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Genre: Solo Timpani with Band
# of Players: Standard + 1
Level: 4.5 | Duration: 12:30
Publisher: G & M Brand | Copyright: 1988
Download mp3 | Click on images to left for score sample
The nature of the timpani means that musical development is rhythmic rather than tonal. In the first movement, a broad theme is announced by the timpani themselves, and immediately echoed and modified by the full wind band. Material is embroidered by woodwinds and developed by the soloist. The second movement (Adagio) is virtually an aria in which we are left with an expressive mood conjured from the timpani themselves. The last movement is a romp - characteristic use of quasi-folk material is well suited to the band and the rhythmic characteristics of the timpani are highlighted.
Genre: Solo Timpani with Band | # of Players: Standard + 1
Level: 4.5 | Duration: 12:30
Instrumentation
Piccolo
1st Flute
2nd Flute
1st Oboe
2nd Oboe
Eb Clarinet*
1st Bb Clarinet
2nd Bb Clarinet
3rd Bb Clarinet
Eb Alto Clarinet*
Bb Bass Clarinet
1st Bassoon
2nd Bassoon*
1st Eb Alto Saxophone
2nd Eb Alto Saxophone
Bb Tenor Saxophone
1st F Horn
2nd F Horn
3rd F Horn
4th F Horn
1st Bb Cornet
2nd Bb Cornet
3rd Bb Cornet
1st Trombone
2nd Trombone
3rd Trombone
Euphonium
(TC Baritone)
Tuba
Solo Timpani
Percussion 1 [2 players] (bass drum, cymbals)
Percussion 2 (snare drum)
Mallet Percussion
Parts marked with as asterisk (*) are NOT ESSENTIAL, although their presence will obviously enable a fuller realization of the composer's intentions to be achieved.
Program Notes
Gordan Jacob wrote his Concerto for Timpani in 1984 and it was to be the last major work that he wrote before he died. It was written for a professional wind group in Konstanz (West Germany) and the first performance was given there in June 1984 with the soloist Klaus Huber (to whom it is dedicated) conducted by Douglas Bostock.
In the first movement, a broad theme is announced by the timpani themselves based on a rising succession of thirds, and immediately echoed and modified by the full wind band. After a bridge, when the material is embroidered by woodwinds, the theme is presented in an inverted and varied form by the soloist before being developed. Unlike a Classical development in which tonality provides the tension, the nature of the timpani means that the development is rhythmic rather than tonal. To modulate extensively would obviously present problems even with pedal timpani. A recapitulation follows and a quasi cadenza leads to a strong close.
The second movement (Adagio) is virtually an aria. The timpani carry the melody throughout, embellished and them embroidered by small groups of instruments presented in choirs. Jacob, the masterful orchestrator, allows only four bars of full band. By the end of only 47 bars, we are left with an expressive mood conjured from the timpani themselves.
The last movement is a romp - displaying Jacob's English roots: his characteristic use of quasi-folk material is well suited to the band and the rhythmic characteristics of the timpani are highlighted.