Concerto for Timpani & Band
Timpani Feature
by Gordon Jacob
Concert Band - Sheet Music

Soloist(s) with Concert Band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, 1st F Hor) - grade 4.5

SKU: CN.R10005

Timpani Feature. Composed by Gordon Jacob. Band Music. Score and parts. Duration 12:30. Published by G & M Brand Music Publishers (CN.R10005).

The nature of the timpani means that musical development is rhythmic rather than tonal. In the first movement, a broad theme is announced by the timpani themselves, and immediately echoed and modified by the full wind band. Material is embroidered by woodwinds and developed by the soloist. The second movement (Adagio) is virtually an aria in which we are left with an expressive mood conjured from the timpani themselves. The last movement is a romp - characteristic use of quasi-folk material is well suited to the band and the rhythmic characteristics of the timpani are highlighted.

Gordan Jacob wrote his Concerto for Timpani in 1984 and it was to be the last major work that he wrote before he died. It was written for a professional wind group in Konstanz (West Germany) and the first performance was given there in June 1984 with the soloist Klaus Huber (to whom it is dedicated) conducted by Douglas Bostock. In the first movement, a broad theme is announced by the timpani themselves based on a rising succession of thirds, and immediately echoed and modified by the full wind band. After a bridge, when the material is embroidered by woodwinds, the theme is presented in an inverted and varied form by the soloist before being developed. Unlike a Classical development in which tonality provides the tension, the nature of the timpani means that the development is rhythmic rather than tonal. To modulate extensively would obviously present problems even with pedal timpani. A recapitulation follows and a quasi cadenza leads to a strong close. The second movement (Adagio) is virtually an aria. The timpani carry the melody throughout, embellished and them embroidered by small groups of instruments presented in choirs. Jacob, the masterful orchestrator, allows only four bars of full band. By the end of only 47 bars, we are left with an expressive mood conjured from the timpani themselves. The last movement is a romp - displaying Jacob's English roots: his characteristic use of quasi-folk material is well suited to the band and the rhythmic characteristics of the timpani are highlighted.