MENC: The National Association for Music Education

An Appeal for Solos for Baritone Horn

Author(s): Leonard Falcone
Reviewed work(s):
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 childto clap or stamp,to marchor run or gallop in timeto
the music,or sometimesjust to sit and listen.
Amongthe recordssuggestedare such as "Soldiers' March"
by Schumann;"Run, Run, Run" by Concone; "Skating" (Vic-
tor 20401); "The LittleHunters"(Victor 20153); "The Mirror
Dance" (Victor 20399); "Songs for Children,"by Neidlinger
(Victor 20349B). "Small Songs for Small Singers"by Neid-
linger (meantto accompanythe records); "MotherGoose Pic-
ture Book" by Berta and Elmer Hader; "Singing Time" and
"AnotherSingingTime" by Colemanand Thornare well chosen
collectionsof songs which Mrs. Coit has found helpfulfor
mothersto use withtheirchildren.
Parents who followthe general plan outlinedinvariablyare
delightedwiththe enthusiasmand interestwhichtheirchildren
show and the progressthey make. Certainit is that, if the
music startedso easily then is continuedthroughthe school
years,it will lead to the maximumbenefitswhich music can
affordthe individualduringyouthand adulthood.

An Appeal
forSolosforBa ritone
Horn
LEONARD FALCONE
Conductor,MichiganStateCollegeBand,East Lansing

