The origins and development of the euphonium concerto with ...
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James Madison UniversityJMU Scholarly Commons
Dissertations The Graduate School
Spring 2016
The origins and development of the euphoniumconcerto with brass bandJoel M. CollierJames Madison University
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Recommended CitationCollier, Joel M., "The origins and development of the euphonium concerto with brass band" (2016). Dissertations. 106.https://commons.lib.jmu.edu/diss201019/106
The origins and development of the euphonium concerto with brass band
Joel Collier
A dissertation submitted to the Graduate Faculty of
JAMES MADISON UNIVERSITY
In
Partial Fulfillment of the Requirements
for the degree of
Doctorate of Musical Arts
The School of Music
May 2016
FACULTY COMMITTEE:
Committee Chair: Prof. Kevin Stees
Committee Members/ Readers:
Dr. Andrew Lankford
Dr. Eric Guinivan
TABLEOFCONTENTS
LISTOFTABLES iii
LISTOFFIGURES iv
ABSTRACT vii
Introduction 1
Euphoniumrepertoirepriorto1972 3
Theeuphoniumconcerto 6
JosephHorovitz 6
JohnGolland 17
MartinEllerby 25
PhilipWilby 36
Concludingremarks 50
Postscript 57
APPENDIX 58
BIBLIOGRAPHY 61
DISCOGRAPHY 62
ii
LISTOFTABLES
1. TempoindicationsalteredintheHorovitzrevised1991edition 15
2. Concertocomparisons 54
3. Newconcertocomparisons 56
4. Publicationandperformanceinformation 58
iii
LISTOFFIGURES
1. HorovitzEuphoniumConcertomvt.1mm.3-6 8
2. HorovitzEuphoniumConcertomvt.1mm46-47 9
3. HorovitzEuphoniumConcertomvt.1mm.54-58 9
4. HorovitzEuphoniumConcertomvt.1mm.136-139 10
5. HorovitzEuphoniumConcertomvt.2mm.13-22 11
6. HorovitzEuphoniumConcertomvt.2mm.77-89 13
7. HorovitzEuphoniumConcertomvt.3mm.166-171 14
8. HorovitzEuphoniumConcertomvt.1mm.46-47.Withbassoonossia 16
9. GollandEuphoniumConcertomm.1-3 19
10. GollandEuphoniumConcertomm.25-29 19
11. GollandEuphoniumConcertomm.130-133 20
12. GollandEuphoniumConcertomm.383-390 20
13. GollandEuphoniumConcertomm.488-495 21
14. GollandEuphoniumConcertoNo.2mvt.1mm.14-16 22
15. GollandEuphoniumConcertoNo.2mvt.1mm.83-86 23
16. GollandEuphoniumConcertoNo.2mvt.2mm.82-88 24
17. GollandEuphoniumConcertoNo.2mvt.3mm.51-56 24
18. EllerbyEuphoniumConcertomvt.1mm.2-5 28
19. EllerbyEuphoniumConcertomvt.1mm.121-131 28
20. EllerbyEuphoniumConcertomvt.2mm.3-6 29
21. EllerbyEuphoniumConcertomvt.2mm.62-69 30
iv
22. EllerbyEuphoniumConcertomvt.3mm.6-7 31
23. EllerbyEuphoniumConcertomvt.3mm.68-70 32
24. EllerbyEuphoniumConcertomvt.4mm.8-12 32
25. EllerbyEuphoniumConcertomvt.4mm.8-12.Rhythmiccomparison 33
26. EllerbyEuphoniumConcertomvt.4mm.38-40 34
27. EllerbyEuphoniumConcertomvt.4mm.90-91 34
28. EllerbyEuphoniumConcertomvt.4mm.237-239 35
29. WilbyConcertoforEuphoniummvt.1mm.29-35. Manuscriptandpublished 37
30. WilbyConcertoforEuphoniummvt.1mm.146-169. Manuscriptandpublished 39
31. WilbyConcertoforEuphoniummvt.1mm.615-621. Manuscriptandpublished 40
32. WilbyConcertoforEuphoniummvt.1mm.2-9 42
33. WilbyConcertoforEuphoniummvt.1mm.52-60 42
34. WilbyConcertoforEuphoniummvt.2mm.340-356 44
35. WilbyConcertoforEuphoniummvt.3mm.442-445 45
36. WilbyConcertoforEuphoniummvt.3mm.457-459 45
37. WilbyConcertoforEuphoniummvt.3 Manuscriptshowingoriginalscherzopage1 46
38. WilbyConcertoforEuphoniummvt.3 Manuscriptshowingoriginalscherzopage2 47
39. WilbyConcertoforEuphoniummvt.4mm.478-481 48
40. WilbyConcertoforEuphoniummvt.4mm.526-528 48
41. WilbyConcertoforEuphoniummvt.4mm.530.Manuscriptcomparison49v
42. RobertChilds’suggestededitspage1 59
43. RobertChilds’suggestededitspage2 60
vi
ABSTRACT
Sinceshortlyafteritsinvention,theeuphoniumhasbeenutilizedasasolo
instrument,bothinchambermusicsettingswithpiano,andwithlargeensembles
suchasbrassbandsandwindbands.However,itwasnotuntilthecompositionof
JosephHorovitz’sEuphoniumConcertoin1972thattheeuphoniumwasgenuinely
regardedasaserioussoloinstrumentinthebrassband,capableofperforming
large-scale,substantialworks.
Inthefollowingtwodecades,severalcomposerswroteconcertifor
euphoniumandbrassband,eachbuildingonthetechnicaldemandsoftheir
predecessors.Theircontributionsestablishedthebasisofthegenre,andalsosetthe
parametersoftechniqueandendurance,givingfuturecomposersasolidfoundation
onwhichtoexpand.
Thisdocumentwillpresentthehistoricalandcompositionalbackgroundof
fiveconcertiforeuphoniumandbrassband:Horovitz’sEuphoniumConcerto,both
concertibyJohnGolland,EuphoniumConcertobyMartinEllerby,andPhilipWilby’s
ConcertoforEuphonium.Inadditiontotheirhistoricalcontext,thenew
compositionaldemandsineachwork,aswellasconsiderationsforcontemporary
performerswillbeconsidered.
vii
1
Introduction
Theeuphoniumisappreciatedbymanybrasscomposersandperformersas
oneofthemostdexterousandsonorousbrassinstruments,anditsprominenceasa
soloinstrumentisincreasinglyapparentwitheachpassinggeneration.Itscurrent
statureisaratherrecentdevelopment,havingonlybeenpromotedasalegitimate
soloinstrumentinthelastfewdecades.Priortothe1970s,andmostcertainly
beforethe1960s,theeuphoniumwaslargelyregardedasanovelinstrumentbest
suitedtofillinganensemblerole.Whenfeaturedasasoloinstrument,itwasmost
oftenutilizedinshortlyricalselectionsorinclassictheme-and-variationstyle
pieces.
Itcanbeunderstoodwhytheeuphoniumonlyrecentlyhasreceived
recognitionasalegitimatesoloinstrument.Theinstrumentisoneofthenewest
introductionstothebrassfamily,withthefirstknownuseoftheterm“euphonium”
originatingfromamanufacturerin1844,andthepatentingofthemodern
euphoniumbyBoosey&Co.in1878.1Whiletherehavebeenconcertifortrumpet,
trombone,andhorndatingbacktothe18thand19thcenturies,theinstruments
alreadyhadbeeninuseforcenturiespriortotheirrespectiveconcerti.Itwasa
notableachievementthattheeuphoniumwasabletoprogressfrominventionto
majorsoloinstrumentwithinthefirstcenturyofitsuse.
Theadvancementoftheeuphoniumasasoloinstrumentwarrantsan
explorationintothereasonsforitsfairlyrapidacceptanceanduseasaseriousand
viableperformanceinstrument.Itisworthunderstandingwhycomposersfirst1LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),9.
2
endeavoredtowriteaconcertoforeuphoniumandbrassband,whenitwaswidely
regardedasaninstrumentforlesssubstantialsolorepertoire.Itisalsoworth
understandinghowthecomposersoftheearlybrassbandeuphoniumconcerti
approachedtheinstrumentandconsideredthetechnicaldemandsoftheirera,such
asrange,flexibility,andendurance.Thethirdareaofdiscussionisthechallengethe
modernsoloistfaceswhenstudyingandpreparingthesebrassbandconcerti.
Thisdocumentwilladdressconcertioriginallycomposedasworksfor
euphoniumandbrassbandwrittenbetween1972and1996.Theformerdateisset
bythepremiereofthefirstconcertoforeuphoniumandbrassband,andthelatter
datebecauseofthepremiereofoneofthewatershedconcertiforthesame
instrumentation.Thislimitsthediscussiontoonlyfivecompositions:Joseph
Horovitz’sEuphoniumConcerto,bothofJohnGolland’seuphoniumconcerti,
EuphoniumConcertobyMartinEllerby,andPhilipWilby’sConcertoforEuphonium.
Thereareothernotablepiecesfromwithintheapplicabletimeframethat,while
significant,donotfitthecriteriaforthisdiscussion.TwosuchworksareDerek
Bourgeois’ConcertoforEuphonium(1990)andPhilipSparke’sEuphoniumConcerto
No.1(1995).WhilethereisapublishedversionoftheBourgeoisforbrassband
writtenbythecomposer,itwasoriginallywrittenforeuphoniumandsymphony
orchestra.2TheSparke,whileoriginallyforbrassband,wasactuallywrittenwith
frenchhornasthesoloinstrument.3
2LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),141.
3PhilipSparke,EuphoniumConcerto(Bedfordshire,England:StudioMusic,1995).
3
Euphoniumrepertoirepriorto1972
Tounderstandthesignificanceoftheeuphoniumconcerto,itisfirst
importanttoknowwhatwascommonineuphoniumrepertoirepriortothe
compositionofthefirstconcerto.Thiswillprovideagreaterinsightnotonlytothe
performanceexpectationsofaeuphoniumsoloist,butalsothecharacteristicsand
genresofmusictheywereexpectedtoplay.
Itisdifficulttoseparatetheroleoftheeuphoniumwithinaparticular
ensemblefromthesolorepertoirewrittenfortheinstrumentandthatsame
medium.Theorchestra,rarelyeverincludingeuphoniumwithinits
instrumentation,offersveryfewexamplesofrepertoirefortheeuphoniumasasolo
instrument.Whiletherearesubstantialandsignificantworks,suchasHolst’sThe
PlanetsandStrauss’EinHeldenleben,theyarefewandmorerecentintheir
composition.Thewindband,anensembleinwhichtheeuphoniumplaysamore
significantrole,providestheeuphoniumsoloistwithasignificantamountof
repertoire.Thiswastruedatingbacktotheearly20thCenturywiththe
compositionsofSimoneMantia,euphoniumsoloistwiththeSousaBand.4Hewas
oneofthefirstwell-knowneuphoniumsoloists,andhiscompositionsfor
euphoniumandwindband,includingAuldLangSyneandAllThoseEndearingYoung
Charms,establishedcharacteristicsforwhatwouldbecomethestandardfor
euphoniumsolosinthewindbandrepertoire.Thesetheme-and-variationworks
producedtechnicaldemandsonthesoloist,butwererelativelysimplemusicforthe
listener,andwerewell-suitedtothetypeofoutdoorpublicconcertstheSousaBand4LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),497.
