Euphonium and Piano

with Piano

Sonata No. 1 is a challenging, extended work for euphonium and piano. The first movement is a joyous and fast-paced study of the technical abilities of the euphonium. It is largely based off syncopations involving eighth and sixteenth notes, varied throughout the movement through sequencing, slight changes within the main motive, and changes in harmonic structure.

The second movement draws inspiration from the feeling of utter hopelessness that comes from losing a loved one. I tried to capture this bleakness with an almost drone-like euphonium and piano part that for the most part stays stagnant, but slowly builds up to a climax of despair.

The last movement is a tour-de-force that cycles through two separate themes before coming to a sudden tranquil section. This section is set by an ethereal piano progression soon joined by a flowing melody in the euphonium. A euphonium cadenza leads back into the original theme to close the piece.

with Piano

“Variations on a theme by Paganini”

with Piano 

Serenade, Op.21, for Euphonium and Orchestra was composed in January 1979 as a work commissioned by Henry Charles Smith for the Minnesota Orchestra.   Smith, longtime principal trombonist with the Philadelphia Orchestra before assuming the resident conductor/trombone post with the Minnesota Orchestra, was the soloist on euphonium in the premiere subscription concert performances with the orchestra later that year.  

The Serenade is “an attractive, accessible but by no means insubstantial work” (Michael Anthony review, Minneapolis Star Tribune) for the instrument and orchestra.  The Serenade runs about 15 minutes, is cast in four sections, and there is much of a feeling of a serenade about it, especially in the first two sections.  Even the scherzo-like third section, after several pages of brassy, rhythmically vibrant activity, concludes with a series of slow, upward moving, yearning phrases in the solo instrument.  The work is tonal and in the orchestral version, there is a considerable amount of solo work from various instruments of the orchestra – like the dialogue between the euphonium and the oboe in the “Nocturne” second section.   Forsberg always keeps the solo instrument busy, especially in the festive finale.  But his concern seems to be less with virtuosic display  - or with exploring new techniques for the instrument – than with exploiting the instrument’s lyrical potential.  Although written especially for the euphonium, the work might be performed as well with the tenor trombone.  After editing and a few minor revisions from the 1979 manuscript score, the piece will now be available from Cimarron Music Press in piano, orchestra and wind ensemble accompaniment versions.

CWF, April 28, 2019

with Piano

In 2014, Dan LUO and I did national service at Ministry of National Defense Military Band in Taiwan. He started to compose this piece and before this piece there wasn’t any Euphonium solo piece written by Taiwanese.

He put his great ideas in, a Taiwanese folk song which is very lyrical, also some fantastic rhythmical parts. It’s also my honour to give world premiere of this piece in 2016 in Birmingham, UK where I perform my final recital of Master degree.

I highly recommend this piece to everyone, enjoy!

2nd May 2019 Tzu-Hsiang Lin

with Piano

This Concerto for Euphonium and Wind Band was composed for one of my former teachers and fellow euphonist Dr. Gail Robertson. For this work I based the material around pitches corresponding to each letter of her first name: G = G natural; A = A natural; I = Ionian, or the current key’s tonic, C natural; L = Lydian, or the fourth degree of the current key, F natural. Each movement is derived in some way from this figure.

The work begins with an energetic fanfare and a taste of the second theme. The euphonium enters with similar pomp and dazzling virtuosity that settles into more heroic statements. Next, the euphonium soars over thick ensemble textures in a tender reflection. Finally, the soloist charges forth in a ferocious display of dexterity and power.

The Concerto premiered April 21^st, 2016 by Dr. Gail Robertson (euphonium) and the Little Rock Wind Symphony - Israel Getzov, conductor.