"A pedagogical perspective on the contrabass trombone." -- Excerpts from Die Walkure and Das Rheingold / Richard Wagner -- Statements / Anthong Plog. / text

The purpose of this project is to bring to light three concert works by Theodor Albin Findeisen (1881-1936), namely Nixenreigen, Elegie, and Romantische Suite, and prepare them for use by modern double bassists. Save for Findeisen's compositions, which are largely out of print and unknown, the Late Romantic Austro-German school of composition is not represented in the double bass concert repertory. To establish the historical significance of Findeisen's concert works for double bass, this document includes background information on the composer and his work. This research culminates in the creation of newly arranged, transposed, transcribed, and edited performance editions that are informed by Findeisen's methodology and by modern performance techniques. This document addresses editorial decisions in creating these new editions.

John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.