Level V - Professional
Total range: C2-f2. Extended high tessiture. Rhythmic/technical complexity of highest order. Angular lines/large skips in melody. Advanced twentieth-century techniques. Extreme dynamic contrast.
* These levels are general guidelines and recognised as quite subjective. Level indications describe attributes and requirements of the music more so than the expected skill of the player. Works are listed alphabetically under the composer's surname.
Caprice
Composer: Batterham, Andrew - www.andrewbatterham.com
Title: Caprice
Publisher: Australian Music Centre - www.australianmusiccentre.com.au
Instrumentation: Solo euphonium and brass band (piano reduction available)
Date: 2015
Duration: 10'00"
Level: V - Professional
Range:
Movements: Three variations: 1. Capricious; 2. Sad; 3. Energetic
Dedication: for Matt van Emmerik
CD Recordings: 'Homeland' by Matthew van Emmerik
YouTube: Matthew van Emmerik, euphonium with brass band (Victoria Brass)
Fletcher Mitchell, euphonium with Mark Hilpo, piano
Annotation: Caprice is in theme and variation form, with the primary material being the theme from the last of Paganini’s Ventiquattro Capricci per violin solo, a collection of 24 caprices for solo violin.
In this work, the famous theme is treated to a contemporary approach. This first variation ‘Capricious’ relies on motor rhythms and jagged dialogues between the soloist and the band. It is couched in an organic scale reminiscent of the Phrygian mode. The second variation ‘Sad’ is in direct contrast, acting as a traditional ballad and allowing the soloist to explore the expressive side of the instrument. The third variation ‘Energetic’ is a micro set of variations in itself, designed to display the soloist’s innovative technique and stamina. Each section is more challenging than the last, until the work concludes with a whirlwind dance at breakneck speed.
Like all of Batterham’s recent works, the musical language of Caprice draws upon classical, jazz, funk and ska elements.
Euphonia
Composer: Batterham, Andrew - www.andrewbatterham.com
Title: Euphonia
Publisher: Australian Music Centre - www.australianmusiccentre.com.au
Instrumentation: Unaccompanied solo euphonium
Date: 2016
Duration: 4'00"
Level: V - Professional
Range:
Dedication: for Matt van Emmerik
Annotation: Euphonia is a recital opener, showcasing the extreme range, agility and stamina of the soloist. Musical genres interact with each other, creating a sonic melting pot where anything is possible. The piece opens with a call to arms in the form of a free recitative passage, gradually giving way to a funky groove that carries the work to an energetic finale.
Euphonia was commissioned by Australian euphoniumist Matthew van Emmerik and premiered at the University of Texas, Rio Grande Valley in 2016.
Concerto for Euphonium
Composer: Bracegirdle, Lee - www.leebracegirdle.net
Title: Concerto for Euphonium
Publisher: C.F. Peters Corporation - www.edition-peters.com
Instrumentation: Solo euphonium and orchestra (piano reduction available)
Date: 2007
Duration: 30'00"
Level: V - Professional
Range:
Movements: Three movements: 1. Allegro Drammatico; 2. Lento Cantabile; 3. Burlesque
Dedication: Dedicated to Scott Kinmont
YouTube: Scott Kinmont, euphonium with orchestra (Sydney Symphony Orchestra)
Annotation: Lee Bracegirdle’s Concerto for Euphonium is one of the pinnacles of Australian solo euphonium repertoire. Although using serialism to generate the melodies, Bracegirdle uses extended tonal harmony and neoclassical textures to make the work more approachable to audiences. The first movement is in a neo-classical style and explores variations of the tone row used in the beginning of the work. The second movement is a singing movement with a theme of melancholy. The final movement is a fun and lively movement with interplay between the soloist and orchestra throughout.
The world premiere performance of this work was given by Scott Kinmont in Sydney, Australia in 2008.
