FUNERAL MARCH
The present arrangement was taken from the eight-part brass choir arrangement of 1878 (E flat cornet, 2 B flat cornets, E flat trumpet, 2 E flat alto horns, tenor horn, tuba) which was obtained on microfilm from the University of Oslo Library and condensed into five parts by Gary Olson. The meter was changed from the original 4/4 to 8/4 to emphasize the slow speed and to simplify notation. The important stylistic consideration in the Funeral March is the consistency of each of the block chords and each chord's relationship to the long soaring phrase which is characteristically a whole section of the piece. Each of these chords must be precisely articulated. Each must have the slightest crescendo after the initial attack to give a feeling of forward motion in the presence of a very slow speed. The piece must move very gradually between the extremes of quietness and brilliant fortissimo, never allowing the phrase to die. The descrescendo beginning in measure 14 emphasizes that the first phrase is in reality the entire first section of the piece. A feeling of forward motion and full breath support is necessary for effective performance of this piece.
Brass Quintet - 211.01
Duration: 6 min
Composer/Arranger: Grieg/Olson
The present arrangement was taken from the eight-part brass choir arrangement of 1878 (E flat cornet, 2 B flat cornets, E flat trumpet, 2 E flat alto horns, tenor horn, tuba) which was obtained on microfilm from the University of Oslo Library and condensed into five parts by Gary Olson. The meter was changed from the original 4/4 to 8/4 to emphasize the slow speed and to simplify notation. The important stylistic consideration in the Funeral March is the consistency of each of the block chords and each chord's relationship to the long soaring phrase which is characteristically a whole section of the piece. Each of these chords must be precisely articulated. Each must have the slightest crescendo after the initial attack to give a feeling of forward motion in the presence of a very slow speed. The piece must move very gradually between the extremes of quietness and brilliant fortissimo, never allowing the phrase to die. The descrescendo beginning in measure 14 emphasizes that the first phrase is in reality the entire first section of the piece. A feeling of forward motion and full breath support is necessary for effective performance of this piece.
Brass Quintet - 211.01
Duration: 6 min
Composer/Arranger: Grieg/Olson