Search results for: 'Quartet for brass'

Quartet No. 1 by James Meador was written in the summer of 2004 and premiered in August of that same year by the UL Lafayette Trombone Quartet at a benefit concert for the Acadiana Symphony Orchestra in Lafayette, Louisiana. The piece consists of two movements, each designed to highlight the choral characteristics of the trombone quartet (or trombone choir), but with a strong emphasis on dissonance.

Novus Sonorous opens with a rhythmic and dissonant introduction before leading into a three way struggle for the melody. A singing line eventually emerges and leads us into a powerful chordal motive, then backs down to another closely scored and dissonant chorale. The opening statement returns briefly and carries us back to the mighty chordal section before a mournful and ponderous conclusion.

Ludus Tonalis begins with an intense and again closely scored, very dissonant chorale figure, then immediately jumps into a playful mixed meter section bouncing around from 7/8 to 2/4 to 6/8. This section leads into a sort of rhythmic fanfare where the melody is derived from entrances of the chord tones, then dies down into somewhat of a dark portrayal of the main theme in a choral style. Once again we encounter the playful section before closing out the piece on a forceful and energetic drive to the end.

- James Meador

EETT

Crawford Gates’ Tuba Quartet, Op. 59 was composed in 1981 for Prof. Mitchell Gershenfeld, former professor of tuba and euphonium at the University of Wisconsin – Madison. This nearly forgotten work has been brought back to life with the help of the Eufonix Quartet and Potenza Music working closely with Dr. Gates. This piece works great for either quartet or full tuba/euphonium ensemble.

TUBA DUET (C, B-flat and E-flat parts provided)

for Matthew and Jacob Waymon

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

Compositionally, this work is best aligned with the string quartets of Mozart and Haydn – two of Beethoven’s largest influences; however, a seasoned listener can feel his strain against the established norms of the classical period. The opening motive of the first movement is a six-note turn that was originally heard over 130 times throughout the movement. The composer later scaled this number down to 109 in subsequent revisions. It follows closely to a sonata allegro form and, with the exception of his typical dramatic dynamic changes, follows the patterns established by his predecessors.

– Joshua Mietz (Arranger)

3 Clarinets and Bass Clarinet

One of the big reasons why I started working on this piece was to add another large-scale quartet into the rather limited repertoire. The main programmatic element was inspired by a work of fiction centering on a character’s travels from Ireland to America. The biggest focus of the work is leaving a place of comfort, arriving at a place of chaos, then finding comfort in that chaos. I used specific places as reference points to make the narrative feel more ‘real’ to myself and hopefully an audience as well.

1. On Raghtin More: Raghtin More is a mountain in northern Ireland which represents everything that the central figure of the story desires. Simplicity, tranquility, silence. However, in this instance, this perfect setting is merely a dream, which ends up being clouded by images of past inner-turmoil and negative experiences. The movement ends with the main character waking up, realizing he is on a flight to America, where he fears he won’t be able to experience the silence he once felt.

2. In New Jersey: the character finds himself thrust into a startling and completely foreign situation. The sounds of angry car horns and the chaos of rushing people are all new to him, and he has major issues trying to adjust. Coupled with frequent reminders of past memories, the character falls into a downward spiral that can only be terminated through the love and guidance of others.

3. And One With Me: In this movement, the character finds peace within himself, even though he is still confronted by chaos and negative thoughts. This movement is also reminiscent of a love song: either in the context of romantic love, as well as spiritual love and love of the self.

