Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza's compositions were well-received by audiences New Orleans being popular in the bass brass repertoire. This Bozza piece for bass brass with Piano accompaniment was written in 1962. It was orginally composed for Bass Saxhorn but since the instrument was falling into obscurity Bozza also adapted it for Bass Trombone and Tuba. NewOrleans is influenced by the jazz culture of the city. As music educationalist Paul Griffiths has written of Bozza's compositions 'his works reveal melodic fluency elegance of structure and a consistenly sensitive concern of instrumental capabilities.' New Orleans for Bass Trombone Tuba or Bass Saxhorn and Piano remains popular in the repertoire of the instruments and is often included in audition syllabuses making it essential to aspiring performers of bass brass.

Par NAULAIS JEROME. Une pièce pour un Cycle I. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Saxhorn Basse en Sib 1 Piano - Niveau de Difficulté : 2/6 - Facile - Durée : 1 mn 40 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jérôme NAULAIS - / Niveau : Facile / Classique, Pédagogique / Répertoire / Saxhorn en Sib et Piano

Treble Clef Edition. This collection of easy melodies makes attractive supplementary material to the standard beginner methods. The content is carefully graded to present a stimulating and progressive programme which spans a period of 12-18 months technical and musical development. Set as part of the ABRSM Tenor Horn and Tuba Syllabi Grades 1-3.

/ Niveau : Elémentaire / Musique religieuse / Répertoire / Saxhorn en Sib et Piano ou Orgue

Aria was commissioned by and written for the remarkable tenor horn player, Sheona White. Philip Sparke had produced a CD recording with Sheona as soloist and had her wonderful sound in his ears while writing this piece. The work opens with an accompanied recitative, which leads to a change of key where the main melody is presented. This, in turn, serves merely as an introduction to another melodic idea, marked calmato. The piano accompaniment takes up this theme and then takes centre stage with a passionate repeat of the main theme, which is completed by the soloist. The piano then plays the calmato theme against which the soloist plays a counter melody. This leads to a return of the opening recitative which brings the work to a peaceful close.