MENC: The National Association for Music Education

An Appeal for Solos for Baritone Horn

Author(s): Leonard Falcone
Source: Music Educators Journal, Vol. 26, No. 3 (Dec., 1939), p. 38
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: http://www.jstor.org/stable/3385556
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the
the child
child to
toclap
clapororstamp,
stamp,to to
march
march or or
runrunor gallop
or gallop
in time to to"Another Singing
in time Singing Time"
Time" byby Coleman
Coleman and
and Thorn
Thorn are
are well
wellchosen
chosen
the
the music,
music,or orsometimes
sometimes just
just
to to
sitsit
andand
listen.
listen. collections of
of songs
songs which
which Mrs.
Mrs. Coit
Coit has
has found
found helpful
helpfulfor
for
Among
Among the therecords
recordssuggested
suggested areare
such
such
as "Soldiers'
as "Soldiers'
March"
March" mothers to use with their children.
by
by Schumann;
Schumann;"Run, "Run,Run,Run,Run"
Run" bybyConcone;
Concone; "Skating" (Vic-(Vic- Parents who follow the general plan outlined invariably are
"Skating"
tor
tor 20401);
20401);"The
"TheLittle
LittleHunters"
Hunters" (Victor
(Victor20153);
20153);
"The"The Mirrordelighted with the enthusiasm and interest which their children
Mirror
Dance" (Victor 20399); "Songs for Children," by Neidlinger show and the progress they make. Certain it is that, if the
(Victor 20349B). "Small Songs for Small Singers" by Neid- music started so easily then is continued through the school
linger (meant to accompany the records); "Mother Goose Pic-years, it will lead to the maximum benefits which music can
ture Book" by Berta and Elmer Hader; "Singing Time" and afford the individual during youth and adulthood.

An Appeal for
forSolos
Solosforfor
Baritone
Ba Horn
LEONARD FALCONE
Conductor, Michigan State College Band, East Lansing

