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ENERGICO! for band or wind ensemble ( begins with a concise, stately section that presents harmonic and rhythmic material that is developed throughout. The festive main body of the work is in an episodic ABA-Coda format and mixes Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies. Energico! was originally written for flute ensemble during the summer of 2008: The Long Island Flute Club with support from The Brannen-Cooper Fund commissioned it in celebration of its 25th anniversary (1984-2009). It was premiered in 2009 by the Professional Flute Choir of the Long Island Flute Club at the National Flute Association Convention in New York City. The flute choir version of the work is available from Brixton Publications. Energico! for band intensifies the energy of the original version by utilizing the full resources of the concert band, including four percussion parts. The timbral palette is expanded accordingly and includes the use of mutes, stopped horn, and other colorful devices. Energico! for band is a sophisticated, yet audience-friendly work. Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

Clarinet, Tenor Saxophone, and Piano; Dedicated to Dr. Barry McGinnis.

I. Evening Zephyrs (2’20”)

II. Midnight Musings (2’12”)

III. Venturing Out (3’26”)

IV. Sounds from the Blue Door (2’45”)

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Alto Saxophone and Baritone Voice

based on a fable by Aesop (620–564 BCE)

 

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Bassoon, Viola, and Cello

Spring Reverie was composed during the spring of 2022 for Bassoonist Christopher Jewell by Howard J. Buss. This lyrical work showcases the beautiful sonority of the chamber ensemble. It was inspired by the glorious appearance of lush foliage on trees after a long winter. The character of the music is meditative, reflective, and at times conveys a hint of reverence. Spring Reverie received its world premier on March 16, 2023 in the Millennium Theatre of the Kennedy Center in Washington, D.C. by members of the Kennedy Center Opera Orchestra.

Duration: 10’30

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Island of Enchantment “5 Vignettes from Puerto Rico” for Flute, Clarinet, Horn, Bassoon and Piano by Howard J. Buss was written during the summer of 2022 for cCarinetist Kathleen Jones and the 40th Anniversary of Camerata Caribe of San Juan Puerto Rico. An English Horn may be used as a substitute for the Horn. Camerata Caribe premiered the work on February 5 2023 in San Juan Puerto Rico. The five movements with their respective durations are:

I. Sunrise Paints the Land (2’16”)

II. To the Shore “Arecibo” (2’10”)

III. Glowing Water “La Parguera” (2’14”)

IV. The Rain Forest “El Yunque” (2’10”)

V. Mongoosian Intrigues (2’35”)

 

Duration: 11’25” (without pauses)

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Suite Amici for Flute/Alto Flute and Oboe/English Horn by Howard J. Buss was composed for Amici Musicale of the University of South Florida in Tampa: Drs. Francesca Arnone Flutes and Amy Collins Oboe/English horn:

I. Prelude (2’00”)

II. First Encounter (2’00”)

III. Romance (2’31”)

IV. Second Encounter (2’00”)

V. Reverie Third Encounter (3’04”)

Total duration: 12’

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with Orchestra; "Concerto for Bassoon" by Howard J. Buss was composed during 2016 and 2017 and is dedicated to Dr. Keith Sweger. This work was created in two versions – one for bassoon and piano, and the other for bassoon and orchestra. Cast in two movements, "Reminiscences" and "Excursions", the music spans a wide range of moods and timbral atmospheres, ranging from lyric tenderness to forceful, aggressive sections: (19’) Grade V-VI.

Can also be played with the Euphonium as the solo instrument.

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Eb Clarinet, 2 Bb Clarinets, and 2 Bass Clarinets, opt. Bb Clarinet part for Bass Clarinet 1 included

Stephen Collins Foster (1826-1864) is often referred to as “the father of American music.” Many of his numerous songs serve as a window into the spirit of America in his day. Others are exquisitely sentimental. Whether or not one approves of the lyrics of his minstrel songs, the enduring beauty and vitality of his melodies cannot be denied.

Like Foster, the arranger of this quintet, Howard J. Buss, was born in Pennsylvania. He now lives in Florida, where the official state song is Foster’s “Old Folks at Home,“ also widely known as “Swanee River.” Buss states, “The State of Florida revised the lyrics of this song in 2008 to take the edge off their minstrel origins, I also believe it was wise to update the words in order to preserve the music. In this instrumental arrangement, the original music is preserved while showcasing it in a more modern musical framework.“

In addition to the six Foster songs in this arrangement, Buss interjects two other well-known melodies. The “First Call” bugle call is woven into the tapestry of Camptown Races” and “The Girl I Left Behind Me” serves as a partner song to “Ring, Ring, the Banjo.”

