Mule. Some of the lore around this piece says that it was written very quickly after Bozza was questioned about how much he had accomplished in the first few months in Rome. Nuages for saxophone quartet is indicative of the Impressionistic side of Bozza. This scherzo focuses on the image of clouds and showcases masterful technique on the saxophone. Written in 1946, this piece comes from his time as the director of the Paris Opéra Comique and had the best instrumentalists available to him. In his horn solo, En forêt, the Impressionistic technique of planing can be seen in the piano part combined with a solo part that is masterfully written for the instrument. Bozza also reminds us of the horn's roots as hunting horns with frequent calls and responses. This piece is one of the mainstays of the solo horn repertoire as well as one of the most difficult pieces overall. New Orleans for bass trombone and piano is a solo work written in 1962 for bass saxhorn. Since that instrument has fallen to obscurity, this solo is now frequently played on bass trombone or tuba. Influenced heavily by the jazz culture of New Orleans, this piece explores many styles that might be heard walking around the city such as ragtime and dixieland. This piece is a major element of the bass trombone solo repertoire and is often called upon for auditions. Bozza's Concertino for Tuba and Orchestra represents a significant addition to the major solo repertoire for the Tuba. Reception Though he spent much of his life in the central and southern large population centers of Paris and Valenciennes, many of Bozza's stage works were premiered in Lille, located in northeastern France. His work transcended the metropolitan mentality and he felt the music would be well served in this more pastoral area. His large works—such as symphonies, concertos, and operas—are largely unknown outside of central Europe, but his solo and chamber works are fixtures in music schools throughout the world. Bozza's music has largely been a critical and popular success. His style was normally highly accessible to listeners, students, and academics; and he composed such a mass of solo and chamber music that his name is commonly heard in studios. Norman Heim, professor of clarinet at the University of Maryland, may have encapsulated the success of Bozza's work with this: "He is a performer's composer, in that the