The work is in three distinctive sections and explores the colour and range of the instrumentalists:
The opening is mysterious and driven by a rhythmic quaver pulse that accompanies a series of semiquaver interjections. The semiquaver groups start as completely tongued groups before changing to slurred passages later on in the movement. At figure C the semiquavers give way to a more lyrical passage that builds to the return of the opening rhythmic material. Melodic lines interplay with relentless semiquaver flourishes as the movement builds to a dramatic close.
After a brief pause, the middle movement begins with a series of atmospheric cadenza passages. Cornet 2 then takes the lead in a lyrical melodic section that passes from Cornet, to Euphonium and then to Horn. This free flowing section concludes with a return of the melodic material heard at the opening of this movement before moving straight into the finale.
The finale sees a recapitulation of the thematic material heard at the opening of the piece. This time the semiquaver lines have developed and the music metamorphosis’s so that you have a mixture of the original and new rhythmic lines. The new passages build together towards a dramatic close featuring some technically demanding and dynamic challenging closing sections that finish with a flourish.
With a good mixture of flowing melodic lines and sections of technically challenging passages, Oblivion will provide a suitable musical challenge for the performers both as individuals and as an ensemble.
Category: Quartets Composer / arranger: Trad. arr. Alan Fernie
Scored for :
2 Bb. Cornets 1 Eb Tenor Horn optional F.Horn part included 1 Bb. Euphonium or Trombone in TC & BC on 3rd.Part 1 Bb. Euphonium or Trombone in TC & BC on 4th.Part
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