Search results for: 'euphonium+gabriel's+oboe'

with Piano

  1.  Primavera

  2.  Nella notte d'aprile

  3.  Aprile

  4.  Vorrei

  5.  Io voglio amarti!

  6.  Rosa

  7.  Malia

  8.  Il pescatore canta!

  9.  Lamento d'amore

10.  La Serenata

11.  A Sera

12.  Preghiera

13.  Non t'amo più!

14.  Addio!

15.  Ricordati di me

16.  Ridonami la calma

17.  Tristezza

18.  Invano!

19.  Luna d'estate

20.  L'alba separa dalla luce l'ombra

21.  Dopo!

22.  Segreto

23.  Lungi

24.  Marechiare

25.  Ancora!

26.  L'ultima canzone

1. Kyrie - Plainchant

2. Cantiones Duarum Vocum - Lassus

3. Missa Dies Sanctificatus (Kyrie) - Palestrina

These three pieces were arranged for "Capital Thunder", the tuba/euphonium ensemble at Capital University.  While the initial intent was to create practical arrangements for teaching, the pieces work equally well in the concert hall.   The first movement is a plainchant Kyrie with the voices paired in octaves and unisons with each voice getting the chance to play with each other. It is a vehicle for working on intonation, but also captures the mysterious essence of Gregorian chant.  The arrangement is true to the traditional call and response nature of the Kyrie.  The second movement is a two-voice piece, again arranged so that all voices change pairings throughout.  The third movement is a true four-voice setting with total independence for all parts.

unaccompanied

This a varied set of emlodies that is sure to appeal all playing levels.

I. Gavotte from "French Suite No. 5" - J.S. Bach

II. Sarabande from "Cello Suite No. 5, BWV 1011" - J.S. Bach

III. Oh Were My Love Yon Lilac Fair! - Amy Beach

IV. Pathetique Sonata - Ludwig van Beethoven

V. Dance from "Prince Igor" - Aleksandr Borodin

(Stranger in Paradise)

VI. New York Light Guards Quickstep - Fancis H. Brown

(as performed by the Dodsworth's Brass Band)

VII. Chanson Espagnole - Cecile Chaminade

(Paroles françaises d'Armand Lafrique)

VIII. Fantaisie-impromptu - Frédéric Chopin

IX. Le Corso Blanc - Heinrich Tellam

X. Beautiful Dreamer - Stephen Foster

XI. Noivado - Francisca Gonzaga

(Valsa de Amor)

XII. Romany Life - Victor Herbert

XIII. Intermezzo - Gustav Holst

from "First Suite in E-flat for Military Band

XIV. Easy Winners - Scott Joplin

XV. Please Say You Will - Scott Joplin

Joplin's first publication 1895

XVI. Old Man River - Jerome Kern

From "Showboat"

XVII. The Last Rose of Summer - Thomas Moore

Based on John Hartmann's 1878 arrangement

XVIII. March - Ralph Vaughan-Williams

From "English Folk Song Suite"

XIX. Lonesome Road - Nathaniel Shilkret

XX. Dance of the Comedians - Bedřich Smetana

from "The Bartered Bride"

XXI. Tarantella

(orginally for Cello)

XXII. Ronde and Salterelle - Tielman Susato

XXIII. Neapolitan Dance - Peter Tchaikovsky

from "Swan Lake"

XXIV. La Vaillance - G. F. Telemann

(Valor)

XXV. Shenandoah- R.R. Terry

(Windlass and Capstan)

XXVI. All Things Bright and Beautiful - 1. Traditional/2. William H. Monk

XXVII. Londonderry Air - Irish Traditional

(Oh, Danny Boy)

XXVIII. The Kerry Dance - James Lyman Molloy

XXIX. The Lark in the Clear Air - Irish Traditional

XXX. Morning Has Broken - Gaelic Traditional

(Buenessan)

XXXI. Robin Adair - Irish Folk Song

XXXII. Skye Boat Song - Traditional Scottish Folk Song

with Percussion

James Grant writes:

When I received the message from the Moreau VanTuinen Duo (Danielle Moreau, percussion; Danielle VanTuinen, euphonium) and Deanna Swoboda, tuba, that they wanted to collaborate with me on creating a trio for their instruments, I immediately thought, “Well now, here comes some fun…!” In our initial skype meeting we decided that the new piece would be through-composed, ca. 10 minutes in duration, and would feature a blend of serious, crazy, and lyrical music; that I would fashion a separate version of the new piece to feature French horn in the same role as euphonium; and that we would invite a small group of adventurous colleagues to become co-commissioners of this new composition (see List of Commissioners page).

The result is 3D, music that touches on three distinct “mood dimensions.” A somber, evocative introduction leads to an explosive, rhythmically-charged, comically crazy joy ride, which yields to a rhapsodic duet between the two horns supported by any undulating moto perpetuo accompaniment in the marimba. That’s the piece, in a nutshell.

The three Lead Commissioners, Deanna, Danny (VanTuinen), and D (Moreau) could not have been more gracious and helpful during the composing of 3D, answering questions and offering feedback on sketches and ideas. Indeed, their fingerprints are all over this music.

The title, 3D, takes its name not only from the three distinct musical dimensions this music explores. It also represents a nod of respect to the three Lead Commissioners, whose excitement and support for this project captured my imagination from the very start. To Deanna, Danny and D, and to each of the stalwart participating co-commissioners, I offer my deepest gratitude.

Horn, Tuba and Percussion

Jim Grant writes:

When I received the message from the Moreau VanTuinen Duo (Danielle Moreau, percussion; Danielle VanTuinen, euphonium) and Deanna Swoboda, tuba, that they wanted to collaborate with me on creating a trio for thier instruments, I immediately thought, “Well now, here comes some fun…!” In our initial skype meeting we decided that the new piece would be through-composed, ca. 10 minutes in duration, and would feature a blend of serious, crazy, and lyrical music; that I would fashion a separate version of the new piece to feature French horn in the same role as euphonium; and that we would invite a small group of adventurous colleagues to become co-commissioners of this new composition (see List of Commissioners page).

The result is 3D, music that touches on three distinct “mood dimensions.” A somber, evocative introduction leads to an explosive, rhythmically-charged, comically crazy joy ride, which yields to a rhapsodic duet between the two horns supported by an undulating moto perpetuo accompaniment in the marimba. That’s the piece, in a nutshell.

The three Lead Commissioners, Deanna, Danny (VanTuinen), and D (Moreau) could not have been more gracious and helpful during the composing of 3D, answering questions and offering feedback on sketches and ideas. Indeed, their fingerprints are all over this music.

The title, 3D, takes its name not only from the three distinct musical dimensions this music explores. It also represents a nod of respect to the three Lead Commissioners, whose excitement and support for this project captured my imagination from the very start. To Deanna, Danny and D, and to each of the stalwart participating co-commissioners, I offer my deepest gratitude.