Sonata for Euphonium (Smith) - Written in 2010 while studying music at UofT, this sonata by Jeremy Smith depicts three sequential aspects of a young person's life. "Busyness": This portrays life's busyness; there's always something to do! At times this is good, while at others it's overwhelming. The music presents this by contrasting happy and harmonious sections with chaotic and dissonant ones. The energetic rhythms are relentless until the movement's end, where we "crash and burn" due to the constant busyness and absence of relaxation. "Meditation": After "crashing" we must calm down. This movement represents meditation and prayer through varied statements of a short, simple motif. After wandering contemplation, the mind eventually returns to the simplicity of pure, peaceful meditation. The sustained euphonium note at the beginning/ending represents the young person trying to calm his thoughts and "just be", while the twinkling piano hints at God's voice. "Service": After one has "re-charged" through careful meditation and prayer, one must go into active service. This movement depicts the now-energized young person acting to change the world for the better. Presented in a "pop-music" style, using syncopated and driving rhythms throughout. Song for Ina (Sparke) - Commissioned in 1993 by New Zealand's euphonium star Riki McDonnell as a work of quiet passion in loving memory of a dear friend. Duet: Timepiece (Bearcroft) - Originally written for Salvation Army Canadian Staff Band euphoniumists, Bill Brown (Major) and Bill Kerr (Major) in 1973, this "timeless" duet features the tune "Grandfather's Clock", in addition to the composer's beautiful original themes. My grandfather's clock was too large for the shelf, So it stood ninety years on the floor; It was taller by half than the old man himself, Though it weighed not a pennyweight more. It was bought on the morn of the day that he was born, And was always his treasure and pride; But it stopp'd short - never to go again - When the old man died. Ninety years without slumbering (tick, tock, tick, tock), His life's seconds numbering, (tick, tock, tick, tock), It stopp'd short - never to go again - When the old man died. The Holy Well (Graham) - This beautiful setting is based on a theme from the 1997 brass band championship test-piece, "On Alderly Edge", and was specially re-worked by the composer for solo euphonium. Allerseelen (Strauss, arr. Stuckemeyer/Bottorff) - "Allerseelen", or "All Soul's Day", is traditionally a day in November when departed loved ones are remembered and honoured. Pat Stuckemeyer and Ellen Bottorff have arranged a beautiful setting of Richard Strauss' 1885 work. Translation by Albert Combrink: Place on the table, the fragrant heather. The last red Asters, draw them near. And let us again talk of love. As once in May. Give me your hand that I can give it a secret squeeze. And if anyone saw it, to me it would be neither here nor there. Just give me one of your sweet gazes. As once in May. Today each grave blossoms and gives off fragrance. One day in the year the dead are free. Come to my heart, that I may have you again. As once in May. Pantomime (Sparke) - Composed for virtuoso Nick Childs in 1986, this solo is intended to demonstrate the player's lyrical and technical capabilities, and has become a staple of the euphonium repertoire. There Will Be God (Webb, arr. Phillips) - Another musical gift from the Salvation Army is this gem from the pen Joy Webb. Originally released in 1966 by "The Joy Strings" on the "Well Seasoned" LP, this song has been masterfully arranged here as a euphonium solo by Richard Phillips. Ten thousand years may pass away And bring the dawning of a cosmic day; Age after age, time after time hold its sway. Man walks alone amidst uncertainty. Only one thing can still make him strong; In the pain, In the doubt, In the loneliness. In the struggle of right against wrong. Somewhere amidst the confusion, There will be hope, There will be love, There will be God. All time will pass into eternity, And man must venture on a life unknown; Journey alone, each to his own destiny. In life or death, amidst uncertainty, Only one thing can still make him strong; In the pain, In the doubt, In the loneliness, In the struggle of right against wrong. Somewhere amidst the confusion, There will be hope, There will be love, There will be God. Arabesque (Turrin) - The dictionary describes an arabesque as a "piece or movement with a highly ornamented or decorated melody". Written in 1990, this delightful work by Joseph Turrin aptly fits this definition! My All (Watson) - A beautifully simple arrangement by Melody Watson of the beloved hymn, "Christ Is All", from the Salvation Army song book. Originally written in the early 1990's as a cornet solo, it is equally suited to the euphonium sound. The hymn has several verses, of which I associate these here to this music. I bring to thee my heart to fill; I feel how weak I am, but still‚ To thee for help I call. In joy or grief, to live or die, For earth or Heaven, this is my cry, Be thou my all in all. Christ is all, yes, all in all. My Christ is all in all. No tempest can my courage shake, My love from thee no pain can take, No fear my heart appall; And where I cannot see I'll trust, For then I know thou surely must Be still my all in all. Christ is all, yes, all in all. My Christ is all in all. Slavische Fantasie (Höhne) - Originally written for cornet virtuoso Franz Werner in 1899, this piece is being eagerly adopted as a contemporary "standard" euphonium solo. The Warrior's Sanctuary (Schumann) - Before it was permissible to use "outside" music in Salvation Army services, arrangers would often associate fitting sacred words with melodies, and find welcome homes for classics like Robert Schumann's "Träumerei". From his 1838 work "Kinderszenen" ("Scenes from Childhood"), here it is "dreamily" arranged for euphonium and identified as "The Warrior's Sanctuary". A Three Piece Suit (Ballantine) - Written for Cameron Rawlins' graduating recital at UofT in 2011, Leonard Ballantine (Major) has crafted a brilliant original work for the euphonium. The composer's programme note perfectly describes the music thus: "Casual dress has all but obliterated the once ubiquitous three-piece suit. Yet, in its day, a neatly tailored ensemble of trousers, vest and jacket was all a man needed to convey his essence to the world around him. "Scherzo: Linear patterns and diatonic harmonies are used to suggest 'the suit trousers' and carry the energy and motion of a man with a purpose. His quick-step path along a busy city sidewalk sometimes requires him to skip around a puddle. But his direction is singular and well measured. He knows where he's headed and he travels with the confidence of one deserving a razor-sharp crease. "Espressivo: Resonant chords and chromatic harmonies are used to suggest 'the vest' and reveal the garment most close to the heart, the emotional centre of our man about town. Is he a philanthropist or a philosopher? Is he troubled, or simply richly-centred, choosing to keep his feelings and his thoughts to himself? "Allegro: Serial patterns and angular harmonies are used to suggest 'the jacket', the most visible part of the ensemble and the most capable of conveying personality. We immediately sense that our guy is a singular dude, happy with extremes and prone to flamboyance. He is proud of his threads and has the character to back up any illusion created by his dress."