Works

to Sérgio Carolino

Allegro Assai Lento Allegro Assai

Instrumentation (detailed)

Soloists	Tuba
Winds and Brass	Piccolo, 2 Flute, 2 Oboe, 2 Clarinet in Bb, Bass Clarinet, 2 Bassoon, Contrabassoon, Tenor Saxophone, 4 Horn, 3 Trombone, 2 Tuba, Bass Tuba
Percussion	3 Percussion
Strings (plucked / bowed)	Harp, ~ First Violins, ~ Second Violins, ~ Viola, ~ Cello, ~ Double Bass

Performer(s)

The tuba is an instrument with a powerful, but never strident, sonority – in the same way, its timbre cannot be considered penetrating, as is the case with the trumpet or oboe, for example. The tuba possesses sonorous characteristics that fortify and amplify the orchestral tutti, altering the overall sound of the orchestra, but this does not mean that the tuba itself has a natural tendency to rise to the foreground. In fact, the tuba frequently highlights, but only rarely and with difficulty is it, itself, highlighted. There are even those who think that the tuba should be considered a sweet and fundamentally melodic instrument, but this is also not true. The tuba cannot be confused with a flute, the same way that it would be absurd to mistake an elephant for a butterfly. However, they are both beings of an extraordinary beauty and elegance, when considered within the realm of their own movements. The tuba is capable of being a most beautiful instrument, when it is approached and treated as it is. As happens many times with the contrabasses and violas, the most common function of the tuba is to serve the ensemble and not to draw emphasis to itself from the midst of the others. In general, the contrabasses strengthen the foundation of the entire musical discourse, but many times their presence is hardly noticed. The violas strengthen the harmonies, but many times the fact that they are playing also goes unnoticed. The tuba strengthens the timbre, which would be completely different – much less noble and much less secure, if, perchance, it were not there. The preoccupations of a composer who writes a Concerto for Tuba, become clear once it is understood that the concept of Concerto is associated automatically with the idea of the soloist, the exaltation of the possibilities of the instrument, the brilliance, dexterous effects and even – in some less desirable, but all too frequent cases - a certain exhibitionism… Well, none of this is possible – and even less, desirable – with the tuba. So, what I wanted to obtain – and I am not sure, naturally, if I achieved it … - was to write a work that would highlight that which, in fact, represents the character of the tuba: to enhance the ensemble. In order to obtain this enhanced ensemble, the tuba has to realize, in some cases, passages of true technical virtuosity – generally, without the public being aware of it. Therefore, the objective of the Concerto that I composed is not to show the tuba in a false light (as it is not), but rather to draw the listeners’ attention to what the tuba truly represents and is able to produce in defense of a higher goal: the entire musical whole. This is not a ceremony of homage, but an act of gratitude for that admirable and generous instrument. António Victorino D’Almeida

Work	Type	Date	Organization/Event	Venue	Town	Country	Performers	Notes	Inv Row
Concerto para Tuba e Orquestra	Premiere	2007/Jun/01		Casa da Música - Suggia Room	Oporto	Portugal	Orquestra Nacional do Porto, Marc Tardue (conductor), Sérgio Carolino (tuba)	Notes

Documents
	Type (+ sub-type)	Cover/edition title Document title	Authors	Referring to	Publisher	Date
	Audio	António Victorino D'Almeida Concerto for Tuba and Orchestra Concerto for Oboe and String Orchestra Divertimento for Orchestra Sérgio Carolino Pedro Ribeiro  Concerto para Tuba e Orquestra		concerto para tuba e orquestra António Victorino d' Almeida Orquestra Sinfónica do Porto Casa da Música	Numérica	2009
	Scores	António Victorino D'Almeida Concerto Tuba & Orquestra  Concerto para Tuba e Orquestra		concerto para tuba e orquestra António Victorino d' Almeida	AVA Musical Editions	2007