GWMP1008 Archives - Gulf Wind Music

Capriccio for small orchestra
by Fisher Tull

Description
"The word capriccio means "according to the fancy (caprice) of the performer." In this case, several motives are freely woven together in a "capricious" fashion and held together by a driving rhythm. the tempo is marked Allegro giocoso throughout with the exception of a short section near the end of the piece. After a reflective and tranquil Lento, the opening motive returns to create and energetic close."
- Albany Records © 1997 (from liner notes from the CD Troy 223 "Fisher Tull"),
Used by permission, Unauthorized replication is not legal.

Reviews
"Tull's Capriccio for Small Orchestra proved a vigorous, well-knit work, cast in a single movement of classic design. It was tonal in harmonic idiom, engendering considerable momentum by its judicious use of irregular meters, and contained much straight-forward melody, boldly carved into the music. All in all, it was the work of a young, logical talent creating solidly within the reservoir of a tonal idiom well established in this country for several years."
- Carl Cunningham, Houston Post

"Tull fused excitement and strength of new sounds into a classic sonata-rondo form. His Capriccio has style, humor, and above all, vitality. The audience gave it, the composer and the orchestra one of the most enthusiastic receptions a new work has had here in several seasons."
- G. New, Houston Chronicle

Details
Composed in 1967 on a commission by the Houston Chamber Orchestra (comprised of members of the Houston Symphony). Premiered under the baton of Charles Rosekrans during the 1966-67 season.
Instrumentation: 2 fl. 1 ob. 2 cl. 1 bsn. - 2 hn. 2 tpt. 1 tbn. - timp. - perc. - pft. - strings
Length: 9 mins.
Publisher: Boosey & Hawkes Rental Library

© 2004 - 2022 Gulf Wind Music Press
last revised December 21, 2022

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Prelude and Double Fugue for band
by Fisher Tull

Description
"This composition is based upon the organic development of two independent motifs which are presented in the opening measures of the Prelude. As the work evolves, the two motifs, in their original and inverted forms, gradually expand to encompass a larger intervallic range. Therefore, both movements are based entirely on bithematic material related to the original motifs.
The opening prelude employs a fairly tonal setting to introduce the thematic material. Following this presentation, a contrapuntal development of both motifs builds to a strident level of dissonance which eventually culminates on a unison "G" reiterated by all sections of the ensemble. The subsequent relaxation of tension leads to a recapitulation of the opening material and a quiet ending.
The FUGUE is comprised of two separate subjects; the first being an expansion of the "a" motif in inversion, and the second, an expansion of "b". The first subject is presented in a typical four-voice exposition complete with a recurring countersubject. Following a canonic episode, the development utilizes stretto, inversion, and diminution. A percussion ostinato accompanies the exposition of the second subject and its countersubject. Developmental and episodic sections follow, leading to the eventual combination of the two subjects in all of the various forms. The contrapuntal texture gradually builds to a coda bringing the work to an affirmative and dramatic close."
- Golden Crest Records © 1981

Reviews
"Prelude and Double Fugue may be one of Tull's strongest pieces; certainly from the standpoint of form, one of his most succinct offerings. The Prelude is characteristically slow, transparent, and motivic. It introduces most of the material that is developed in the Double Fugue, and provides a stunning vehicle for good solo wind playing. The Double Fugue is simple a 'dandy.' Tull's masterful handling of this difficult contrapuntal form makes rehearsing and performing it a sheer delight. Some of the best of every work this composer has done comes back in his Prelude and Double Fugue; and all participants, players, conductors, and listeners will applaud it."
- J. Paynter, The Instrumentalist

Details
Composed in 1978. Commissioned by Kappa Kappa Psi / Tau Beta Sigma. Premiered at the national convention on August 9, 1979 by the National Intercollegiate Band in Atlanta, GA with the composer conducting.
Instrumentation: Concert Band
Length: 9 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Introduction and Caprice for tuba and piano
by Steve D. Matchett
also —
Introduction and Caprice for solo tuba, strings and timpani
by Steve D. Matchett

Description
This work was composed in 1992 for Marilyn Llewellyn and the Klein Oak High School Symphony Orchestra and premiered by tubist Larry Porter, who was a private student of mine, four year Texas all-stater, former member of the Klein Oak orchestra, and a music student at the University of North Texas at the time. The performance took place at the Texas Music Educators Association convention in February 1993 on the Klein Oak Symphony's Honor Orchestra concert. The work is originally for solo tuba, strings and timpani**. The version for solo tuba and piano was revised and arranged by me in early 2022. It was first performed by another Klein Oak tuba student of mine, Nathan Cole, with his piano accompanist Laura Pedersen at his school’s solo competition finals in May 2022.

The Introduction section is smoothly lyrical and begins with music for strings alone. For the tuba and piano version I have designated an optional beginning for a more abbreviated performance when needed. In the transition before the Caprice section, the tuba part becomes more rhythmic and is joined by punctuations in the strings and timpani. The Caprice opens with a basic rhythmic motive in the pizzicato strings. The tuba part then joins and becomes quite active, playing double-tongued arpeggio figures as well as fast scalar runs. The tuba and strings play off of one another as they proceed forward in the through-composed freeform Caprice. Lyrical sections, which calm the action, allow the soloist and strings to join in a more basic soloist/accompanist fashion. Brief references to the Introduction can be heard, as well as references to the Caprice opening as the piece propels to its conclusion.
~ Steve D. Matchett, May 2022

Review
Range: FF – d1
Difficulty Level: III
Piano Difficulty: Medium
[ … ]
The introduction features a flowing lyrical melody that showcases the singing, melodious side of the tuba’s abilities. The caprice, in contrast, has a variety of quick arpeggios and interesting rhythmic figures in the tuba part, with the piano and tuba seeming to engage in a dialogue as the parts interact with one another.

Overall, Introduction and Caprice will bring out several skills from the tubist while also providing music that is interesting and engaging to the listener.
~ Wes Calvert, M.M. Tuba – University of Central Arkansas, ITEA Journal (Online Supplement), vol. 51 no.3 (Spring 2024)

Details
Composed in 1992. Written for Marilyn Llewellyn and the Klein Oak High School Symphony Orchestra and premiered by tubist Larry Porter. This version for tuba and piano was arranged and revised in early 2022 by the composer and premiered in May 2022 by tubist Nathan Cole with pianist Laura Pedersen.
Instrumentation: tba, pft
Sections: Introduction (Andante sostenuto), Caprice (Allegro ritmico)
Duration: 6'45"
Publisher: Gulf Wind Music Press
*included on the Texas Prescribed Music List , class one tuba solo with piano (added fall 2023)
** version for solo tuba, strings and timpani available on rental from Gulf Wind Music Press

It Came Upon a Midnight Clear for string orchestra with harp, arr. Matchett