4
oftenperformed.Inadditiontotheseworks,theeuphoniumsoloistwasoften
featuredintheperformanceofarrangementsoffolkmelodiesoroperaarias,
particularlythoseofPuccini.
Thebrassbandmedium,wherebytraditiontheeuphoniumissecondin
importanceonlytotheprincipalcornet,providedtheinstrumentasubstantially
moresignificantrolewithintheensemble.Thisplacedgreaterdemandsonthe
euphoniumplayerandconsequentlyledtomanymoreopportunitiesforthe
euphoniumtobefeaturedinasolocapacity.Whilethatledtomorerepertoirefor
euphoniumsoloandbrassband,thetypeofmusicthesoloistwouldbeexpectedto
performwassimilartothatofthewindband.Itwascommonforeuphonium
soloistsinthebrassbandtradition,suchasLyndonBaglinandJohnClough,to
performarrangementsoffolkmelodies,hymns,oroperaariasasastandardpartof
theirsolorepertoire.5Thereweremoreoriginalsoloworksforeuphoniumaswell.
ComposersincludingJohnHartmannwroteextensivelyfortheeuphonium,
composingsuchworksasDrinktoMeOnly,RuleBritannia,andseveralothers.6
GeorgeDoughtycomposedwhatispossiblythemostpopularbrassband
euphoniumsoloeverwritten:Grandfather’sClock.7Thesesolosutilizedthetheme-
and-variationsmodel,whichwasthemostcommongenreformajorsoloworksfor
theeuphoniumuntilthe1970s.
Throughoutthemajorityofitshistory,thebrassbandmovementwasavery
traditionally-minded,insularcommunity.Bandsconsistednearlyentirelyof5DavidThornton,interviewbyauthor,Manchester,UK,November26,20156LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),464.
7ibid.,122.
5
amateurmusicians,andtheiraudiencesweremostoftenmembersoftheirlocal
community.Bandsperformedinlocalchurches,atcommunitybandstands,orin
parades.Onlyrarelydidbrassbandsperforminlargeconcerthalls,andmostoften
itwasontheoccasionofabrassbandcontest,ratherthanaconcert.Becauseof
thesefactors,ittookuntilthe1970sforbrassbandstobegintoemergefromthe
traditionofmarches,hymnsettings,andclassicaltranscriptionscomprisingthe
majorityoftheirrepertoire.
Giventheprominentroleoftheeuphoniumwithinthebrassband,itseems
reasonablethatthefirstsignificanteuphoniumconcertowouldbewrittenforthis
combination.Theeuphoniumhadlongbeenestablishedasoneofthefeaturedsolo
instrumentswithinthebrassband,andtheregularconcertgoershadanexpectation
toheartheeuphoniumutilizedinthatrole.
6
Theeuphoniumconcerto
JosephHorovitz
TheNationalBrassBandChampionshipsofGreatBritainservedastheideal
opportunitytopremierethefirstconcertoforeuphoniumandbrassband.Asa
segmentoftheeventeveryyear,oneofthefeaturedbandsperformsagalaconcert.
Theorganizerslikelyknewtherewouldbeasignificantaudienceforthese
performances,allowingopportunityforthepremieretobeamonumentalevent.
In1971GeoffreyBrand,theorganizeroftheNationalBrassBandFestival,
selectedoneofthemostprominentcomposersinEngland,JosephHorovitz,to
composeaeuphoniumconcertotobepremieredatthefestivalthefollowingyear.8
HorovitzrecentlyhadcomposedSinfonietta,hisfirstworkforbrassband,andwas
gainingtheattentionofthebrassbandcommunity.Hereceivedhisformaleducation
attheRoyalCollegeofmusicwithGordonJacob,andtheParisConservatorywith
NadiaBoulanger.910Hewasahighlydecoratedandregularlysought-aftercomposer
who,atthattime,wastheProfessorofCompositionandAnalysisattheRoyal
CollegeofMusic,apositionhehadsinceinheritedfromJacob.
TheGUSFootwearBand,underthedirectionofStanleyBoddington,atthat
pointhadbeenoneofthemostsuccessfulcontestbandsintheprecedingyears.
TheirwinningperformanceattheWorldChampionshipin1971ledtotheir
selectionasthefeaturedbandinthegalaconcertoftheNationalChampionshipin
8DavidChilds,TheSymphonicEuphonium,CHAN10830,Chandos(CD),2014,6.9Ibid.,7.10LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),465.
7
1972.11AhighlightoftheirgalaperformancewasthepremiereoftheHorovitz
concerto.Intheprocessofselectingasoloist,itwouldnothavebeenoutofthe
questionfortheorganizerstoinsistonaguestsoloist,buttherewasnoneed.The
GUSFootwearBandhappenedtohaveoneofthemostcelebratedeuphonium
soloistsatthetime,TrevorGroom,astheirprincipaleuphonium.1213Priortothe
performance,advertisementswerepublishedthroughoutthecountrythatthis
wouldbethepremiereofthefirsteuphoniumconcertoandGroomwouldbethe
featuredsoloist.14WithGroomasthesoloist,andWorldChampionGUSFootwearas
theband,therewaslittledoubt,evenatthetime,thatthispremierewouldbea
significantevent.Thenextyear,Groomwasfeaturedonthepremiererecordingof
Horovitz’sconcertoonGUSFootwearBand’s1973album,CornetCarillon.
ThecompositionalprocessoftheHorovitzconcertowasacollaboration
betweensoloistandcomposer.Horovitzwasunfamiliarwiththeeuphoniumbefore
thiscommission,andhearrangedtovisitGroominKetteringtoheara
demonstrationoftheabilitiesandcharacteristicsoftheinstrument.15AsGroom
describes,“IhadaphonecallfromJoeHorovitzsayinghedidn’tknowwhata
euphoniumsoundedlike,buthewouldliketocomeupandseewhatitcando.”16He
recognizedtherewasimmensepotentialinthediversityoftheinstrument,and
knewhewouldberemissnottofeaturethesinginglyricalqualityofGroom’s
11StevenMead,“TrevorGroom–ABritishEuphoniumLegend,”Concertprogram,Don’tTellTrevor!,December4,2004
12ibid.13TrevorGroom,interviewbyauthor,Kettering,UK,November24,201514ibid.15ibid.16ibid.
8
euphoniumsound.17
Horovitzconstructedhisconcertoinaclassicalstyleofthreemovements:
moderato-vivace,adagio,androndoform.Hestated,“Traditionally,thisdesign
favoursthelistener,asitwere,firstinthehead,thenintheheart,andfinallyinthe
toes.”18Eachmovementhasitsownuniquechallengesforthesoloist,anddistinct
moodforthelistener.Itsdurationof16minuteswasquiteextensiveforabrass
bandsoloistatthetime,evenmoresowhentakingintoaccountthattheworkGUS
FootwearBandperformedtowinthebandcontestthepreviousyear,Energyby
RobertSimpson,wasfewerthan10minutes.
Throughoutthefirstmovement,thesoloistmustnegotiaterapidchangesof
articulationwhilemaintainingastatelystyle.Horovitzclearlymarkedthe
articulationsinthemusic,usingstaccato,tenuto,andslursallwithinthefirstfour
measuresofthesolo(fig.1).Thesearticulationsareveryspecific,andhelpthe
performertoplayinthestyleHorovitzintended.Thislevelofdetailinthemusic
alsonecessitatesthatasoloistutilizeelementsasidefromtempoorarticulationto
createapersonalinterpretation.
Figure1.HorovitzEuphoniumConcertomvt.1mm.3-6
Whiletheentiremovementisindicatedtobeincminor,Horovitzutilizeda
harmoniclanguagethatoftenshiftsthetonalcenter,sometimesquiterapidly.In
figure2,thesoloistisoutliningadifferentchordeveryeighthnoteforthefirsttwo17TrevorGroom,interviewbyauthor,Kettering,UK,November24,201518JosephHorovitz,EuphoniumConcerto(London:Novello&Company,1991).
9
beats,andbeatsthreeandfourresembleaBbnaturalminorscale,resolvingtoa
newBbtonalcenterinmeasure47.Likewiseinfigure3,thefirsttwomeasuresare
withinthecminortonalcenter,yetthelattertwomeasuresarecenteredinDb
major.Theserapidtonalshiftswererelativelynewforbrassbandeuphonium
soloistsin1972,consideringthemajorityoftheirrepertoirehadbeentheme-and-
variationsolosthattypicallyoutlinedthediatonicharmoniclanguageincludedin
theprimarytheme.Thesetonalchangesremainachallengeforperformerstoday,
requiringpreciseawarenessoftheharmonicprogressionstonegotiatewhat
Horovitzdescribesas“acute-angledleaps.”19
Figure2.HorovitzEuphoniumConcertomvt.1mm.46-47
Figure3.HorovitzEuphoniumConcertomvt.1mm54-58
Inregardstotechnicaldemands,thefirstmovementdoesnotpresentmany
uniquechallenges.ThefirsttwofastpassagesresembletheBbandcnaturalminor
scales,whichwerewellwithinthegraspoftheaveragesoloist.Theonlytrue
technicalchallengeoccursinthelastfourmeasuresofthemovement(fig.4),which
combinetherapidharmonicshiftswithfastscalarpassages,rapidarticulations,and
thehighesttessituraintheentireconcerto.Thispassagewasdifficultforsoloistsin
1972,andcontinuestobeachallengeformany.
19JosephHorovitz,EuphoniumConcerto(London:Novello&Company,1991).
10
Figure4.HorovitzEuphoniumConcertomvt.1mm136-139
Movementtwo,thelongestofthethree,requiressignificantcontrolled,yet
emotionalplaying.Groomconsidersitthemostdifficultofallthreemovements,
saying“Mostpeoplepickonthemiddle[movement]becausetheythinkit’seasy,but
musicallyit’snoteasy.”20Withthetempomarkedate=76,itisquiteslow,andifnot
playedwithgreatcare,veryoftenthemusicwillfeelhurried,ratherthansettledin
thereservedadagiostyleHorovitzindicated.
