Goodmusic PRINTED MUSIC CATALOGUE NEW TITLES – 2021

VOCal, CHORal & INSTRUMENTAL MUSIC & MUSIC FOR oRCHESTRA CONTENTS Goodmusic LATEST NEWS ...... page 3 Goodmusic is owned and run by Music for ORCHESTRA ...... page 4-10 Elizabeth and David Good who started the business in 1974 Music for CHOIRS ...... page 11-13 retailing printed music and Music for VOICE ...... page 13-14 books on music. In 1995 we started publishing music and Music for PIANO ...... page 14 have grown steadily ever since, Music for ORGAN ...... page 15 also taking over the business of Music for SOLO INSTRUMENTS ...... page 15-16 Roberton Publications in August 2003. In 2012 we sold the general retail part of our business and we Music for HARP ...... page 16-17 now concentrate on selling just our own publishing catalogue. Music for INSTRUMENTAL ENSEMBLE . . page 17-18 We supply only by mail order and do not have showroom facilities. CHILDREN’S OPERA ...... page 18

PRICES shown are correct at 1st January 2021 MUSIC CHARTS ...... page 19 but are subject to change. VAT is charged at 0% on printed music.

PHOTOCOPYING All of our titles published before 2020 are detailed in our

PRINTED MUSIC CATALOGUE

| 2020

It is ILLEGAL and UNFAIR to copy any of our publications.

A purchaser is NOT permitted to make extra copies. If you would like us to send you There should be no reason why you cannot obtain a copy just let copies of any of the music in this catalogue. us know – or you can We will always maintain stocks of these titles and keep see it on them in print (unless prevented from doing so by any our website copyright restrictions placed upon us).

We usually supply orders within one working day whether to individual customers or to music retailers. If you have difficulty obtaining our publications, please let us know!

WHERE TO BUY OUR MUSIC All of our publications should be available through your usual music dealer or we are happy to supply you direct; we send music to customers all over the world. You can order from us by mail, telephone, e-mail or buy on-line at our website. We operate by mail-order and do not have a shop or showroom that you can visit or collect orders from. We keep all of our publications in print and immediately available and we usually despatch orders either on the day that we receive them or within one working day (whether to individuals or to music dealers), so you should never have to wait very long for any of our titles! If you have problems getting any of our publications, please let us know.

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Goodmusic incorporating Roberton Publications

PO Box 100, Tewkesbury GL20 7YQ UK Tel: 01684 773883 Website: www.goodmusicpublishing.co.uk 3 PRINTED MUSIC CATALOGUE NEW TITLES – 2021 LATEST NEWS 2020 was a strange year! The first month or so was like many other years and then, suddenly, the world changed. Most music and concerts came to a halt and everything was cancelled. Musicians, whether professional or amateur, had to stay at home and many, it would seem, spent their time composing or arranging instead – judging by the number of submissions of new works and requests to submit material we received. Our sales of music fell to around a quarter of what we would normally expect, but on the plus side this gave us much more time to devote to publishing new works. As a result, to date we have issued over 100 new titles since the start of 2020 – now you just need to buy them!

Some of our time was taken up preparing DIGITAL DOWNLOADS which are now available on our website for a number of our titles. For more information see the details on pages 5 & 15.

This supplementary NEW TITLES 2021 CATALOGUE gives details of all of the titles that have been issued since the start of 2020, the vast majority of which were not shown in our last PRINTED MUSIC CATALOGUE 2020 which is the best place to look for all of our previous titles. All the prices shown in the 2020 catalogue are unchanged for 2021. We aim to bring out our next updated complete catalogue for the start of 2022.

We have had several major projects on the go lately . . . . GUSTAV HOLST – In conjunction with The Holst Society, we have issued previously unpublished choral works and solo songs by Holst: “Clear and Cool” for choir and orchestra, “The Voyager” a collection of 12 part-songs for mixed voice choir and over 50 solo songs in four volumes, each published for high and low voices. Details on page 13.

