Tuba and Piano

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  1. Concerto No. 1

    Composer: Lester, Ian
    Instrumentation: Solo and Piano Instruments: Drum Set, Piano, Tuba
    Genre: Ceremonial
    Concerto for Tuba No. 1 for Tuba, Drum Set, and Piano was written for Thomas Stein, professor of tuba and euphonium at the University of Missouri-Kansas City. Each of the four movements is given a one-word title which sets the tone for the corresponding movement: Flowing, Dance, Smoke, and Festivities. The first movement sways between several themes including the main “flowing” material and a heavier, eighth note motive that morphs into a buoyant, jazzy groove. The second movement conveys a light-hearted dance, yet there is a stern, ominous undertone always lurking in the shadows. The third movement brings the listener to the 1920s with the performers creating a smooth atmosphere in an era full of intrigue and mystery. The final movement is a non-stop, chaotic ride that gains momentum through groovy syncopations and off-kilter beats. The tubist brings the piece to a rapid-fire close with a head-banging cadenza and the return of the original thematic material. Learn More

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  2. Hades (Hades: God of the Underworld)

    Composer: Lester, Ian
    Instrumentation: Solo and Piano Instruments: Piano, Tuba
    Genre: Contemporary

    with Piano and for Bass or Contra Tuba:

    The winner of the 2017 Pershing’s Own U.S. Army Band Composition Competition, Sonata for Tuba “Hades God of the Underworld” was inspired by a friend’s request to “write something low” for tuba. Instead of utilizing the lower tessitura of the instrument as one would expect, I warped this idea of lowness by using Hades the Greek God of the underworld as the basis for this programmatic work, with the idea that this underworld is the lowest imaginable realm. A stylistic change and a new aspect of Hades characterizes each movement. The first movement “Hades Rising” depicts the Greek God emerging from the underworld to wreak havoc. The second movement “The Unseen One” is one of a few translations of “Hades” and contains a simple, yet beautiful melody in the solo line. The third movement “Dance of the Dead” is creates a twisted, ominous atmosphere heavily inspired by Franz Schubert’s Erlkönig. The final movement “Wrath of Hades” displays the catastrophic capabilities of the God by showcasing both the soloist and pianist in an aggressive finale.

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