ThismovementiswritteninCMajor,thoughitincludesclassicallyinfluenced
secondarydominanttonicizations,whichfirstoccurwhenthesoloistenters.These
typesofharmonicprogressionsoccurthroughouttheentiremovement,andrequire
thesoloisttounderstandwheretheyareleading,inordertoassureintonation,and
theproperresolutionofphrases(fig.5).
20TrevorGroom,interviewbyauthor,Kettering,UK,November24,2015
11
Figure5.HorovitzEuphoniumConcertomvt.2mm13-22
Thesecondmovementwaswritteninwhatwasperhapsthemostfamiliar
lyricalmusicalstyletoabrassbandeuphoniumsoloistin1972.Therepertoire
alreadyincludedsongsandariasthatwerewritteninasimilarfashiontoHorovitz’s
lyricalwriting,thereforeasoloistatthetimewasexpectedtounderstandhowto
shapeandinterpretthismovement.Therealchallengewasendurance,sinceit
followeddirectlyafteramovementthatwasthelengthoftheaveragetheme-and-
variationsoloatthetime.Concentrationandpracticearerequiredtorefocusand
managetherespirationtonegotiatethelongphrasesthatcomprisethismovement.
12
Horovitznoted“securebreathcontroliscalledfortosustainevenflowinthemain
longmelody.”21
Themostuniquechallengeinthismovementoccursintheconclusion.After
thefinalstatementofthemelody,thesoloistplaysconstantA3’s,whiletheharmony
inthebandmodulatesaroundit,utilizingseveralchordsoutsideofthekeybefore
ultimatelyconcludingonaDMajorchord(fig.6).Thisposesthecompound
challengesofsecureintonationandbreathsupport,especiallyconsideringitisthe
endofalonglyricalmovement.Withtheharmoniesshifting,oftenasoloistcanbe
influencedoutoftune,particularlyinmeasures79and81,wherethesoloist’sA
directlyconflictswiththeband’sEbminorchord.
21JosephHorovitz,EuphoniumConcerto(London:Novello&Company,1991).
13
Figure6.HorovitzEuphoniumConcertomvt.2mm77-89
Thethirdandfinalmovementisbyfarthemosttechnicallydemandingofthe
work.Thereisasignificantamountofdexterousfingerwork,aswellasrapid
articulationsandquickdynamicchanges.Often,particularlywithyounger
musicians,soloistsonlywillperformthefirsttwomovements,simplybecausethe
thirdistechnicallybeyondthelevelofmanyplayers.22Throughouttheentire
movement,therearesmallportionsofthesolomarked“optional,”asthough
Horovitzunderstoodandacknowledgedthismovementwasespeciallychallenging.
22LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),127.
14
Horovitz’svariationstotherondothemeposesomeofthemosttechnical
demandsthroughoutthemovement,includingtriplet16th-notescalesand
arpeggios.In1972,portionssuchasfigure7wereoutofcommoneuphonium
performancepractice,andwereonlywithinthecapabilitiesofthemost
accomplishedperformers.Inthisportionofthework,itisimportantthatthe
originalthemecanbeheardthroughtheadditionalflourishes.Themovement,and
ultimatelytheentirework,endswithanaccelerationtoafinalpunctuationinEb
major.Itisimperativetheaccelerandoremainswithinthefinalmarkedtempoofq
=130tomaintainclarityinthe16thnotesandtoensurethelastnotehasasenseof
weightandfinality,sotheconclusionoftheworkisconfident,ratherthanflippant.
Figure7.HorovitzEuphoniumConcertomvt.3mm166-171
In1991,Horovitzcreatedaneweditionoftheconcerto,revisingmanyofthe
tempoindicationsthroughoutthework(table1).23Thesetempoalterationsreveal
hisassessmentoftheabilityofeuphoniumperformerswhenheoriginallycomposed
thework,andhisre-evaluationofwhattechniqueswereconsideredpossibleless
thantwentyyearslater.AsStevenMeadstates,“Withthetechnique‘inflation’that
hasgoneonsince[1972],notonlydothesephrasesnotneedtobesloweddown,
almosteverycollegelevelplayerisabletomasterthetechniquerequiredwithsome
23JosephHorovitz,EuphoniumConcerto(London:Novello&Company,1991).
15
ease,saveforaboutfourorfivephrases.”24Theonlytempoindicationthatisfaster
intheoriginaleditionoccursintheAllegrovivacesectionofthefirstmovement,
whichisabandinterlude,withnoaffectonthesoloist.
Table1.TempoindicationsalteredintheHorovitzrevised1991edition25
1972edition 1991edition
Mvt.1,mm.1 Moderatoq=72 Moderatoq=86
Mvt.1,mm.25 Piumossoq=80 Tempoprimoq=86
Mvt.1,mm.35 Piutranquilloq=69 Atempo(mainmodotranquillo)q=86
Mvt.1,mm.48 Allegrovivaceq=144 Allegrovivaceq=136
Mvt.1,mm.55 Menomossoq =116 Menomossoq =120
Mvt.1,mm.124 Moltomenoq =80 Moltomenoq =86
Mvt.2,mm.1 Lentoq =46 Lentoq =58
Mvt.3,mm.1 Conmotoq=100 Conmotoq=100-108
Mvt.3,mm.55 Pocopiupomposoq=92 Nomarking
Mvt.3,mm.69 Tempoprimoq=100 Nomarking
Mvt.3,mm.77 Pocopiupomposoq=92 Nomarking
Mvt.3,mm.107 Atempoq=92 Nomarking
Mvt.3,mm.172 Tempoprimoq=100 Nomarking
Mvt.3,mm.183 Moltopiuvivo Nomarking
Mvt.3,mm.200 Accelmolto (mm.206)accel
24StevenMead,“PreparingaMajorSoloPieceforEuphonium,”
http://www.banddirector.com/article/pg-brasseuphonium-baritone-alto-horns/preparing-solo-euphonium?productguide=318(accessedOctober13,2015).
25Thistabledoesnotincludetempoindicationsthatremainedthesameinthenewedition.
16
Performersalsoshouldconsiderthedevelopmentofeuphoniumdesignsince
thepremiereofHorovitz’sconcerto.Meadwrote“Horovitzdeliberatelywrotefora
threevalveeuphonium,awarein1972thatnotalleuphoniumshadfourvalves,and
notwishingtoprejudicewidesellingofthesheetmusic,decidedtorestrictthe
rangedemandedsothatnothinglowerthanconcertBbis[demanded],orhigher
thanhighconcertC.”26AfterHorovitzcompletedtheconcerto,hemadeanedition
forbassoonandchamberorchestra.Thebassooneditionincludesseveralpassages
thatarealteredfromtheeuphoniumversion.Thealterationsdonotresultina
highertessiturathantheeuphoniumedition,norwouldtheeuphoniumeditionbe
toodifficultforthebassoon.Instead,Horovitzlikelyrecognizedthebassoonhada
widerrangethanmanyeuphoniumsinthatera,andtooktheopportunitytorealize
themusicinthewayhehadoriginallyintended(fig.8).Theseossiasareallprinted
inthebassclefeuphoniumedition,andaperformershouldconsiderthemas
acceptablealternatives,choosingtoperformanyofthemdeemedappropriatefor
abilityandperformancesetting.
Figure8.HorovitzEuphoniumConcertomvt.1mm46-47.Withbassoonossia
26StevenMead,“PreparingaMajorSoloPieceforEuphonium,”http://www.banddirector.com/article/pg-brasseuphonium-baritone-alto-horns/preparing-solo-euphonium?productguide=318(accessedOctober13,2015).
17
JohnGolland
Itwasanothernineyearsbeforethenexteuphoniumconcertowaswritten.
Horovitz’sconcertowasgainingpopularity,andTrevorGroomwasachampionof
theeuphonium,regularlybeingaskedtoperformtheHorovitzConcertoaroundthe
world.27Ittookthenextgenerationofcomposerandperformertocreatesomething
new,andtocompletelyre-establishtheparametersofwhatstylisticandtechnical
requirementscouldbeexpectedinaeuphoniumconcerto.
JohnGolland,apianistturnedeuphoniumplayer,wrotetwoeuphonium
concertiinthe1980sbeforehisuntimelypassingin1993.28Bythe1980s,he
alreadywashighlyregardedasacomposerforbrassband,andhiscompositions
werebeingusedinconcertsandcontestswidelyintheUnitedKingdom.Hisfirst
concertoforeuphoniumwaswrittenin1981andwaspremieredthesameyearin
Perth,AustraliabyRobertChildsandtheGrimethorpeCollieryBand,conductedby
RayFarr.29Childshadjoinedthebandonlyafewyearsearlier,attheageof20,and
wasbeginningtogainnotorietyasanexcellenteuphoniumsoloist.Onthatsame
Australiantour,theworkwasperformedagainattheSydneyOperaHouse,which
wasmetwithexcellentreviews,andlikelycontributedtoChilds’recognitionby
SoundingBrassmagazinein1982as“InternationalEuphoniumPlayeroftheYear.”30
ChildsdidnotrecordGolland’sconcertountil1990,whenhegavethepremiere
27TrevorGroom,interviewbyauthor,Kettering,UK,November24,201528DavidChilds,“Review:Peace–TheMusicofJohnGolland,”http://www.davechilds.com/reviews-and-articles/article=review-peace-the-music-of-john-golland(accessedMarch1,2016).
29RobertChilds,“AboutRobertChilds,”http://www.robertchilds.co.uk/?p=about(accessedFebruary4,2016)
30Ibid.
18
recordingontheChildsBrothersalbum,EuphoniumMusic.
Musically,thefirstGollandconcertoisanimmediatedeparturefromtheneo-
classicalstylingoftheHorovitzconcerto.Ratherthantraditionalformsand
independentmovements,Golland’sworkwascomposedasonecontinuouswork,
incorporatingauto-biographicalreflectionsasthemusicalbasisforthecomposition,
beginningwiththecadenzainthefirstmeasure.31RobertChildsnotes,“theopening
elevennotesofthepiecearederivedasacipherfromthecomposer’sname.Inthis
musicalcode,thesevenlettersofthemusicalscalearerepeatedseveraltimes
startingfromA:JohnGollandisthereforemusically[intrebleclef]:CAAG
GAEEAGD.”32
ThenewchallengesGollandincludedinthiscompositionforthesoloistwere
many,beginningwiththefouropeningcadenzas.IntheHorovitz,therewasonly
onebrieflyricalcadenzainthesecondmovement.Herethesoloisthastobeginwith
aBb4,andineachofthecadenzasutilizeawiderangewhilemaintainingafull
fortissimosound(fig.9).Thatwasdistinctlydifferentfromanyofthelightstylistic
writingintheHorovitz,andwasaclearindicationfromthebeginningthatthiswasa
newkindofconcerto.
