TubeNet

jtuba wrote:Is Chris doing the "Iron Man" for these performances?

Chuck Jackson wrote:Having conducted some of Jones' music before, and being very impressed with it, can you comment on the structure, form, tonality of the piece. The Jones music I have worked with is highly chromatic in a "Hindemith" way (chromaticism that shifts key centers at points to heighten emotional impact, not necessarily chromaticism for chromaticism's sake), but oddly tonal within that framework. His music is well crafted and very emotionally charged.

My piece takes the traditional concerto form of three movements. As in many concertos of the past century, the soloist rather than the orchestra has the first say, giving out the soaring, wide-ranging primary theme of the first movement. This is answered by virtuosic commentary from the orchestra. Later the tuba must negotiate those same passages, and some of even greater difficulty.

The second movement shows the tuba’s lyrical capability. Its opening theme, however, is interrupted by a fearful outburst in the brass, to which the soloist and each subsequent statement of the theme must react and ultimately accommodate.

The third movement, in homage to Jim Crowder, who was a Boeing aeronautical engineer, is inspired by a wind tunnel. One can clearly hear its acceleration as it groans toward its predestined speed. Once there, the tuba enters with a perpetuum mobile theme, illustrating musically the same swirls of air along a wing’s surface that Mr. Crowder illustrated visually in his work. But some turbulences need to be smoothed, so we hear the wind tunnel decelerate, and the aeronautical engineer returns to the basement workshop in his home and listens to his favorite music – Wagner’s Ring – while he mulls over ways to improve the smoothness of the flow, forging new tools, like Siegfried, in the process.

Chuck Jackson wrote:I would interested into some insight you may have since there is no feasible way for me to be at the performance. Nice to see a major work come out for our humble instrument.

Chuck Jackson wrote:I have a question: Will this piece get played on this level more than once? Will Alan Baer search it out or the myriad of other great players in the country? Will it stand the test of time or is it so hard that it has built in obsolesence? I am not trying to start a ruckus, just interested in the pieces' durability for the next 25 years.