View Basket. QTY: Add to Wishlist. One of the first major concertos written for the euphonium with each movement representing musical enjoyment for the head, heart, and toes, respectively. A piece of the standard repertoire, this concerto contains writing that will challenge and engage both performer and listener.

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Skip to main content. Dickinson, P. As a relatively young instrument, the euphonium's solo repertoire lacks the depth available for instruments such as the violin or piano. Even other instruments in the brass family have repertoire composed by historically important musicians like Haydn and Mozart. Though the euphonium began to enjoy recognition as a virtuosic solo instrument with bands in the early 20th century, a number of these solos were borrowed from other instruments and none were concertos.

Significant music written by prominent British composers specifically for euphonium began to surface in the early s, leading with Euphonium Concerto by Joseph Horovitz and Fantasia by Gordon Jacob.

John Golland followed soon after, writing his Euphonium Concerto No. The euphonium's strength as a solo instrument grew because of its role in music written numerous British composers through the midth century, both in concert band and brass band settings. Even in non-solo lines, composers often depended on the euphonium to supply a virtuosic tenor voice in their writing.

Some of these same composers eventually supplied some of the first large-scale solo works for euphonium. Joseph Horovitz was among the first to write for the euphonium as a solo instrument with the brass band.

John Golland followed these traditions in his own brass band compositions, and wrote two prominent euphonium concertos with brass band accompaniment. He wrote each of his concertos in collusion with two of Britain's most prominent euphonium stars of the s, the first with Robert Childs and the second with Robert's brother, Nicholas.

The first Concerto strongly represented Golland's own life, and includes some of the most virtuosic solo writing in existence for euphonium. The perceived limits of possibility challenged by Golland in this composition started a trend of increasingly difficult requirements in subsequent euphonium works, eventually changing the assumed lyrical and technical limits for euphonium performers over time. Though the demands of range and difficulty in later compositions expanded beyond Horovitz's original writing, composers still include direct references to his Euphonium Concerto in terms of style, structure, and closely-related quotes of his music.

A few of the more highly regarded new concertos from the past twenty years were composed by the next generation of brass band composers who were taught by Horovitz, extending his influence even deeper into the euphonium repertoire. This treatise focuses on two early euphonium concertos and the lives of the composers who created them. Joseph Horovitz and his Euphonium Concerto , which is recognized as the first concerto written specifically for the euphonium, will constitute the first chapter.

Each composer's personal history will be the first portion of each chapter, but their compositional idiom will also be examined using other selections from their respective bodies of music.

Finally, each chapter will briefly assess the role of these pieces and their composers in the overall development of the euphonium concerto, especially in relation to British brass band music.

The body of this treatise came from books, periodicals, radio interviews, notes by the composers and publishers, and personal accounts from friends and colleagues close to the composers. Recordings and scores of the two concertos were analyzed alongside recordings and scores of other works by these composers to draw conclusions regarding the each composer's general style of writing.

In the case of Horovitz, his students and their work were also examined in order to gauge that aspect of his continuing influence on the brass band world. The end result gathered from these sources formed a biography of each composer which also addresses their music and influence on the early development of the euphonium repertoire.


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