Thom Ritter George

SEXTET for Euphonium and Woodwinds, CN 308 (1980-1981)

PROGRAM NOTES

Thom Ritter George's SEXTET for Euphonium, Flute, Oboe, Clarinet, Horn, and Bassoon was composed in Quincy, Illinois from October 29, 1980 to January 16, 1981.  The music was commissioned by Tubists Universal Brotherhood Association (TUBA) in 1980 and enjoyed a series of closely spaced premiere performances in Spring 1981.

The idea behind TUBA's commission was a good one: quite a few places have both an outstanding euphonium soloist and woodwind quintet.  Why not put them together?  The concept appealed to Dr. George strongly, but discovering how to join the instruments in an actual composition was a challenge.  On one hand, the euphonium should retain some of its characteristics as the solo instrument in the piece.  But the musical effect of the whole composition would be best served if the euphonium could be integrated into the dialogue of the woodwind quintet voices.

As shown by its tempo indication of "Allegretto alla marcia," the first movement is based on a theme with a march-like character.  This music is written in ternary form, but the middle section offers a development of the principal idea rather than new material.

The second movement ("Pastorale: Lento e mesto") opens with a melancholy oboe solo accompanied by the woodwinds in their low ranges.  The entry of the euphonium is muted and leads to the middle section ("misterioso") of the ternary form.  The return of the principal theme is played by the euphonium without mute.  Throughout this movement, the predominating character of the music is introspective and tender.

The final movement is marked "The and Variations on an Old English Song."  William Chappell in his "Popular Music of the Olden Time" dates the theme from the 1770s and labels it a "good tune."  Thom Ritter George identified this jolly "Fa, la, la" song as providing exactly the right combination of intervals and spirit to make a fine ending for his SEXTET.  Taking the old English song as a starting point, George reharmonized and rescored the accompaniment.  Eight variations follow the presentation of the theme.  With its quick modulations and virtuoso wind writing, the last variation provides a brilliant close for the movement and the SEXTET as a whole.
 

(TRGcm:1997.11.22)