Cornet and euphonium duet - Time and eternity

Comments by Michael Stayner

Foliowing th popularity of Ivor Bosanko's earlier cornet and euphonium duet, 777 not turn back, this pice was written for th International
Staff Band's 2000 recording, Renaissance, with soloists David Daws and Derick Kane. Recently recorded by Philip Cobb and Dr Robert Childs on th
CD, Life Abundant, th associated lyrics of th first verse and chorus, penned by Lieut-Colonel Diane O'Brien, are included hre.
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 eternity
Is given trueform and sweet clarity.
Theperson ofGod, our Father,
Is revealedfor a lifetime in Jsus.
The essence oftime and eternity
Is given trueform and sweet clarity,
And releasefor ail time in his Spirit,
The vibrant prsence ofGod!
The pice begins with a sries of chords by th band on top of which th soloists play recitative-like lines. The rhythm should be fairly free
within th written structure. Good intonation is particularly important hre due to th shifting tonality.
Throughout letter A, ail players should be aware of th wide array of dynamics used, especially th subito piano in th ffth bar. Where mlodie
fragments appear, they must be allowed to corne through th texture.

In letter B, th accompaniment alterntes between bright and mellow instruments, but ail players must strive for smooth yet rhythmic repeated
quavers, whilst always allowing th soloists to float on top of th texture.
The chorus first appears in its entirety at section C, shared equally between cornet and euphonium soloists. Rhythmic impetus must again corne
from th accompanying instruments. Ensure that th soloists are provided with good support at th crescendo in bar 44, but be prepared for th sudden
drop in volume at bar 48.
At D, th repeated quavers reappear in th middle of th band. Thse must still be smooth and rhythmic, but particularly in bars 56-57, they
must be absolutely together in order to provide a solid foundation for th soloists.
Much of letter E features unison rhythmic playing as th band takes over th melody. The band will quickly be found out hre if prcision is
lacking. But whilst accuracy is important with respect to th demisemiquavers, and they are a source of rhythmic interest, they must not become a
feature. Again watch th sudden dynamic change in bar 64.
Section F returns to a more simplistic style, with th mellow instruments initially providing th accompaniment. Ensure that th tenuo
markings are observed, and that as new instruments take over, th exchanges are not abrupt, especially at bar 74, where th cornet soloist must be given
space to excute th nontuplet musically.
Be certain that th crescendo at bars 81-82 is both measured and balanced, leading to th climax of th pice at bar 83. Those players who hve
a diminuendo in bar 84 should play it such that when th rest of th band cuts off on beat three, still ai fortissimo, they merge from th chord, akeady at
pianissimo. This leads into th calm, soft conclusion, th remaining players always keeping below th soloists in volume.

Lento J = 54

Cornet and euphonium duet - Time and eternity

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

2007 Salvationist Publishing & Supplies Ltd.

Administered by CopyCare, PO Box 77, Hailsham, BN27 3EF, UK. music@copycare.com

IVOR BOSANKO

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