Concertino for Euphonium
Composer: Broadstock, Brenton - www.brentonbroadstock.com
Title: Under Capricorn 'Concertino for Euphonium
Publisher: Brenton Broadstock - www.brentonbroadstock.com
Instrumentation: Solo euphonium and concert band (piano reduction available)
Date: 2010
Duration: 14'00"
Level: V - Professional
Range:
Movements: Three movements: 1. The tropical coast and lush rainforests of central Queensland; 2. The harsh, arid but beautiful desert of the Northern Territory (central Australia); 3. The rugged and spectacular coast and mountains of Western Australia
Dedication: for Matthew van Emmerik
CD Recordings: 'Homeland' - by Matthew van Emmerik
Annotation: The Tropic of Capricorn is one of the five major circles of latitude of the Earth and bisects the continent of Australia. Under Capricorn is in 3 movements, each depicting a geographical area of Australia that lies under the Tropic of Capricorn. The three movements run on continuously.
Lonely Roads
Composer: Broadstock, Brenton - www.brentonbroadstock.com
Title: Lonely Roads
Publisher: Brenton Broadstock - www.brentonbroadstock.com
Instrumentation: Solo euphonium and piano
Date: 2019
Duration: 10'00"
Level: V - Professional
Range:
Movements: Two movements
Annotation: Lonely Roads is a work for euphonium and wind band in two contrasting movements and is inspired by a quote from an English composer and poet Ivor Gurney (1890-1937)
The world premiere performance of this work was given by Matthew van Emmerik at Bowling Green State University, USA in 2019.
Euphonium Concerto
Composer: Collins, Brendan - www.brendancollins.com.au
Title: Euphonium Concerto
Publisher: Collins, Brendan - www.brendancollins.com.au
Instrumentation: Solo euphonium and string orchestra (piano accompaniment available)
Date: 2010
Duration: 16'45"
Level: IV-V - University-Professional
Range:
CD Recordings: 'Homeland' by Matthew van Emmerik
YouTube: Scott Kinmont, euphonium with string orchestra (Lurline Chamber Orchestra)
Mvt 1, Mvt 2, Mvt 3
Fletcher Mitchell, euphonium with Daniel Stipe, piano
Annotation: This concerto reflects the standard classical concerto form and uses many elements and techniques associated with the era. It also employs contemporary uses of tonality and changing metre. Many of the virtuosic runs that occur throughout the concerto are based on the whole tone scale.
The second movement is a beautiful cantabile piece that has an ever-present Spanish flavour. The singing quality of the euphonium is explored in all registers of the instrument and the strings provide much tension with their rich dissonances.
The final movement is a stirring march that demands the utmost precision, energy and flamboyance of the soloist and orchestra. It has an infectious exuberance that culminates in a presto section that leaves performers and audiences breathless.
The world premiere performance of this work was given by Scott Kinmont in Sydney, Australia in 2010.
Chimborozo
Composer: Fitzpatrick, Mike
Title: Chimborozo
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and string ensemble
Date: 2009
Duration: 10'45"
Level: V - Professional
Range:
CD Recordings: 'Homeland' by Matthew van Emmerik
Annotation: Chimborazo is divided into three sections, fast, slow and then fast. The opening section uses as its basis the rhythms of South America and the Tango. The Tango has evolved from its origins in Argentina, firstly through the music of Astor Piazzola and then through the infusion of Latin rhythms with jazz influences of North America. It is this later evolution of this dance that forms the main rhythmic idea in the opening section. The middle section is quite slow and is itself divided into two distinct parts, one in four and the other in three.
The final section is again strongly based on the rhythms of the fusion of jazz and Latin, but this time using the Afro Cuban concept of compound versus simple time. The traditional Arfo Cuban feel is set up by alternating bars of 6/8 and 3/4, however, in Chimborazo, the second 6/8 has a crotchet anacrusis, whilst the second 3/4 is extended by two beats, creating a five bar pattern of 6/8, 4/4, 6/8, 3/4, and 2/4. This pattern is then repeated and layered, with occasional interlude, with a quote taken directly from the opening section and later, with an extended compound section. The coda used as its base material the borrowed pattern from the opening section, which is extended slightly to create a driving finish.
