Review

Gustav Holst
“Uranus, The Magician,” from The Planets:

Arranged by Ralph Sauer

seventeen-part large brass and percussion ensemble

Vancouver, BC, Canada
Publisher: Cherry Classics Music
Date of Publication: 2010
URL: http://www.cherryclassics.com

Primary Genre: Brass Ensemble - 6+ brass (choir)

Mr. Sauer has given us an impressive, albeit difficult, transcription of the sixth movement of Gustav Holst’s orchestral masterpiece. The technique, facility, and range required make this a work for the finest university brass ensembles and above. With only some minor edits, and using just brass and percussion, the music as transcribed for 4 trumpets, 4 horns, 3 trombones (third part is clearly for bass trombone), tenor tuba, 2 tubas, timpani, and 2 percussion is what one sees in Holst’s orchestral score. Mr. Sauer even preserves the key. The voicing makes perfect sense to this reviewer, and the use of forces corresponds nicely to the dynamics. There is plenty of difficult material for everyone to negotiate, but also judicious use of rest for all players. Mr. Sauer even provides helpful cues in most parts. Horns 2, 3, and 4 are scored in bass and treble clefs; trombones 1, 2 and tenor tubas in tenor and bass clefs. Trumpets need mutes. The range calls for strong principal players although the tessitura does not stay in the upper register for long periods of time. The range for each player as seen in written pitches is as follows: Trumpet 1 in C: b-e-flat3; Trumpet 2 in C: a-c3; Trumpet 3 in C: a-g-sharp2; Trumpet 4 in C: g-sharp-a2; Horn 1 in F: b-flat-b-flat2; Horn 2 in F: f sharp-g-sharp2; Horn 3 in F: e-b-flat2; Horn 4 in F: c-a2; Trombone 1: B-c-sharp2; Trombone 2: E-g1; Trombone 3: AA-e-flat 1; Tenor Tuba: E-c2; Tuba 1: EE-c1; Tuba 2: EE-b.
 
As mentioned, two rhythmic modifications have been made. Mr. Sauer slightly modifies the original woodwind rhythms from the original at measures 123 and again at 164 to make them more playable for brass. There is also a typo on the first page of the score – the timpani part should use written B instead of A in the opening motive. Although measures are numbered at the beginning of each line, it would have been helpful if Mr. Sauer had included rehearsal numbers as well. Finally, trombonists may or may not be disappointed that Mr. Sauer gives the famous (infamous?) trombone excerpt to other forces in this transcription. If you are disappointed, you will undoubtedly get over it, as this is without question an incredible transcription for advanced brass ensemble, transcribed by a musician that clearly knows the capabilities of brass players.  

-Michael Davidson
University of Kansas