Search results for: 'Brass quartet and organ'
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Organica
Composer: Batterham, Andrew
Instrumentation: Trio Instruments: Guitar, Trombone, Trumpet
Genre: ContemporaryTrumpet, Trombone and Guitar
From the composer:
The term “organic” usually refers to something grown from a living organism. In this piece, all harmonic and melodic material grows from a single note. The opening passage expands the note into an organic scale unique to the piece, which is then used to underpin the rest of the work. Rhythmically the work grows from beginning to end. The slow, single and duple pulse of the opening passage is expanded to triple time at bar 22, and further to quadruple time from bar 133 onwards. From bar 186 both brass players improvise freely on material present earlier in the piece, almost in the manner of a jazz jam session.
Organica was commissioned by Ensemble Three through the University of Melbourne in 2013, for premiere and recording by Don Immel, Joel Brennan and Ken Murray.
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Organ Fugue in G Minor (Little Fugue)
Composer: Bach, Johan Sebastian Arranger: Renshaw, Gretchen
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: BaroqueEETT
Gretchen Renshaw arranged J.S. Bach’s “Little” Fugue in Gminor, BWV 578 for Tuba-Euphonium Quartet. This well-known fugue was originally written for Organ and has been arranged many times for other instrumentations. Renshaw writes, “This arrangement for tuba-euphonium quartet is sure to provide a challenging, yet rewarding experience. Performers must strive for clarity of the subject whenever it is present, a task which becomes increasingly difficult as more voices are added to the texture.” Performers must add their own dynamic and expressive markings, as performers of the eighteenth century would have done.
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Pomp and Circumstance No. 1
Composer: Elgar, Edward Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: Classical, MarchElgar’s most hated piece – at least the piece that he came to hate – was the trio from this march, known by its more familiar title, “Land of Hope and Glory”. Of course, if Elgar had heard it performed by a brass quintet, he may well have started enjoying it again. Never mind, this piece is an audience favorite, and will really get the trumpets working together.
– Andrew Heading
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Collection of Works for Euphonium and Piano, A
Composer: Mantia, Simone Arranger: Renshaw and Mead
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Classical, Contemporary, Theme and Variationwith Piano
Simone Mantia is one of the most important euphonium virtuosi in the history of the instrument. His contributions to the euphonium repertoire are significant. A composer and arranger, Mantia recognized the need to expand the euphonium repertoire and was active in bringing the euphonium from the back of the band to the front of the stage as a solo instrument.
This solo collection presents modern editions of some of the most well-known pieces in Mantia’s repertoire. These editions are based on the materials found in the Simone Mantia Collection, a resource archived in 2009 by Gretchen Renshaw which contains many of Mantia’s musical possessions. Through collaboration with Steven Mead, Renshaw has aimed to correct the errors in the original versions of these pieces and provide editorial suggestions that will aid in exciting performances of these works.
The titles included in this collection are: Believe Me, If All Those Endearing Young Charms, Valse Caprice “Priscilla”, Rio Rita, The Southerner, Solvejg’s Song and Fantasie Originale.
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String Quartet No. 1, Mvts. 2 and 3
Composer: Beethoven, Ludvig van Arranger: Mietz, Joshua
Instrumentation: Quartet Instruments: Bass Clarinet, Clarinet
Genre: Romantic3 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.
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Silver and Brass
Composer: Stevens, John
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEETT
From the composer:
Silver and Brass was composed by John Stevens in December, 2015 and January 2016 for the distinguished British tuba/euphonium quartet “Tubalate” in celebration of their 25th anniversary. The title pays homage to both the anniversary (silver) and the nature of the group’s instruments (brass). The five short vignettes are meant to be played separately, as an opening fanfare and subsequent interludes between more substantial works on a given program. The inspirations for this format are the Promenades in Mussorgsky’s “Pictures at an Exhibition”, with each interlude transporting the listener from one larger work to another. However, the piece may also be performed as a unified, five-movement work, with the first and fifth movements acting as a Prologue and Epilogue respectively.
