Search results for: 'tuba-euphonium quartet'

Solo Euphonium with Tuba Quartet (EETT) and Drums

Dracula for solo euphonium, tuba-euphonium quartet and drums was
commissioned by Benedict Kirby and the University of Montana for the 2014 Northern
Rockies Tuba Euphonium Festival. Demondrae Thurman was the guest artist of the
festival. So Dr. Kirby asked me to write a five-minute piece for the end of Demondrae’s
recital. I started with the idea that this would be a sort of finale or encore type of piece. I
wanted it to be a high energy closer. Early on, I envisioned something like The Edgar
Winter Group’s 1972 rock classic, Frankenstein. I did not do any sort of technical
analysis of Frankenstein, though, nor did I quote Frankenstein in any way. Rather, I tried
to capture the general character of Frankenstein. So this piece is like Frankenstein, but it
is not Frankenstein. That’s why it is DRACULA!

Dracula is in my usual Third-Stream style. Jazz, rock, hip-hop and many kinds
of classical styles come together in Dracula, but this particular composition draws most
heavily on the style of rock music. It contains some improvisation, but the improvisation
is largely limited to the drum part. The original composition did not include any
improvisation in the solo euphonium part, but Demondrae suggested that I add one. So I
added an optional improvised solo section for this edition. I utilized a few new techniques
in this piece, but the most notable new technique is an indication that calls for the
euphonium soloist to hype the audience. I envision the euphonium soloist playing the
role of the lead singer or front man for a heavy metal band of brass and drums. As the
front man, the solo euphonium soloist’s role involves more than just playing music. It
also involves making sure that everyone has a good time. Demondrae lit up the stage up
with his awesome dance moves at the premiere! I encourage other performers to wear
vampire costumes or rock star outfits and have fun with the theatrical aspect of this piece.

Curtis Peacock 

Visions for euphonium and piano was written in the fall of 2014. It was commissioned by Israeli euphoniumist, Ifat Meir in memory of her mother, Sara Shlaifstein Meir.  Ifat told me that her mother went blind before she passed away and had only fleeting memories of vision.  At times, her memories of vision were very vivid and at other times, they were faint.  So this piece was written with that idea of having varying degrees of memory of vision, but not actual vision. 

Visions is a one-movement fantasy.  Loosely, it has a kind of sonata form.  After a very short introduction, two themes are presented.  The first theme is conversational between the piano and euphonium.  The second, more expressive theme marked con moto is played together.  After the initial two themes, a kind of development section takes the first theme through many far-reaching keys.  Then, the initial two themes return, one half-step higher than the original statement.  Finally, a lengthy coda which is based on the brief introduction and second theme, serves as a kind of secondary development section before bringing the piece to a close. 

Originally for vocalists, this arrangement for Brass Quintet works very well. Perfect for any church service.

Arranged for Brass Quintet, this is a sure to be a hot for a recital (not Bach).