Folk Dances
Composer: Fitzpatrick, Mike
Title: Folk Dances
Publisher: Fitzpatricks Music Australia - www.matthewvanemmerik.com
Instrumentation: Solo euphonium and brass band (wind band accompaniment and piano accompaniment available)
Date: 2008
Duration: 10'00"
Level: V - Professional
Range:
CD Recordings: 'Homeland' by Matthew van Emmerik
YouTube: Matthew van Emmerik, euphonium with brass band (Georgia Brass Band)
Matthew van Emmerik, euphonium with piano (Peter Baker)
Annotation: A virtuosic solo, Folk Dances is based loosely on the rhythms and harmonies of four different folk cultures, ranging from Eastern Europe through to the Mediterranean and even touching on the Americas. It explores the full range of techniques available for the euphonium, including fast runs, rich melodies, extreme range and enormous leaps.
The world premiere performance of this work was given by Matthew van Emmerik at the International Tuba Euphonium Conference in Cincinnati, USA in 2008.
Second Chapter for Acts
Composer: Fitzpatrick, Mike
Title: Second Chapter for Acts
Publisher:Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and two pianos
Date: 2014
Duration: 9'45"
Level: V - Professional
Range:
CD Recordings: 'Homeland' by Matthew van Emmerik
Annotation:Second Chapter for Acts tells the story of the birth of the Christian Church, as told in the second chapter of the biblical book ‘The Acts of the Apostles’. Written for two pianos and euphonium, it moves through many modes, from mystical waiting through to fear and excitement and adulation. The two pianos are used as one instrument, split on either side of the stage, to create a ‘live’ stereo effect, with the euphonium places centre stage.
Concerto for Euphonium
Composer: Forsyth, Michael - www.kookaburramusic.com
Title: Concerto for Euphonium
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and brass band (piano reduction available)
Date: 2003
Duration: 20'00"
Level: V - Professional
Range:
Movements: 1. Allegro moderato; 2. Lento misterioso; 3. Allegro moderato
Dedication: for Mark Howcroft
CD Recordings: 'Alea Iacta Est - The Die is Cast' - Works for Brass Band by Michael Forsyth
YouTube: Fletcher Mitchell, euphonium with Carol Conger, piano
Annotation: Michael Forsyth’s Concerto for Euphonium is in three movements through-composed. It was written for euphonium and brass band with a piano reduction being made available by the composer. It features atmospheric moments, technical themes, an extended cadenza during the first movement. The second movement explores the middle and upper register of the instrument including singing melodies and fast arpeggiated passages. The final movement is predominately in 12/8 time with the occasional bars in 10/8 and 11/8. This movement is lighter in style than the first movement but still requires advanced technique from the soloist.
The world premiere performance of this work was given by Fletcher Mitchell at the United States Army Band’s Tuba-Euphonium Workshop in Washington DC, USA in 2020.
Endeavor
Composer: Johntson, Helen
Title: Endeavor
Publisher: Level Music Publishing - www.matthewvanemmerik.com
Instrumentation: Bb instrument and piano
Date: 1969
Duration: 16'45"
Level: V - Professional
Range:
CD Recordings: 'Neath Austral Skies' - Matthew van Emmerik
YouTube: Matthew van Emmerik, euphonium with brass band (Kew Band Melbourne)
Annotation: This piece is programmatic in form following Captain Cook’s voyage from England to Botany Bay. The piece opens with a florid cadenza section, which develops into a haunting melody that typifies Johnston’s writing. A rollicking sailor’s hornpipe follows and this gives way to another beautiful romantic melody. The next section is marked Vigoroso alla Tempestoso and describes the fury or a wild storm at sea after which, with the last few raindrops falling, is heard the cry of Land Ahoy! This heralds the excitement of the voyage’s end and the discovery of new lands.
Silverback
Composer: Keller, Peter
Title: Silverback
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and brass ensemble
Date: 2001
Duration: 17'30"
Level: V - Professional
Range:
Dedication: Written for Scott Kinmont
Annotation: Silverback is a major work in an eighteenth-century classical concerto style. This work explores the wonderful upper and middle registers of the euphonium with returning motifs throughout, lively and fun interplay with the ensemble and sweeping melodies.
The world premiere performance of this work was given by Scott Kinmont in Chicago, USA in 2003.
