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Revenge! Timotheus Cries! (from Alexander's Feast): Trombone/ Euphonium, Solo with Piano

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Revenge! Timotheus Cries! (from Alexander's Feast): Trombone/ Euphonium, Solo with Piano

Revenge! Timotheus Cries! (from Alexander's Feast): Trombone/ Euphonium, Solo with Piano

By George Frideric Handel / arr. R. Winston Morris

Grade: 3

Item: 36-10530266
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Description
George Frideric Handel (1685-1759) completed the oratorio Alexander's Feast, HWV 75 in 1736, and it was throughout his life and after one of his most consistently successful works. Written to celebrate Saint Cecilia's Day, it describes a banquet held by Alexander the Great in a Persian city where the musician Timotheus sings, arousing various moods in Alexander until he burns down the city in revenge for his dead Greek soldiers. Revenge! Timotheus Cries! from the beginning of Part 2 is a bass aria that begins the incitement for Alexander to take his vengeful action. R. Winston has arranged this for numerous brass instrument solos with piano accompaniment for the developing to intermediate musician, and these are a wonderful selection for recital or contest. Versions for cornet/trumpet/euphonium T.C., trombone/euphonium B.C., and tuba are available from the publisher.

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Additional Details
Series: LudwigMasters Brass Series
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852439-8
ISBN13: 979-8-88-852439-8
UPC: 676737723217
SKU: 36-10530266
Instrumentation: Detailed Instrumentation: Trombone/Euphonium (B.C.) and Piano

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in England, where he became a central figure in the musical life of London. He composed across nearly every genre available to him: operas, oratorios, concertos, chamber music, and instrumental works that demonstrated his command of melody, counterpoint, and dramatic effect. His oratorios, particularly those written for the English market, combined narrative drama with choral grandeur and remain cornerstones of the classical vocal repertoire.

Alexander's Feast stands among Handel's most enduring works, celebrated for its vivid storytelling and memorable arias. The oratorio illustrates his gift for matching music to dramatic moment: each shift in Alexander's emotional state receives its own distinct musical character. For brass musicians, the bass arias from this work offer access to Handel's theatrical sensibility and his understanding of how the human voice shapes musical architecture.

Why we love this

This arrangement captures a genuinely dramatic moment from Handel's oratorio without requiring vocalists or a full ensemble. The text-setting of the original aria translates beautifully to brass phrasing, so the performer inherits built-in architectural clarity. For Grade 3 students, it bridges the gap between simple solos and concert repertoire that actually has dramatic weight.

What to expect

The piece opens with theatrical urgency and builds emotional intensity as it unfolds. Handel's baroque melody carries an almost operatic solemnity, with moments of rhetorical flourish that give way to deeper, more declarative phrases. The piano part grounds the harmony while allowing the soloist's voice to dominate.

Who it's for

This solo works for developing and intermediate brass players (roughly Grades 3-4) preparing for a recital or solo competition. Both trombone and euphonium players can use this same arrangement, making it ideal for mixed brass studios or for directing a student toward repertoire that matches their current ability without sacrificing musical substance.

How to get the most out of it

  • Shape long phrases to the arc of Handel's text, even though you're playing an instrument. Breathe at punctuation marks in the original libretto, not just where air is technically needed.
  • Balance your tone against the piano part; the accompaniment provides harmonic and rhythmic context, not cover. Your sound should remain in conversation with it.
  • Attend to ornamental figures and turns in the melodic line. Handel's melody writing is precise, and those decorative moments propel the line forward rather than delay it.

How to use it

Program this as a standalone solo in a recital setting, or pair it with other baroque brass transcriptions to build a thematic concert segment. It also works well in a solo competition when you want to offer students music with genuine historical provenance and dramatic character.

Skills your students will build

  • Phrasing long baroque lines with clarity and shape
  • Sustaining tone quality across phrase arcs
  • Coordinating articulation with harmonic and textual punctuation
  • Balance between solo voice and piano accompaniment
  • Interpreting ornaments and melodic embellishment with stylistic accuracy

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