31RobertChilds,Celebration,DOYCD183,Doyen(CD),2006.32Ibid.
19
Figure9.GollandEuphoniumConcertomm1-3
Thefirstallegro,andthetrueopeningthemeofthework,isalightand
bouncymelody,influencedbyearlyjazzandthecommercialmusicoftin-panalley
(fig.10).Whilenottechnicallydemanding,theconcertorequiredanewsenseof
stylethatwasmorecontemporaryin1981,ratherthantheconservativestyle
requiredintheHorovitz.Childswasbuildinghiscareerthroughperformancesof
morepopularandcontemporarystyles,sothismusicwouldhavesuitedhimwell,
butwaslargelyforeigntomanyoftheotherfamousbrassbandeuphoniumsoloists
atthetime,mostofwhomwerestillperformingtraditionaltheme-and-variation
solosoroperaarias.
Figure10.GollandEuphoniumConcertomm25-29
Thejazzinfluencescontinuethroughoutthefirstallegrosection,utilizing
alteredrhythmicfigurestoallowthesoloist’smusictosoundimprovisatory.In
measure130,Gollandbringsthejazzelementtotheforefrontbyhisuseofseventh
andninthchordsintheband,whilethesoloistperformsshortphrasesreminiscent
ofragtime,withchromaticchordoutlinesandsyncopatedaccents(fig.11).Through
thispointinthemusic,themajorityofthenewchallengeswerestylistic,ratherthan
20
technical,butthesedemandswerestillnewtoeuphoniumsoloists,particularlyin
thebrassband,whichtraditionallyhadbeenamoreconservativemedium.
Figure11-GollandEuphoniumConcertomm130-133
Thethirdsectionoftheconcertoisperhapsthemostchallengingportionof
theentirework.For23measures,thesoloistpresentsaseriesofcadenzasand
quasi-cadenzas,rifewithlongphrases,triple-tonguedpassages,andarangefromF2
toEb5.TherangealonedistinguishedthisconcertofromtheHorovitz,extendinga
perfectfourthlowerandaminorthirdhigher.GollandutilizedChilds’considerable
flexibilityandcontrolinboththelowerandupperregisters,whichwasconsidered
virtuosicin1981.Evennow,theseupperregisterdemandsareconsidered
“professionalrange,”andarenoteasilyachievedwithinthecontextofamajorwork.
Golland’sconcertoalsodemonstratesthenewchallengeofirregularmeter.
Whilethiswasnotthefirsttimeabrassbandhadencountered5/8,itwasthefirst
timeitwasrequiredinaeuphoniumconcerto,andoneoftheearliestappearances
inanybrassbandeuphoniumsolorepertoire(fig.12).Thechallengewassubtle,but
itestablishedtheuseofirregularmeterinthegenre.
Figure12.GollandEuphoniumConcertomm383-390
Thisconcertoisaconsiderabletestofendurance.Afulltwominuteslonger
thantheHorovitzconcerto,Gollandalsoutilizedagreaterrangethanhis
21
predecessor.Thetestofendurancewasmadeevenmorechallengingbyconcluding
theworkonachromaticscale,ascendingtoasustainedD5(fig.13).Childsand
othersoloistswereaccustomedtoendingtheme-and-variationssolosinasimilar
fashion,buttheendurancerequiredtoconcludean18-minuteworkinthisregister
wassubstantiallygreater.Thishighrangeremainsachallengetomanysoloists,
especiallyconsideringthatGollanddidnotprovideconsiderablerestpriortosucha
demandingconclusion.
Figure13.GollandEuphoniumConcertomm488-495
Golland’sconcertowassuchaprogressivestepinthebrassbandeuphonium
repertoireatthetime,thatitisperhapsnotsurprisingthefirstperformanceswere
metwithpraise,andChildsreceivedrecognitionforhiscontributionstoelevating
thepublicprofileoftheeuphonium.Thiswork,thefirsteuphoniumconcertosince
theHorovitz,servedasanexampleofthecapabilitiesoftheeuphonium,andhelped
toestablishtherequisiteabilitiesoftheseriouseuphoniumperformer.
ThesecondGollandconcertowaswrittenin1988forRobertChild’sbrother
Nicholas,anexcellenteuphoniumsoloistinhisownright.33Thetwohadpreviously
33DavidChilds,“Review:Peace–TheMusicofJohnGolland,”http://www.davechilds.com/reviews-and-articles/article=review-peace-the-music-of-john-golland(accessedMarch1,2016).
22
beenperformingtogetherforseveralyearsasaduoknownastheChildsBrothers.34
Theworkisdedicatedtobothbrothers,andisevidenceoftheadmirationand
respectGollandhadforbothmusicians.ChildsneverrecordedGolland’ssecond
concerto,givinguphisperformingcareertopursueotherendeavors,whichallowed
StevenMeadtogivethepremiererecordingonhis2003release,Bravura!
ThisconcertowasnotasequeltoGolland’spreviouswork.Theentirescope
oftheworkislargerandlongerthanbefore,andpossessesamuchmoreseriousand
substantialtonethroughout.Fromtheopeningphraseofthefirstmovement,
ModeratoEroico,themoreserioussenseisclear.Thisworkrequirestheweightand
solemnityofaromantic-eracelloconcerto.
OneofthedemandsGollandincludesinhissecondeuphoniumconcertois
thewiderangethatisrequiredthroughout.Veryearlyintheconcerto,herequires
thesoloisttoplayascaledowntoBb1,whichwasthefirsttimeabrassband
euphoniumconcertorequiredthesoloisttoplaybelowF2(asidefromtwoisolated
notesinthefirstGollandconcerto),andmarksthefirsttimethefourthvalvebecame
arequirementtoperformawork(fig.14).Thisparticularpassagewasnotoverly
challenging,butitsignifiedhowthemediumwasevolvingandrequiringperformers
tousemoderninstrumentstomeetthedemandsofthemusic.
Figure14.GollandEuphoniumConcertoNo.2mvt.1mm.14-16
34RobertChilds,“AboutRobertChilds,”http://www.robertchilds.co.uk/?p=about(accessedFebruary4,2016)
23
Performersalsowererequiredtoexecutewideleaps,sometimesextending
fromverylowtoveryhighintherange(fig.15).Leapssuchasthiswereuniquein
euphoniumconcerti,sincetypicallyboththeupperandlowerregisterswere
approachedeitherbyscalesorarpeggios.Thesefiguresoftenstillposeachallenge
toperformers,whooftenhavetonegotiatesignificantdifferencesinembouchureto
performthewideintervals.
Figure15.GollandEuphoniumConcertoNo.2mvt.1mm.83-86
Gollandalsorequiresthesoloisttoplayextendedpassagesintheupper
tessitura.Oneofthemostdifficultpassagesintheentirepieceoccursnearthe
conclusionofthesecondmovement,LargoElegaico.Thismovementiswrittenin
memoriamtoJohnChilds,thefatherofRobertandNicholas,whoalsowasa
euphoniumplayerand,mostimportantly,wasaclosepersonalfriendofJohn
Golland.35Nearlyfifteenminutesintothework,Gollandwritestwolyricalpassages
forthesoloistatpianoascendingtoDb5(fig.16).Itappearsherecognizedthat
Childswasoneoffewsoloistsatthetimewhocouldperformthispassageas
effortlesslyasthemusicrequires,soheincludedanoptional8vb.Itislikelymost
35DavidChilds,“Review:Peace–TheMusicofJohnGolland,”http://www.davechilds.com/reviews-and-articles/article=review-peace-the-music-of-john-golland(accessedMarch1,2016).
24
performersatthetimewouldhavetakenthisoption,butmodernsoloistscommonly
performthisportionintheoriginaloctave.
Figure16.GollandEuphoniumConcertoNo.2mvt.2mm.82-88
ThelastoftherangeconsiderationsinGolland’ssecondconcertooccursin
thefinalmovement,AllegroEnergicoeScherzando.Inseveralinstancesthroughout
themovement,hecomposedglissandithatascendtoaneighthnoteintheupper
register.Someofthesenotesarenearlyimpossiblyhigh,ascendingallthewayupto
Bb5(fig.17).Gollandwasanexpertcomposer,soitisfairtoassumeChildsmust
havespecificallyaskedforthatrangetobeutilized,sinceevenaccomplished
performerssuchasStevenMeadtypicallychoosetoplaythesenotes8vbtoensure
clarity.36Veryfewsoloistsareabletoascendtothisextremeregisterbyanysortof
consistentandpredictablemeans;perhapsthismaybethenextexpectationofthe
modernperformer.
Figure17.GollandEuphoniumConcertoNo.2mvt.3mm.51-56
GreaterthanthechallengeofrangeinthesecondGollandconcertoisthe
demandforendurance.SimilartoGolland’sfirsteuphoniumconcerto,thiswork
requiresthesoloisttoconcludeonasustainedEb5.Thisisdifficultenoughonits
36StevenMead,Bravura!,QPRL217D,Polyphonic(CD),2003.
25
own,butcombinedwiththealreadymentioneduseoftheextremeupperregister
throughouttheentirework,andthedurationof23minutes,thisconcertorequiresa
substantialamountofstaminatoperform.Thiswasachallengeformostsoloistsin
1988,andeventodayremainsoneofthemostdifficultendurancetestsinthebrass
bandeuphoniumrepertoire.
MartinEllerby
ThenextoriginalconcertoforeuphoniumandbrassbandafterGolland’s
secondwork,wouldnotbeforanothersevenyears.Inthatspanoftime,Derek
BourgeoisandPhilipSparkeeachcompletedbrassbandadaptationsoftheir
respectiveconcerti,butitwasMartinEllerbywhocomposedthenextsignificant
workforthemedium.Hisconcertobroughtfreshlightonthegenre,andhecreated
aworkthatwasasexcitingasitwasdemanding.
MartinEllerbystudiedcompositionattheRoyalCollegeofMusicinLondon,
wherehewasastudentofJosephHorovitz,makinghimthethirdinadirectlineage
ofcomposerstowritemajorworksfortheeuphoniumatatimewhenitwasstillnot
generallyregardedasaserioussoloinstrument.3738Ellerbyismostknownasa
composerforbrassbandandwindband,andhiscompositionsareperformed
regularlyaroundtheworld.Inadditiontohiseuphoniumconcerto,hehaswritten
concertiforotherbrassbandprincipals,includingcornet,tenorhorn,baritone,
37LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),457.
