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.
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.
Arranged by Tom Whitehurst, this is a joyful and descriptive solo for Tuba, as it tries to emulate the movement of an elephant. For secondary schools, colleges, professionals, amateurs and community performing groups.
Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.
The Planets Suite in Miniature is an attempt to take the listener through Gustav Holst's orchestral masterpiece in less than ten minutes using only five brass instruments. Only five of the seven most famous and recognisable melodies from the original are used, beginning, like the prototype, with Mars. The different movements appear in the same order as Holst wrote, although the rhythmic pattern of Mars reappears on occasion. The piece ends with a clash of interest as the two most well known movements, Mars and Jupiter, compete for the right to finish. The harsh sounds of Mars are heard first before the hymnal Jupiter theme is heard over the driving rhythm of Mars. Jupiter finally triumphs with the piece ending with one final verse of the tune used for the hymn I Vow To Thee My Country. This instantly recognisable arrangement by Thomas Chinery is both challenging and playable, and of a length that will not tire the players too much while at the same time maintaining the essence and power of the original music to ensure interest for both audience and players alike. A recording by the Argento Brass Quintet can be heard on http://www.youtube.com/watch?v=hGg1-pcHzrs
Dowland was the most famous composer of his day - he had an international reputation and was famous for the beauty of his songs. The dance numbers here show a complexity way beyond the normal brass consort music of his time. The gentle Semper Dowland, Semper Dolens is one of the most beautiful pieces of the 16th (or indeed any) Century. Arranged by Stephen Wick and suitable for students and professionals.