Nuijamiesten marssi by Toivo Kuula
Nuijamiesten marssi (“Club Thrower’s March”) opus 28, #4 (1912), was written by Toivo Kuula (7 July 1883, Vaasa – 18 May 1918, Viipuri) a Finnish composer and conductor of the late-Romantic and early-modern periods. He emerged in the wake of Jean Sibelius, under whom he studied privately from 1906 to 1908. The core of Kuula's oeuvre are his many works for voice and orchestra, in particular the Stabat mater (1914–18; completed by Madetoja), The Sea-Bathing Maidens (1910), Son of a Slave (1910), and The Maiden and the Boyar's Son (1912). In addition he also composed two Ostrobothnian Suites for orchestra and left an unfinished symphony at the time of his death in 1918. Vuorella and Soitto were in a set of original septet pieces for the KVS Society’s summer festivals. Nuijamiesten marssi, based on early Finnish history, with text by V. Koskenniemi, is originally for mixed choir and orchestra. In 1914, it was arranged for male choir a cappella for the inauguration of the "Helsinki home" of the Ostrobothnia Society (the upper floor of theOstrobotnia Restaurant). In his opus list it is also classified with the brass septet pieces, Op 28, #4.
All titles have been edited to contain the following parts:
Standard Finnish septet : E-flat soprano cornet, B-flat cornet I, B-flat cornet II, E-flat alto, B-flat tenor , B-flat baritone, BB-tuba (concert pitch Bass Clef). Our wish is that brass players will try the conical brass instrumentation, but also welcome playing by mixed wind bands.
Additional parts provided: Part 1 in Bb, Part 1 in C, Part 2 in C, Part 3 in C, Part 4 in F, Part 5 in Bb treble, Part 6 in Bb treble, Part 7 in Bb treble (for bass clarinet). This should provide most parts for a standard concert band. Only limited percussion is included, but could be added ad lib. Additional parts in other transpositions can be requested.
The Finnish Brass in America Series presents brass band music of immigrants and has not played in more than a century. This band sheet music was found in community band libraries and in archives in Hancock, Michigan- Virginia, Minnesota- Minneapolis, Minnesota – Conneaut, Ohio, and Fitchburg, Massachusetts. These compositions were coming from a much wider range of Finnish immigrant communities from coast to coast and reflect an intense activity during that time. The primary promoter of Finnish community music activity in the U.S. in the early 1900s was the Sibelius Club of Monessen, Pennsylvania. In cooperation with the HN White Music Company of nearby Cleveland, the Sibelius Club published many band pieces, some of which are included in this series. Several compositions are also from unpublished manuscripts.
The Finnish Brass in America Series is scored primarily for original Finnish brass septet: E flat Soprano Cornet, two B flat Cornets, an E flat Alto Horn, a B flat Tenor Horn, and Euphonium, and a Tuba. However, these sets also include alternate parts for flute (piccolo), clarinet, French horn, and tenor saxophone. The original seven parts can also be played by other instrumentalists who read those clefs and transpositions (tenor saxophone, bassoon, bass clarinet, etc.) While many of us in Ameriikan poijat have contributed arrangements to this series, it has been primarily of work of Tracey Gibbens, with editing by Russell Pesola and Paul Niemisto.
The Finnish brass septet (torviseitsikko in Finnish) has its roots in the late 19th century. The Finns that played in the army bands took their music and instruments home with them and formed brass bands in their home communities. These musicians had been trained in the army to play Russian, German, and authentic Finnish music. Many of them emigrated to America.
As the music developed in Finland over the years, the tango, cabaret music, and jazz added their influence to the Finnish septet arrangements. Traveling bands and recordings from other nations influenced the music of the brass septet--and also contributed to its eventual downfall. The septet tried to adapt to these new styles, but soon fell from popularity as jazz and the music of the accordion became more fashionable. By the end of the 1930's, the age of the torviseitsikko was over, and Finland was caught up in the jazz movement. In the 1990's, a revival of the brass septet began to place in Finland due to renewed interest in their own heritage during centennial years.
Ameriikan Poijat (Boys of America) is an ensemble of American brass players with an interest in Finnish heritage, playing traditional Finnish brass septet repertoire to American audiences and on international tours. Ameriikan Poijat had the honor to participate in events celebrating Finland's 75th Anniversary of independence in 1992 and has made four tours to Finland. Poijat is pleased to be representing North American Finns, reviving old traditions, and contributing to the appreciation Finnish music.