38MartinEllerby,interviewbyauthor,Cheshire,UK,November26,2015
26
trombone,euphonium,tuba,andpercussion.39
In1995,Ellerby’sreputationcapturedtheattentionofarisingeuphonium
virtuoso,StevenMead.Atthetime,MeadwasSeniorTutorineuphoniumatthe
BirminghamConservatoire,theRoyalAcademyofMusic,andtheRoyalScottish
AcademyinGlasgow.40Healsohadgreatsuccessastheprincipaleuphoniumwith
severalcontestbandsincludingtheGUSBand,wherehesucceededhisformer
teacher,TrevorGroom.
WithEllerbyhavingstudiedwithJosephHorovitz,andMeadhavingstudied
withTrevorGroom,itwasserendipitousthatthepartnershipwouldleadtoa
successfulnewconcerto.Originally,thiscommissionwasfromtheBrassBandof
BattleCreek,whereMeadwastheprincipaleuphonium,butthecommissionwas
cancelled.41Instead,Ellerbyagreedtofinishthepieceinexchangeforhavingit
typeset,sinceatthetimehecomposedeverythingbyhand.Thepremierewasgiven
toastanding-room-onlyaudienceonOctober21,1995byMeadandtheBrassBand
BernerOberlandinBerne,Switzerland,withJamesGourlayconducting.42Twoyears
later,MeadagainpartneredwithGourlaytoprovidethepremiererecordingof
Ellerby’sconcertoontheRoyalNMCBrassBand’s1997album,Vistas–TheMusicof
MartinEllerby.
MeadrelinquishedallcontroloverthemusicaldirectiontoEllerby.Ellerby
said,“Themainthing[Mead]saidtomewas,‘I’lldoanythinginthispiece,butImust
39MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201540LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),499.
41MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201542MartinEllerby,EuphoniumConcerto(Bedfordshire,England:StudioMusic,1997).
27
beheard.Soifyouexpectmetoplayalloftheseweird,wonderful,odd,crazythings,
I’lltrytodoitforyou,butifIcan’tbeheardbecauseyouoverscoredit,ortheband’s
gettingtooheavy,thenit’snotgoingtowork.”43Thisopen-endedrequestallowed
Ellerbycompletefreedomtowritethepieceashewished,notbeingboundby
restrictionsofstyleorform,especiallyconsideringthebrassbandmovementbythe
mid-1990swasbeginningtoacceptmorecontemporarywritingofcomposerssuch
asDerekBourgeoisandEdwardGregson.Thatmusicalautonomyresultedinawork
thatwas,atthetime,themostmusicallyadventurousanduniqueeuphonium
concertotobewritten.
Ellerby’sconcertowasoriginallyconceivedinthreemovements,andwas
expandedtofourbeforethefirstperformance.44Itsdurationof22minutesis
comparableinlengthtoGolland’ssecondeuphoniumconcerto,anditpossesses
someofthegreatestdemandsonthesoloist,especiallyinregardstostamina.Each
movementhasavastlydifferentcharacter,whichservestokeeptheworkvaried
andexcitingthroughtheentireperformance.
Thefirstmovement,Fantasy,isaggressivefromtheoutset,signifyingan
immediatedeparturefromthehighlymelodicconcertithatprecededit.Thesolois
writteninshortcells,ratherthaninalong,singablemelody.Becauseofthis,the
soloistrarelyplaysforlongerthanafewmeasuresatatime.Instead,Ellerby
intendedthesoloisttobeacounterpartwiththeband,stating“Itisnotan
instrumentwithaccompaniment.It’sadialogue,it’saunion,aconversation.”45The
43MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201544ibid.45ibid.
28
workalsorequiresarepeatedfeelingofaggressionandgrowth,withmanyofthe
musicalcellsincreasingindynamicfrommftof,orevenptof,inveryshortperiods
oftime(fig.18).
Figure18.EllerbyEuphoniumConcertomvt.1mm.2-5
Thefirstmovementincludesarapidtempo,minimaluseofslurs,especially
on16thnotes,quickdynamiccontrasts,andanon-diatonicsenseofharmony.Each
oftheseelementsontheirownhadbeenaregularpartofeuphoniumsolo
repertoire,butcombinedtheyrepresentedanewlevelofchallenge.Theseelements
allappearinfigure19,inwhichthesoloistmustnegotiateawideregister,an
expansivedynamicrange,andarticulationmarkingsforeverynote.Techniques
suchasthesewereemergingwithintherealmofmostbrassbandeuphonium
soloistsin1995.EvenmusicianssuchastheChildsbrotherswerenotaccustomedto
performingsuchangularsolomusic,andpassagessuchasthispresenteda
perceptivelydifficultobstacleatthetime.
Figure19.EllerbyEuphoniumConcertomvt.1mm.121-131
29
Capriccio,thesecondmovement,wasthesegmentEllerbylateraddedto
createafourmovementwork.Hestates“Itwouldn’tgoinmymindfromthefirst
movementtotheslowmovement.ItneededthatCapricciointhemiddle.”46The
varyingtempiofthefirstmovementdidnotallowforaneasytransitionintothe
lyricalmovement,soEllerbychosetoaddlightandfastmaterialtobridgethe
transition.Withatempomarkingofq=152,whichisfasterthanthatofthefirst
movement,hefurtherextendedtheboundariesofwhatsoloistswererequiredtodo
inthiswork.Thetripletfigurethatbeginsthemovementrequireseitherafast
singletongue,orthecapabilitytotripletonguetheever-evolvingarpeggios(fig.20).
Figure20.EllerbyEuphoniumConcertomvt.2mm.3-6
Thedemandsforthesoloistinthismovementareextensivethroughout.
Similartothefirstmovement,fastarticulations,rapidharmonicshifts,andan
expansiverangearefeatured.Inthemiddleofthemovement,thesoloistmust
negotiateaveryfastmutechange.Thiswasthefirsttimeamutewasusedina
euphoniumconcerto,whichisoneoftheclearestexamplesofEllerby’sintentional
departurefromthepreviouslyestablishedtechnicallimitations.Attheendofan
alreadydifficultpassage,herequiresthesoloisttodescendtoG1(fig.21).Notonly
wasthisthefirsttimeaeuphoniumconcertorequiredasoloisttoplaybelowBb1,
46MartinEllerby,interviewbyauthor,Cheshire,UK,November26,2015
30
butEllerbyalsoplacesthesoloistinthisextremeregisterwhilestillmuted.In
additiontothatchallenge,thislowregisterdemandwasattheendofacrescendo
fromforte.Inpreviousconcerti,ifmaterialaslowinrangeasthissegmenthadbeen
written,ittypicallywasincludedasanossia.Instead,Ellerbymadeitanessential
partofthecomposition.
Figure21.EllerbyEuphoniumConcertomvt.2mm.62-69
Thethirdmovement,Rhapsody(forLuis),isdedicatedtoLuisMaldonado,
whotypesettheoriginalbrassbandversionoftheworkasthepaymentforthe
commission.47Afterhehadcompletedtypesettingthepiece,hecommittedsuicide
beforethefirstperformance,andinhishonor,Ellerbyhassincededicatedthe
movementtoMaldonado’smemoryineachsuccessiveeditionoftheconcerto.48
Thismovementrequiressensitivityfromboththesoloistandtheband,with
soloandduetpassagesthroughoutthebandtosupportthesoloeuphonium.Ellerby
states“Itallhastodowithconversationswithwhat’sgoingonintheorchestration,
becauseyouneedtoknowwhereyousitandwhenyou’renotnecessarilythefirst
voice.Youmightbetakenovergraduallybysomethingelse,anditweavesinand47MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201548ibid.
31
out.”49Understandingthatthesoloistdoesnotalwaysprovidetheprimarymelodic
material,andlisteningtocreatemeaningfuldialogue,canbethegreatestchallenge
inthismovement.Everyfewmeasures,thereisnewmemberorsectionoftheband
addingtothetexturebyechoingavariationofthethemefirstpresentedbythe
soloist(fig.22).
Figure22.EllerbyEuphoniumConcertomvt.3mm.6-7
Themovementconcludeswithabriefandverysubtlehomagetothesecond
movementoftheHorovitzeuphoniumconcerto,withthesoloistprovidinga
constantarticulatedpitch,whilethebandresolvesfromDmajortoGmajor(fig.
23).50EllerbyintendedthismomenttobereminiscentoftheHorovitz,ratherthana
directorovertreference,saying“It’svery,verysubtle.IfIhadn’ttoldyou,you
wouldn’tprobablyhavenoticed.”51
49MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201550MartinEllerby,EuphoniumConcerto(Bedfordshire,England:StudioMusic,1997).51MartinEllerby,interviewbyauthor,Cheshire,UK,November26,2015
32
Figure23.EllerbyEuphoniumConcertomvt.3mm.68-70
Diversions,thefinalmovement,includesthequalitiesofadancemovement.It
isveryrhythmic,withashortthematicmotivepresentedattheoutsetthatrecurs
throughouttheentiremovement(fig.24).Therearereferencesreminiscentof
ragtimeandtheearlydaysofjazz,buttheharmoniesaremoreexpansive.While
Ellerbywrotein3/4,itishighlysyncopated,andattimessomefigureslooklike6/8,
withtwogroupingsofthree8thnotes,ratherthanthreegroupingsoftwo(figure
25).
Figure24.EllerbyEuphoniumConcertomvt.4mm.8-12
33
Figure25.EllerbyEuphoniumConcertomvt.4mm.146-154
TheextremedifficultyofthismovementisevidentinthetentimesEllerby
eitherhasprovidedanossia,ormarkedapassageasoptional8vaor8vb.He
recognizedwhathewasrequiringthesoloisttodowasonlypossiblebyveryfewat
thetime,andwithoutprovidingperformancealternatives,therewasapossibility
veryfewperformerswouldconsiderprogramminghiswork.Thefirstossiaprovides
34
a16th-notealternativetoa16th-notequintupletmeasure,recognizingthat
quintupletscanbeverydifficult,especiallyatthemarkedtempoofq=132(fig.26).
Figure26.EllerbyEuphoniumConcertomvt.4mm.38-40
Thesecondofthesignificantoptionalmarkingsinthismovementisthe
indicationtoomitthemulti-phonicmaterial(fig.27).Whilemulti-phonicswasan
extendedtechniquethatwasbecomingpopularinthebrassbandmovementatthat
time,itmostoftenwasutilizedinanoveltyfashion,typicallyduringthecadenzaofa
theme-and-variation.Includingmulti-phonicmaterialinafastandarticulated
sectionwasquiteunusual,especiallyarequirementtochangepitches,asinthis
movement.Thistechniqueremainsachallenge,andevenmajorperformingartists,
suchasTormodFlaten,choosetoomittheuppernotesintheirperformances.52
Figure27.EllerbyEuphoniumConcertomvt.4mm.90-91
Thefinalossiamarkedinthismovementoccursinthelastthreemeasuresof
thework(fig.28).Almostanexact8vbofmaterialfromtheoriginalsolopart,this
52TormodFlaten,NorwegianEuphonium,DOYCD190(CD),2005.
