Instrumentation: Solo and Piano Instruments: Piano, Tuba
This work was composed largely during the summer of 2017, after a few attempts at writing shorter pieces for tuba and piano earlier in the year. It is not a programmatic work, as many of my works often are. Rather, it is my attempt at contributing to the tuba repertoire in terms “absolute music,” as Brahms so famously called it.
I. This movement is rather upbeat, and it is simple in terms of its harmonic content. There are a few moments of deviation, and interruptions of the melody, but performers and audiences should find it to be palatable overall. The beginning of this movement subjects a clear theme to a few harmonic shifts and brief developmental moments. The turbulent middle section of the movement was inspired by the Sturm und Drang style popularized by Haydn and Hozart in the Classical period. The end of the movement sees the return of the theme rather abruptly and confidently, and finishes triumphantly.
II. Bach has always been a large influence on me, as he has undoubtedly been to every other composer after him. This movement is somewhat of my homage to him. The melodic content is less theme-focused than the prior movement, allowing for longer stretches of melismatic writing in the solo part. The accompaniment in this movement is thicker than that of the first movement, and requires more pedaling, contributing a darker and heavier tone to the movement as a whole.
III. This final movement draws heavily on my love of French music, especially that of Bozza’s music for brass instruments. The movement begins with a dance like quality, and it is very jovial. The melodies then begin to stretch out, growing more dissonant as the movement progresses, until finally dissolving into a rather haunting section involving disparate notes in the piano and tone clusters. This section demands more of the soloist in terms of technique than any other movement of the piece. Eventually, after a brief cadenza, the main thematic material returns to finish out the movement “with a bang!”
Evan Zegiel is a tubist, composer, and brass educator based in the United States.
Zegiel will join the New World Symphony in 2018 as their Tuba Fellow. His orchestral experience prior to joining NWS includes multiple summers performing at Brevard Music Center and with the Chautauqua Institution Music School Festival Orchestra. He won Second Prize in the 2016 International Tuba-Euphonium Conference's Arnold Jacobs Mock Orchestral Audition competition.
Zegiel is an active soloist and competitor. He was selected as a winner of the 2018 Jan and Beattie Wood Concerto Competition at Brevard Music Center. He also won the 2018 Marquette Symphony Orchestra (MSO) Young Artist Concerto Competition, and will perform the orchestral premiere of Nelson T. Gast’s Under Mountains of Ocean with the MSO in February 2019. Zegiel was featured as a performer at the U.S. Army Band's 35th Annual Tuba-Euphonium Workshop in Washington, D.C. He won First Place in the Tuba Artist Division of the Leonard Falcone International Euphonium-Tuba Festival competitions in 2017, and, in 2013, he won First Place in the Tuba Student division of the Falcone competitions. Evan was also a featured soloist with the U.S. Air Force Band in February of 2012, after winning the Colonel George S. Howard Young Artist Competition as a senior in high school.
As a chamber musician, Zegiel performs regularly in varied settings. He is a co-founder, along with Anthony DeMartinis, of BrassTaps Duo. BrassTaps is a tuba and percussion duo that bridges the gap between contemporary performance practice, accessibility, and evocative musical soundscapes. BrassTaps has commissioned multiple works by student and professional composers with the aim of expanding the available repertoire for both instruments. In 2017, he performed with U-M students alongside the New York Philharmonic Principal Brass Quintet in a collaboration sponsored by the University Musical Society in Ann Arbor.
Zegiel is also an active composer, having received premieres of his compositions from performers and ensembles at the University of Michigan, Yale University, and Northwestern University, among others. His Sonata for Tuba and Piano was published by Cimarron Music Press in 2017, and a new work for bass trombone and piano, Bone to Pick, will be published by CMP in the summer of 2018. A full list of his compositions, including his self-published works, may be found at the Compositions tab above.
Zegiel holds a Master of Music degree in Performance and Chamber Music from the University of Michigan, a Bachelor of Music degree in Tuba Performance from the University of Michigan, and a Minor in Writing from the Sweetland Center for Writing. His primary teachers include Fritz Kaenzig, Toby Hanks, Aubrey Foard, and Dan Satterwhite.
When he isn't playing tuba, composing, or writing poems, Zegiel enjoys reading fiction novels and drinking coffee. His hobbies include homebrewing beer and playing his electric and bass guitars.
|Delivery||PDF download, Shipped (printed)|
|Instrumentation||Solo and Piano|
|Publisher||Cimarron Music Press|