For Tuba Quartet (EETT), "Quartetto Di Notte" is a one-movement work in the traditional sonata-allegro form with a slow introduction. I originally planned to make this a multi-movement work, but felt the first movement could stand very nicely on its own. The first three notes of the intro forms the motif on which the entire work is based. With the leading tone tendencies of the second note of the motif, this introduction, styled like a fugue, modulates constantly. Ever tonal in its construction, it travels through many keys, starting in C Minor, and at its most extreme point, B Major, before ending up in G Minor. A held G7 chord brings us to the exposition, which also begins in C Minor. The exposition begins with more development of the initial three-note motif, along with two new motifs, two eighth notes and a quarter note; and a quarter, four eights and another quarter note. These permeate the first theme until we change to the key of G Major where a new, more lyrical theme appears. This is played at first, with a simple bass line, but on its repeat, is accompanied by two countermelodies. The development section offers more motivic development, and then at letter G, we have a contrapuntal segment where all of the rhythmic themes are woven together. This brings us to a chorale-like portion where the second theme is developed more fully. The recap ensues, but now we are in the key of Eb Minor. The second theme reappears in the key of Bb Major and a new countermelody to this makes its appearance. After a short pause, we enter into the rousing coda where the piece finishes off in the sprightly key of Eb Major utilizing all of the pieces premier motifs.

This set of quartets is a continuation of a previous set entitled: Ten Easy Quartets for 2 Euphoniums and 2 Tubas (CM5195). As in the previous volume, the intention is to have selections which are varied in style, while avoiding extreme ranges and key signatures, as well as avoiding complex or difficult rhythms. As in the first group, these give an opportunity for those inexperienced with small ensemble playing to develop these skills and feel a sense of accomplishment. To further identify these quartets with the first set, the numbers of the individual pieces begin with eleven and continue. Players and audiences will enjoy these selections. Learn More

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1, was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly.” Despite his perfectionism, only minor changes were made after the premier performance. The Adagio is impassioned, tragic, and dark. Karl Amenda, Beethoven’s violinist friend, revealed that the composer contemplated the tomb scene from Shakespeare’s Romeo and Juliet when composing this operatic second movement. Toward the end of the movement, the rhythms of the solo voices become faster and, as such, become more severe. The Scherzo third movement closely resembles the playful quality found in Haydn’s quartets and is most closely aligned with the harmonic structures of the first movement.

A clarinetist approaching this work faces many of the same challenges of his string-playing colleagues including: interpretation, note length, tempi, dynamics, and all other musical decisions. To further complicate matters, clarinetists must also discuss and agree upon breathing strategies and alternative fingerings. While this work is orchestrated for three B-flat soprano clarinets and a B-flat bass clarinet with a low C extension, it may be performed by a larger clarinet-choir as well. Throughout the original work, there are places where a string player performs double or even triple stops and those notes have been included in this transcription for two reasons: the first is to provide options to the players performing in a quartet to add a slight variance in color, the second is to further enhance the harmony when the work is performed by more than four clarinetists. It is remarkable to observe the subtle variances in flexibility and tone when performed by a four-person ensemble as opposed to a larger group. This edition does not vary from the original in key or, to the extent possible, range with the exception of a few octaves that have been transposed to better promote facility on the clarinet.

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

The opening of this Allegro finale pays homage to Mozart with its wild swirls in the solo voices followed by a response of the whole ensemble. As the movement develops, the ensemble plays what we later discover as Beethoven’s true voice. Like the first movement, the last movement affords the ensemble dramatic dynamic changes and driving motor devices. The virtuosity required of the players makes this the most challenging of any of the movements in the quartet.

– Joshua Mietz (Arranger)

The inspiration for the quartet began with a short work named “The Seventh Degree” which was inspired by my daughter, Cadence, and her ability to question everything to its fullest extent. After the work received its premiere, I decided to create two more works that revolved around the other members of my family to complete this quartet. Movement 1, To Be Mischievous, was written about my young son, Andrew, who describes the title perfectly in his actions. Movement 2, To Be Loved, is a song that was written to my wife, Stephanie, to thank her for everything that she has meant to our family. The Seventh Degree was adapted into Movement 3, To Be Questioned, and still describes my daughter and her desire to know more and be curious about everything. Learn More

From the composer:

This three movement work is inspired by the brass music of Giovanni Gabrieli, the 16th Century Italian composer at St. Marks in Venice. There is often an independence of the four voices, with an emphasis on clean, strong lines. Harmonically the piece sometimes hovers ambiguously, as between the Major and the Minor modes, and with frequently shifting centers of tonality.

Rotunda was premiered in Eureka, California, by members of the Chamber Players of the Redwoods, May 15th, 2016.

(Grade III-IV)