35
ossiaaccountsfortheimmenseamountofendurancerequiredtoplayEb5atthe
conclusionofa22-minuteconcerto.
Figure28.EllerbyEuphoniumConcertomvt.4mm.237-239
EvenifasoloistchosetoplayeveryossiaorsimplifiedoptionEllerby
provided,thismovementwouldremainverychallenging.Someofthehighestand
lowestsegmentsofthemovementareinextremeregisters,andmanyofthe
articulatedfiguresremaindifficulteveninmorecomfortableranges.Allofthese
technicaldemandscontributedtoEllerby’sbeliefthat,“WhenIwroteit,onlySteve
Meadcouldplayit,”consideringtheimmensechallengesofthismovement,letalone
thedemandsoftheentirework.53Ellerbystates,“Wellthehardpartaboutplayingit
intheearlytimeswasnotthattheycouldn’tplaythefourmovements,butplaying
themaftereachother,becauseofthestamina.Stevenhadthisgreatstamina.”54
53MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201554ibid.
36
PhilipWilby
PhilipWilbyalsocomposedaeuphoniumconcertothesameyearasEllerby,
thoughWilbywasnotawareofEllerby’sworkuntilafewyearslater.55Wilby’swork
wascompletedonNewYear’sEve1995andwaspremieredinthespringof1996.56
Sincethen,ithasbecomeoneofthemostfrequentlyperformedeuphonium
concerti,appearingonnumerousstudiorecordings,manymajorperformances,and
studentrecitalsworldwide.
PhilipWilbyisaprolificcomposer,andisbestknownforhisbrassband
compositions,despitethefactheisnotabrassplayer.Asateenagerandyoung
adult,hemadehislivingasaprofessionalviolinist,andnowperformsasapianist
andorganist.57Hisperformancebackgroundpermeateshiscompositions,bringinga
rangeoftechnicaldemandsnotoftenrequiredforbrassmusicians.Since1972,he
hasbeenProfessorofCompositionattheUniversityofLeeds,andhasestablished
himselfasoneoftheforemostcomposersforbrassband.58
AlongwiththefirstGolland,Wilby’sconcertoalsowasacommissionfrom
RobertChilds,originallytobeusedasanexampieceforhisgraduatestudiesatthe
UniversityofLeeds.59ChildsspecificallyaskedWilbytowritesomedifficultmaterial
intheconcerto,suchasahighnoteplayedsoftlywithadiminuendo,theuseofboth
theextremeupperandlowerregisters,andasubstantialamountoftripletonguing.
SomeofChilds’revisionsincludedextendingfastpassagesbyseveralmeasures,and55PhilipWilby,interviewbyauthor,Leeds,UK,November24,201556PhilipWilby,ConcertoforEuphonium(Bucks,England:RosehillMusic,1996).57LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),482.
58Ibid.,482.59PhilipWilby,interviewbyauthor,Leeds,UK,November24,2015
37
changingoneofthe16th-noterunstoanascendingglissandototheextremeupper
register.60Childswantedthispiecetodemonstratethefullcapabilitiesofthe
instrument.
ThefirstoftherevisionsChildssuggestedrevealedhisdesireforthis
concertotobeincreasinglydemanding.Inmeasures29-35Childssuggestedmanyof
thedescending16th-notetripletpassagesbealtered(fig.29).Hisalterationsdonot
simplifythemusicinanyway,butinsteadtransformlineardescendingchromatic
scalesintooscillatingscalarfigures,asdemonstratedinmeasures31-32.These
minorchangesamendedsmallpassagesfromcommonscalefigurestounique
phrases,whichrequiredmoreattentiontoclaritytoensurethecorrectoscillations
couldbeheard.
Figure29.WilbyConcertoforEuphoniummvt.1mm.29-35.Manuscriptandpublished
60PhilipWilby,“ConcertoforEuphonium,”score,1996,WilbyCollection,RoyalWelshCollegeLibrary,RoyalWelshCollegeofMusicandDrama.
38
ManyoftheseminoreditswereadoptedbyWilbyandappearinthe
publishededitionsoftheconcerto61.Withover20revisions,mostdidnot
significantlyalterthework,butinsteadpresentedseveralpassagesthatchallenged
theperformerbeyondtypicalscalefiguresthatthesoloistwasexpectedtoalready
know.Inafewinstances,WilbychosetoincludeChilds’edits,butonlyasoptional
ossiapassages,suchasmeasures148,288,and621.Theseareportionsofthework
inwhichChilds’requestswerebeyondthescopeofwhatwasexpectedinbrass
bandeuphoniumrepertoireatthetime,andWilby’sinclusionofossiaoptions
allowedperformerstoremainwithintheboundsoftheirownability.
TherearetwosignificantalterationsChildsmadetoWilby’smanuscript.The
firstoccursinmeasures146-169,inwhichhesuggestedsomeoftheslurredtriplets
insteadbearticulated,andscalarfiguresbealtered(fig.30).Thesechangesreveal
Childs’desiretoutilizealargerrangeoftheinstrument,aswellashisintentionfor
moredifficultarticulatedpassages,requiringawidervarietyoftechnical
capabilitiestoaccuratelyperformthemusic.
61Afacsimileof“Bob’ssuggestedchanges”availableintheappendix
39
Figure30.WilbyConcertoforEuphoniummvt.1mm.146-169.Manuscriptandpublished
TheothersignificantChildsalterationtotheWilbyconcertooccursinthe
finalsevenmeasures(fig.31).Hereanextendedscalewastruncatedandalteredto
40
extendtherange,requiringmorebreathcontroltoprojectatbothendsofthescale.
Alsotheadditionofatwo-measure,fortissimo-pianotrillallowsthesoloisttojoin
theprevailingtextureintheband,yetisinthecorrectregistertobeeasilyheard.
Thelastmeasurealsowasamendedforrange,butChilds,notwantingtheconcerto
toconcludewithmaterialinthemiddleregister,addedtheossiaglissandotoEb5.
Childswasamongthefeweuphoniumsoloistsin1996capableofplayingthe
glissando,especiallyattheendofa20-minuteconcerto.Theossiamaterialisnow
consideredthestandardendofthework,withveryfewsoloistschoosingtoplaythe
originaleighthnoteending.
Figure31.WilbyConcertoforEuphoniummvt.1mm.615-621.Manuscriptandpublished
AtthetimeWilbycompletedhisconcerto,hewasthecomposerinresidence
withtheBlackDykeBand,andChildswastheeuphoniumsoloist.Thisguaranteed
thattheworkwouldbeperformedwiththeband,andforseveralyearsitwasa
regularconcertfeature.62Thepremiereperformance,however,waswithThe
62RobertChilds,“AboutRobertChilds,”http://www.robertchilds.co.uk/?p=about(accessedFebruary4,2016)
41
NationalYouthBrassBandofWales,conductedbyHowardSnell,inAugust1996.63
ThefirstactualperformancewasheardonlybyChilds’examiningcommittee,and
occurredattheendofhisexamprogramattheuniversityinJune1996,withthe
composerhimselfplayingthepiano.64In1997,Childscreatedthepremiere
recordingofWilby’sworkonhisPremierealbum.
Wilby’sConcertoforEuphoniumisuniqueinitsconstruction,consistingof
fourmovementsintwoparts.WhileEllerby’sconcertoalsowasconstructedinfour
movements,boththefirstandthirdmovementsoftheWilbyseguedirectlyintothe
followingmovements,withtheonlypausebetweenmovementstwoandthree,so
thelistenerwouldperceivethetwolargerparts,ratherthanfourcompletely
isolatedmovements.Eachmovementpresentsadifferentmoodandfacetofthe
instrument.Theoutertwomovementsarecomposedincontemporarystyles,
utilizingbothquartalharmonyandchromaticpassagestoallowversatilityinthe
harmoniclanguage.Theinnermovements,whilelargelytonal,representtwovastly
differentperformancequalitiesoftheeuphonium.
Thefirstmovement,Nontroppoallegro,isasonataformbuiltonatechnical
firstthemeandalyricalsecondtheme.65Wilbystates,“Iwasgoingtocall[thefirst
movement]SarajevoSong,aftertheYugoslavianWar.Butthenthatturnedsosour
thatIdidn’tperceivethat.”66Thefirstthemeisafast-pacedtechnicalchallengefor
bothsoloistandband,withveryaggressiverhythmicfigurespunctuatedbythe
ensemble(fig.32).Thechallengeforthesoloistthroughoutthisfirstthemeisto63RobertChilds,Celebration,DOYCD183,Doyen(CD),2006.64PhilipWilby,interviewbyauthor,Leeds,UK,November24,201565ibid.66ibid.
42
projectthroughthethicklyscoredtextureoftheband.Muchofthematerialutilizes
softerdynamics,thereforethesolopartmaynotbepresentifplayedtooquietly.
Wilbydescribes,“Balanceisanissue.Thebandparts,evenifplayedwithenergy,
needtobelessprojection[sic].”67
Figure32.WilbyConcertoforEuphoniummvt.1mm.2-9
ThesecondthemeistheoriginalSarajevotheme,andisacontrastinglyrical
melodysupportedbyrichharmoniesandfullscorings(fig.33).Thesecond
occurrenceofthisthemeappearsintherecapitulation,andismarkedataslightly
slowertempo,whichthesoloistmayconsiderutilizingthefirsttimetocreatea
greatercontrasttothefirsttheme.Thefullscoringinthisportionpresentsasimilar
balanceconcerntothatofthefirsttheme,sincethesolopartisoftenwrittenat
pianoorpianissimo,withthesoloistinthemiddleregisteroftheorchestration.The
soloisthasthechallengeofaproducingagentlequalityatalevelthatwillbeclearly
heardthroughthetextureoftheband.
Figure33.WilbyConcertoforEuphoniummvt.1mm.52-60
Perhapsthegreatestchallengesinthefirstmovementarethe16th-noteand
triplet16th-notepassages.Theseportionscompriseapproximatelyathirdofthe
solomaterialinthismovement,andrarelyappearasrecognizablescalefigures.
67PhilipWilby,interviewbyauthor,Leeds,UK,November24,2015
43
Coupledwithlongsegmentsoftripletonguing,andawidevarietyofdynamic
ranges,thismaterialwasverydifficultin1996,andremainschallengingfor
euphoniumsoloists.Thematerialisreminiscentofthethirdmovementofthe
Horovitzconcerto,withsimilaralternating16th-notescalesandtriple-tongued
passages.TheWilbycontainsnon-diatonicscalepassages,andismarkedupto10
BPMfasterthanthe1991Horovitzedition,andapproximately20BPMfasterthan
theoriginal1972edition.