POLO PIATTI – As well as his “Impossible Pieces” for soloist(s) and orchestra, we now offer Polo’s set of FOURTEEN ARGENTINE DANCES for orchestra, pieces based on the many traditional dances popular in Argentina. Each one is guaranteed to at least get your foot tapping though you may find yourself forced to dance! They are all published separately so you can play just one (it would make an excellent concert encore), choose several to form a suite of dances, or play all 14 which amounts to about an hour of music. Details on page 8 & 9.

PAUL CARR has been busy writing numerous choral works, both large and small, all for performances or recordings this year (hopefully!). The larger works include “Four New Seasons” (after Vivaldi), “Into the Light” (with a nod to Handel) and “The Light of Love - A Requiem” (with a nod to Mozart). Shorter works are “I Offer You Love”, “You, God, are My God”, “In the Bleak Mid-Winter”, “Music, When Soft Voices Die” and “Go, Lovely Rose”. Details on page 12.

. . . . . and many more detailed in the following pages ...... 4 MUSICMUSIC FORFOR ORCHESTRAORCHESTRA

The GOODMUSIC ORCHESTRAL SERIES is an extensive series of orchestral music with titles suitable not only for schools, youth orchestras and amateur orchestras but professionals and any orchestra looking for shorter concert works.

Each title is conveniently packaged in a plastic pocket containing a full score and a complete set of parts which comprises one of each wind, brass and percussion part and string parts 4/4/3/4/2 plus any solo, keyboard or harp parts (unless otherwise stated). Where any alternative string parts such as 3rd violin are available, similar quantities are included. These packs represent excellent value for money. Although the PACKS are a convenient and cost-effective way of buying our orchestral music, EXTRA PARTS and EXTRA SCORES are available for all titles. Standard full scores are A4 in size, but for some more complex, larger works an A3 sized score is also on sale. Copying Categories It is ILLEGAL and UNFAIR to copy any of our publications and GOODMUSIC CONCERT CLASSICS offenders are liable to prosecution. A purchaser is NOT permitted to Concert works and well-known excerpts. Some make extra copies of scores or parts. There should be no reason why arranged for amateur orchestra, others are faithful to you cannot obtain copies of any of the music in this series. We will the original and have merely been tidied up to ensure always maintain stocks of these titles and keep them in print (unless that trumpet parts are in Bb, Horn parts in F etc. to prevented from doing so by any copyright restrictions placed upon us). make them suitable for less experienced players. If you need extra parts they are available. We virtually always supply Catalogue numbers start GMCL and covers are orders within one working day whether to retail customers or to music yellow. dealers.

Grades of Difficulty GOODMUSIC CONCERT POPS Popular titles and music used in films in arrangements Attributing a particular level of difficulty to an orchestral piece is for standard concert orchestra enable the orchestra awkward! A piece may be easy for the strings but difficult for the brass; that enjoys the titles in our other categories to play it may feature a tricky instrumental solo but the other parts may be something lighter. These titles also make good relatively straightforward. However, we have now graded all of our encore material. Catalogue numbers start GMCP orchestral titles from Level A (easy) to Level F (difficult). and pack covers are orange. These levels should be taken as a guide only! You can look at most of the scores on our website to check whether it is suitable for you. Level A = for players up to UK Grade 3 GOODMUSIC CONCERT CHORALS Level B = Grade 3 to 5 Short pieces for orchestra and choir, although in Level C = Grade 4 to 6 many cases the choir can be omitted as parts are Level D = Grade 5 to 7 cued to allow for performances with orchestra alone. Level E = Grade 6 to 8 Well-known choruses can therefore be included in Level F = Grade 7 upwards an orchestral concert. Catalogue numbers start GMCH and pack covers are red.

S Strings only GOODMUSIC CONCERT CAPERS A number of our works are for String Orchestra or can be played by for student orchestra strings only, though some are arrangements with a piano to fill in missing These titles, some original pieces, some wind parts. When browsing through the catalogue you can recognise arrangements, are designed specifically for orchestras these works easily as they are shown with a S symbol. This symbol is up to around grade 3-4 standard. Catalogue also used for concertos, for instance, where the soloist is accompanied numbers start GMCC and pack covers are green. only by strings.

