Chopin’s wonderful melodies are rarely (id ever?) heard on brass instruments.This Largo, the third movement from the Sonata for Violoncello Op. 65, is an ideal place to start. It provides a great opportunity for the soloist to work closely with the pianist in a warm dialogue.

The arranger has adapted some places where the cello plays an accompanying role to allow for some breaths and add some clarity to the solo line. The two-octave range of the solo part requires thoughtful control of tone (not too much vibrato?) as well as dynamics, and the ornaments need to be played in tempo, as it were, rather than crushed in.

This ever-popular brass band favourite is available at last in a new edition which incorporates an optional mixed chorus!

The vocal score (see Vocal / Choral section) includes a keyboard reduction for performance without band making this a really versatile piece.

Antonio Bazzini (1818–97) was admired in his lifetime as both composer and virtuoso violinist by such luminaries as Schumann and Mendelssohn. Later he held a position at the Milan Conservatory, teaching the likes of Mascagni and Puccini, but he is remembered today almost exclusively for this violin showpiece which dates from 1852.
 La Ronde des Lutins Op. 25 is described by him as a ‘scherzo fantastique’ and puts the soloist through their paces using all manner of playing techniques – ricochet bowings, double-stop tremolos, false harmonics and so on all wrapped up in a neat rondo structure.

Arranger’s Note
I grew up to the sound of a euphonium. My father Peter was a fine player with a lovely sound and great musicality, so I guess it’s no surprise that over the years I have made lots of arrangements and transcriptions for the instrument. While many of these have featured the mellifluous, melancholic sounds at which the euphonium excels, this arrangement is unashamedly for the virtuoso! It assumes facility with the full range of the modern four-valve instrument and while some alternatives are provided, the soloist should feel free to adjust and adapt things to suit their own preferences. Repeated passages may, of course, be cut if required, giving a wide range of durations to suit your needs. There are many recordings of the original violin and piano version available for reference.
 I should like to record my thanks to Adam Frey and Steven Mead for their encouragement and advice during the preparation of this publication.
 The original title translates as ‘Dance of the Goblins’ but I have preferred a slightly shorter version – The Goblin’s Rondo – enjoy!

Eric Wilson

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