Virginia Commonwealth University Professor Antonio J. García has taken Haydn?s ?London? Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would ?showcase the trombone in a jazz ballad style and somehow reference the Haydn ?London? Symphony? that would follow it on the program, knowing that the first half of the concert would also include the Brahms ?Variations on a Theme of Joseph Haydn.? She and trombone soloist Nathan Dishman suggested the title ?London Town Fantasy,? envisioning a potential intersection with elements of George Gershwin?s ?A Foggy Day (In London Town),? which seemed apt given a scheduled trip of García?s to London during the compositional process.

Listeners familiar with Haydn's ?London? Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony?s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the ?bridge? section of the tune is crafted from the first seven measures of the opening theme of Haydn?s first movement (Allegro).

The use of ?A Foggy Day? had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin?s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of ?A Foggy Day.? (An optional written-out solo is provided.)

Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).

The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or ?minus one,? make rehearsals easy and even provide the aural basis for your own potential ?virtual? performance.

A modern, melodic original composition, suitable for students and advanced musicians alike.



Composer?s Note:

The title of this piece is taken from Sir Philip Sidney?s c.1590 sonnet sequence, known as Astrophel and Stella. The sonnets are meditations on romantic love, with the titular names derived from the Greek roots aster (star) and phil (love), and the Latin stella (also star). Hence, Stella is the object of Astrophel?s affection.


For interested students or teachers, here are a few pedagogical notes:

This piece is suitable for an intermediate-level student. It is playable as a simple waltz as-written, or as a jazz ballad with straight eighth notes. There are some left hand oom-pah shapes, as well as a couple of large arpeggiated shapes where the right hand might want to catch the top note of bass clef, primarily if a student?s hands are small (like the composer?s).


About the Composer:

Emily Nafius is a pianist in Southern California with her musical roots in jazz. As a soloist or sideman, she has performed at numerous music venues around California in an eclectic mix of styles, and recorded with a variety of jazz musicians, singer-songwriters, and rock bands. Her work as an accompanist spans classical, jazz, and musical theatre, receiving praise for her theatre work as a pianist and ensemble leader. She has maintained a teaching studio for over fifteen years, instructing musicians of all ages.

This book Modern Piano contains 90 easy original pieces from the 20th and 21st centuries. The pieces selected display a great variety of styles including New Music, neoclassicism, modern dances, jazz, blues, pop, rock, musical studies, meditative music, New Age music and more besides: a colourful range of different styles, sometimes blurring the distinction between classical and popular music in 'crossover' pieces that bridge the gap between different musical worlds.

The little pieces selected invite us to go on a musical journey of discovery, introducing new experiences using modern sounds and rhythms. All these pieces are suitable for tuition purposes, auditions, examinations and school music competitions - or just as stimulating repertoire for pianists interested in music.

Composed in April 2021, Three Folk Songs, are a re-working for folk melodies from the North East of England that explore the combination of folk with jazz and modal harmonies. The first, Waters of Tyne, has a lullaby quality that moves fluidly and dreamily throughout different keys. The second, Blow the Wind Southerly, has a more static harmony allowing the melody to unfold throughout the piece. The third and final movement of the collection, The Keel Row, is a fast dance played out over a repeating ostinato.

The piece was originally composed for vibraphone for Japanese percussionist, Mizuki Aita, and later transcribed for solo piano.