Christmas GOODMUSIC CONCERT CAMEOS A selection of music suitable for Christmas can be found in our main Short pieces for orchestra with a soloist. catalogue the PRINTED MUSIC CATALOGUE 2020. Some pieces are suitable only for a specific instrument but many are arrangements of well-loved pieces that can be performed by any one of a number of solo instruments or, in some cases, solo Prices voice. Catalogue numbers start GMCA and pack Prices are shown by each title for a PACK, a separate SCORE and any covers are blue. extra PARTS. A PACK includes a full score, string parts of 4/4/3/4/2 plus all wind, brass, percussion, keyboard and any solo parts (unless

indicated otherwise). GOODMUSIC CONCERT ORIGINALS PRICES shown are UK retail prices at January 1st 2021 but are subject Original pieces for orchestras who are looking for to change. In the UK, VAT is charged at 0% on printed music. something new chiefly by British composers. We have a range of titles to suit professional orchestras right through to schools and amateurs. Catalogue numbers start GMCO and pack covers are coloured purple. MUSIC FOR ORCHESTRA 5 DIGITAL DOWNLOADS We now give customers the option of buying a digital download (PDF) of a number of our titles rather than having the finished printed copy sent to them. Although many customers seem to like to have a properly printed copy often with a smart protective cover, a digital download is instantly available and can be used on a computer or tablet or printed out for use by the customer – and there is no cost for shipping. This is only available from our website.

When purchasing a digital copy the customer will be able to download a PDF file (Portable Document Format) together with a licence authorising the use of the file for one copy only. You will have 14 days to download the file, after which it will no longer be accessible to you online. Should you need more than one copy (such as for a choir or orchestra members) then you can purchase as many "copies" as you need; you will still only have one file to download but the licence will authorise the number of copies purchased. If you buy multiple copies you are allowed to print only up to that number of copies. Alternatively, you can share the file electronically instead; but the total number of prints and shared electronic copies must not exceed the number purchased. To do so would be a breach of copyright and may result in civil and/or criminal liability. It is equivalent to shoplifting or theft! For orchestral music you cannot buy a PACK to download, only individual scores and parts.

Download files include covers and any blank pages that appear in the printed copy (including blank inside covers) so that if you choose to print it out as a "booklet", all the pages should be in the right place! When you find a title that you want on our website if there is an option of a digital download instead of a printed copy it will be clearly shown. With around 11,000 individual items available on our website, not everything will be available straight away! For orchestral music, you cannot buy a PACK as a download, but you can buy the score and all the individual parts that you require.

Digital titles are added regularly but if there is a particular title from our catalogue that you would like us to add, let us know and we'll see if we can move it higher up the queue ......

ARNE, Thomas CARR, Paul (1961- ) Paul Carr was born in Cornwall in 1961. He trained in voice and (1710-1778) piano at The Guildhall School of Music & Drama but then moved Born in London in 1710, his father discouraged him to become into opera stage management, working with some of the world’s a musician. He left Eton to follow a career in law but after much most exciting opera companies in a career spanning over 30 years. persuasion from a family friend his father agreed that Arne In 2011 he directed his first production, Puccini’s much-loved, Suor should change to music. He became a prolific composer of Angelica, for the Dorset Opera Festival, returning to direct another operas, which were frequently performed at the Royal Opera 4 productions and receiving glowing reviews in the national press. He House, Covent Garden, masques and Shakespeare song settings. directed Amahl and the Night Visitors for the Nederlandse Reisopera in 2016, returning in 2018 to direct Der Fliegende Holländer.

