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Category: LIGHT CONCERT MUSIC Composer: Kevin Norbury
This set of variations was composed for the ISB's tour of Australia, New Zealand and Japan in 1995. Handel's majestic tune is associated with the great resurrection hymn 'Thine is the glory, risen, conquering Son' and melodic fragments of the tune form the basis of the four variations. The tune is heard in its entirety at the beginning and near the end and the piece finishes with a vigorous coda.
Category: LIGHT CONCERT MUSIC Composer: Kenneth Downie
The tune 'Bright Crowns' receives imaginative and sometimes almost whimsical treatment in this accessible, major work by a composer well versed in variation form.
Category: LIGHT CONCERT MUSIC Composer: James Curnow
Duration 5.25
Based on the American ‘shaped-note’ melody Saints Bound for Heaven, Variations on a Shaped Note Melody by James Curnow captures a feeling of joyful celebration through a series of unique and skilfully adapted variations. The opening strains are actually fragments of the first variation and occur before the main tune is introduced by low brass. The second variation features a euphonium solo and builds to a glorious climax with the full ensemble. The final variation is joyful and filled with energy, using flourishes and fanfares throughout the band for a grand conclusion to this marvellous work.
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer / arranger: Kevin Norbury
Set as the SECOND SECTION TEST PIECE for the 2015 Regional British Brass Band Championships.
This is the three trombone version. Click on MORE DETAILS to view the Solo Cornet part.
Comments by Kevin Norbury
The well-known theme on which these variations are based originally became popular as the basis of a ceremonial-style chorus, See, the con quering hero comes, in Handel’s oratorio, Judas Maccabeus. The oratorio owed its inception to the victory of William Duke of Cumberland over Charles Edward the Pretender at the battle of Culloden in 1746. The melody has since been drafted into service by Christians as a hymn tune along with other tunes by Handel — Gopsal and Joy to the world spring immediately to mind. After the strong unison opening, the entire tune is treated in full — the two halves are contrasted dynamically and stylistically. Don’t be afraid to explore the lower dynamic levels which are a feature of the first seventeen bars. Allow the rhythmic inner parts to be heard in a well-balanced ensemble at bar 18 and aim for a real sense of climax at bar 22. Ensure that the diminuendo at bar 25 is graded steeply enough so that the Flugel entry can be heard easily.
Variation 1 — The key word with respect to this variation is scherzando. Aim for lightness and clarity, and try to engender a sense of fun in the performance of this music. However, these comments are made with the proviso that the rhythm remains metrononic throughout.
Variation 2 — This variation forms a complete contrast with the previous one, and is, in fact, the emotional core of the piece. The style here needs to be very broad with a sense of restraint Once you have worked through the variation, hopefully the progression of moods from somewhat pessimistic introspection to quiet acceptance of a joyous optimism will become self-evident. There should be no sense of hurrying, although a feeling of freedom within the pulse will enhance the solo lines from bar 106 onwards.
Variation 3 — Again, this is a contrast in mood and style which is intended as a release from the intensity of the chorale. Try to capture the style straight away and aim for ‘Viennese’ lightness whatever the dynamic level. After a subdued middle section, the music builds to a vigorous conclusion maintaining the impetus right through to the end of the movement.
Variation 4 — In some ways, the opening of this variation echoes the opening of the whole piece with its declamatory unisons. The accelerando which commences at bar 243 is quite steep and will probably require a lot of rehearsal before it sounds natural. This passage is the subject of the Jiighetta and it is imperative that this theme can be heard clearly each time it appears if the logic of the music is to be realised. This variation is probably the most technically demanding part of the piece and will require some work if the music is to move along at the required speed. From bar 312 onwards the tempo gradually slows until a point of repose is reached at bar 340. At bar 341 the pace of the music increases rapidly until bar 347 where the fugue subject is referred to briefly in a modal version. Observe the stringendo at bar 353 and the sudden meno mosso at bar 357. Note the complete break at bar 362 before the final treatment of the tune. Bring the running passages through and highlight the dissonances which occur throughout this section — paint a broad canvas here. The Coda commences at bar 386 and the tempo you adopt here will ultimately depend on the capabilities of the players at your disposal. The dynamic scheme is essential to the texture in the first twenty-six bars and will require careful rehearsal. Aim for a crisp articulation in the reiterated bass pedal notes at bar 412 and gauge the crescendo over the next twelve bars so that a true sense of climax is achieved at bar 424. Maintain the momentum until the Timpani solo at bar 432 and use these two bars to move into the final phrase. The music fmishes triumphantly and on a note of exultation.
Category: LIGHT CONCERT MUSIC Composer: Jacon deHaan
Variazioni in Blue is a series of variations in which elements from the Blues, such as the specific ‘blue notes’, run throughout the piece. Following a stately introduction, which includes part of the theme, is an ornamental variation in ‘classical style’. We then hear a variation in ‘Blues style”, followed by a fast variation with an Eastern European folklore feel. The ‘Andante con espressivo’ is particularly fine with its attractive harmonic changes. This variation develops into a repeat of the previous folklore variations with its ‘major’ variation forming a climax towards the end.
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