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The goal for the consortium has been met. It is with great appreciation we thank everyone for their interest and contributions to this project. All four pieces can still be purchased from the site, but at a slightly higher price. Please stay tuned for similar projects in the future!!

Dear All,

The Barbara York Commission/Consortium project is now up on the Cimarron Music Press website:

http://www.cimarronmusic.com/BarbaraYork/

All of the details can be found on the site, but here is the boiled down version:

Barbara has agreed to compose four new pieces for brass and piano:

1. Sonata for Tuba with Piano
2. Sonata for Euphonium with Piano
3. Sonata for Horn with Piano
4. Suite for Horn or Euphonium and Tuba with Piano

The cost for this project is $3000.00. Here is the breakdown of the costs:

* $1000.00 from the consortium of individuals
* $1000.00 from an anonymous donor
* $500.00 from BVD Press
* $500.00 + engraving and printing from Cimarron Music Press

Because of the anonymous donor (a huge thanks for this!!!), we have been able to keep the prices very low for the consortium:

pieces 1 and 4 $30.00
pieces 2 and 4 $30.00
pieces 3 and 4 $30.00
pieces 1, 2 and 4 $35.00
pieces 1, 2, 3 and 4 $40.00

Once these pieces make it into the Cimarron Music Press catalog, they will be selling between $17.00-$20.00 each which makes the consortium a great deal! Especially if one decides to get all four pieces.

We would urge anyone interested to get in early. Once we reach the $1000.00 mark, the consortium will be closed.

The basic idea is to get new music for the brass instrument family.
If all goes well with this consortium, we will working with more composers in the future.

The original thread for this topic can be viewed here:

viewtopic.php?t=21478&highlight=barbara+york

Please note that if you order any other pieces from the Cimarron Music Press site, we will send those out without delay.

We are also open to any feedback, ideas, etc. Please do not hesitate to send suggestions for future composers.

We very much look forward to the new pieces from Barbara and possibly other composers in the future.

Wishing all well,

Bryan,

Could you give an idea of the level of proficiency needed to play these new pieces.

Nice idea BTW.

Barbara is still working on them, but I do have the Tuba Sonata in hand and the first movement of the Euph. Sonata.

The level would be a very good high school player, through college and professional. Basically solid music that has some technical issues here and there, but the range will not kill anyone. Although not very similar to Hindemith Sonata in sound, I think the difficulty level will be about the same.

When I spoke with Barbara originally, the only stipulation I gave her was that it had to be playable be a college level player. Not too easy and not overly difficult.

If you happen to be familiar with some of here other works, the level of difficulty will be around the same (3 Romances, Directions, Concerto, etc.). Maybe some others from the list could chime in if they have played some of Barbara's other pieces?

There is a thread here concerning her concerto:

viewtopic.php?t=18031&highlight=don+harry

For anyone wondering, the orchestral version is now available along with the piano reduction. Boy did that take a long time engrave!

If you need more info, please let me know!

Program notes for the Tuba Sonata are below. Thanks to all who have supported this project so far!!

As you will notice at the bottom of the notes, this was written in memory of John Griffiths.

Notes on Sonata for Tuba and Piano “Shamanic Journeyâ€

I've been fortunate enough to get a sneak preview of the Tuba Sonata.

2nd movement is somewhat reminiscent of the Hindemith's 2nd movement, although it's much more interesting. A little dialog between upper and lower staff ranges, a steady rhythmic pulse interrupted with a legato 'rest up' section...fun, exciting, and it will be a crowd pleaser. The piano is also reminiscent of the Hindemith, throughout the entire piece, as it's an active and challenging part, nearly an equal to my ears (having heard , not seen the piano part)

1st movement is a technical workout. It opens with the "shaman" theme, a legato beauty. The adventure starts pretty soon, with lots of rhythmic calisthenics--you thought the rhythm of "The Ride" was tough to master, here is a bigger problem, alternating duple, triple, and dotted rhythms. Any slacking of accuracy will be tantamount to dragging tempo, and the shaman's voice will go hoarse. Not good.

3 points of the 1st movement bring up a major decision: What horn to play this piece on??? Trills, tremolos, whichever you want to call them....choose wisely, or your fingers could end up cramping. Nothing tremendously difficult in them, but unusual, let's say. John certainly had the answer, so let the shaman speak to you. My decision is easy, given my limited supply of equipment, but fortunately it's the right horn!

3rd movement.....WOW! An absolutely beautiful piece of writing. Barbara's note about the range (at the end) could be valid, but it's not out of the question for anyone that can handle the rest of the piece. The shaman is heard calling again, and the call is extended into a lyrical but intense dialog. Tuba and piano have equal parts of the scene. Wanna see hair standing up on people's necks? Play this in a dimly lit hall, with only a spotlight on the performers, no other stage or audience lighting. Theatrical, yes, but this is an experience.

IMO, this is an important addition to tuba literature. It has something for everyone, but the emphasis on making music overrides any technique issues. The rhythmic sections must flow, and be precise, but there's more than just notes there. Dig in, use "The Inner Game" if you will, let the Guide take you on the journey. By all means, use the program notes!!!!!!!

Thanks, Barbara and Bryan, for bringing this piece out.

steve "glad to live in KC sometimes!" hoog

Bump for goal met.

bump for the sake of it