What They Say...
"I have known Mark for years and his arrangements are well crafted and the scores are clean and legible, not to mention they sound great."
-Anthony O'Toole,
Composer/Arranger/Orchestrator
“Mr. Dundore is an exemplary musician who has experience in many styles and genres. He is extremely reliable, consistent, and easy to work with. I can highly recommend him as an employee or contracted musician/composer.”
-Christian Dickinson,
Professor; Trombone, Music Theory - Indiana University of Pennsylvania
"Mark Dundore is an excellent singer, composer, and over-all musician. He has a wonderful tenor voice that will be sorely missed in The Harrisburg Singers. I highly recommend Mark as a performer and/or composer."
- Susan Solomon Beckley,
Adjunct Professor of Voice - Bucknell University
Artistic Director - The Harrisburg Singers
"Mark's incredible perseverance in the study and innovation of music makes him an asset to the field of composition and arranging. His works contain a vitality and relevance that is all his own."
- Angelica Dunsavage,
Conductor/Educator
-Anthony O'Toole,
Composer/Arranger/Orchestrator
“Mr. Dundore is an exemplary musician who has experience in many styles and genres. He is extremely reliable, consistent, and easy to work with. I can highly recommend him as an employee or contracted musician/composer.”
-Christian Dickinson,
Professor; Trombone, Music Theory - Indiana University of Pennsylvania
"Mark Dundore is an excellent singer, composer, and over-all musician. He has a wonderful tenor voice that will be sorely missed in The Harrisburg Singers. I highly recommend Mark as a performer and/or composer."
- Susan Solomon Beckley,
Adjunct Professor of Voice - Bucknell University
Artistic Director - The Harrisburg Singers
"Mark's incredible perseverance in the study and innovation of music makes him an asset to the field of composition and arranging. His works contain a vitality and relevance that is all his own."
- Angelica Dunsavage,
Conductor/Educator
REVIEW OF Farandole from L’Arlesienne Suite No. 2 by Georges Bizet.
Arranged for tuba quartet (EETT) by Mark Dundore. Cimarron Music Press.
"Georges Bizet (1838-1875) was a French opera composer. Arranged and published four years after Bizet’s death, the second suite utilizes the composer’s original themes and orchestration. The fourth movement, Farandole, is a dance similar to the gavotte or jig. Typically with a moderate to quick tempo, a farandole usually features the flute and drum. After an introduction, the original orchestral version uses this flute-drum combination. Dundore’s arrangement upholds the integrity of the original version and its original keys of D minor and D major. The euphoniums share most of the primary melodic material while the tubas provide a motor-like background. Dundore places the technically challenging woodwind and string writing in the first euphonium part. There is one transitional section in F-sharp minor that could be difficult for a section to play. This arrangement incorporates many articulation markings and shows true attention to detail. Ranges of the individual parts include Euphonium 1 (A—b1), Euphonium 2 (A—g1), Tuba 1 (AA—b), and Tuba 2 (FF—g). Conservative in range, endurance should be less of a factor. Perhaps the greatest obstacle in performing this work is that it requires a light and nimble approach from all players. The difficulty is Level III and is appropriate for collegiate tuba-euphonium ensembles."
- Dr. Chris Dickey,
Miraphone Performing Artist
Clinical Assistant Professor of Music - Washington State University
Arranged for tuba quartet (EETT) by Mark Dundore. Cimarron Music Press.
"Georges Bizet (1838-1875) was a French opera composer. Arranged and published four years after Bizet’s death, the second suite utilizes the composer’s original themes and orchestration. The fourth movement, Farandole, is a dance similar to the gavotte or jig. Typically with a moderate to quick tempo, a farandole usually features the flute and drum. After an introduction, the original orchestral version uses this flute-drum combination. Dundore’s arrangement upholds the integrity of the original version and its original keys of D minor and D major. The euphoniums share most of the primary melodic material while the tubas provide a motor-like background. Dundore places the technically challenging woodwind and string writing in the first euphonium part. There is one transitional section in F-sharp minor that could be difficult for a section to play. This arrangement incorporates many articulation markings and shows true attention to detail. Ranges of the individual parts include Euphonium 1 (A—b1), Euphonium 2 (A—g1), Tuba 1 (AA—b), and Tuba 2 (FF—g). Conservative in range, endurance should be less of a factor. Perhaps the greatest obstacle in performing this work is that it requires a light and nimble approach from all players. The difficulty is Level III and is appropriate for collegiate tuba-euphonium ensembles."
- Dr. Chris Dickey,
Miraphone Performing Artist
Clinical Assistant Professor of Music - Washington State University