RULE BRITANNIA (arr.Peter Lawson) Paul began composing at the age of 15, receiving his first offer of publication some three years later; he has written works for orchestra, including concertos and much chamber Concert Chorals Series GMCH017 music, but it is for his choral music that he has become more widely known in recent Orchestration times. The recording of his Requiem for an Angel was taken up by Classic FM as their 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons ‘Disc of the Week’ helping it to become one of his most popular and widely performed 2 Horns in F, 2 Trumpets in Bb, 3 Trombone, Tuba works to date. In 2013 his Seven Last Words from the Cross received a standing ovation Timpani, Percussion (Side Drum, Cymbals, Bass Drum) at its première in Bath Abbey, as did his Stabat Mater when it was premiered by the Strings (Violin 1, Violin 2, Viola, Cello, Bass) English Arts Chorale in Reigate, Surrey and in the magnificent chapel of St. John’s Harp or Piano (optional), Mixed Voice Choir. College, Cambridge in October 2017. His orchestral works include the popular Air for Strings, which has become a regular feature on Classic FM, a Sinfonietta and various For a “traditional” performance of this popular favourite. concertos for prominent soloists. In 2014 Paul was awarded an Honorary Doctorate of Choral copies are on sale for SATB mixed voice choir or, for Music from Nottingham Trent University for his ‘significant contribution to music at a choirs with a shortage of men, for SA+Men with a single line national level’. for the males in the baritone range. No choral copies are included with the orchestral pack. DOUBLE CONCERTO for two saxophones GMCH017 Duration: 3 minutes Grade C Concert Originals Series GMCO180 Pack £45.00 Extra Score £6.00 Extra Parts £1.50 SATB: GM299 £1.75 — SA+Men: GM298 £1.75 Orchestration Solo Soprano Saxophone, Solo Alto Saxophone, Flute, Oboe,

Clarinet in Bb, Bassoon, Horn in F, Trumpet in Bb, Bass Trombone, Percussion (2 players: Vibraphone, Glockenspiel, Triangle, Snare Drum, Tenor Drum, Bass Drum, Castanets, ORCHESTRA GRADING Bongos, Cymbals), Harp Attributing a particular level of difficulty to an orchestral piece is awkward! A piece Strings (Violin 1, Violin 2, Viola, Cello, Bass) may be easy for the strings but difficult for the brass; it may feature a tricky instrumental solo but the other parts may be relatively straightforward. J.S.Bach's Double Violin Concerto has been "reimagined" by However, we have now graded our orchestral titles from A (easy) to F (difficult). Paul Carr (definitely reimagined rather than arranged!) for two These levels should be taken as a guide only! saxophones and orchestra. Written for the brilliant young A = for players up to UK Grade 3 standard saxophonists Rob Burton and Vicent Bas Ibanez – first B = Grade 3 to 5 | C = Grade 4 to 6 performances scheduled for 2021, circumstances permitting. D = Grade 5 to 7 | E = Grade 6 to 8 Also available as a saxes and piano reduction (GM357). F = Grade 7 upwards GMCO180 Duration: 20 minutes Grade E

Pack £75.00 Extra Score £20.00 Extra Parts £2.50 A PACK includes a full score and a complete set of parts including strings 4/4/3/4/2

S indicates that the work is written for, or

can be played by STRINGS ONLY

TRY SOMETHING NEW! You may not have come across many of the titles listed here – or even some of the composers. You can hear most of these works and take a look at the score on our website. Try it – you might like it! Saxophones & Piano Reduction GM357 £10.00

