Concerto for tuba (arr for tuba and piano)

The concerto contains elements from a variety of musical styles. In the first movement, for example, the orchestral instruments get to imitate the ostinatos often played on an amadinda, an African xylophone. These ostinatos create the impression that the downbeat is absent, so that the typical 1-2-3-4 pattern is replaced by a special sense of flow. Later, and above this, long and descending lines emerge in the strings. The last part of the first movement is carried forward by strong, romantic melodic lines. The second movement starts with a slow, distinct C minor melody from the tuba, accompanied by a lonely glockenspiel. The slow double bass glissandi creates a slightly unsettling feeling. After the cadenza, the theme evolves into C major. The third movement is inspired by up-tempo jazz. After the initial tutti forte, a restless walking bass line together with brushes on the snare drum creates a foundation for a weird eight-bar melody in the tuba. This melody is passed between instrument sections and varied through a fugue. An accumulation that almost resembles heavy metal music leads into a short recapitulation of the main themes from the first and second movements. The concerto ends as it started, with a relentless, strong rhythmic beat.

Adapted for tuba and piano by Barbara York.