Title: Concerto for Tuba and Orchestra: “War and Rumors of War”
Commission/Dedication: Written for Michael Fischer, Tuba and the Boise State University Symphony Orchestra, Craig Purdy, conductor 2004
Premiere: Premiered by Michael Fischer. Dates unknown.
Composer: Barbara York
Publisher: Cimarron Music Press
Year: 2006
Program notes from the composer:
This Concerto was commissioned in 2004 by tubist, Michael Fischer, and the Boise State University Symphony Orchestra. It was my fourth piece for Dr. Fischer, and is subtitled “War and Rumors of War.” Since I do tend to write “concept pieces”, there is some programmatic content that proceeds through the development of its underlying musical and emotional structure. Contrary to what its subtitle might suggest, this is not intended to be a political statement about war, but is rather intended to be a philosophical and even rather intimate examination of the personal effect that this type of activity has on those who participate in it.
In the first movement, imagine a young soldier in the military Reserve, being called up to serve his country. There are calls to patriotism and noble intentions, but behind that there is also something darker, more ominous, unsettled and foreboding. The soldier goes on a long journey, far away from home and arrives at a destination where his is reminded again of what is being asked of him. In the sense, the concept of war here is rather abstract, intellectual and angular, yet behind it is the unexpressed anxiety that tells us that something is amiss.
In the second movement, our hero is thinking of home, family, perhaps a wife or lover, and all things safe and warm. Here we have the concept of “peace”, but this is far from abstract and intellectual – it is filled with longing, and with the intimate and personal images that come to us each, individually, from our own human experience.
In the third movement, we are thrust into the actuality of war. The “alarm bells” are going off and there is a sense of urgency and danger, where nothing is safe and every nerve ending must stay alert to the driving force of the situation around us. There is a pause in the battle, where our protagonist has the opportunity to look around and see the carnage and the waste around him. This is not the glory that he envisioned, not what he thought it would be like, nor what he was told. It is real, and it creates a sick and empty feeling in the pit of his stomach. Before he has time to deal with this or to resolve it for himself, the alarm bells are going off again and he is back in the battle, fighting for his own survival.
Completely aside from the programmatic or philosophical content of the piece, one will also notice a certain influence from the Russian symphonic composers. I have always been very fond of the Russian composers and there is a certain musical “homage” paid to that influence in my life in each of the movements – consecutively to Prokofiev, Rachmaninov, and Shostakovitch.
Author assessment:
Barbara York’s Concerto for Tuba is a programmatic work in three movements that follows the journey of a young soldier in Kansas City who is called up for service in the military. He is met with valor and celebration for his noble deed, symbolized by the dotted rhythms in the first movement in the solo tuba, and the short, snappy accompaniment of the snare and orchestra. The second movement brings lush, appreciative, and romantic music that depicts the young soldier contemplating life and thinking of home. The third movement ushers in chaos, a soldier surrounded by bullets and combat. The blues section brings the listener an interlude as York describes this section like Bessie Smith singing “St. Louis Blues.” As the young soldier is from Kansas City, with the deep history of jazz and blues from the city, it takes him back to his home and childhood, pre-war. York even wrote lyrics to the section to aid in the compositional process that resembled “Not what they told me.” As the section plays, the soldier becomes angrier to the point of being “pissed the **** off” about being lied to, regarding the nobility and valor of war. The combat and bullets return as the soldier becomes more aware that reality is still happening and fights for basic survival.
When approaching this work, obvious detailed practice with metronome and a tuner is needed, but I would task the soloist to read a book about war or interview a veteran who has spent time in combat (if they are willing) so the soloist can understand what a soldier goes through. The arching theme of York’s music is not that of musical rigor or athletica, but one of storytelling and connection with audience. The more ‘method acting’ the soloist can ingest, the better delivery they will employ.
Recordings:
Matthew Brown (w/ piano)
Tim Buzbee (w/ orchestra)
