Edward Gregson

Edward Gregson's Concerto For Trumpet arranged for Trumpet and Piano by the composer.

Arranged for Horn in F and piano by the composer. The original version of this work is for Horn and Brass Band. This work was commissioned in 1970 by the British Federation of Brass Bands.

Euphonium Concerto. The Euphonium Concerto was commissioned by the Euphonium Foundation UK and was written for, and dedicated to, David Childs. This three-movement work, lasting some 22 minutes, is a truly symphonic work in both its structure and scale. Its three movements, subtitled Dialogues, Song without Words, and A Celtic Bacchanal, explore the full range of the technical, musical, and emotional scope of the euphonium.

The Dance Forever The Dance was commissioned by Michael Kibblewhite and the Hertfordshire Chorus. The first performance was given on 4 December 1999. (Revised 2002). The text has been compiled by the composer and is drawn from a variety of sources which use dance as a metaphor for life and death. In particular poems by Oscar Wilde and W H Auden have been incorporated into the text. Scored for Mezzo-Soprano Solo SATB chorus and Orchestra. Duration 30 minutes.

Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes there are five pieces in the set each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and as a tribute to them Gregson tried to invade indeed imitate their stylistic worlds in these pieces.They are as follows:To Francis Poulenc (for Emma Johnson) a rather dreamy toccata lyrical in feel but interrupted by typically quirky and disruptive rhythmic episodes.To Gerald Finzi (forJohn Bradbury) slow and lyrical with long melodic arches.To Igor Stravinsky (for Linda Merrick) asymmetric rhythms dominate with wide leaps in the solo line and bitonal harmony on the Piano.To Olivier Messiaen (for Nicholas Cox) based on the ravishing slow movement for Cello in his Quartet for the End of Time a seamless melody is woven around ever-changing repeated chords on the Piano.To Béla Bartók (for Michael Collins) the most virtuoso of the set; after a slow introduction a swirling folk-like dance unfolds mirroring Bartok?s penchant for simple modal shapes and ostinati rhythms.