ThesecondmovementisaZeibekikos,whichisafast-pacedGreekdance
featuringrapidpassages,longglissandi,andseeminglyimprovisatorysegments.The
useofGreekmusicoriginallywasintendedtounifythethemeofpartone,with
SarajevoandGreeceasneighboringculturalcenters.Itismarkedatq=148+,butis
commonlyperformedtodayattempiapproachingq=172toemphasizetheferocious
qualityofthemusic.Thisfastpacewasanemergingtrendinthebrassband
movementwhenoriginallywritten,andChildsrecordedthemovementatthefaster
tempo,whichestablishedanewinterpretativestandard.
Themiddlesectionincludesbriefinterjectionsfromthesoloistintendedto
resembleimprovisedsololines,presentingthechallengetoplaythecomplex
rhythmicfiguresaccurately,andyetsoundfree(fig.34).Thewiderange
requirements,inboththeupperandlowertessituras,arewhatChildswishedto
demonstrateinthiswork,sincetheyaresomeoftheshowmanshipskillsforwhich
hewasknownatthetime,asamemberofTheChildsBrothers.OnlytheEllerby
concertohadutilizedthiswideofarange,particularlyinthelowregister,revealing
44
theincreasingperformancestandardoftheeuphoniumbythemid-1990s.68
Figure34.WilbyConcertoforEuphoniummvt.2mm.340-356
ParttwobeginswithapresentationofthelyricalSarajevothemefromthe
firstmovement,followedbyseverallyricalcadenzas.Here,theeuphoniumismuted,
establishingadistinctdifferenceintimbrefromthefirsthalfoftheconcerto.69The
firstcadenzainmeasures424-430iscomprisedofsomeofthewidestrange
requirementsintheentirecomposition,andisnotatedpianoorsofter.The
combinationofwiderangeandsoftdynamicsistreacherousinamute,andposed
significantpotentialintonationissueswiththefibermutesthatwereavailablein
1996.Despitethecurrentavailabilityandwiderangeofmutes,manywithimproved
intonationtendencies,thisoftenpresentsachallengetothemodernsoloist.
68Attheconclusionofthemovementthescorenotatesthesmashingofplatescoordinatedwiththelastnoteofthepercussion.Thistechniquecanbedifficultandquitedangerous,soWilbysuggeststhrowingaplateintoaboxofalreadybrokenplates,whichensuresthebrokensoundbutalsohelpstocontainalloftheshardswithinthebox.
69PerformerswillbeinterestedtonotethatWilbypreferstheuseofametalstraightmute.
45
Followingthecadenzasisabeautifulandsimpleadagiomelodyalso
comprisedoffirstmovementmaterial(fig.35).Thesinglelargestrevisiontothe
workduringthecompositionalprocessoccurshere.OriginallyWilbycomposeda
briefscherzo,markedDoppioPiuPresto,intheplaceofwhatisnowtheadagio(fig.
37-38).ChildsneverperformedthisversionandaskedthatWilbyinsteadcompose
aslowsegmenttodemonstratehislyricalcapabilities.Whilethetempointhe
revisedversionwasslower,differentchallengeswerepresented,includingan
extensionofthedurationofthemovement,andlyricalplayingintheupperregister
atverysoftdynamics,creatingasignificanttestofendurancetoappearthislatein
theconcerto.Wilbymaintainsoneofhistraditionsofquotingfamousorchestra
composersbyinsertingtheopeningofWagner’sTristanandIsoldeattheconclusion
oftheadagio,beforereturningtothecadenzamaterial(fig.36).
Figure35.WilbyConcertoforEuphoniummvt.3mm.442-445
Figure36.WilbyConcertoforEuphoniummvt.3mm.457-459
46
Figure37.WilbyConcertoforEuphoniummvt.3.Manuscriptshowingoriginalscherzopage1
47
Figure38.WilbyConcertoforEuphoniummvt.3.Manuscriptshowingoriginalscherzopage2
Movementfourbeginswithafugaldialoguebetweensoloistandband(fig.
39).Oftenthesubjectsareasshortasasinglemeasureoronlyafewbeats,which
48
providesanopportunitytofeaturethebandwithouthavingtoomitthesoloist.
Figure39.WilbyConcertoforEuphoniummvt.4mm.478-481
Inadditiontothefugaldialoguematerial,thesoloistplayssimplechromatic
figures,whilethebandsustainsopenseventhsthatcoincidewitheachofthesolo
articulations(fig.40).Theaccentsinthissectioncoordinatewiththearticulationsin
theband,andshouldbeexaggeratedtoprovidevitalityandinterest.
Figure40.WilbyConcertoforEuphoniummvt.4mm.526-528
Measure530includesasignificantdiscrepancybetweenthesolopartof
Wilby’soriginalmanuscriptandthepublishededitions.Thepublishedversions
showtheaccentsontheoffbeatofoneandonthree,whilethebandisaccentingon
oneandtheoffbeatofthree,whichistheonlytimetheaccentsdonotcoincide
betweensoloistandband.Inthemanuscript,however,theaccentsinthesolopart
lineupwiththeband,whichistheversionthatmakesthemostmusicalsense,since
itisconsistentwiththeaccentschemeWilbyestablishesatthebeginningofthis
material(fig.41).Performersshouldconsiderthemanuscriptversionforthis
49
measuretoensurecontinuitythroughoutthisportionofthemovement.
Figure41.WilbyConcertoforEuphoniummvt.4mm.530.Manuscriptcomparison
Towardtheendofthemovement,Wilbyutilizesacrescendotoatuttiband
segment,beforethesoloist“movesinexorablytowardsaclimacticreturnofthe
musicandtonalityoftheopeningbarsofthework.”70Atthispointstaminaisa
concern,takingintoaccountthatfrommeasure588totheendthesolopartis
markedfortissimo.Thesoloistmaydetermineitisbeneficialtoreducethedynamic
inmeasures598-604toensureadequatestaminatofinishthepieceintheupper
rangeatfortissimo.
70PhilipWilby,ConcertoforEuphonium(Bucks,England:RosehillMusic,1996).
50
ConcludingRemarks
Eachoftheseworkswasreceivedtogreatcriticalandpopularacclaimwhen
theywereinitiallyperformed.FromtheHorovitzanditsconservativerangetothe
styleandromanceoftheGollandconcertos,totheaggressiveandcontemporary
demandsoftheEllerby,andtotheepicjourneyoftheWilby,therehasbeenan
increaseinthetechnicalrequirementsoftheperformerswitheachnewconcerto
andcomposer.Thesefivecompositionsserveasbenchmarksofthegenre,withthe
Horovitzreveredasthepioneer,andtheWilbyrespectedasthestandardof
durationandtechnicalrequirements.
Allfiveworkshavebeenreducedforpianoaccompaniment,asiscommon
practiceforconcerti,butmanyofthemalsoexistinotherensembleeditions.The
Horovitzhasbeenre-orchestratedbythecomposerforbothchamberwindsand
chamberorchestra.71MartinEllerbyhasrescoredhisconcertoforwindensemble
andsymphonyorchestra.72Themostwell-knownneweditionisthere-
orchestrationoftheWilbyconcertoforsymphonyorchestra.Wilbycreatedthenew
scoringin2000foreuphoniumsoloistDavidChilds,forhisperformanceinthefinal
roundoftheBBCYoungArtistcompetition.7374Childs’performanceandWilby’s
orchestrationsecuredhissuccessatthecompetition,andincreasedthepopularity
oftheinstrument,andthegenreoftheeuphoniumconcerto.75
71LloydE.BoneJr.andEricPaul,GuidetotheEuphoniumRepertoire:TheEuphoniumSourceBook(Indianapolis:IndianaUniversityPress,2007),145.
72MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201573DavidChilds,TheSymphonicEuphonium,CHAN10830,Chandos(CD),2014,8.74PhilipWilby,interviewbyauthor,Leeds,UK,November24,201575DavidChildsalreadyhadahistorywiththeWilbyconcerto,sinceRobertChildshadbursthiseardrumandwasunabletogivethefirstreading.Instead,he
51
Theseworksarerecognizedastheessentialconcertifortheinstrument.
MostseriousstudentsoftheeuphoniumhaveplayedtheHorovitzconcerto,oftenas
anexaminationpiece.Itisconsideredabarrierpiece,beingregardedbymanyasa
requirementtoperformbeforeastudentcancompletetheirformalmusicalstudy.
TheEllerbyandtheWilbyareviewedmuchinthesameway,thoughtheyrequirea
moreadvancedlevelofmusiciantosuccessfullyperform.Bothworksaretypical
inclusionsforgraduaterecitals,advancedauditions,andsolocompetitions.The
Gollandconcerti,whilenotaswell-knownoraswidelyperformed,remaininuseas
typicalrequiredworksforeuphoniumcompetitions,andhavecementedtheirplace
amongthemoreseriousworksfortheinstrument.Thispopularityispersistent
evenwiththerecentincreaseinthenumberofconcertiforeuphonium.With
approximatelyhalfadozenneweuphoniumconcertibeingwritteneveryyear,these
compositionsremainamongtheessentialrepertoirefortheinstrument.Their
popularityhasbeenestablishedbytheirplaceinhistory,technicaldemands,and
mostimportantly,thequalityofmusic.Theseworksareclearexamplesofhowthe
euphoniumconcertodevelopedintoasignificantgenre.
Theeuphoniumhasauniquehistory,particularlyinthebrassband,whereit
oftenwasfeaturedinshort,lesssubstantialrepertoire.Whilelightmusicisstill
oftenprogrammed,concertihavebeguntoappearonmoreconcertprogramsin
recentyears.DavidThornton,currentlyoneofthehighestprofileeuphonium
soloistsintheworld,performsmultipleconcertieveryyearwithavarietyof
broughtDavid,whowas12atthetime,alongtogiveitthefirstreading,andDavid’sreadingofthework,eventhen,revealedhewouldbeaformidableforceasaeuphoniumsoloist.
52
ensembles,whichwasnotanoptionforaeuphoniumsoloistasrecentlyasthe
1990s.Theeuphoniumconcerto,especiallywithbrassband,isnowagenrethatis
widelyacceptedandevenexpectedfromasoloist,justasitiswithviolinandpiano
concertiwiththesymphonyorchestra.Thatexpectationhasdevelopedademand
foragreaternumberofconcerti,andcomposersareincreasinglywillingtomeet
thatneed.
Horovitzwroteforwhatwasthevirtuosostandardin1972,yetnowhis
concertoisconsideredwellwithinthegraspofmostcollegiateeuphoniumstudents.
