— Introduction — This CD release contains 5 works: 4 recent concertos for solo-instrument and concert band, as well as an older work “Achaé, la docile amie”, a series of variations upon the famous Paganini theme of the 24th Caprice. The 4 concertos were written in 2011 and 2012 and belong to a larger series of fourteen concertos for solo-instrument and orchestra, and are here presented in a version for Concert Band. Robert Groslots career started as a pianist after becoming laureate of the Queen Elisabeth Competition for piano. And still today while working as a composer, the pure joy of playing an instrument is very inspiring to him. This explains the extremely virtuoso texture of the concertos. According to the composer, “the tension of the battle of a soloist with the orchestra – but also with his or her own personality, cannot be replaced easily. Though these concertos are quite different in character, expression and colour, they do have one other aspect in common: the form. For the composer, one big story is more interesting than many little ones. Therefore, and with a lot of variation they all are conceived as a one-movement overall structure, a mix between sonata and symphony form, referring to the impressive architecture of the famous Liszt piano sonata in b minor. Robert Groslots music uses techniques of extended tonality, with even hints of contemporary and jazz techniques resulting in an impressive new and accessible language. — Concerto for Euphonium and Concert Band — This concerto, written for Steven Mead, takes the euphonium player out of his comfort zone into new and exciting territory. “I was absolutely knocked out by the thematic invention and wonderful sounds and textures that Robert was coaxing from the euphonium. .. this is indeed a very special work, and one that will go on to earn its place quickly at the heart of serious euphonium repertoire.” The listener will notice the tribute to Henry Purcell: one of the themes in the piece is the opening tune from his “Music for the Death of Queen Mary”. A theme that has fascinated Robert Groslot for years.The two musical languages merge smoothly into and over each other. In the coda, Purcell’s theme is reduced to single notes. This motif is almost dancing upon the varied basso ostinato, which is built on a twelve-tone series. — Concerto for Saxophone and Concert Band — Within the one-movement overall structure, there are four sections that flow into each other: Statement, Scherzo, Lamento and conclusion. The alto saxophone is interspersed by the soprano saxophone in the Scherzo. The first and third movement are very introverted and elaborate in contrast with the second and the final part where playful virtuosity and humor prevail. This is a great and daring concerto which uses all technical possibilities of the instrument and according to soloist Norbert Nozy “a true enrichement for the saxophone repertoire.” — Concerto for Piccolo and Concert Band — Performer Peter Verhoyen: “When premiering this work at the Las Vegas NFA Convention it was obvious that this concerto set new standards in piccolo writing. As in his other symphonic compositions, Robert Groslot proved to be a master in instrumentation, making the performance of it a showcase for the versatility of the little flute so unknown to most of the audience.” The Piccolo Concerto begins with a long ballad-like movement, and is followed by an exciting Presto. Then the theme of the beginning returns, but at a fast pace and in a diminuendo leading to a complete silence first and from there to a fascinating static passage with whimsical motifs. This longish passage evolves unexpectedly into a grand climax which is also the relaunch of the Presto, now alternating with a Scherzo in the same tempo. The second appearance of this Scherzo ebbs and flows into a fairly long cadenza and then again towards the static passage with some beautiful concert band colours. With a shock this passage is interrupted, and the concerto ends with a variation upon the scherzo which seems to disappear on the horizon. “I regard this composition as quite successful”, says composer Robert Groslot. “The commission to write a concerto for piccolo seemed at first an impossible task, but actually it has shown me the many faces and opportunities of this little instrument. The colours of the piccolo are truly unique and perhaps too little exploited by composers .” — Concerto for Marimba, Vibes and Concert Band — Robert Groslot found the inspiration for this piece in a series of paintings by David Hockney “The Arrival of Spring at Woldgate, East Yorkshire in 2011”. His concept of expanded perspective was a fascination for the composer. Some passages are inspired by the pictural image of large trees. The orchestra part is not just accompanying: the instruments are in a constant dialogue with the soloist. — Achaé, la docile Amie — Many composers have used the unique theme from the 24th Caprice by Paganini for a series of variations or paraphrases. Only a few, such as Liszt and Lutowslawsky have used Paganin’s own set of variations to vary them again.