The interludes are intentionally contrasting in tempo and style and can be performed in whatever order makes the most musical sense given the nature of the more substantial works on a program. If the movements are performed as a single work, they should be played in the order in which they appear in the score. The primary unifying aspect of the piece is the reliance on meters in five. Each movement begins in either 5/8 or 5/4, and the entire work is dominated by those meters. This is simply another way to pay homage to the Promenades of Mussorgsky’s great work.
I have been fortunate to have a long and wonderful relationship, of both musical collaboration and personal friendship with the members of Tubalate. Congratulations to them on the milestone of having been one of the world’s leading brass chamber ensembles for a quarter of a century.
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Quartetto Variato on Rigoletto
Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
Genre: Romanticwith Piano
Quartetto variato is Giuseppe Cappelli’s operatic fantasy for E-flat clarinet and piano based on Verdi’s (1813-1901) quartet from Act III of Rigoletto. Adapted from Victor Hugo’s (1802-1885) Le Roi S’amuse, the three-act lyric opera was set to a libretto by Franceso Maria Piave (1810-1876). Rigoletto’s first performance took place on March 11, 1851, at the Teatro La Fenice in Venice.
The opera, set in 16th-century Mantua, Italy, is the story of the court clown, Rigoletto, who is in service to the Duke of Mantua, a known womanizer. Act I opens with a party at the home of the Duke, who makes flirtatious advances towards the daughter of his guest, Count Monterone. Rigoletto’s mocking infuriates the Count, who swears a curse will befall him. This makes Rigoletto fearful, because unbeknownst to anyone, he has a daughter, Gilda. When Rigoletto finds out that his daughter has succumbed to the passes of the Duke, he hires Sparafucile, a tavern owner, to kill him. The famous quartet from which Cappelli wrote this variation occurs in Act III, where Verdi set the stage at Sparafucile’s tavern. Inside, the Duke, who has been lured there by Sparafucile’s sister, Maddalena, swears his love for her. The Duke is unaware that Rigoletto and Gilda are watching from outside. When Rigoletto feels his daughter has seen enough, he takes her home and makes her dress as a boy to safeguard her.
Even though Sparafucile has received half of Rigoletto’s money to kill the Duke, Maddalena has become fascinated with the Duke and pleads for his life. They strike a deal that the first man to enter the tavern will be Sparafucile’s victim. Drawn to the place where she believes her lover is, Gilda goes to the tavern and hears the siblings plotting. Determined to save the Duke, Gilda sacrifices herself and enters the tavern. There is a cry and then silence. Sparafucile puts Gilda’s body in a bag and takes it to Rigoletto to receive the rest of his payment. As Rigoletto prepares to toss the bag in the river, he hears the Duke singing La donna è mobile and realizes he has been duped. He opens the bag to see the body of his dying daughter. Count Monterone’s curse has been fulfilled.
Quartetto variato begins with music from the orchestral tutti of Act III, Scene 1, La donna è mobile, the opera?s most famous aria, sung by the Duke. At measure 11, the E-flat clarinet presents the Duke’s aria, Bella figlia dell’amor, which, in the opera, occurs at the Andante, half way through No. 12, marked Quartetto. Cappelli skillfully assigns the vocal lines of Verdi’s quartet to the E-flat clarinet and inner voices of the piano. For instance, in measures 28-34, the clarinet represents Gilda’s voice, while the piano embodies Magdalene’s role in measures 27-31. Rigoletto’s voice appears in the piano at measure 33, with Magdalene appearing again at measure 34. All the voices are together at measure 35, with the role of the Duke (played by the clarinet) taking over in measure 36. In measure 44, the clarinet and piano join forces to perform the famous quartet. A return to the Duke’s La donna è mobile, at the Allegretto ends the main part of the work. Cappelli borrows music of the violin solo from Verdi’s introduction to No. 12 before concluding the piece with original music at the Allegretto comodo (m. 96).
