Two Bach fugues arranged effectively for brass quintet by Ian Lawrence. For schools, studios and professionals. Review: "The first of these fugues is from the Magnificat in D and is very grand and imposing in character. The writing for voices and orchestra transcribes very well for brass, especially the big tutti passages in rhythmic unison, which create a very dramatic effect. The individual lines of the fugue are heard with great clarity when played by brass instruments, and yet a richness is achieved when all the instruments are heard playing together. The second fugue is from the motet Jesu meine Freude written (as was the Magnificat) in the year of 1723. It is more florid in character than the rather more stolid first fugue, and creates an agreeable contrast. There is a rousing finish as this beautiful and intricate work reaches its conclusion. For any brass quintet planning a baroque concert, the music of J. S. Bach is an essential ingredient. These wonderful fugues would provide that indispensable element." – Stephen Wick, September 1994. Review: "A good transcription of two short fugues by Bach, and one that features a lot of markings for interpretation. This does not draw away from the music, and they make good sense when followed. This is a good transcription for college and university groups, although professional ensembles will find it useful for school programmes or as a filler." – The Horn Call, September 1994
Ian Lawrence was educated at Queens' College, Cambridge (MA) and Leeds University (PhD). He has published some 30 books, arrangements, compositions and TV scripts and is now living in Cambridge where he hopes to continue producing arrangements.
A beautiful melody for French horn, this famous tenor aria, arranged by Tom Whitehurst, is full of soul, passion and tragedy. Vesti La Giubba - put on the costume and prepare to laugh. For colleges conservatories, professionals, amateurs and community performing groups.
Six movements, starting with Quick March which requires some fast and neat tonguing from all members of the quintet. The Polka which follows is full of colour and requires dexterous trumpet playing. The third movement Blues is a long way from a traditional New Orleans blues - with its melancholy mood and Debussy like harmony it is more like a small impressionist tone poem. Merry Waltz is followed by Preamble, a gentle, atmospheric piece at a leisurely walking tempo. The final movement of this suite Tarandtango (Tarantango) cleverly combines two dances, the energetic tarantella and the elegant tango, resulting in an exciting and virtuoso finale.