“Achaé” is in line with the latter method, with that difference that each “original variation” is transformed twice. The bassline is used as a melodic motif, but then much much faster, in the preamble and in the last variation. The piece contains a lot of humor and playful virtuosity. Even the title has a wink, by the double wordplay which refers to the opening motif: la-do-si-la-mi (“la docile Amie”) and the German notation ACHAE. Biographies — Robert Groslot — Robert Groslot (°1951) began his career as a pianist. His piano studies at the Royal Conservatory of Antwerp were followed by masterclasses with Leon Fleisher and Alexis Weissenberg. After winning laureate prizes in the piano competition Alessandro Casagrande (Terni 1974) and the Queen Elisabeth Competition (Brussels, 1978), he undertook concert trips through Europe, Israel, Asia, Africa, New Zealand and the United States. His repertoire consisted of more than 50 concertos for piano as well as many solo and chamber music. Robert Groslot made many studio, radio and television recordings, as well as about 100 CD's. Later on he started conducting: as conductor and director of the Philharmonic Youth Orchestra, he formed many young musicians from Belgium and abroad who are now professional musicians. He also appeared as a conductor with the Rotterdam Philharmonic Orchestra, the London Symphony Orchestra, the Ulster National Orchestra, the Belgian National Orchestra and the Flanders Philharmonic, among others, and is the founder-director of the orchestra II Novecento which he conducted in concerts throughout Euroupe. At the same time he teached piano and chamber music at the Royal Conservatory of Antwerp until 2011 and has been also Artistic Director there from 1996 until 2001. Nowadays, Robert Groslot mainly works as a composer. Black Venus, The Great Globe, Si le monde… and The Wake are some of his most important works for symphonic orchestra. Recently he wrote a series of twelve concertos for solo instruments and orchestra. He chose a variety of solo instruments such as piano, violin, cello, the classical concerto instruments, but also viola, saxophone, harp, piccolo, flute, oboe, marimba, euphonium and guitar. These concertos are one by one very challenging and inspirational pieces for the performer. At the same time they are very enjoyable and understandable for the public, as a continuation of tradition, but not without a clear and very personal perspective to music as a whole. — Steven Mead — The name Steven Mead is synonymous with euphonium playing the world over. Steven Mead performs regularly with some of the finest brass, wind and symphonic ensembles in the world. He has been described as one of the world’s most recorded solo brass artists and is highly respected as an innovator for the whole low brass world in general. His innovation is also evident with his premiere performances of new concerti and major works: to date he has given over 500 world premières. — Norbert Nozy — Norbert Nozy has become one of the most prominent protagonists of the Belgian Saxophone School and is famed as a conductor, virtuoso and pedagogue. He became Principal Conductor and Artistic Director of the “Guides Orchestra” in 1985, a position which he held for 18 years. The Union of Belgian Composers honored him with the “Fuga Trophee” for his merits as a promotor and performer of Belgian Music. Currently, Norbert Nozy is working as a soloist, a guest conductor and has teaching positions at the Royal Conservatory of Brussels and Maastricht (the Netherlands) — Peter Verhoyen — Peter Verhoyen established his reputation as a piccolo specialist with his piccolo recital CD’s and has given many recitals on the little flute, among one in New York and one in Anaheim for the National Flute Association. With his chamber music ensemble Arco Baleno he has toured I Germany, France, Slovenia, the USA and the Netherlands. Currently he is principal piccolo for the Royal Flanders Philharmonic Orchestra and teaches at the Royal Flemish Conservatory in Antwerp and at his private flute studio in Bruges. — Carlo Willems — Carlo Willems is widely renowed for his musical versatility and grand virtuosity in different fields of the musical world, thanks to his ability to play all percussion instruments and mallets on the highest professional level As professor of percussion at the Lemmens Institute and the Royal Conservaty of Antwerp, he delivered lots of professional percussionists, which won many competitions and are working now in various highly ranked professional orchestras. Known also as a composer, his works are often played and well received by the audience. — Vlad Weverbergh — Vlad Weverbergh feels at home in numerous genres as different as Mozart, klezmer, and cutting-edge avant-garde. Aside from his soloist engagements, Vlad is a member of I Solisti del Vento, an ensemble of Belgium’s best woodwind players, the trend-setting Champ d’Action ensemble as well as clarinet soloist of Le Concert Olympique. Vlad’s discography comprises an extensive selection from the clarinet repertoire. His latest CD’s are devoted devoted to research projects: sheet music that has never been recorded before. — Royal Band of the Guides — The Royal Band of the Belgian Guides Regiment consists of a Symphonic Band composed of 84 strictly selected artists and a Trumpeter Corps of 19 first class musicians. Due to its exceptional qualities, the band has incessantly fascinated many composers, ranging from Berlioz to Stravinsky, as well as large audiences in Belgium and abroad, since its foundation in 1832. This excellent symphonic band has always had its principal vocation the defense of Belgian music and, in Belgium and abroad as well as radio concerts and compact disc recordings.