Maconchy Reflections (1960) Ob/Clt/Vla/Hp Pts

Maconchy Reflections (1960) Ob/Clt/Vla/Hp Sc

Burgon The Golden Eternity (1970) Satb/Hp/Pf (E)

Carolling Brass 2 (Just Brass No.56)

Edited by Philip Jones & Elgar Howarth. The Just Brass series is regarded by brass players worldwide as the most important brass ensemble series available. There are more than 100 titles subdivided into Just Brass (mainstream), Junior Just Brass, Just Brass Lollipops and Giant Just Brass. Supplied as score and parts together.

Sheep May Safely Graze (Easy Piano No.56)

Arranged for Easy Piano

Lennox Berkeley: Five Pieces for Violin and Orchestra Op.56 (Violin/Piano)

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked ?allegro?, uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.

W.A. Mozart: Concerto in D KV Anh.56, reconstructed by Philip Wilby

This reconstruction of the Concerto in D, K.315f was first performed on 15th August 1985 at the Dartington Hall Summer School of Music, by Ernst Kovacic (Violin) and Bernard Roberts (Piano), with the Dartington Chamber Orchestra conducted by Diego Masson. Instrumentation includes SOLO VIOLIN; SOLO PIANO; 2 FLUTES; 2 OBOES; 2 HORNS IN D AND G; 2 TRUMPETS; TIMPANI; STRINGS.The duration of this work is 25 minutes. Full score, solo and orchestral parts are available on hire from the publishers.

W.A. Mozart: Concerto in D KV Anh.56, reconstructed by Philip Wilby (Solo Parts)

This reconstruction of the Concerto in D, K.315f was first performed on 15th August 1985 at the Dartington Hall Summer School of Music, by Ernst Kovacic (Violin) and Bernard Roberts (Piano), with the Dartington Chamber Orchestra conducted by Diego Masson. Instrumentation includes SOLO VIOLIN; SOLO PIANO; 2 FLUTES; 2 OBOES; 2 HORNS IN D AND G; 2 TRUMPETS; TIMPANI; STRINGS. The duration of this work is 25 minutes. Full score, solo and orchestral parts are available on hire from the publishers.

Christopher Brown: Toccata For Organ

Christopher Brown (b.1943) is a British composer who grew up in the Anglican choral tradition, first as a chorister at Westminster Abbey and then as a Choral Scholar at King’s College, Cambridge, before studying at the Royal Academy of Music with Lennox Berkeley. He is often described as one of the leading British composers of the post-war generation. Toccata (Op. 56) is his only work for solo Organ. It was composed in 1982 for the wedding of two friends, and also dedicated to them.

Burgon: First Was The World (Vocal Score)

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go, but it wasn?t until I found the Andrew Marvell poem Music?s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry, but in fact it is both charming and dramatic, and it is also apt in that it can be set for both solo voice and chorus.The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964, the year the bank was founded, and this piece is also included in the celebratory concert. So I wanted to include some homage to HP as well.Marvell?s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might have set had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly, and I have used the countertenor. Purcell himself sang countertenor in many of his own pieces, and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell?s music and the countertenor so writing this piece was really a labour of love.It is scored for countertenor, mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know, but one in which I?m sure he would have revelled in given the opportunity. It is about ten minutes in duration.

Benjamin Britten: Te Deum In C (SATB/Orchestra)

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C, it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings, something Britten was later very fussy about, but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes, for example, which Britten failed to notice on proof, and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues and bar numbers, for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task, for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56, where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version, but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing, while the spacing of chords is frequently much wider in the string version, with melodies transposed into different octaves. Although harmony in both versions is identical, voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned.So, although in essence the two versions are the same, the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work, like many of his choral pieces from the 1930s and 1940s, it is equally at home in church and concert hall.

Benjamin Britten: Te Deum In C - Treble (Soprano)/SATB/Organ

Britten's Te Deum In C is arranged for Treble (Soprano) solo, SATB choir and Organ accompaniment.In preparing for publication the 1935 orchestral version of Britten's Te Deum in C, it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings, something Britten was later very fussy about, but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes, for example, which Britten failed to notice on proof, and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version).The two versions have been made consistent in other details - rehearsal cues and bar numbers, for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task, for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56, where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version, but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing, while the spacing of chords is frequently much wider in the string version, with melodies transposed into different octaves.Although harmony in both versions is identical, voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So, although in essence the two versions are the same, the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work, like many of his choral pieces from the 1930s and 1940s, it is equally at home in church and concert hall.