Euphonium repertoire

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Since its invention in 1843, the euphonium has always had an important role in ensembles, but solo literature was slow to appear, consisting of only a handful of lighter solos until the 1960s. Since then, however, the breadth and depth of the solo euphonium repertoire has increased dramatically.Contents1 Ensemble repertoire 1.1 In bands 1.1.1 Historically 1.1.2 Today 1.2 In orchestras 2 Solo repertoire 2.1 Transcriptions 2.1.1 Cornet 2.1.2 Vocal 2.1.3 Cello and bassoon 2.1.4 Other 2.2 Original Literature 2.2.1 French Conservatoire 2.2.2 Early 20th century virtuoso 2.2.3 The new style 2.2.4 Today 2.2.5 Non-traditional settings 3 References // Ensemble repertoireIn bandsHistoricallyUpon its invention by Ferdinand Sommer of Weimar, it was clear that the euphonium had, compared to its predecessors the serpent and ophicleide, a wide range and had a consistently rich, pleasing sound throughout that range. It was flexible both in tone quality and intonation and could blend well with a variety of ensembles, earning it immediate popularity with composers and conductors as the principal tenor-voiced solo instrument in brass band settings, especially in Britain. When British composers who written for brass bands began to turn their attention to the concert band in the early twentieth century, they used the euphonium in a very similar role. Gustav Holst, for example, wrote very important solos for the euphonium in his first (1909) and second (1911) suites for band, and similar lyrical solos appear in many pieces from the 1920s and '30s by Percy Grainger and Ralph Vaughan Williams.When American composers also started writing for the concert band as its own artistic medium in the 1930s and '40s, they continued the British tradition of using the euphonium as one of the principal solo voice. Arnold Schoenberg's Theme and Variations and Samuel Barber's Commando March, both from 1943, have extremely prominent, lyrical solos for euphonium; Robert Russell Bennett's Suite of Old American Dances (1949) has brief solos and very active technical writing, and "When Jesus Wept," the second movement of William Schuman's New England Triptych (1956) is largely a euphonium solo and lyrical duet for euphonium and cornet (arranged by the composer from the orchestral original which features bassoon and oboe). All of these pieces are still in the core repertoire of the concert band today, and these solos comprise the core body of euphonium excerpts.TodayThis is not to say that composers, then and now, valued the euphonium only for its lyrical capabilities. Indeed, examination of a large body of concert band literature reveals that the euphonium functions as a jack of all trades, at times doubling the tuba in octaves, at times adding warmth to the trombone section, at times adding depth to a horn line, and at times adding strength to rapid woodwind lines. In general, idiomatic euphonium parts tend to be very active, resting little and covering a wide range.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 in is evident in the many euphonium solos in both brass band and concert band pieces by British composer Philip Sparke; among contemporary American band composers, Robert W. Smith, David Maslanka, David Gillingham and James Curnow especially seem to enjoy using the euphonium as a solo instrument.In orchestrasAlthough the deficiencies of the ophicleide gave rise to both the euphonium and the tuba in the mid-nineteenth century, the tuba has long since been accepted as an orchestral instrument, while the euphonium never has been. Though the euphonium was embraced from its earliest days by composers and arrangers in band settings, orchestral composers have generally not taken advantage of its capabilities. Nevertheless, there are several orchestral works, a few of which are in the standard repertoire, in which composers have called for a tenor tuba, a German Tenorhorn1, a Wagner tuba, or a French tuba in C.Don Quixote's faithful companion Sancho Panza, portrayed by a euphonium in Richard Strauss's eponymous tone poem.In all of these cases, the composer's desired effect was that of tenor-voiced, valved brass instrument and in many of these cases the euphonium is substituted for the called-for instrument, either...(and so on) To get More information , you can visit some products about watch box cases, handbags and luggages, . The Gutar Bag & Case products should be show more here!