Tempo markings are taken from the original 1914 score (Ricordi, Milan), now published by Dover, and are for reference only. Cappelli’s composition is void of tempo indications.
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Old Comrades
Composer: Teike, Carl Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: MarchGerman musician Carl Teike was a military musician, playing amongst other instruments, the French Horn. He composed Alte Kameraden (Old Comrades) in 1889, and was less than pleased with his bandmaster’s reception to it – he suggested that Teike throw it on the fire. He promptly left the military and a cluey publisher picked up the march, which has become extremely popular – the most popular of all his over one hundred marches.
This brass quintet arrangement is a delightful addition to any program, and in an extra tribute to the composer, the French horn is featured in the trio.
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Lullaby
Composer: Brahms, Johannes Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ClassicalThis arrangement of Brahms’ famous lullaby features the first trumpet and the trombone. It begins fairly straight-forwardly, but morphs into a very colourful middle section featuring some unusual but pleasant harmony and rhythms, before finishing in a more traditional manner. It should not send your audience to sleep, but have them awestruck at the wonderful sounds that brass instruments can make. Learn MoreFrom $14.95
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Conquered Quest, The
Composer: Lee, Wendy Wan-Ki Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ContemporaryI have always been inspired by stories of handicapped athletes who, despite their physical limitations, are able to overcome many challenges and attain their goals. Starting from a musical portrayal of five athletes in a competition, to the kind of emotional turmoil that they experience along the way, this brass quintet will hopefully serve as a reminder to us that no matter how difficult things might appear to be in the quest of our lives, we would be able to conquer all barriers in the end as long as we are determined to do so. Learn MoreFrom $18.95
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La Rejouissance
Composer: Händel, Georg Friedrich Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: BaroqueHandel’s La Rejouissance is the highlight of his fabulous Musick for the Royal Fireworks, composed for wind band to mark the end of the War of the Austrian Succession in 1749. It is quite a short piece, suitable for any celebratory occasions.
This brass quintet arrangement features the horn particularly, as well as a challenging trombone part. The two trumpets are for piccolo and D trumpet, although a C part for the second trumpet is included should a D trumpet be unavailable.
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Shepherd's Farewell
Composer: Berlioz, Hector Arranger: Heading, Andrew
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba, Flugelhorn
Genre: ClassicalFrom the arranger:
Shepherd’s Farewell is a delightful Christmas Carol composed by Hector Berlioz, extracted from his “The Birth of Christ”. This transcription for brass quintet requires two flugelhorns instead of trumpets to create a sonorous and peaceful blend.
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10 Easy Tuba Quartets
Composer: Paff, John
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEETTThis collection of quartets is designed for players who may have had limited experience with small ensemble performance. The ranges are moderate and the rhythms are not complex. Each of the selections offer ensemble and solo or featured passages for all players. Styles, tempos and meters vary from one piece to another. Of course, more advanced players can certainly play and enjoy this set, but the less experienced can have some success with pieces that allow them to concentrate on the musical and ensemble aspects, rather than being slowed by technical elements. These are also designed for the listener’s enjoyment. Enjoy the quartets! Learn More
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Quartetto in Sib maggiore
Composer: Pugni, Cesare Arranger: Fraioli, Antonio
Instrumentation: Solo and String Trio Instruments: Cello, Clarinet, Viola, Violin
Genre: RomanticClarinet with String Trio (Violin, Viola and Cello)
Antonio Fraioli writes, “Quartetto in Sib maggiore is one of three quartets dedicated by Cesare Pugni (1802-1870) to Vincenzo Comoli. The composition, in four movements, is brilliant and gives the clarinet many places to showcase its agility.”
