Cornet and euphonium duet - Time and eternityComments by Michael Stayner

Foliowing thé popularity of Ivor Bosanko's earlier cornet and euphonium duet, 777 not turn back, this pièce was written for thé InternationalStaff Band's 2000 recording, Renaissance, with soloists David Daws and Derick Kane. Recently recorded by Philip Cobb and Dr Robert Childs on théCD, Life Abundant, thé associated lyrics of thé first verse and chorus, penned by Lieut-Colonel Diane O'Brien, are included hère.

Preceding man-recorded time,Before we earthly hours defme,In awesome power and majesty was God.His Spirit moved on formless space,He breathed life into shapeless clay,With night and day, eternity begun.

The essence oftime and eternityIs given trueform and sweet clarity.Theperson ofGod, our Father,Is revealedfor a lifetime in Jésus.The essence oftime and eternityIs given trueform and sweet clarity,And releasefor ail time in his Spirit,The vibrant présence ofGod!

The pièce begins with a séries of chords by thé band on top of which thé soloists play recitative-like lines. The rhythm should be fairly freewithin thé written structure. Good intonation is particularly important hère due to thé shifting tonality.

Throughout letter A, ail players should be aware of thé wide array of dynamics used, especially thé subito piano in thé fîfth bar. Where mélodiefragments appear, they must be allowed to corne through thé texture.

In letter B, thé accompaniment alternâtes between bright and mellow instruments, but ail players must strive for smooth yet rhythmic repeatedquavers, whilst always allowing thé soloists to float on top of thé texture.

The chorus first appears in its entirety at section C, shared equally between cornet and euphonium soloists. Rhythmic impetus must again cornefrom thé accompanying instruments. Ensure that thé soloists are provided with good support at thé crescendo in bar 44, but be prepared for thé suddendrop in volume at bar 48.

At D, thé repeated quavers reappear in thé middle of thé band. Thèse must still be smooth and rhythmic, but particularly in bars 56-57, theymust be absolutely together in order to provide a solid foundation for thé soloists.

Much of letter E features unison rhythmic playing as thé band takes over thé melody. The band will quickly be found out hère if précision islacking. But whilst accuracy is important with respect to thé demisemiquavers, and they are a source of rhythmic interest, they must not become afeature. Again watch thé sudden dynamic change in bar 64.

Section F returns to a more simplistic style, with thé mellow instruments initially providing thé accompaniment. Ensure that thé tenuîomarkings are observed, and that as new instruments take over, thé exchanges are not abrupt, especially at bar 74, where thé cornet soloist must be givenspace to exécute thé nontuplet musically.

Be certain that thé crescendo at bars 81-82 is both measured and balanced, leading to thé climax of thé pièce at bar 83. Those players who hâvea diminuendo in bar 84 should play it such that when thé rest of thé band cuts off on beat three, still ai fortissimo, they émerge from thé chord, akeady atpianissimo. This leads into thé calm, soft conclusion, thé remaining players always keeping below thé soloists in volume.

Lento J = 54Cornet and euphonium duet - Time and eternity IVOR BOSANKO

Cornet Soloist Bb

Euphonium Soloist Bb

Soprano Eb

Solo Cornet Bb

Ist Cornet Bb

2nd Cornet Bb

Flugel Horn Bb

Solo Horn Eb

IstHomEb

2nd Horn B

IstBaritoneBb

2nd Baritone Bb

Ist Trombone Bb

2nd Trombone Bb

Bass Trombone

Euphonium Bb

BassEb

Percussion II

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