1. “Old Black Joe” (2’)
2. “Camptown Races” (1’40”)
3. “Beautiful Dreamer”  (2’15”)
4. “Old Folks at Home” also known as “Swanee River” (2’12”)
5. “Ring, Ring the Banjo” – “Oh, Susannah!” (2’41”)

The movements may be played individually or in smaller groupings. The total duration is approximately 11’ without pauses between the movements.

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Bass Clarinet and Violin: In five movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful and engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. Learn More

with Orchestra: In this one movement composition, the euphonium and tuba are treated as equal partners as they traverse a wide variety of sonic atmospheres. Energetic and sometimes fiery sections surround a beautiful and lyrical central part. Learn More

Stephen Collins Foster (1826-1864) is often referred to as “the father of American music.” Many of his numerous songs serve as a window into the spirit of America in his day. Others are exquisitely sentimental. Whether or not one approves of the lyrics of his minstrel songs, the enduring beauty and vitality of his melodies cannot be denied.

Like Foster, the arranger of this quintet, Howard J. Buss, was born in Pennsylvania. He now lives in Florida, where the official state song is Foster’s “Old Folks at Home,“ also widely known as “Swanee River.” Buss states, “The State of Florida revised the lyrics of this song in 2008 to take the edge off their minstrel origins, I also believe it was wise to update the words in order to preserve the music. In this instrumental arrangement, the original music is preserved while showcasing it in a more modern musical framework.“

In addition to the six Foster songs in this arrangement, Buss interjects two other well-known melodies. The “First Call” bugle call is woven into the tapestry of Camptown Races” and “The Girl I Left Behind Me” serves as a partner song to “Ring, Ring, the Banjo.”

1. “Old Black Joe” (2’)
2. “Camptown Races” (1’40”)
3. “Beautiful Dreamer”  (2’15”)
4. “Old Folks at Home” also known as “Swanee River” (2’12”)
5. “Ring, Ring the Banjo” – “Oh, Susannah!” (2’41”)

The movements may be played individually or in smaller groupings. The total duration is approximately 11’ without pauses between the movements.

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"Reflections on the Last Post" for clarinet and band (or wind ensemble) by Howard J. Buss was inspired by The Last Post Ceremony at the Menin Gate Memorial in Ypres, Belgium. It honors the thousands of soldiers who died to free Belgium from the Germans in WWI. The Last Post Ceremony was first held on July 1928 and has been performed every night since November 11, 1929 at the Menin Gate Memorial, except during the years of the German occupation of Ypres from May 20, 1940 to September 6, 1944. During the occupation the ceremony was continued at the Brookwood Military Cemetery in Surrey, England. The composition develops the “Last Post” bugle call, which is performed near the beginning of the ceremony. The work also has stirring sections signifying the youthfulness and vitality of those who fought and died on the Ypres battlefields. Learn More

"Reflections on the Last Post" for tuba and band (or wind ensemble) by Howard J. Buss was inspired by The Last Post Ceremony at the Menin Gate Memorial in Ypres, Belgium. It honors the thousands of soldiers who died to free Belgium from the Germans in WWI. The Last Post Ceremony was first held on July 1928 and has been performed every night since November 11, 1929 at the Menin Gate Memorial, except during the years of the German occupation of Ypres from May 20, 1940 to September 6, 1944. During the occupation the ceremony was continued at the Brookwood Military Cemetery in Surrey, England. The composition develops the “Last Post” bugle call, which is performed near the beginning of the ceremony. The work also has stirring sections signifying the youthfulness and vitality of those who fought and died on the Ypres battlefields This work was winner of the Composition Competition of the U.S. Army Band’s 2019 Tuba-Euphonium Workshop and will be used for the workshop’s 2020 performers’ competition. Learn More

TROMBONE CONCERTO (1983) by Howard J. Buss in 3 movements: Proclamation, Soliloquy, and Capriccio. This critically acclaimed composition works well as a feature number and as a contest piece. “An alternative to the Rimsky-Korsakov, the Jacob ‘Concertino’, or the Larson - substantial, listenable, I recommend it highly.” - Paul Hunt, ITA Journal. Also published in a version for trombone and piano. Learn More

An evocative, entertaining work in which both performers recite the text during performance. Cast in 4 movements: Boomers!, Thoughts of Grey, Trombone Magic, and Wild Nights, it addresses humankind’s relationship to technology in the modern world. The instrumentation includes tomtoms, cymbals, wood block, wind chimes, tam-tam, bell tree, triangle, bass drum, tambourine, hi-hat, whip, vibraslap, bells and vibraphone. Commissioned by and premiered at the 1998 International Trombone Festival. Learn More