Refuge
Composer: Kinmont, Scott
Title: Refuge
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and brass ensemble
Date: 2014
Duration: 4'45"
Level: V - Professional
Range:
Annotation:Refuge explores techniques not often found in solo euphonium repertoire including alternate fingering to manipulate the sound and tone. The work begins with the euphonium free playing over muted trombone drones and short statements from the upper brass. The work moves through a variety of styles and tempos making extensive use of the higher register of the euphonium.
The Green Lion Eats the Sun
Composer: Lim, Liza - www.australianmusiccentre.com.au
Title: The Green Lion Eats the Sun
Publisher: Ricordi - www.ricordi.com
Instrumentation: Unaccompanied solo double-bell euphonium
Date: 2014
Duration: 6'20"
Level: V - Professional
Range:
Dedication: for Melvyn Poore
YouTube: Matt Barbier, double-bell euphonium
Annotation: ‘The Green Lion Devouring the Sun’ is one of the classic images of alchemy with a great variety of interpretations as to its possible meaning. The green lion usually represents a powerfully volatile corrosive agent (aqua regis) which swallows seven metals, even dissolving gold in a process or purification.
The euphonium solo explores an interplay and transference of vibrations between the musician’s body and the many chambers of the instruments: voice, lips and reeds create sounds that interact inside the euphonium’s tubing and bells in a turbulent landscape of frictions, activating internal nodes of vibrations (‘interior stars’) and combining to bring about a ‘roar’.
The world premiere performance of this work was given by Melvyn Poore at Musikfabrik in Cologne, Germany in 2015.
Rend
Composer: Little, Rhys - www.makingwavesnewmusic.com
Title: Rend
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium with electronics
Date: 2017
Duration: 7'30"
Level: V - Professional
Range:
Annotation: The essence of this work is in the title, Rend, to cause/experience emotional torment. Rend wrestles together two complex sources with vast emotional potential— The lyrical Euphonium and limitless electronics. More than anything, the true difficulty of this work resides in its troubled creation. The combination of mediums, powerful but different, resisted being carved into single form— explaining why the two are often presented separately.
The structure of the work is made of 3 interrelated thematic elements: Introduction (ABC) — A (slow) — B (cadenza) — C (climax) — Coda (A). This ties together the work, dramatically, thematically, and emotionally.
Threads of Many Sunsets
Composer: Little, Rhys - www.makingwavesnewmusic.com
Title: Threads of Many Sunsets
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Unaccompanied solo euphonium
Date: 2019
Duration: 11'00"
Level: V - Professional
Range:
Annotation: This work is a gradual unpicking of its opening gesture. Each section develops a single aspect: running lines, trills, arpeggiations, harmonisations, etc. The player should be mindful of how each section relates to the structure of the piece.
In this way the piece reflects the continuity and variation of sunsets: how each detail is unique (cold, warm, orange, blue, purple) but part of a continuous (and temporary) whole.
Concerto for Euphonium
Composer: Lourens, Alan - www.uwa.edu.au
Title: Concerto for Euphonium and Orchestra
Publisher: Cimarron Music - www.cimarronmusic.com
Instrumentation: Solo euphonium and orchestra (brass band, wind band and piano accompaniment available)
Date: 2012
Duration: 16'00"
Level: V - Professional
Range:
Movements: 1. Study for Sam; 2. Songs for Jacob; 3. Dances for Darcy
YouTube: Fletcher Mitchell, euphonium with Tuomas Turriago, piano (second movement)
Annotation:Alan Lourens’s Concerto for Euphonium is a traditional three movement concerto. The first movement is a lively and fast movement which travels through a variety of styles and moods. The second movement features flowing melodies in the upper register of the euphonium before finishing with a p pedal Bb1. The final movement is very bright and the most technically demanding of the three movements.
