ANDERSON'S ARIZONA ORIGINALS

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         Eugene  Anderson was born in 1944 and started playing tuba at age ten. When in high school , he started writing solos to create better quality literature.  Then he won three summer music camp  scholarships and in the largest , State of Wisconsin, three week summer camp  ,  he was ranked as first chair in the top band  of three  but also played  in the orchestra , and was recognized as the best  wind instrument player in the orchestra at 17 years old. He enrolled in the Fall  as a music major and was first chair in the top concert band all 5  years he played. He was the first composer in the country to write tuba quartet literature.  Initially  , Professor Raymond Dvorak asked him to arrange, by ear,  from a recording, the worlds'  first tuba quartet from the Hoffnung Festival of London. His  band  quartet of four BBb tubas played that  Chopin Mazurka at every mid-winter concert and was asked to write a  new one on each of the 1962-65  tours each January to great success. His love of tuba quartets was creating an audience and helping him to be a proponent of the group . He now has 25 tuba/euphonium quartets and growing.

When he graduated he was awarded the Charles M Faulhaber award given to the music major most likely to succeed. He also studied orchestration with James Christensen who went on to be appointed head of Disneyland music. Their paths would cross again. His first teaching was at the University of Toledo as tuba instructor and member of the Toledo Brass Quintet. He also played in the Toledo Opera orchestra and in The Toledo  Symphony brass quintet. During this time from 1968-1971 he wrote a full concerto for his mentor and teacher, Arnold Jacobs , of the Chicago Symphony for 44 years. When completed he gave him a full copy of the score as a thank you for inspiring him even more.  Their paths would cross again as well. (see Reviews section) Mr. Anderson perfomed the first movement with orchestra before heading out west.

Now,  to pursue his Masters in Music composition,  he got a gradute fellowship at Arizona State University and taught brass and private  lessons . He performed his concerto with piano in recital.  During this time he wrote 'The Perception of War' symphonic tone poem for full orchestra. That summer the Phoenix symphony performed it.  Then the all state orchestras of Oklahoma and New York played it and then Interlochen National music camp orchestra performed it for 5000 people. The piece was about the Battle of Armageddon and was very powerful. After graduating  Magna Cum Laude,  Masters in Composition,  he took on a real challenge. He accepted the head of bands position at the Apache Junction Jr and Sr. High School with only 10 in the band,  The group had a terrible  reputation.  The band quickly grew to 80 in four years and   with  new horns and new uniforms and a new bandroom designed by Mr. Anderson, the band decided to enter the University of Arizona band day competition in Tucson.   Against 100   other larger bands they marched a perfect show with two of Mr. Anderson's arrangements and was awarded the Nunamaker Award for the best show of the day, an amazing feat. One of the eight judges was none  other than James Christensen of Disneylsnd,  his  former teacher.  What a great reunion that was.

One day  Mr. Anderson heard a new ASU orchestra conductor was hired, Dr. Timothy Russell,  who loved to do premiers of new works. He heard the  first movement of the concerto   with orchestra and two movemnets with piano.   He loved it. The worlds best tuba player Sam Pilfian was now at ASU and said he would perform it. So after 27 years of waiting ,  like  Mr. Hollands' Opus,  it was finally played, recorded and distributed world wide  He  sent a copy to Arnold Jacobs and his amazing testimonial letter is on this site, the only signature of his life.  Our paths crossed again ! 

 Reviews all over the world poured in confirming the 1991 Review by Bart Cummings that it was "a masterwork of the first order".  Mr. Jacobs died a few months later.  Reviews  poured in including the very famous Harvey Phillips of Indiana University.  (See Reviews) He asked for an ENCORE!! in his letter. Well,  his call is now answered with the publication of  ' Tuba Concerto No, 2' in contemporary style and amazingly,  'Tuba Concerto No. 3' , in jazz style.

These two new works fulfill  his dream of writing three Tuba Concertos in three different styles, a feat unequalled by anyone. Also,  another " dream come true"  is the completion of three tuba solos in three different styles.   Lyri-Tech I  is on the CD  played by Sam,  but ' Jazzy-Tech  II'  and ' Rock"n-Tech  III' are now done and published by Cimarron  Music  as well. In 1998 his  album 'Perception'  was entered in four Categories of the Grammy Awards.  First,  for best new concerto, second, for best soloist with orchestra, third,  best new work for orchestra, for Perception of War and fourth  for best classical album of the year. All of these new works are published  at Cimarron now. When the owner of  Cimmaron Music first met him he offered to publish all his work includung the  concerto  piano reduction. Mr. Anderson established his website in 1988 to let players all over the world  know of his works.  This is the first revision of that  site and includes many of his new works.

 Some fascinating unknown facts about the  first concerto are:  the first theme  is the only one to appear in all three

movements:   there are places where the composer  secretly tips his musical hat  to Schubert, Berlioz, Tchaikovsky amd Mahler: the second movement uses the lullaby  theme played backwards and forwards and even both,  simultaneously : layering of themes in counterpoint occurs in the end of the  first and third movements  with 5 themes present  in movement three for a fantastic concerto  ending, like no other concerto for any instrument ever written:   the tuba duets with every single instrument before the concerto  finishes:  the composer uses a  percussion ensemble in the third movement which did not exist in the nineteenth century:  the longest  coda  of over three minutes,  is started by a snare solo and  is followed with the brass playing in two keys at once,  making it a 20th century work as well. These  musical events prompted reviewer Barton Cummings to call it a " Giant"  work .

He has never revealed this before. He  hopes you enjoy the work even more now. Players in the orchestra told him  it was the best concerto they ever played since they were all so involved with thematic material. It truly is a concerto for tuba AND orchestra. In 1988 he opened his website and the current one  will replace that in 2020. After the CD was released worldwide it was entered into the Grammy Awards in four categories. First was the category of best concerto, next was best soloist with orchestra; Sam Pilafian, virtuoso;  then best new work for orchestra;  'The Perception of War;'  and finally best classical album of the year. Reviews poured in from all over the world from over 55,000 CD's sold. (see reviews).