EUPHONIUM CONCERTO HOROVITZ PDF

Be respectful of artists, readers, and your fellow reviewers. Is it a good teaching tool? We do not use or store email addresses from this form for any other purpose than sending your share email. Look inside 1 Look inside 1 Instrument: Your video is in XX format suphonium is playable on most pre-installed video players. Curnow, James — Rhapsody for Euphonium.

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This is an epic and majestic euphonium concerto, written very much in a Spanish style, especially the two outer movements. The middle movement, Andantino, is beautifully reflective and passionate. 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 melody sails with the euphonium. This piece stands at the top of the list of recommended repertoire for those capable. The publisher has chosen to make these choices and they greatly hinder the wide spread of this fantastic work.

I do feel I should apologise for the cost of this work, as it is very expensive. Since its release, the publishing company Larghetto Music has sought to make this perhaps the highest priced sheet music for euphonium and piano that exists.

It is disappointing. Compare this to the price of the Horovitz or Sparke concerti. Please enjoy this wonderful music.

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Horovitz Euphonium Concerto.pdf

Solo repertoire[ edit ] In contrast to the long-standing practice of extensive euphonium use in wind bands and orchestras, until approximately forty years ago there was literally no body of solo literature written specifically for the euphonium, and euphoniumists were forced to borrow the literature of other instruments. Transcriptions[ edit ] The most common sources of transcriptions for euphonium are the cornet , vocal , cello , bassoon and trombone repertoires. In each case, one can see the common threads of ease of reading and performance: cello and bassoon both customarily read in bass clef , making them easily adaptable; vocal solos are naturally suited to the singing quality of the euphonium; and in playing cornet solos the euphonist may use the same fingerings that a cornettist would. A little later, in the early twentieth century, the American cornettist Herbert L. Clarke wrote a body of virtuosic solos, including Carnival of Venice, Bride of the Waves, and From the Shores of the Mighty Pacific, that were and still are often performed on euphonium. In such cases, no adaptation or arrangement is necessary; a euphoniumist reads the original notation in B-flat treble clef, transposing down a major ninth, and performs the piece exactly as written, merely sounding an octave below the cornet. Vocal[ edit ] The large body of operatic arias, especially those for tenor or baritone, also provides an ideal source of literature for euphoniumists.

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Euphonium repertoire

Biography[ edit ] Horovitz was born in Vienna , Austria, into a Jewish family which emigrated to England in to escape the Nazis. He then undertook a year of further study with Nadia Boulanger in Paris. His musical career began in , when he became music director at the Bristol Old Vic. He was subsequently active as a conductor of ballet and opera, and toured Europe and the United States. Horovitz married Anna in , shortly after coaching at the bi-centenary celebration for Mozart and Glyndeborne. They honeymooned in Majorca , staying in Paguera and visiting Valldemossa.

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Joseph Horovitz: Four Concertos

Traditionally, this design favours the listener, as it were, first in the head, then in the heart, and finally in the toes. My Concerto for Euphonium with brass band fits comfortably into this scheme. Throughout the work the solo has been given several companions with whom he indulges in duet-playing, mostly lightly accompanied by small sections of the band in harmonic support. The first Solo B flat cornet, and the Soprano E flat are mainly used for this, but even the second Euphonium in the slow movement and timpani and trombones in the finale are often given important thematic elements. Technically, in the first movement, the soloist has to combine clear strong phrases with gentle melismatic meandering, as well as negotiating many acute-angled leaps which justify themselves by the enharmonic changes beneath. In the slow movement secure breath control is called for to sustain even flow in the main long melody.

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Joseph Horovitz

This is an epic and majestic euphonium concerto, written very much in a Spanish style, especially the two outer movements. The middle movement, Andantino, is beautifully reflective and passionate. 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.

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