimalistic music marked by recurring figures, clear rhythms and slow transformation, and at the other music that is rhythmically free and melodically more chromatic. The tuba part is fairly conventional in the techniques it demands.
TALVITIE Riikka
(b. 1970)
Sulatto for tuba, piano and percussion (1997)
9 min
Fp: Harri Lidsle, Tarmo Järvilehto and Olli-Pekka Martikainen, November 1997, Järvenpää
Riikka Talvitie's Sulatto for chamber ensemble is modernistic in style and to some extent reminiscent of the music of her composition teacher, Paavo Heininen. Rather than melody, the emphasis is on timbre and harmony. The three players are all equal, in true chamber music spirit. The individual parts are not difficult, but care is required in weaving them together.
WESALA Edward
(b. 15.2.1945)
Taksenta (1997) for tuba and percussion
23 min
Fp: Harri Lidsle and Olli-Pekka Martikainen, November 1997, Järvenpää
Taksenta for tuba and percussion by possibly Finland's best-known free jazz musician, Edward Vesala, has a primitive strength and rhythmic charge to it that demand great rhythmic precision on the part of the performers. It covers a broad stylistic range and richly draws on various new techniques. The tuba is, for example, also used as a percussion instrument and the player is often required to sing and play simultaneously or to sing on his/her own. The percussion player is likewise equipped with a wide range of instruments.
WESSMAN Harri
(b. 29.3.1949)
Sonata for Tuba and Piano (1995)
25 min
Fp: Harri Lidsle and Harri Saarinen, July 1995, Lieksa Brass Week
Harri Wessman's tuba sonata - the first Finnish work of its kind - is fairly traditional in style, melodically flowing, and rewarding to play. The tuba part does not use any new techniques or demand any great display of brilliance, yet instrumentally it is nevertheless a full-blooded work. The work is in three movements: an opening Allegro moderato, a singing Andante and an active Vivace finale.
Concerto for Tuba and Orchestra (1996)
23-25 min
Fp: Harri Lidsle, Tallinn Chamber Orchestra, cond. Vello Pähn, July 1996, Lieksa Brass Week
Wessman's tuba concerto was to some extent written for teaching purposes. The orchestral part is relatively easy, and nor is the tuba part weighed down with unreasonable obstacles. This is nevertheless a full-bodied work that needs a qualified musician to perform it. Wessman uses traditional performing techniques and makes effective use of the different registers. The work is melodically rewarding and has an effective rhythmic element.
VUORI Harri
(b. 10.1.1957)
Didgeridoo (1997) for tuba and piano
11 min
Fp: Harri Lidsle and Tarmo Järvilehto, November 1997, Helsinki
Harri Vuori's Didgeridoo is one of the most original items in the entire Finnish tuba repertoire. Its name refers to an instrument played by the aborigines of Australia, and the sound produced by the didgeridoo was one of the sources of inspiration. Modern in style, the work makes exceptionally effective use of the tuba's timbre potential and range and creates a charged, magic atmosphere by means of glissandos, various vibratos, tonguings, flageolet notes, and simultaneous whispers and playing. The piano part is very difficult and some of the notes are produced inside the instrument.
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