Rite of Passage
Composer: Lourens, Alan - www.uwa.edu.au
Title: Rite of Passage
Publisher: Cimarron Music - www.cimarronmusic.com
Instrumentation: Solo euphonium and orchestra (brass band, wind band and piano accompaniment available)
Date: 2019
Duration: 6'00"
Level: IV-V - University to Professional
Range:
YouTube: Fletcher Mitchell, euphonium with Carol Conger, piano
Annotation: Rite of Passage is a set of short variations based on a theme from Paganini. The theme is initially heard on the piano with the euphonium highlighting this over the top as it moves into the first variation in which the euphonium takes over the theme and continues to vary it in the next section. Variation four is in a 3/4 bravura style which flows into variation five which is a detached pizzicato-like style variation. Variation six is essentially a cadenza which features modern extended techniques of multiphonics, use of half valve and playing into an open piano. Variation seven is the middle slower section of the work before the energetic variation eight leads into a reprise of the original theme, this time played by the euphonium. A vivace and prestissimo finale concludes the work with very demanding technical display.
The world premiere performance of this work was given by Fletcher Mitchell at the United States Army Band’s Tuba-Euphonium Conference in Washington DC, USA in 2020.
Sonata for Euphonium
Composer: Lourens, Alan - www.uwa.edu.au
Title: Sonata for Euphonium 'Arcades and Alleyways'
Publisher: Cimarron Music - www.cimarronmusic.com
Instrumentation: Solo euphonium and piano
Date: 2014
Duration: 12'30"
Level: V - Professional
Range:
Movements: 1. Light Angles; 2. Dark Corners; 3. Round the Back
YouTube: Fletcher Mitchell, euphonium with Tuomas Turriago, piano
Annotation: Sonata for Euphonium ‘Arcades and Alleys’ is a traditional three-movement work in sonata form. The first movement is a playful giocoso which makes use of the full range of the instrument from the pedal register to the extreme high register. The second movement has a darker mood in A minor with a surprising quick section in the middle with a light one in the bar dance. The final movement has a staccato feel throughout with interplay with the piano.
The world premiere performance of this work was given by Fletcher Mitchell at the Lieksa Brass Week, Finland in 2018.
Euphemism
Composer: McAllister, Bill
Title: Euphemism
Publisher: Kookaburra Music - www.kookaburramusic.com
Instrumentation: Solo euphonium and piano
Date: 2003
Duration: 6'00"
Level: V - Professional
Range:
Dedication: for James Brown
Annotation: Euphemism is a lighter but still technically challenging work. It begins with a beautiful slow melody and into an agitato section before moving into the allegro section in a variation-style idiom. A short return to the agitato occurs before the work moves into a medium swing feel. A cadenza is heard before returning to the swing style then into a lively straight semiquaver section to finish the work.
Concerto for Euphonim
Composer: McKimm, Barry - www.australianmusiccentre.com.au
Title: Concerto for Euphonium
Publisher: Kookaburra Music - www.kookaburramusic.com
Instrumentation: Solo euphonium, string quartet and piano (piano reduction available)
Date: 2000
Duration: 36'45"
Level: V - Professional
Range:
Movements: Three movements
Dedication: for Matthew van Emmerik
CD Recordings: 'Utaki - The Sacred Grove' by Matthew van Emmerik
YouTube: Matthew van Emmerik, euphonium with Flinders String Quartet and Janis Cook, Mvt 1 , Mvt 2 , Mvt 3
Annotation: This work relates to the Romantic tradition of the 19th and early 20th century, is episodic and to some degree narrative. It features abstract melody lines (counterpoint, tone rows etc) and moves between expressive melodies and rhythmic dance-like sequences.
Euphoism
Composer: Preusker, Wayne
Title: Euphoism
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and brass band (wind band and piano accompaniment available)
Date: 2014
Duration: 5'30"
Level: IV-V - University to Professional
Range:
Dedication: For Fletcher Mitchell and the 2014 International Tuba Euphonium Conference held in Bloomington IN, USA
YouTube: Fletcher Mitchell, euphonium with brass band (Hawthorn Band)
Fletcher Mitchell, euphonium with wind band (Monash University Wind Symphony)
Fletcher Mitchell, euphonium with Rena Hashimoto, piano
Annotation: Euphonism was the first solo work from composer Wayne Preusker and is a great work that displays all of the melodic, technical and range capabilities of the euphonium. The theme is presented with the soloist’s first entrance and this is explored in a set of variations before a beautiful slow, melodic middle section which leads back to a quick third section, again based on the first theme. A cadenza using themes from throughout the work is heard before some final frantic bars conclude the work.
