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

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Revenge! Timotheus Cries! (from Alexander's Feast) Cover Image
Revenge! Timotheus Cries! (from Alexander's Feast): Tuba, Solo with Piano

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

By George Frideric Handel / arr. R. Winston Morris

Grade: 3

Item: 36-10550266
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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: 1-62-876490-2
ISBN13: 978-1-62-876490-1
UPC: 676737722937
SKU: 36-10550266
Instrumentation: Detailed Instrumentation: Tuba 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 dominant figure in Baroque music and a central force in English musical life. His output spanned operas, oratorios, concertos, and instrumental works; he had a gift for memorable melody, structural clarity, and dramatic effect that made his music immediately accessible to audiences while maintaining musical sophistication.

Alexander's Feast stands among Handel's most celebrated oratorios. Completed in 1736 to a libretto by John Dryden, it was performed frequently during Handel's lifetime and has remained a cornerstone of the choral and solo vocal repertoire. The work's dramatic narrative and vivid character moments, particularly in its arias, make it an ideal source for solo transcriptions and adaptations.

Why we love this

This aria carries genuine dramatic weight. The text unfolds a moment of mounting fury and decision that Handel captures through angular melodic lines and harmonic tension, giving the tuba soloist a chance to convey character and intention rather than simply play through notes. It's substantial enough to hold attention at a recital or festival while remaining achievable for a developing player.

What to expect

Urgent and declamatory. The music bristles with energy and pointed rhythms that propel the narrative forward, punctuated by moments of lyrical reflection. There's a sense of high stakes and persuasion throughout.

Who it's for

Developing to intermediate tuba soloists preparing for recital or solo competition. This arrangement offers a piece with historical pedigree and real dramatic content without requiring virtuosic technical command.

How to get the most out of it

  • Bring the story forward from the opening. This is Timotheus inciting Alexander to rage, so shape the phrases with rhetorical purpose rather than treating them as pure melody.
  • Watch the harmonic language carefully. Handel uses unexpected chord progressions to mirror the emotional turbulence of the text; these shifts should be audible in your phrasing and tone choices.
  • Balance brilliance with weight. The tuba can easily overpower in a recital setting, so listen for the piano's harmonic and rhythmic support and allow it to anchor the texture.
  • Take your time with fermatas and dramatic pauses. They punctuate Timotheus's appeal and give the aria room to breathe.

How to use it

Program this alongside other Baroque or period arrangements to build a thematic recital around oratorio and sacred music from the era. It also pairs well with other brass solos at a young artist or festival competition, where its dramatic character and formal completeness make a lasting impression.

Skills your students will build

  • Phrasing and narrative storytelling within an extended melodic line
  • Reading and executing Baroque articulation and ornamentation
  • Balance and blend with piano accompaniment in a solo context
  • Maintaining tonal weight and clarity across wide intervallic leaps
  • Expression and character interpretation from historical text and music

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