ANYONE interestedin the baritonehornhas long wonderedat instrument.Therefore,the masculinenatureof the instrument,
the composers'almostinexplicable neglectof thebaritoneas coupledwithits technicalflexibility, its wide dynamicrange,and
a solo instrument.In comparisonto the wealthof materialthat its warmtone,offerthe composera splendidmedium.
has been writtenfor the otherbrass instruments, the numberof I shouldlike to digressfromthe subjectat handfora moment
solos that have been especially writtenfor the baritone is and hope that I may be pardonedfor sayinga few wordscon-
negligible. This lack has always existed,but the adventof the cerningbrass solos in general. To be sure,thereare a large
innumerable solo and ensemblefestivalsthroughout the country numberof brass solos whichare outstanding, bothas to musical
has broughtthis unsatisfactory conditioninto greaterreliefand contentand effective writing;but thereis also a good deal of
has stimulated the concernof thosewho are makingan effortto materialthatis decidedlytrivial. The musicalideas, the forms,
developthis phase of musicaleducation. and the mannerin whichthe materialhas been handledleaves
Surely the neglectaccorded the baritoneby the composers muchto be desired. Is thereany real reasonwhybrass instru-
cannotbe due to its lack of the necessaryqualifications as a solo mentsolos shouldbe inferiorto the solos writtenforwood-wind
instrument.For, indeed,anyonewell acquaintedwiththe instru- instruments, merelybecause the brasses do not have quite the
mentcannotdenythatthe baritoneis one of the most,if not the rangeand fluencyof the wood winds-even if the latterfactors
most,expressiveof the brass instruments.Then why this dis- shouldbe held as the excuse? The shortcomings of the brass
regard? The onlyplausiblereasonone can thinkof is thatthe solos underdiscussionare not in connection withtechnicalflexi-
baritonehas not been as fortunate in its heritageas have, for bilityand range,but concernthe uninteresting musicalideas and
instance,the cornetand the trombone.The latterinstruments lack of ingenuityin presentingthe material. In this respect,
have had a largernumberof well-known exponentsthanthe bari- some of the betterFrench solos may be cited as examplesof
tone. Herbert L. Clarke, Herman Bellstedt,Joseph Arban, desirablesolos for brass instruments.These solos do not make
W. M. Eby, Ernest Williams,and a host of otheroutstanding extraordinary technicaldemands,butthemusicalideas are always
cornetistsnot only have made the corneta very popular solo interesting.If a solo is to be of an advancednature,it should
instrument, but these same men have also been able to make take accountin liberal measureof the technicalpossibilitiesof
liberalcontributionsto the solo literatureof theirchoseninstru- the instrument, but thesetechnicaldemandsshouldbe employed
ment. Likewise,the trombonehas had its luminariesin Arthur in such manneras to make their inclusionappear a natural
Pryor,Gardell Simons,Clay Smithand SerafinAlschausky,to development of the originalmusicalidea. Likewise,a solo of a
mentiononly a few. It is true,the baritonehas had Joseph less advancednatureshouldbe made as melodicallyand techni-
DeLuca, Simone Manita, and FortunatoSordillo to extol its cally interesting as possible. In otherwords,regardlessof the
glories,but thesethreemen have been practicallythe only con- degreeof difficulty or simplicityof thematerial,it shouldalways
tributorsof solos writtenespeciallyfor the baritone. If this is be musical, and not just a displayof musicalgymnastics.
the reason for the difference in the amountof solo material We do not lack composersfullycapable of writingsolos em-
availablefortheseinstruments, thenit is easilyseenthatthe field bodyingsuch meritsas have been described. But I am of the
of creativework for brass instruments has been leftentirelyto opinionthat manywho have writtenfor the brass instruments
the virtuosiof these instruments.For some reason,composers (and thosecomposerswho have refrained completely fromwrit-
of establishedreputationhave seen fitnot to enterthis field. ing for brasses) have been laboringunderthe impressionthat
As a resultof thiscondition, baritoneplayershave to borrow the range of musical expressionof these instruments is too
solos writtenfor otherbrass instruments.They even make an limitedto permitserious treatment.A careful study of the
occasional"invasion"intothe realmof the clarinetand cello solo "language"of theseinstruments will reveal,I am sure,thattheir
literaturein searchof adequatematerial. While somegratifying scopeof expressionis notnearlyas limitedas it appearsto be.
resultshave been,and are beingobtainedby transcribing cornet To returnnow to thematterof solos forthebaritone. Natur-
solos for the baritone,naturally,continuous"borrowing"alone ally,a sincereand inspiredmusicalworkdoes not admitof any
cannotbe expectedto bringabouta real solutionof theproblem- kindof dictation;butif I wereto be giventhe libertyof making
hencethecryingneedforsolos writtenespeciallyforthebaritone. a humblesuggestion,I would say that,in additionto the full
Althougha playingknowledgeof an instrument is, no doubt utilizationof the instrument's technicalcapabilities,greateruse
an asset to a composerwho wishesto writefor that particular shouldbe made of the baritone'snatural"singing"styleof play-
instrument, it is not by any means absolutelynecessary. An ing. This latterattributeof the instrument is perhapsits most
artiston an instrument does notalwayspossessadequatecreative valuableasset. Stressingthis particularqualityof the baritone
ability; whereas, on the other hand, there have been many (whichhas not always been fullyutilized) mightbe the means
instanceswhere really fine composers,not having a playing of evolvinga new and distincttypeof solo literaturefor this
knowledgeof the instrument, have writtenmusicof far greater instrument.In
fact,it mightnot be a disadvantagefor com-
meritthanthatwrittenby virtuosiof thatparticularinstrument. in writingforthe baritoneto thinkin termsof the cello.
the com- posers
Of course,in orderto writewell for an instrument, that
poser must have a good fundamental theoreticalunderstanding These few thoughtshave been expressedin the hope
characterand technicalfacilities. He should seriouscomposers may devote more of theirinterestand talents
of thatinstrument's medium. Since the
knowwhat will soundwell and whatwill not. For instance,in to the baritone-thusfar almosta neglected
for the baritone,various things should be avoided, such fieldof solo literaturefor the baritoneis practicallyin a virgin
writing to the development of this
as certain whole-tonetrills,and too wide intervalsin rapid state,the composerwho contributes
slurredbrokenchords. Aside fromtheseminorrestrictions, the fieldwill have not only everlastingappreciationand gratitude
baritoneoffersa wide freedomof treatment.In additionto all fromthe numerousplayersand loversof the baritonehorn,but
the technicaldexterityof the brass family,the baritonehas an also the satisfaction of havingmade a noteworthy to
contribution
expressivetonal rangethat is not exceededby any otherbrass themusicalrealm.
Page 38 Music Educators Journal

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