An analysis of Johan de Meij's UFO concerto for euphonium and wind orchestra through the lens of conductor and soloist, with a list of original euphonium solos accompanied by wind band (2007-2014)

摘要

This study provides an analysis of Johan de Meij’s UFO Concerto for Euphoniumand Wind Orchestra based on the analytical method in Jan LaRue’s Guidelines for StyleAnalysis. The performance concerns of the soloist and issues of importance for theconductor are also discussed. Additionally, I provide insights garnered from interviewswith the composer, the conductor of a premiere, and a soloist of a premiere. My ownthoughts as a euphonium player and conductor also are included.An important observation I made was that of the recurring de MeijChord/Gamelan Chord and Introductory Theme/Gamelan Theme, which are prevalentthrough much of the piece. This chord structure was used also in de Meij’s, ExtremeMake-Over and Planet Earth. Composer de Meij and soloist Adam Frey both stated thatthe concerto’s form is through-composed. In my analysis, however, I identified the formas a quasi sonata-allegro form as explained in Chapter III.This piece is challenging for soloists because of its range, awkward fingeringcombinations/articulations, its multi rhythmic layers, and its length. Frey compared theUFO Concerto to several works that have become standard for solo euphonium and band. However, he notes that the ensemble for the UFO Concerto is given the task to playmany of the same passages that also were written for the soloist.My discoveries concerning conducting issues include the need for the conductorto prepare the ensemble, as well as communicate with the soloist, because of someinherent musical liberties and intricate musical moments found in the piece. Based on theinterview with Richard Good and my personal findings, this study confirms that aconductor must pay special attention to proper balance and the rhythmic challengescreated by de Meij.An interview with Johan de Meij, the composer, explored the motivation,compositional background, and highlights of the piece that were not explicit in hisprogram notes. De Meij also discussed his views on identification of the themes and theGamelan Chord that was central to much of this five-movement work. Richard Good, aconductor who premiered the work, provided insight on conducting this concerto,especially regarding collaboration with the soloists. An interview with Adam Frey, whoperformed in the Asian premiere of the UFO Concerto, touched on aspects of preparationand on collaboration challenges. Transcripts of these focused interviews are found inAppendices B, C, and D.An important addition to this study is my list based on Adam Frey’s “Music forEuphonium and Wind Band,” found in the Guide to Euphonium Repertoire: TheEuphonium Source Book. Appendix A lists original works for Euphonium and WindBand written between 2007 and 2014. This list helps to place the UFO Concerto in thewider historical context of the euphonium repertoire.