Texas comes to the UK
Posted: Mon Jan 22, 2007 6:14 pm
Premiere; (in the presence of the composer)
Concerto for Euphonium, Kenneth D. Friedrich (Texas USA)
Soloist; Charley Brighton (Sponsored by Willson Band Instruments of Switzerland)
Sunday, January 28th. St. Eanswythe Church, Folkestone, 3pm
with the Christ Church Canterbury University Wind Orchestra
Conducted by Prof. Sonia Blandford
The composer writes;
“When I sat down to write this (the piano version), I wasn't even sure it would turn out to be a concerto. It took me on a journey with every measure.
The first theme told me right away this wouldn't be like the other solos. The interval leaps for the soloist were unlike anything I'd ever written before. But it was a catchy theme, so I pressed on.
Themes became sections, and as one section passed into another, I knew this was going to be more than a normal concert level, single-movement piece. I was worried most of it's play-ability. When I finished the band version, I knew this was meant to be the large scale work it is now.
When the theme of the middle movement came along, it was the perfect contrast to the real challenge of movement one. Along with the accompanying lines, it became a song of the heart...an emotional journey of self-analysis and search for fulfilment. The highs and lows reflected the struggle to deal with these emotions.
The final movement worked off the emotion of the middle movement and just answers the question of how serious to take ourselves. Amidst the turmoil of our daily lives, sometimes we have to take a moment to laugh at ourselves, and relieve the stress. The extremes in range in the cadenzas were included to show the possibilities of such a versatile instrument.â€
Concerto for Euphonium, Kenneth D. Friedrich (Texas USA)
Soloist; Charley Brighton (Sponsored by Willson Band Instruments of Switzerland)
Sunday, January 28th. St. Eanswythe Church, Folkestone, 3pm
with the Christ Church Canterbury University Wind Orchestra
Conducted by Prof. Sonia Blandford
The composer writes;
“When I sat down to write this (the piano version), I wasn't even sure it would turn out to be a concerto. It took me on a journey with every measure.
The first theme told me right away this wouldn't be like the other solos. The interval leaps for the soloist were unlike anything I'd ever written before. But it was a catchy theme, so I pressed on.
Themes became sections, and as one section passed into another, I knew this was going to be more than a normal concert level, single-movement piece. I was worried most of it's play-ability. When I finished the band version, I knew this was meant to be the large scale work it is now.
When the theme of the middle movement came along, it was the perfect contrast to the real challenge of movement one. Along with the accompanying lines, it became a song of the heart...an emotional journey of self-analysis and search for fulfilment. The highs and lows reflected the struggle to deal with these emotions.
The final movement worked off the emotion of the middle movement and just answers the question of how serious to take ourselves. Amidst the turmoil of our daily lives, sometimes we have to take a moment to laugh at ourselves, and relieve the stress. The extremes in range in the cadenzas were included to show the possibilities of such a versatile instrument.â€