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Brass Turbulences
Composer: Nogueroles, Eduardo
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ContemporaryComposer Eduardo Nogueroles writes, “Brass Turbulences is a chamber piece for traditional brass quintet. The title of the works refers to the experience of air travel that brass ensembles make on tour. The nerves, the tiredness and the turbulence in the air inspired the piece, so that these sensations are recreated with the sounds of a group of brass instruments.” Learn MoreFrom $19.95
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24 Vocalises
Composer: Bordogni, Marco Arranger: Aquilanti and Fossi
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Romanticwith Piano or downloadable backing tracks
Giulio Marco Bordogni (1789-1856), usually called Marco Bordogni, was an Italian operatic tenor and singing teacher of great popularity and success, whose mature career was based in Paris. Bordogni was born in Gazzaniga, near Bergamo, Italy. He was a product of the exceptional Bergamo tenor school which originated with Giacomo David and Gaetano Crivelli, and in which can also be counted, in addition to David’s two best pupils, his son Giovanni and Andrea Nozzari, the excellent Domenico Donzelli and Giovanni Battista Rubini. Bordogni made his operatic debut at La Scala, Milan in 1813 in Rossini’s Tancredi, and became very active in promoting that composer’s music. He appeared in many of Rossini’s operas in their premieres in various towns and theaters. In 1825 he created the role of Conte di Libenskof in Rossini’s Il viaggio a Reims. He sang for many years at the Theatrea des Italiens in Paris. He became a teacher at the Paris Conservatoire in 2810 and continued to teach there until shortly before his death in Paris. He was the author of a published singing method, and composed many sets of vocalizes which remained in use by singers for a century afterwards. They remain popular as transcriptions for many instrumentalists today. He was probably the single most influential teacher of the English tenor Sims Reeves, who came to study with him in 1843, Bordogni was awarded the Legion d’Honneur on May 10, 1839 by M. de Gasparin, at the same time that it was awarded to Director of the Opera Duponchel, and to composer Hector Berlioz, who wrote that Bordogni was the best singing-master of the time.
- Alessandro Fossi
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Bordogni Suite
Composer: Bordogni, Marco Arranger: Heading, Andrew
Instrumentation: Quartet Instruments: Trombone, Tuba
Genre: Classical3 Trombones and Tuba
6 movements
The vocalises of Marco Bordogni are a staple for trombonists and tubists world-wide, and this suite was borne from a desire to play them with my section in a format other than in octaves. To that end, I conceived the idea of arranging these exercises so that all the members of the section got the chance to play the melody as well as counter-melodies and harmonies. Similarly, the harmonies I have used are not really the ones that you might expect; rather, I have made them a little more interesting than the standard chords I and V. Thus, to perform this music well, the section must really work hard on sound, balance, intonation and rhythm – all of which will make your section sound awesome!
– Andrew Heading, arranger
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Quartet No. 1
Composer: Meador, James
Instrumentation: Quartet Instruments: Bass Trombone, Trombone
Genre: ContemporaryQuartet 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
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Sultry & Eccentric
Composer: Grant, James Arranger: DeBoer, Andrew
Instrumentation: Solo and Piano Instruments: Clarinet, Piano
Genre: Contemporarywith Piano
Sultry and Eccentric features the solo instrument in two distinctly different musical roles. Sultry is an expressive ballad in the spirit of the familiar jazz “torch song,” offering ample opportunity for the soloist to display warmth, lyricism and soul. Eccentric, on the other hand, requires considerable technical command as both soloist and accompanist are faced with quirky leaps, nimble runs, and a relentlessly eccentric rhythmic and melodic palette.
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Nessun Dorma
Composer: Puccini, Giaccomo Arranger: Heading, Andrew
Instrumentation: Quartet Instruments: Trombone, Tuba
Genre: Classical, Opera3 Trombones and Tuba
Puccini’s final masterpiece Turandot gave the world this wonderful tenor aria. In this arrangement, it’s time for the third part player to unleash their white handkerchief and thrill the audience with their amazing tone and range.
– Andrew Heading (arranger)
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