In many ways, the role of the euphonium in concert band writing has not changed very much in the last several decades; as a solo instrument, it is still as popular with composers as ever, and it still continues in its versatile, jack-of-all-trades role. The influence of the brass band tradition in euphonium writing is evident in the many euphonium solos in both brass band and concert band pieces by British composers Peter Graham, John Golland, Martin Ellerby, Philip Sparke and Gareth Wood [nl]; among contemporary American band composers, Robert W. Smith, David Maslanka, David Gillingham, Eric Whitacre, and James Curnow especially seem to enjoy using the euphonium as a solo instrument. The Gareth Wood concerto can be heard at archive.org.
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While British composers may have led the way in writing for euphonium in an ensemble setting, it was Americans who wrote the first of the "new school" of serious, artistic solo works written specifically for euphonium. The first two examples are Warner Hutchison's Sonatina (1966) and Donald White's Lyric Suite (1970), after which British composers followed suit with Joseph Horovitz's Concerto (1972, one of the first euphonium concertos) and Gordon Jacob's Fantasia (1973). Two early very difficult works are Samuel Adler's Four Dialogues (for euphonium and marimba, 1974) and Jan Bach's Concert Variations (1978), both premiered by Dr. Brian Bowman. Two of the first unaccompanied solos for euphonium are the Mazurka (1964) by Nicholas Falcone, brother of early euphonium virtuoso Leonard Falcone, and the Sonata (1978) by Fred Clinard Jr. All of these works remain basic repertoire for the euphonium.
The first movement is based on a short motif, heard in the first three notes the soloist plays. These three notes cover the interval of a minor third (an interval that often plays a crucial role in my music) on which the whole concerto is built. The soloist and accompaniment interplay freely throughout the opening section, before an ostinato accompaniment appears in the woodwinds - over which the soloist sounds a long legato melody. A short cadenza follows and a return to the opening material leads the movement to an end.
All his lyrical and technical capacities are used in function of creating beautiful musical dreams. As in a classical concerto, the soloist combats with the orchestra. At first they are playing alternately, afterwords they play fraternal together.
Robert Jager's Concerto for Euphonium was originally commissioned as a concerto for trombone and orchestra, But in 1996 the composer decided to rewrite and rescore the work as a concerto for euphonium with accompaniments for band, symphony orchestra and piano.The Concerto for Euphonium is a highly demanding work for both soloist and the accompaniment. The outer movements are filled with rhythmic and metric complexities that demand a virtuoso group of musicians is the second movement, while less technically demanding, requires mature musicianship because of its sensitive lines and shaded instrumental colours.
Derek Bourgeois was born in Kingston on Thames in 1941. He graduated from Cambridge University with a first class honours degree in music, and a subsequent Doctorate. He spent two years at the Royal College of Music where he studied composition with Herbert Howells and conducting with Sir Adrian Boult.He has composed seventeen symphonies, twelve concertos, several other extended orchestral works, seven major works for chorus and orchestra, two operas and a musical. As well as a considerable quantity of chamber, vocal and instrumental music, he has composed twelve extended works for Brass Band and five symphonies for Symphonic Wind Orchestra. He has also written a considerable amount of music for television productions.He has written four works specifically about Mallorca: Symphony No 8 - "The Mountains of Mallorca", Symphony No 16 - "Songs of Mallorca", which is a setting for Soprano and Orchestra of four Poems by Miquel Costa I Llobera. A Symphonic Suite in four movements for Wind Band called simply "Mallorca", and a piece called "Felanitx Fantasy" for the Felanitx Band, of which he conductor elect.From 1970 to 1984 he was a Lecturer in Music at Bristol University. He was the conductor of the Sun Life Band from 1980 until 1983, and during the same period was Chairman of the Composers' Guild of Great Britain, and a member of the Music Advisory Panel of the Arts Council.In September 1984 he gave up his university post to become the Musical Director of the National Youth Orchestra of Great Britain. In 1988 he founded the National Youth Chamber Orchestra of Great Britain which held its first course in the Summer of 1989. In 1990 he was appointed Artistic Director of the Bristol Philharmonic Orchestra.He left the National Youth Orchestra in August 1993 to become the Director of Music of St Paul's Girls' School in London. He retired to Mallorca in July 2002 where he now lives as a full-time composer.Derek Bourgeois died in September 2017.
One of the most challenging and rewarding solos in the repertoire, this concerto embodies in many ways the spirit of Paganini and Liszt for the euphonium and represents one of the most outstanding selections for euphonium and large ensemble. It features virtuoso technique, intense melody, and a need for panache and flair. The technical and range challenges are formidable, but WELL worth the practice. Of particular note involves the flexibility, clarity, and tone quality needed in the low range from BB-flat to F as there are numerous sections of slurred and tongued passages in these ranges. There is also a strong need for excellent double and triple tonguing as Cosma wrote the final few sections with the violin (his instrument) in mind versus the euphonium, so some of the passages are not as idiomatic as they could be. The Andantino creates an atmosphere mindful of Piazzolla, the famous tango writer. The melody sails with the euphonium. This piece stands at the top of the list of recommended repertoire for those capable. Taking this challenge will be extremely rewarding and the only caveat involves the cost of the large ensemble rental parts (more than $400) and the piano reduction. The publisher has chosen to make these choices and they greatly hinder the wide spread of this fantastic work.
From the publishers, Beriato Music : Bliss is one of the most spectacular euphonium solos around. It was commissioned by the euphonium virtuoso, Steven Mead. This two-part concerto brings all the characteristics of the instrument into the spotlight: it contains a slow, colourful section that resembles a typical English air, in which the full round warmth of the instrument is revealed, followed by an extremely virtuoso, dynamic fast movement. A great one for any soloist looking for a challenge!
This is certainly near the top of the list of super impressive euphonium concertos we have, and that this was composed just over 20 years ago by the Finnish composer Yukka Linkola, who is equally skilled in the jazz world as he is in the modern classical world.
It is quite beautiful music, with a few gentle jazz elements heard. This is very clever writing indeed and this concerto has justifiably and its place in perhaps one of the top five euphonium concertos in existence.
It probably is the most famous euphonium concerto in the world, and often used for examinations Competitions and auditions. The first and third movements are basically fast, although always lyrical and the second movement is one of the most beautiful second movements that we have in our entire repertoire.
This has become a highly sought after Concerto in recent years. Karl Jenkins is no doubt one of the composers at the moment, and this four movement concerto, championed by David Childs is a real audience pleaser.
Having previously written a large scale concerto for the euphonium I decided to write something much more concise though still enabling the soloist to display flair and lyricism in equal measure. I aimed at around two minutes per movement, which meant I would be creating a set of miniatures, and based each on one of the four elements of earth, water, air and fire though they are primarily given their Latin names of terra aqua aer ignis in the score. The term is used to indicate that the work is a collection, or suite of pieces, and in keeping with former examples uses both song and dance forms to provide suitable musical structures.
A giocoso piano figuration forms the backdrop to the first subject which makes five appearances (the starting phrase becoming shorter and the ending phrase longer each time) against which the solo part plays a free fantasia style line in lyrical mode which gets more and more animated on each reoccurrence. A second subject provides a foil to this material with the piano adopting a more chordal 'vamp' style against the soloist's contrasting scherzando line. This subject also occurs five times losing a bar at its start and one at its close each time. The briefest of codas concludes the movement at the point where parts of the subject matter have run their course and have no more material to lose. This is the most intellectual of the sonata's three movements though the challenge was to not make it sound so. I once read in an academic tome somewhere that this kind of thing is 'permissible' in first movements! 2ff7e9595c
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