Orchestra - Contemporary - Rossini, Gioacchino - Russell, Henry - McMillan, Benjamin - Peacock, Curtis - 5

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  1. Concerto

    Composer: Peacock, Curtis
    Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
    Genre: Contemporary

    reduction with Rhythm section (recording is with wind ensemble)

    The Concerto for tuba and winds is in my usual Third-Stream style, but I utilized
    many new techniques for the first time in this piece. Jazz, rock, hip-hop and many kinds
    of classical styles come together in the Concerto. Polymeter, improvisation and intuitive
    swing notation play important roles in this piece as well as traditional four-part
    counterpoint and ancient Greek form. It is simply titled Concerto in a classical fashion
    but each movement has a more descriptive title.
    I. Swing Low
    II. Adagio
    III. Cutting Contest

    I utilized a customized variation on the classical concerto form: a sonata-allegro
    first movement, a slow second movement and a theme and variations finale.
    Philosophically, this piece explores the traditional nature of a concerto from several
    different angles. The first movement explores the cooperative side of a concerto. One
    Latin root of the word concerto is conserere, which means to join. The soloist and wind
    ensemble cooperate to produce many layers of polymeter in Swing Low. The Latin root
    certamen, on the other hand, means to fight. So while the first movement is a
    cooperative effort, the third movement, Cutting Contest, explores the idea of a musical
    battle between the solo tuba and the wind ensemble on a familiar tune.

    On March 6th, 2012, the Concerto was premiered in Seattle. Erin Bodnar led the
    University of Washington Wind Ensemble with myself soloing. The Central Washington
    University Wind Ensemble then recorded it with Dean Snavely conducting.

    This reduction of Concerto features two different versions of the third movement
    to allow for players to navigate the virtuosic fingering acrobatics on an E-Flat or F tuba.
    The solo lines at letter E were inspired by Arban’s Carnival of Venice.

    Curtis Peacock
    January 26, 2014

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    From $25.00

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  2. Ship on Fire

    Composer: Russell, Henry Arranger: Lee, William
    Instrumentation: Mixed Ensemble Instruments: Euphonium, Tuba, Vibraphone
    Genre: Contemporary
    Voice and Tuba Quartet (EETT) Learn More

    From $18.00

    To $36.00

  3. Where Leaves and Birds a Music Spin

    Composer: McMillan, Benjamin
    Instrumentation: Duet and Piano Instruments: Flute, Piano, Tuba
    Genre: Contemporary

    For Flute/Piccolo, Tuba and Piano

    From the composer:

    “Where Leaves And Birds A Music Spin” consists of six short movements, each loosely depicting a scene in nature.

    1. Borne On a Great Wind
    2. And the River Flows Ever Onwards
    3. Emerson’s Acorn
    4. Through Dawn Mist, A Doe
    5. Dauwtrappen
    6. Lithic Engines

    The first scene is a fantasy of being carried on the wind, rushing over the landscape below. The second follows the journey of a river, through winding meandering paths to rapids. The third movement is based on a quote from Ralph Waldo Emerson’s essay on History that reads, “The creation of a thousand forests is in one acorn.” In the fourth, a scene unfolds of a foggy morning and the appearance of a doe. The word Dauwtrappen comes from Dutch and describes the concept of walking barefoot in the morning grass when the grass is still covered in dew. The final movement imagines the inner workings of the planet, with lithic, or rock and magma, engines driving continents, creating new lands, mountain ranges, as well as the slow destruction and recycling of the old.

    Although I have suggested scenes with each title, I don’t intend these to be concrete depictions, and the listener should let their minds wander freely and create their own scenes as the piece progresses.

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