Brass - Contemporary - Rossini, Gioacchino - Russell, Henry - McMillan, Benjamin - Euphonium - 5
Genre: Classical, Contemporary
ITEC Day 2 2016 Recital Pieces
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CM1347 Suite for Euphonium, and Tuba - Barbara York (Ken Kroesche and Michael Taylor)
Euph., Tuba and Piano
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CM1651 Sizzl’ - Robert Denham (Aubrey Foard)
Tuba and Piano
EU405 St. James Infirmary - Primrose/Forbes (U of N IA)
CM2736 Convent Window - Joanna Ross Hersey (Joanna Ross Hersey)
EU402 Funeral March of a Marionette - Gounod/Forbes (U of AL)
TEP10878 Nocturno, Op. 7 - Strauss/Fischer (Jeremy McBride)
Tuba and Piano
CM2140 Tubaphonium Overture - Zach Collins (Murray State)
CM1477 Gravity Dances - Anthony Zilincik (Murray State)
CM1707 Runnin’ with Bydlo - Greg Danner (Murray State)
TEP10935 Declarations - David Uber (U of TN)
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Instrumentation: Solo and Electronics Instruments: Euphonium
Benoit Mandelbrot was a mathematician known for his ideas about "the art of roughness," or chaos in nature. He is more widely known today for his fractal images, which have gone on to inspire many amazing works of math-art. I've personally been drawn to fractal imagery for a number of years, and as I listened to this nameless piece during the writing process, my inner-eye kept being drawn back to shifting, flowing fractals. Mandelbrot’s Dream is written in three continuous sections:
1. Catch You On The Flip Side
2. And Goodbye
3. Fractus Metallum
The first section is a chilled-out stroll through an urban, fractal cityscape, displaying the euphonium’s agility. The second section uses elements of jazz and rock in a slightly cinematic style, inspired by the works of composer Marty O’Donnell. In the final section (translating from Latin to ‘Fractal Metal’) features rhythmic and melodic elements of metal. In keeping with the celebration of Mandelbrot's work in chaos, the piece climaxes into aural chaos, the bass trailing off like the final spiraling wisp of some kaleidoscopic dream…
Commissioned By X Gail Robertson, Jesse Orth, Preston Light, Irving Ray, Anthony Achille, AJ Miller, James Green, Ian Lester, Pat Stuckemeyer, Micah Everett, Adam Frey, David Salomon Galan Jr., Erik Lundquist, Will Hess, Bo Atlas, Richard Concepcion, Bente Illevold, Jason Gilliam, Zach Eberle, Amanda Cardwell, Seth Fletcher, Chasse Duplantis, Fernando Zuniga, Phil Beatty, Aaron Tindall, Danny Helseth, Bryan Cole, Chris Buckley.
Instrumentation: Duet Instruments: Euphonium, Tuba
“You can’t fight the desert...you have to ride with it.” – Louis L’Amour
I’ve always been fascinated by deserts; the stark, almost alien landscapes, the extremely diverse and efficient ecosystems, the mystic, spiritual effect of being in the vast expanses of silent nature. Recently I travelled from the Pacific Northwest into the deserts of Nevada and Utah. While neither are the typical Hollywood deserts of endless sand dunes, they hold their own magic. Mirages are a part of that magic. I watched them rise and fall as I drove by, imagination blending with the illusions to create hidden cities. As with many of my works, I didn’t start out with a concrete concept, but as the scales and modes started to come through, desert imagery continually flowed through my mind’s eye.
The piece consists of three sections, each fading and evaporating like mirages. Stylistically there are heavy elements of rock and jazz, as well as the percussion flavors of the Middle East, India, and Central America.
I’d also like to thank everyone who contributed to the creation of this piece. You all help make it possible for composers to keep creating new music!
Frank Meredith, Pat Stuckemeyer, Dan Davis, David Saltzman, Jesse Orth, Fernando Zuniga, SFA ITEA Chapter, Northern Lights DUO, Gail Robertson, Justin Gorodetzky, Richard Perry, William Hess, Scott Sutherland, Will GrayBeach, Joshua Hauser, Adam Frey, Erik Lundquist, Seth FletcherLearn More