ANYONE
ANYONE interested
interested
in the in
baritone
the baritone
horn has long
hornwondered at instrument.
has long instrument.
wonderedTherefore,
Therefore,
at the
themasculine
masculine nature
nature
of the
of the
instrument,
instrument,
the
thecomposers'
composers'almost
almost
inexplicable
inexplicable
neglect of neglect
the baritone
of ascoupled
coupled
the with
withits
baritone its
astechnical
technicalflexibility,
flexibility,
its its
wide
wide
dynamic
dynamic
range,
range,
and and
aa solo
soloinstrument.
instrument.In comparison
In comparison
to the wealth
to the
of material
wealth ofits
that its warm
warm tone,
material tone, offer
that offerthe
the composer
composer a splendid
a splendid
medium.
medium.
has
hasbeen
beenwritten
written
for the
forother
thebrass
otherinstruments,
brass instruments, I should
the number of the should like
liketo
number toof
digress
digressfrom
fromthethe
subject
subject
at hand
at hand
for for
a moment
a moment
solos
solosthatthat
havehave
been been
especially
especially
written for
written
the baritone is and
for the and hope
hope that
baritone thatisI Imay
maybebepardoned
pardoned forfor
saying
saying
a few
a few
words
words
con-con-
negligible.
negligible. ThisThis
lack has
lackalways
has existed,
alwaysbut
existed,
the advent thecerning
butofthe cerning
advent brass
brass
of solos
solosiningeneral.
the general.ToTo
be be
sure,
sure,
there
there
are are
a large
a large
innumerable
innumerable solo solo
and ensemble
and ensemble
festivals throughout the country number
festivals throughout number of
ofbrass
brasssolos
the country soloswhich
whichareare
outstanding,
outstanding,
bothboth
as toasmusical
to musical
has
hasbrought
brought this this
unsatisfactory
unsatisfactory
condition condition
into greater into andcontent
content
relief greater and
andeffective
relief effective
and writing;
writing;butbutthere
there
is also
is also
a gooda good
deal deal
of of
has
hasstimulated
stimulatedthe concern
the concern
of those of
whothose
are making
who anareeffort
makingto material
material that
thatisisto
an effort decidedly
decidedly trivial.
trivial.
TheThe
musical
musicalideas,
ideas,
the the
forms,
forms,
develop
develop this
this
phasephase
of musical
of musical
education.education. and the manner in which the material has been handled leaves
Surely
Surely thethe
neglect
neglectaccorded
accorded
the baritone
the by
baritone
the composers
by the much to be desired. Is there any real reason why brass instru-
composers
cannot
cannot be be
duedue
to itstolack
itsoflack
the necessary
of the necessary as a soloment solos
qualificationsqualifications asshould
a solobe inferior to the solos written for wood-wind
instrument.
instrument. For,For,
indeed, indeed,
anyone anyone
well acquainted
well with
acquainted
the instru- instruments,
with the instru-merely because the brasses do not have quite the
ment
ment cannot
cannotdenydeny
that thethatbaritone
the baritone
is one of the
is most,
one of if not
thethe range and
most, if fluency
not theof the wood winds-even if the latter factors
most,
most, expressive
expressive of the ofbrass
theinstruments.
brass instruments.
Then why this dis-should
Then whybe helddis-
this as the excuse? The shortcomings of the brass
regard?
regard? TheThe
onlyonly
plausible
plausible
reason one
reason
can think
one ofcan
is that
think thesolos
of under
is thatdiscussion
the are not in connection with technical flexi-
baritone has not been as fortunate in its heritage as have, for bility and range, but concern the uninteresting musical ideas and
instance, the cornet and the trombone. The latter instruments lack of ingenuity in presenting the material. In this respect,
have had a larger number of well-known exponents than the bari-some of the better French solos may be cited as examples of
tone. Herbert L. Clarke, Herman Bellstedt, Joseph Arban, desirable solos for brass instruments. These solos do not make
W. M. Eby, Ernest Williams, and a host of other outstanding extraordinary technical demands, but the musical ideas are always
cornetists not only have made the cornet a very popular solo interesting. If a solo is to be of an advanced nature, it should
instrument, but these same men have also been able to make take account in liberal measure of the technical possibilities of
liberal contributions to the solo literature of their chosen instru- the instrument, but these technical demands should be employed
ment. Likewise, the trombone has had its luminaries in Arthur in such manner as to make their inclusion appear a natural
Pryor, Gardell Simons, Clay Smith and Serafin Alschausky, development
to of the original musical idea. Likewise, a solo of a
mention only a few. It is true, the baritone has had Joseph less advanced nature should be made as melodically and techni-
DeLuca, Simone Manita, and Fortunato Sordillo to extol its cally interesting as possible. In other words, regardless of the
glories, but these three men have been practically the only con- degree of difficulty or simplicity of the material, it should always
tributors of solos written especially for the baritone. If this isbe musical, and not just a display of musical gymnastics.
the reason for the difference in the amount of solo material We do not lack composers fully capable of writing solos em-
available for these instruments, then it is easily seen thatbodying such merits as have been described. But I am of the
the field
of creative work for brass instruments has been left entirely opinion that
to many who have written for the brass instruments
the virtuosi of these instruments. For some reason, composers (and those composers who have refrained completely from writ-
of established reputation have seen fit not to enter thising field.
for brasses) have been laboring under the impression that
As a result of this condition, baritone players have tothe range of musical expression of these instruments is too
borrow
solos written for other brass instruments. They even make limited
an to permit serious treatment. A careful study of the
occasional "invasion" into the realm of the clarinet and cello solo "language" of these instruments will reveal, I am sure, that their
literature in search of adequate material. While some gratifying scope of expression is not nearly as limited as it appears to be.
results have been, and are being obtained by transcribing cornet To return now to the matter of solos for the baritone. Natur-
solos for the baritone, naturally, continuous "borrowing" aloneally, a sincere and inspired musical work does not admit of any
cannot be expected to bring about a real solution of the problem-kind of dictation; but if I were to be given the liberty of making
hence the crying need for solos written especially for the baritone.a humble suggestion, I would say that, in addition to the full
Although a playing knowledge of an instrument is, no doubtutilization of the instrument's technical capabilities, greater use
an asset to a composer who wishes to write for that particularshould be made of the baritone's natural "singing" style of play-
instrument, it is not by any means absolutely necessary. Aning. This latter attribute of the instrument is perhaps its most
artist on an instrument does not always possess adequate creativevaluable asset. Stressing this particular quality of the baritone
ability; whereas, on the other hand, there have been many (which has not always been fully utilized) might be the means
instances where really fine composers, not having a playingof evolving a new and distinct type of solo literature for this
knowledge of the instrument, have written music of far greaterinstrument. In fact, it might not be a disadvantage for com-
merit than that written by virtuosi of that particular instrument.
posers in writing for the baritone to think in terms of the cello.
Of course, in order to write well for an instrument, the com-
These few thoughts have been expressed in the hope that
poser must have a good fundamental theoretical understanding
of that instrument's character and technical facilities. He shouldserious composers may devote more of their interest and talents
know what will sound well and what will not. For instance, in to the baritone-thus far almost a neglected medium. Since the
field of solo literature for the baritone is practically in a virgin
writing for the baritone, various things should be avoided, such
as certain whole-tone trills, and too wide intervals in rapid state, the composer who contributes to the development of this
slurred broken chords. Aside from these minor restrictions, thefield will have not only everlasting appreciation and gratitude
baritone offers a wide freedom of treatment. In addition to all from the numerous players and lovers of the baritone horn, but
the technical dexterity of the brass family, the baritone has an also the satisfaction of having made a noteworthy contribution to
expressive tonal range that is not exceeded by any other brassthe musical realm.
Music Educators Journal
Page 38

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