Cornet and euphonium duet - Time and eternity

Cornet and euphonium duet - Time and eternity
Comments by Michael Stayner
Foliowing thé popularity of Ivor Bosanko's earlier cornet and euphonium duet, 777 not turn back, this pièce was written for thé International
Staff Band's 2000 recording, Renaissance, with soloists David Daws and Derick Kane. Recently recorded by Philip Cobb and Dr Robert Childs on thé
CD, Life Abundant, thé associated lyrics of thé first verse and chorus, penned by Lieut-Colonel Diane O'Brien, are included hère.
Preceding man-recorded time,
Before we earthly hours defme,
In awesome power and majesty was God.
His Spirit moved on formless space,
He breathed life into shapeless clay,
With night and day, eternity begun.
The essence oftime and eternity
Is given trueform and sweet clarity.
Theperson ofGod, our Father,
Is revealedfor a lifetime in Jésus.
The essence oftime and eternity
Is given trueform and sweet clarity,
And releasefor ail time in his Spirit,
The vibrant présence ofGod!
The pièce begins with a séries of chords by thé band on top of which thé soloists play recitative-like lines. The rhythm should be fairly free
within thé written structure. Good intonation is particularly important hère due to thé shifting tonality.
Throughout letter A, ail players should be aware of thé wide array of dynamics used, especially thé subito piano in thé fîfth bar. Where mélodie
fragments appear, they must be allowed to corne through thé texture.
In letter B, thé accompaniment alternâtes between bright and mellow instruments, but ail players must strive for smooth yet rhythmic repeated
quavers, whilst always allowing thé soloists to float on top of thé texture.
The chorus first appears in its entirety at section C, shared equally between cornet and euphonium soloists. Rhythmic impetus must again corne
from thé accompanying instruments. Ensure that thé soloists are provided with good support at thé crescendo in bar 44, but be prepared for thé sudden
drop in volume at bar 48.
At D, thé repeated quavers reappear in thé middle of thé band. Thèse must still be smooth and rhythmic, but particularly in bars 56-57, they
must be absolutely together in order to provide a solid foundation for thé soloists.
Much of letter E features unison rhythmic playing as thé band takes over thé melody. The band will quickly be found out hère if précision is
lacking. But whilst accuracy is important with respect to thé demisemiquavers, and they are a source of rhythmic interest, they must not become a
feature. Again watch thé sudden dynamic change in bar 64.
Section F returns to a more simplistic style, with thé mellow instruments initially providing thé accompaniment. Ensure that thé tenuîo
markings are observed, and that as new instruments take over, thé exchanges are not abrupt, especially at bar 74, where thé cornet soloist must be given
space to exécute thé nontuplet musically.
Be certain that thé crescendo at bars 81-82 is both measured and balanced, leading to thé climax of thé pièce at bar 83. Those players who hâve
a diminuendo in bar 84 should play it such that when thé rest of thé band cuts off on beat three, still ai fortissimo, they émerge from thé chord, akeady at
pianissimo. This leads into thé calm, soft conclusion, thé remaining players always keeping below thé soloists in volume.
Lento J = 54
Cornet and euphonium duet - Time and eternity
Cornet Soloist Bb
Euphonium Soloist Bb
Soprano Eb
Solo Cornet Bb
Ist Cornet Bb
2nd Cornet Bb
Flugel Horn Bb
Solo Horn Eb
IstHomEb
2nd Horn B
IstBaritoneBb
2nd Baritone Bb
Ist Trombone Bb
2nd Trombone Bb
Bass Trombone
Euphonium Bb
BassEb
Percussion II
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