Meditation & Finale, opus 19 by Neal Corwell
a euphonium concerto in two movements
Instrumentation:
for euphonium (or trombone*) solo with strings & piano
(although the first movement is intended to work well as a trombone solo, the “Finale” works better with a valved brass instrument. The Meditation may stand alone as a concert solo with band. Another version of the Meditation, with pre-recorded accompaniment, is also available)
Copyright: 1994
Duration: 14:00 (ca. 7:00 per movement)
Range: BB-flat to c-2
Difficulty: 4
Publisher: Nicolai Music
Price: $55 (score & parts)
Other Info: Original version with orchestra premiered in the Summer of 1994 with Neal Corwell as soloist, as part of the Garrett Lakes Arts Festival in McHenry, Maryland.
TO PURCHASE
Meditation and Finale for Euphonium, Strings and Piano is a two-movement concerto for euphonium with chamber ensemble. It was premiered at the Garrett Lakes Arts Festival in McHenry, Maryland during the Summer of 1994 with the composer as soloist. The instrumentation calls for an accompanying ensemble consisting of a piano plus seven string performers: three violins, two violas and two cellos. A larger string ensemble, with these seven different parts doubled, may also be used.
The contemplative first movement is an adaptation of the Meditation Dr. Corwell composed in 1992 for brass solo with live or pre-recorded keyboard accompaniment. Some novel textural touches have been added to this chamber ensemble version, but the solo part is unchanged from the original. Smooth lyrical lines and “quartal” harmonies (built on the interval of a fourth, instead of on thirds) dominate, and the wandering and restless nature of the movement’s melodies and harmonies are not resolved until the final cadence, a welcome and peaceful island of repose featuring a high sustained note for the soloist over the final string elaborations.
The second and final movement is designed to balance the contemplative opening movement. A unique fabric is created for the Finale by combining somber contrapuntal lines, sprightly "fiddle" tunes, and fanfare-like themes. Numerous challenges are offered to both the soloist and ensemble during this energetic conclusion to the concerto.