Brass quintet - advanced

SKU: CY.CC2845

Composed by Herbert L. Clarke. Arranged by Geoffrey Bergler. American early 20th Century. Score and parts. Published by Cherry Classics (CY.CC2845).

Cornet solos are an important part of the American Brass tradition. The Southern Cross is one of Clarke's most well known Cornet solos and was written in 1911, dedicated to the Australians and first recorded by the composer with Orchestra the next year for Victor Records.
During 1911, Clarke was the solo Cornetist of the Sousa Band while the band was on a world tour that included visits to South Africa, Tazmania and Australia from March through to August.
Below is a photo of the Sousa band from their 1911 tour. Clarke is sitting in the front row 5th in from the right with his moustache and his Cornet on his lap. He assuredly composed this solo to perform on that tour. The Southern Cross is a constellation that is only seen from the southern hemisphere and features the five stars of the Cross from the 1901 design of the Australian flag.

This 5-minute virtuosic arrangement by Geoffrey Bergler features not only the Cornet, but a bit of all the other four members of the Brass Quintet.
Instrumentation is for:
2 Trumpets in B-flat (Trumpet 1 solo, Trumpet 2 also plays Piccolo)
Horn,
Trombone
Tuba/Bass Trombone
The sound track below features Mr. Bergler from his student days as Cornet soloist

Horn

SKU: FG.55011-774-7

Composed by Tommi Hyytinen. Classical, contemporary, pedagogical. Book. Fennica Gehrman #55011-774-7. Published by Fennica Gehrman (FG.55011-774-7).

ISBN 9790550117747.

Tommi Hyytinen (DMus, Finnish horn player and pedagogue) writes about this collections:

I composed these 30 Etudes for Low Horn to be at the same time instructive and at the same time fun and interesting to play. The etudes consist similar technical challenges than a low horn player confronts in orchestra. The etudes also encompass many of the technical challenges that a horn player encounters in chamber music and in solo repertoire, especially since many of the touring soloists in the 18th and 19th centuries were Cor-Basse players. Some of these etudes are not the most serious in nature in the horn literature, but nevertheless they challenge and develop the playing technique in wide variety of ways. The ambitus of the etudes is very virtuosic, encompassing almost four octaves. Some of the etudes are more melodic and concentrate in lyrical phrasing, legato-playing, sound and intonation, others contain technically tricky passages, articulations and fingerings. Rhythmic accuracy and ‘finding the groove' is of utmost importance in all of the etudes. The etudes develop the sound and control of the low register of the horn and flexibility between the registers. These 30 Concert Etudes work as individual pieces or as a set of pieces. You can for example choose a set of etudes and perform them in a concert or matinée. I hope you have as much fun practising and playing these etudes as I had composing them..