Theme and four variations. Completed: 15th August, 1976 and revised in 2018.
1st Performance: Yenworthy, Devon. September 30th 1976. Katie Thomas (flute) and Mark Goddard (piano).
Duration: 7 minutes. Light, attractive and fairly short!
Due to be published by E.V.C. Publications Ltd. soon.
Contents
Theme: Moderato maestoso
Variation One Allegro con brio
Variation Two Allegretto grazioso
Variation Three Andante mesto
Variation Four Con moto impettito*
Variation Five – Finale Vivace impetuosità**
The first performance was given in piano duet form in Windsor in June 1976.
The performers were Janette Creber and Mark Goddard.
Due to be published by E.V.C. Publications Ltd. in 2020.
Programme Note
While not intended to ‘mimic’ the musical style of Johannes Brahms (1833 – 1897), this music intentionally throws an affectionate nod in the direction of the great man.
The piece, (particularly the duet version), is much easier to play than almost any piano music by Brahms and the score includes optional notes shown in small ‘cue size’ (known as “ossia”), to help players with small hands for example, while not holding back more flamboyant and/or ambitious pianists.
The first performance was given in piano duet form, as an overture to a theatrical production at Cheney School, Oxford in 1975. The performers where Chris Banks and Mark Goddard.
Composed in April 1981 and fully revised in 2018, this overture, which parallels some of the traditional circus acts (for example trapeze, jugglers, clowns etc.), is meant as an affectionate parody of a musical style all too readily neglected these days.
The Circus won the Eric Coates Prize at the Royal Academy of Music and was first performed by the Abingdon and District Music Society conducted by the David Andrew on 5th February, 1987.
Duration: c. 5 minutes.
Available to buy or rent, the full score is available in a ring-bound A3 portrait format, with a full set of A4 parts: 2.1.2.1 2.2.2 1.3.1 4.4.3.3.2
Also available in a version for brass band (Spartan Press SP129), first performed by Wantage Silver Band in June 1983.
Written in December 1979 in London, and revised in 2018, the four movements energetically explore an ambiguously tonal sound world. The style is essentially neo-classical ? rhythmically exciting and intense, yet revealing a poignancy of emotion behind a compact musical fabric.
Contents
I Vivo (4½ minutes)
II Largo (2½ minutes)
III Con moto maestoso (3 minutes)
IV Vivo (3½ minutes)Total duration: c. 14 minutes
Available to buy or rent, the full score is available in a ring-bound A3 portrait format, with a full set of A4 parts (see below)
Not yet available, but if you’d like to see one, please get in contact!
Performances
Original version, performed by The Oxford Symphony Orchestra
We’ve created a quick and dirty electronic ‘performance’ of the new 2018 version, taken directly from the full score, courtesy of Sibelius™.
The following MP3 file is used as the ‘sound track’ of the YouTube video
Scoring
Please note: instruments marked * may be considered optional if absolutely necessary.
Any critical solos for these instruments are cued into other parts and marked “Play if absent”.
Piccolo *
2 Flutes
2 Oboes
Cor Anglais *
2 Clarinets in Bb
Bass Clarinet in Bb *
2 Bassoons
Contrabassoon *
4 Horns in F
3 Trumpets in Bb
2 Tenor Trombones
Bass Trombone
Tuba
for
Four Part Choir (SATB)
Baritone Soloist
Flute
2 Clarinets in Bb
2 Bassoons
2 Horns in F
2 Trumpets in Bb
Bass Trombone
Timpani
Duration: approx. 7 minutes
Programme Note
Trauer-Musik or “Mourning Music” by Weber, composed for the actor Max Heigel.
This previously unpublished work by Carl Maria Von Weber was completed in 1811: a pivotal year in Weber’s career. He met and worked with the Munich court clarinettist Heinrich Baermann and composed the Concertino in E Major for him, as well as the two concerti (J. 114 and J. 118).
Max Heigel, a German actor, poet and librettist, was a friend of Weber’s and in this same year, Max’s father died, prompting the composition of Trauer-Musik (J. 116) which was written between composing the two clarinet concerti.
Original version, performed by The Wren Orchestra of London, leader: Nona Liddell, conductor: James Judd. St. John’s Smith Square. Broadcast on Capital Radio in March 1983.
Please Note: The Heat of the Sun has been revised slightly since this live recording was made.
I
II
III
IV
We’ve created a quick and dirty electronic ‘performance’ of the new 2018 version, taken directly from the full score, courtesy of Sibelius™.
Programme Note
The initial catalyst for ‘The Heat of the Sun’ was Shakespeare’s famous poem about death, with further inspiration provided by the desert scenes in Peter Weir’s 1981 film ‘Gallipoli’.
Fear no more the heat o’ the sun, Nor the furious winter’s rages; Thou thy worldly task hast done, Home art gone, and ta’en thy wages: Golden lads and girls all must, As chimney-sweepers, come to dust.
William Shakespeare
Cymbeline Act IV, Scene II
The music alternates material representing the desert sun, with various day dreams (in the form of ‘episodes’). From the outset we are exposed to the oppressively dry desert heat and throughout the four movements the sun reoccurs, piercing the progressively more diverse and distracted dreams, which by the final movement have become fragmented and wholly retrospective.
‘The Heat of the Sun’, completed in June 1982, was awarded the Capital Radio Composition Prize. The first performance was given by the Wren Orchestra of London, conducted by James Judd
at St John’s, Smith Square the following year — a performance which was subsequently broadcast on Capital Radio.
Performance Notes
• Total duration: about 20 minutes.
I 6:45
II 6:00
III 3:30
IV 3:30
• The work is scored for the following instrumentalists:
7 x Violin I
6 x Violin II
4 x Viola
4 x Cello
2 x Double Bass
These numbers may be advantageously increased by up-to 50%
• If the above forces are not readily available, the work can be performed in a reduced version, with bare minimums of:
5 x Violin I
4 x Violin II
3 x Viola
3 x Cello
2 x Double Bass
Alternative parts are required.
• Mutes are required for most instruments.
• Metronome marks are merely indications of tempi and are not to be taken as gospel.
• It is assumed that at least one of the Double Basses is equipped to play ‘low C’.
Time is something that passes at the same rate for all of us, (although it doesn’t always seem that way!). We are all slaves to the passing of time, yet we are individually perfectly free to do as much (or as little) as we see fit, within it’s confines.
While each piece in this suite is distinct in character, each shares a mutual interest in contrasting “time and rhythm”. The harmonies, while often employing an unashamedly familiar ‘diatonic’ language, also enjoy chords based on the intervals of the second and fourth (for example in Perpetuum Mobile), while Momento Temporis(a moment in time) takes time out to enjoy modal tranquillity and sonorous pedalling. Tempus Fugit(Time flies) and Momentum are each influenced by jazz and lively Eastern European folk dance rhythms. In Tempus Rerum Imperator (Time, commander of all things) we are swept along by the despot that is time, while the final movement Ab Aeterno (From time immemorial) — a dark evocation of eternity — consists entirely of just one particularly ‘timeless’ chord, deployed in a serial (mathematical) series, making use of rhythmical ‘diminution’ and ‘augmentation’ to outline a journey: both outgoing and returning.