The world premiere performance of this work was given by Fletcher Mitchell at the International Tuba Euphonium Conference in Bloomington, USA in 2014.
Frantique
Composer: Preusker, Wayne
Title: Frantique
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and wind band (brass band and piano accompaniment available)
Date: 2014
Duration: 2'30"
Level: IV-V - University to Professional
Range:
YouTube: Fletcher Mitchell, euphonium with wind band (Monash University Wind Symphony)
Fletcher Mitchell, euphonium with brass band (Hawthorn Band)
Fletcher Mitchell, euphonium with Eunsuk Jung, piano
Annotation: Frantique is a short concert opener or encore work at a very lively pace. It is predominately in 3/4 time with bars in 5/8 at the end of several sections. The higher register is used throughout the work in combination with accented pulsing rhythmic pattern to add to the ‘frantic’ feel of the work.
The world premiere of this work was given by Fletcher Mitchell with the Hawthorn Band in Melbourne, Australia in 2015.
Eupho Mexicana
Composer: Ratnik, Peter - Linkedin Profile
Title: Eupho Mexicana
Publisher: Ratnik Music Press - www.facebook.com/ratnikmusicpress
Instrumentation: Solo euphonium and wind band (brass band and piano accompaniment available)
Date: 2014
Duration: 2'30"
Level: V - Professional
Range:
Dedication: for Jason Ham
YouTube: Jason Ham, euphonium with wind band
Fletcher Mitchell, euphonium with Tuomas Turriago, piano
Annotation: Eupho Mexiciana was written as an encore for soloist’s concert and recitals. This work in one movement has been crafted to showcase the Euphonium, but more the soloist’s ability to not only make the instrument soar, but to show the melodic beauty of the work as played by the Euphonium. This is a work which induces the beauty and fun of Mexico. The beautiful melodies and rhythmic accompaniment transport the listener to the beautiful culture of Mexico. Eupho Mexiciana is to be enjoyed and not analysed.
Concerto for Euphonium
Composer: Ratnik, Peter - Linkedin Profile
Title: Concerto for Euphonium
Publisher: Ratnik Music Press - www.facebook.com/ratnikmusicpress
Instrumentation: Solo euphonium and piano
Date: 2019
Duration: 10'00"
Level: V - Professional
Range:
Movements: 1. Rush hour; 2. Traffic Dreams; 3. Morning Peak Hour
Dedication: Composed for Fletcher Mitchell
Annotation: Peter Ratnik’s Concerto for Euphonium is in three movements with each movement representing traffic in the city. The first movement is frantic representing ‘rush hour’ and uses both quick chromatic semiquaver passages and large intervals moving from the pedal register to the extreme high register in quick time. The second movement is calmer with a flowing melodic line finishing again in the extreme high register. The final movement is smoother than the first movement but is in the same ‘frantic’ style with large intervals and quick semiquaver lines making use of both the pedal register and the extreme high register of the euphonium.
Ritual
Composer: Reade, Simon - www.australianmusiccentre.com.au
Title: Ritual (in memoriam)
Publisher: Australian Music Centre - www.australianmusiccentre.com.au
Instrumentation: Unaccompanied solo euphonium
Date: 2016
Duration: 4'00"
Level: V - Professional
Range:
Dedication: for Dr Matthew van Emmerik
YouTube: Matthew van Emmerik, euphonium
Annotation: Ritual was originally composed as a tuba solo and is cast in one short movement in the form of a cortege with sections of march-like austerity contrasting with sections of relative freedom commenting on the ritualistic material. The work rises to a dramatic climax before ending with hazy multiphonics. The work was recast for euphonium and the composer has highlighted the instrument’s impressive range and expressivity.
The world premiere performance of this work was given by Matthew van Emmerik at the University of Texas in Rio Grande Valley, USA in 2018.
Sterling Heights
Composer: Robinson, David
Title: Sterling Heights
Publisher: Currently unpublished - Details from [email protected]
Instrumentation: Solo euphonium and brass band
Date: 2015
Duration: 7'00"
Level: IV-V - University to Professional
Range:
YouTube: Fletcher Mitchell, euphonium with brass band (Hawthorn Band)
Annotation: This work depicts the journey of a hiker setting out to tackle a mountain such as Kilimanjaro, the Andes or even Mount Everest. The work comprises of 10 main sections each joined together to unite the epic journey.
