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“A Light Has Dawned” is four-movement, 15-minute work composed for the 2023 summer tour of eurobrass. It contains powerful, sensitive, and virtuosic ensemble writing as well as three cadenzas, for euphonium, horn, and trombone. The movements alternate between depictions of darkness and light.

This 12-part edition is the original version as performed by eurobrass. See also these versions for 10-part brass ensemble and 13-part brass ensemble.

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“A Light Has Dawned” is four-movement, 15-minute work composed for the 2023 summer tour of eurobrass. It contains powerful, sensitive, and virtuosic ensemble writing as well as three cadenzas, for euphonium, horn, and trombone. The movements alternate between depictions of darkness and light.

This 10-part edition is an adaptation of the original 12-part version as performed by eurobrass. See also these versions for 12-part brass ensemble and 13-part brass ensemble.

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“A Light Has Dawned” is four-movement, 15-minute work composed for the 2023 summer tour of eurobrass. It contains powerful, sensitive, and virtuosic ensemble writing as well as three cadenzas, for euphonium, horn, and trombone. The movements alternate between depictions of darkness and light.

This 13-part edition is an adaptation of the original 12-part version as performed by eurobrass. See also these versions for 12-part brass ensemble and 10-part brass ensemble.

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This arrangement of the tune “Old Hundredth” musically illustrates the connection between our worship here on earth and the continuous worship going on in heaven.  In addition to Old Hundredth, there are snippets of two other classic worship hymns, “O Worship the King” and “Praise My Soul, the King of Heaven,” sung antiphonally by the “saints” (trombones) and the “angels” (trumpets) respectively.  A collage of all the phrases of the tune played simultaneously is followed by a final boisterous statement inspired by the vision of heavenly worship. This is the version performed by eurobrass. See also the original Dominion Brass version (14-part with percussion) and the version for Brass Quintet.

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This arrangement of the tune “Old Hundredth” musically illustrates the connection between our worship here on earth and the continuous worship going on in heaven.  In addition to Old Hundredth, there are snippets of two other classic worship hymns, “O Worship the King” and “Praise My Soul, the King of Heaven,” sung antiphonally by the “saints” (trombones) and the “angels” (trumpets) respectively.  A collage of all the phrases of the tune played simultaneously is followed by a final boisterous statement inspired by the vision of heavenly worship. This is the original version performed by The Dominion Brass. See also the version performed by eurobrass (12-part without percussion). See also the  and the version for Brass Quintet.

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Hallelujah Fanfare combines the concept of Wagner’s “Gathering of the Armies” with several tunes containing “Hallelujah.”  It begins with 4 antiphonal choirs, includes a backstage/offstage choir, and ends with everyone on stage in a rousing conclusion.  Click the YouTube link below to see/hear a performance by The Dominion Brass.

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This modern hymn by Getty and Townend has been set in as a powerful showcase for brass.  This is the version performed eurobrass (12-brass without percussion).  See also the version performed and recorded by The Dominion Brass (14-brass with percussion)

German title: “In Christus ist mein ganzer Halt”

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This modern hymn by Getty and Townend has been set in as a powerful showcase for brass.  This is the version performed and recorded by The Dominion Brass (14-brass with percussion).  See also the eurobrass version (12-brass without percussion).

German title: “In Christus ist mein ganzer Halt”

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Das “Intermezzo Sinfonico” aus dem italienischen Oper Cavalleria Rusticana von Pietro Mascagni hat mich persönlich durch meine einsamsten Momente der Pandemie geführt, als es keine Konzerte gab und Gemeinschaft mit anderen Musikern war nur digital möglich. Als ich mit diesem Stück arbeitete, kehrte wieder Ruhe ein und ich spürte, wie wieder Hoffnung aufbrach. Das Intermezzo wurde in 2022 von eurobrass aufgeführt.

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This composition is based on a theme by Marty McCall – a chant which says “Lamb of God, who takes away the sins of the world.”  It was written for Eurobrass and performed on the 2012 tour of Germany.  It begins quietly with the low brass and goes through several variations, concluding with the tune EASTER HYMN and a brilliant coda.

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This setting was written on the first anniversary of the September 11, 2001 attacks and adapted for Tim Zimmerman and the King’s Brass.  After the brass introduction, the congregation sings 4 verses, building to a grand climax in praise of the God who is “Our shelter from the stormy blast, and our eternal home.”

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This setting was written for the Dominion Brass on the first anniversary of the September 11, 2001 attacks.  After the brass introduction, the congregation sings 4 verses, building to a grand climax in praise of the God who is “Our shelter from the stormy blast, and our eternal home.”

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This Chorale and Prelude is written on the hymn tune LOBE DEN HERREN.  It contains Bach’s characteristic intricate counterpoint interspersed with phrases of the hymn tune.  It was arranged for Tim Zimmerman and the King’s Brass and recorded at Coral Ridge Presbyterian Church in Florida and has been released on their Classic Hymns CD.

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Prayer of Ukraine was arranged for the 2022 eurobrass tour. I first heard this song performed by Roger McMurrin and the Kyiv Symphony Chorus. This is considered the national spiritual song of Ukraine and was written in the 19th century.  My arrangement is done as a prayer for peace and a tribute to the people of Ukraine.

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This arrangement of the tune “Old Hundredth” musically illustrates the connection between our worship here on earth and the continuous worship going on in heaven.  In addition to Old Hundredth, there are snippets of two other classic worship hymns, “O Worship the King” and “Praise My Soul, the King of Heaven,” sung antiphonally by the “saints” (trombones) and the “angels” (trumpets) respectively.  A collage of all the phrases of the tune played simultaneously is followed by a final boisterous statement inspired by the vision of heavenly worship.

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“Großer Gott, wir loben dich” wurde für das Blechbläserquintett des Landesblasorchester Baden-Württembergs arrangiert, nach einer Version für Posaunenchor Rötenberg.

“Holy God, We Praise Thy Name” was arranged for the brass quintet of the State Wind Band of Baden-Württemberg based on a version originally written for Posaunenchor Rötenberg.

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