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Brusick - Concerto for Euphonium

Brusick - Concerto for Euphonium

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Difficulty:  IV  

Length:  17:00

Recorded on Beyond the Horizon - Volume 2

One of the new outstanding new works for euphonium and piano (also available with wind band accompaniment).  A substantial work that was premiered with the ITEC Band at the 2008 ITEC in Cincinnati by Adam Frey and conductor Rodney Winther.  A highly recommended major work that is perfect for Concerto competitions.  The range only runs from Pedal B-flat to a single high B (in the 3rd movement) making it VERY accessible and not overly taxing, so players demonstrate great ease and finesse.

What the composer says:

The Concerto for Euphonium is cast is three connected movements. The first movement, Prologue, is set in a sonata form. The exposition, which begins with a fortissimo fanfare, includes two contrasting main themes at m.9 and m.17. A third episodic type theme at m. 33, consisting of a series of three ascending pitches bridges the music between both themes and sections. In the development section at m. 43, the fanfare music returns in a lighter, more delicate style, combining with the other two principle themes. The episodic theme carries the movement into the recap where eventually both A and B themes combine at m. 84. The movement gradually softens and slows down. 
The Litany, a prayer in the form of penitent meditation with call and response attributes, contains one principle themes with several derived and sub themes. This part features the only cadenza for the soloist after which the climax of this movement ensues. This summit also serves as the structural centerpiece and climax of the entire concerto. The movement ends quietly, resolving peacefully.
The third movement, Fugue, opens with four prominent chords followed by the principal theme presented in a four voice fugue. A prominent rhythmic motive is set up by the piano in the extensive development section starting at m. 243. In traditional fugal fashion, the principal theme is displayed in both major and minor modes, as well as inversions, fragments and augmentation. The contrapuntal texture thins as the four opening chords return at m. 309. At the height of the movement at m. 341, the principal theme is combined with the opening fanfare of the Prologue, thus unifying the entire composition and bringing it to a strong and decisive conclusion. 

Parts:  BC and TC

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