The mysterious ‘Calm Before the Storm’ leaves the mountaineer discombobulated at how quiet and lonely the experience is. The minimalist style of writing creates the sensation of questioning what might happen. The calm makes way for erratic weather conditions and the dangerous path of ascent.
The ‘Treacherous Crossing’ exposes the hiker to the elements; and the unpredictable dynamics and melodies displays the full force of what ‘Mother Nature’ has to offer. The high altitude and low air pressure take its toll with the hiker experiencing the onset of ‘Altitude Sickness’. During this time the alpinist begins to feel dizzy depicted by the unstable trombone glissandi and the clashing chords with muted horns and cornets.
Sensing that the journey is ‘Approaching the Peak’, the excitement returns. The dizziness starts to dissipate, and the music portrays something big. The sights of looking out from the ‘Sterling Heights’ of the summit towering above everything, leaves the hiker feeling on top of the world. From the glorious tunes from the peak the journey has begun ‘The Descent’; as the hiker travels down the mountain slopes the flourishing tunes emulate a bustle of activity.
The successful and yet challenging journey comes to a close during the ‘Fatigued Triumph’. The costs of the expedition are immense, and the music emulates the shattered adventurer’s heroic return.
Andante Brillante
Composer: Szkutko, John
Title: Andante Brillante
Publisher: iTubaOnline - www.itubaonline.com
Instrumentation: Solo euphonium and piano
Date: 2000
Duration: 8'00"
Level: V - Professional
Range:
Dedication: for Riki McDonnell
YouTube: John Szkutko, tuba with Mitchell Leigh, piano
Annotation: Andante Brilliante is a traditional theme and variation solo written for New Zealand euphonium soloist Riki McDonnell. Differing from many theme and variation solos, this work is written specifically for the euphonium and makes the most of its expanded register in both the upper and pedal registers. After the initial theme, the first variation uses a combination of double and triple tonguing. A short cadenza leads into a playful giocoso section then onto a short final variation.
Fantasia on Medieval Fragments
Composer: Terracini, Paul - www.australianmusiccentre.com.au
Title: Fantasia on Medieval Fragments
Publisher: Kookaburra Music - www.kookaburramusic.com
Instrumentation: Solo euphonium (or ophicleide), harp, 2 violins, viola, cello, and double bass
Date: 2014
Duration: 9'30"
Level: V - Professional
Range:
Annotation: Fantasia on Medieval Fragments includes fragments of two medieval melodies from Scandinavia: Dronning Dagmars død, and Jeg drømte mig en drøm i nat. While the song that bears her name is from a later date, Dagmar was the Queen Consort of Denmark from 1205-1212. Jeg drømte mig en drøm i nat is generally accepted as the oldest extant secular song in Danish history, from circa 1300.
In Fantasia on Medieval Fragments the composer has, as the title suggests, used fragments of both songs alongside newly composed material in medieval style, developing them polyphonically and monophonically with virtuoso passages for the euphonium.
U.F.O.
Composer: Wells, Jessica - www.australianmusiccentre.com.au
Title: U.F.O.
Publisher: Australian Music Centre - www.australianmusiccentre.com.au
Instrumentation: Unaccompanied solo euphonium
Date: 2000
Duration: 5'0"
Level: V - Professional
Range:
Annotation: U.F.O. for solo euphonium was written in 2000 during a guest lecture visit to James Cook University in Townsville. Performed at Pinnacles Gallery, Thuringowa, by music student Peter Chandler, the piece explores various extended techniques including half-valve, flutter tonguing, singing into the instrument and a “didgeridoo” effect.
The piece challenges the performer to execute fluctuations in dynamics over long held notes, interspersed with faster leaping passages and lyrical phrases. Rubato is used throughout, with the lack of time signature in an aleatoric section also allowing the performer to improvise durations of notes. The piece is therefore open to many interpretations in performance making it unique every time it is heard. The final phrase is a nod to John Williams’ “Close Encounters of the Third Kind”, hence the title’s pun.