Thorntonstates,“Thesubstantialnatureofaconcerto,atthetimeasasolopiece
wasunusualandextremeandsubstantial.Nowyouputthatwiththekindof
languageit’swrittenin,andactuallyit’sfairlylightmusic.”76Thesameprogression
occurredforthesubstantialconcertiinthemid-1990s.MartinEllerbydescribes,
“Nowyoufindthatyourpieceispartoftheroutine.Itstartedoffas,‘that’stheone
togofor,’nowit’snotinthatplace.That’sgood,becauseit’sbeenconquered,and
that’sthewayitshouldbe.”77Thisisnottosaythattheseconcertiareeasyor
simple,onlythattheirdemandsarewithinthegraspofanyaccomplished
euphoniumsoloist.ThorntonsaysoftheHorovitz,“It’sbrilliantmusic.It’sareally
wellconceivedpiece,andsoI’mstillusingitasgreatstudyrepertoire,mainlyfor
interpretationalideas.Theamountofdetailthat’sonthepage,justbecauseit’snot
technicallythatdifficult,actuallymusicallygettingintotheconceptsthatHorovitzis
writingforisreallygoodforuniversitystudentstostudyandtoperform.”78When
76DavidThornton,interviewbyauthor,Manchester,UK,November26,201577MartinEllerby,interviewbyauthor,Cheshire,UK,November26,201578DavidThornton,interviewbyauthor,Manchester,UK,November26,2015
53
talkingabouttheconcertithatfollowedtheHorovitz,Groomsaid“TheWilbyand
theJohnGollandsareverydifficult.”79ThorntonalsosaidoftheWilbyandEllerby
concerti,“They’renoteasy,there’snodoubtaboutthat.Theywerehardin1995,
andthey’restilldamnhardnow.”80
Table2revealsthedirectprogressionofdifficultybetweenthefiveconcerti.
FromtheHorovitzthrougheachoftheGollandconcerti,toEllerby’sconcerto,the
rangehasexpandedwitheachcomposition,asidefromtheextremeregisterinthe
secondGollandconcertodiscussedpreviously.TheWilbydoesnotincreasethe
rangedemandsfromtheEllerby,butitcertainlyexpandedfromtheHorovitzand
Gollandconcerti,andduetoWilby’sunawarenessoftheEllerbyconcertoatthe
time,thisisstilladirectsignofexpansionoftherange.Anothertellingdevelopment
ishowoftencomposersutilizetheupperandlowertessituras.Horovitz’suseofthe
higherregisterissparse,andheintentionallyavoidswritinginthelowerregister.
Gollandestablishedwhatwouldbecomethestandarduseofrangebetweenhistwo
concerti,althoughhissecondconcertoisinthehigh,andsometimesextremelyhigh,
registerforasubstantiallengthoftime.EllerbyandWilbycontinuedthetrends
establishedbyGolland,utilizingboththehighandlowtessiturastogreateffect.
Athirdchallengethesecomposersutilizedwasrapidarticulatedpassages.
FromHorovitz’sconcertothroughtheEllerby,thereisaconstantincreaseinthe
amountofmultipletonguingrequiredthroughouttheconcerti,andWilby,although
notanincreaseovertheEllerby,stillmakesgreatuseofthistechnique.Notonlydid
thedemandformultipletonguingincrease,butalsotherequiredtempiinmultiple-79TrevorGroom,interviewbyauthor,Kettering,UK,November24,201580DavidThornton,interviewbyauthor,Manchester,UK,November26,2015
54
tonguedpassagesincreasedfromq=108intheHorovitz,toq=152intheEllerby,
andacommonlyperformedq=172inWilby’sconcerto.
Table2.Concertocomparisons
Horovitz Golland#1 Golland#2 Ellerby WilbyFullrange
Uppertessitura81
12bars 85bars 117bars 89bars 80bars
Lowertessitura82
n/a 2notes 4bars 8bars 6bars
Doubletonguing
5bars 1bar 4bars 60bars 16bars
Tripletonguing
7bars 10bars 39bars (23barstempo-based)
8bars
Theseconcertialsorevealstylisticchangesinthebrassbandmovement
throughtherepresenteddecades.In1972,bandswereplayinglesssubstantial
music,eveninmajorcompetitions.Wilbynoted,“theywouldhavejustcomeoutof
sharppitch,andtheywouldhaveplayedwithamuchlighterstyle.”83Horovitz’s
concerto,writteninaneo-classicalstyle,fitneatlyintothelightstyleoftheday.
Gollandadvancedthatstyle,writingbothconcertiinaneo-romanticidiom.While
hisfirstconcertoutilizessomejazzinfluences,theentireworkpossessestheweight
andseveritythatemergedintheromanticera.Golland’ssecondconcertois
composedinthestyleofRichardStrauss,utilizingthetypeofheroicthemesand
long,sweepingmelodiesStrausswasknownfor.
81F4andabove82BelowF283PhilipWilby,interviewbyauthor,Leeds,UK,November24,2015
55
Thebrassbandmovementwitnessedadeparturefromitstraditional
sensibilitiesinthe1980sand1990s.Newcomposersbegantoexpandthe
boundariesofthemedium,andcompositionssuchasDerekBourgeois’Blitz(1980),
andTheNewJerusalembyPhilipWilby(1989)weregainingpopularityand
redefiningwhatwasacceptableinthebrassband.EllerbyandWilbybothfollowed
thistrendinthecompositionoftheireuphoniumconcerti,emergingfromthe
traditionallyricallimitationsthebrassbandidiomutilizedfordecades,andinstead
including20thcenturycompositionaltechniquesthatchallengedandinspiredthe
performersandaudiencesinanewway.
Since1996,thestandardforeuphoniumsolorepertoirehasonlyincreased.
Thefourbrassbandconcertiofthe1980sand1990snowrepresenttheexpected
standardofasoloist,ratherthanthevirtuosostandardofonlytheeliteperformers.
Currently,thevirtuosoperformersarecommissioningworkswithevengreater
demandsofrange,fingerdexterity,flexibility,andendurance(table3).Many
modernworksincludeextendedtechniquessuchasmulti-phonics,windsounds,
andothereffects.Groomstates,“Theywritethemdifficultnow.Theyjustliketosee
whocangetmorenotesonthepage.”84Thornton,whentalkingaboutarecent
euphoniumconcertobyTorsteinAagard-Nilsen,said“WhenIfirstopenedthe
Aagard-Nilsenscore,Ilookedatsomeofthewritingandthetechniquesinvolved
andjustsaid,‘woah,wheredoyoustartwiththis?’”85
84TrevorGroom,interviewbyauthor,Kettering,UK,November24,201585DavidThornton,interviewbyauthor,Manchester,UK,November26,2015
56
Table3.Newconcertocomparisons
Theseincreasingtechnicalchallengesarethewaythegenreshouldevolve.
Aseachgenerationpassesdowntherepertoireandskillstheypossess,each
successivegenerationshouldbedevelopingandaddingtoboththetechnicalskills
andtherepertoire.Thisincreaseisevidentthroughtheearlydevelopmentofthe
brassbandeuphoniumconcerto,andisstillapparentthroughthenewrepertoire
today.
Aagard-Nilsen(2009) AndyScott(2012)Fullrange
Uppertessitura 62bars 94barsLowertessitura 1note 4barsDoubletonguing 72bars 20barsTripletonguing n/a 29bars
57
Postscript
Itisimpossibletowriteaboutthesepieceswithoutrecognizingthe
contributionsofboththecomposersandtheperformers.Withouttheir
partnerships,thesequalitycompositionswouldnotexistformusicianstoplayand
listenerstoenjoy.Thesemen,thechampionsoftheinstrument,haveendeavoredto
establishtheeuphoniumasaninstrumenttobetakenseriously,andhelpedpave
thewayforalloftheperformerswhohavefollowed.Theyhaveencouragedallofus
toseekoutourownvoiceontheeuphonium,andtocreatenewmusicthatalsocan
inspirefuturegenerationsofmusicianstostriveforexcellence.
58
APPENDIX
Table4-PublicationandPerformanceInformation
Range
Bb2-C5
D2-Eb5
Bb1-Bb5
G1-Eb5
Ab1-Eb5
Duration
16:00
18:00
23:00
22:00
18:00
Scorings
86
BB,W
B,OR,PN
BB,W
B,PN
BB,W
B,PN
BB,W
B,OR,PN
BB,W
B,OR,PN
Publisher
Novello
Chester/Novello
Studio
Studio
Rosehill/Winwood
Date
1972
1981
1988
1995
1996
Work
Euphonium
Concerto
Euphonium
Concerto
Euphonium
ConcertoNo.2
Euphonium
Concerto
Concertofor
Euphonium
Composer
JosephHorovitz
JohnGolland
JohnGolland
MartinEllerby
PhilipWilby
86BB–BrassBand|WB–WindBand|OR–Orchestra|PN–Piano
59
Figure42.RobertChilds'suggestededitspage1
60
Figure43.RobertChilds'suggestededitspage2
61
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DISCOGRAPHY
ChildsBrothers.EuphoniumMusic.DOYCD002,Doyen(CD).1990. JohnGollandEuphoniumConcerto(premiererecording)Childs,David.Peace–TheMusicofJohnGolland.DOYCD186,Doyen(CD).2005. JohnGollandEuphoniumConcerto(conductedbyRobertChilds) JohnGollandEuphoniumConcertoNo.2(conductedbyNicholasChilds)Childs,David.TheSymphonicEuphonium.CHAN10830,Chandos(CD).2014. JosephHorovitzEuphoniumConcerto PhilipWilbyConcertoforEuphoniumChilds,Robert.Celebration.DOYCD183,Doyen(CD).2006. JosephHorovitzEuphoniumConcerto JohnGollandEuphoniumConcerto PhilipWilbyConcertoforEuphoniumChilds,Robert.Premiere.DOYCD061,Doyen(CD).1997. PhilipWilbyConcertoforEuphonium(premiererecording)Flaten,Tormod,NorwegianEuphonium.DOYCD190,Doyen(CD).2005. MartinEllerbyEuphoniumConcertoG.U.S.(Footwear)Band.CornetCarillon.TWO418,Columbia(LP).1973. JosephHorovitzEuphoniumConcerto(TrevorGroom,soloist)(premiere
recording)Mead,Steven.Bravura!.QPRL217D,Polyphonic(CD).2003. JohnGollandEuphoniumConcertoNo.2(premiererecording)Mead,Steven.JosephHorovitz,MusicforBrass.SERCD1900,Serendipity(CD).1994. JosephHorovitzEuphoniumConcertoRoyalNMCBrassBand.Vistas–TheMusicofMartinEllerby.QPRL085D,Polyphonic
(CD).1997. MartinEllerbyEuphoniumConcerto(StevenMead,soloist)(premiere
recording)Thornton,David.Devil’sDuel.DOYCD229,Doyen(CD).2007. PhilipWilbyConcertoforEuphonium