6 MUSIC FOR ORCHESTRA Peter HOPE – RING OF KERRY continued DAVIES, Julian 3. KILLORGLIN FAIR Concert Originals Series GMCO198 (1951- ) Orchestration Julian Davies comes from Stourbridge in the West Midlands 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, where, encouraged by his parents and with the aid of a toy 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, xylophone, he took to writing music at an early age. When he Percussion (2 Players: Timpani, Side Drum, Glockenspiel, eventually managed to enrol as a music student at Aberystwyth Tambourine, Cymbal), Harp University he found teachers and contemporaries who were Strings (Violin 1, Violin 2, Viola, Cello, Bass) happy to help him with his compositions. Orchestration lessons The fair at Killorglin is known as the “Puck Fair” meaning with Ian Parrott proved particularly enlightening but not without pain as the distinguished “Fair of the He-Goat”and is one of Ireland's oldest fairs. It teacher applied red pen to Julian’s exercises with monumental liberality! takes place annually in August. Every year a group of people Subsequently Julian has taught music (and, at various times, other subjects) at Lancaster go up into the mountains and catch a wild goat. The goat is Royal Grammar School. He has written music for school use, some of which has been brought back to the town and the “Queen of Puck”, aired as far away as Hamburg and Vienna. More recently Julian has been busy composing traditionally a young school girl from one of the local primary schools, crowns the goat and arranging light music for Morecambe’s Promenade Concert Orchestra to which he “King Puck”. The goat is then put into a small cage on a high stand for three days, and also makes a modest contribution on the viola! on the 3rd day of the fair, he is brought down to be led back to the mountains. In the middle of the town square, he is crowned and this signifies that the festivities may begin. LUCIA’S DANCE The pubs stay open until 3.00 a.m.! Concert Originals Series GMCO175 GMCO198 Duration: 3½ minutes Grade D Orchestration Pack £50.00 Extra Score £8.00 Extra Parts £1.50 2 Flutes, Oboe, 2 Clarinets in Bb, Bassoon 2 Horns in F, 2 Trumpets in Bb, 3 Trombones Timpani, Percussion (2 players: Suspended Cymbal, Bongos, Snare Drum, Castanets, Claves, Tambourine, Triangle, Wood Block, Glockenspiel) JENKINS, Clive Strings (Violin 1, Violin 2, Viola, Cello, Bass) (1938- ) Lucia’s Dance began life as a commission from Howard The British composer Clive Jenkins was born in Plymouth in Rogerson and his Promenade Concert Orchestra, an ensemble 1938 and educated at Plymouth College and Pembroke based in Morecambe, Lancashire specialising in the College, Oxford, where he read modern languages. He shows performance of light music. The piece was composed during his West of England roots in many of his compositions. The the winter of 2016/17, the season being of some significance since the music was narrative work White Bird based on a Dartmoor ghost story suggested by the ‘dance’ of stray lights viewed from my window during the long dark and the widely-performed cantata The Mayflower Pilgrims are evenings – thus the Lucia of the title. Her name, hinting at southern warmth, here finds two examples. As associate composer with the South West expression through the evocative rhythms of the tango. Julian Davies Sinfonietta and the Ten Tors Orchestra he wrote many works GMCO175 Duration: 4½ minutes Grade D featuring solo instruments. For the Chamber Ensemble of Pack £35.00 Extra Score £8.00 Extra Parts £1.50 London he has composed and arranged music for special concert programmes at the V & A, the London Film Museum, the Banqueting House, St Martin-in-the-Fields, St James’s Piccadilly, Kings Place and the Purcell Room. HOPE, Peter (1930- ) THE FAIR MAID & THE KNIGHT Peter Hope’s compositions range from a more recent substantial body of serious but tonal works written since 2000 to earlier Concert Originals Series GMCO178 Light Music, including the Ivor Novello award winning “Ring of Orchestration Kerry” suite, through Library music and Media music – including Strings (Violin 1, Violin 2, Viola, Cello, Bass) the BBC-TV news theme used from 1969 to the early 1980’s. I composed this two-movement work in 2014 to thank As an arranger he has written recording scores for such well- Malcolm Latchem, violinist-director of the Pressenda Ensemble, known singers as Jose Carreras, Jessye Norman, Stuart Burrows for many highly professional performances of my compositions and Dame Kiri Te Kanawa. He also worked on a team of for string orchestra. Its premiere on 1st March 2015 in orchestrators for the American film composers, John Williams, James Horner and Dartington Great Hall was at Malcolm's retirement concert Laurence Rosenthal. His compositions and arrangements have been played by many after well over 60 years as a professional violinist. Before major orchestras throughout Europe, America and Australia. moving to Devon to join the Dartington String Quartet, Malcolm had had a long career in London orchestras including THE RING OF KERRY 43 years in the Academy of St Martin-in-the-Fields of which Peter Hope’s most famous piece is undoubtedly the beguiling Ring of Kerry Suite. This he was a founder member. I wanted this piece to reflect two contrasting aspects of splendid example of the light music composer’s craft won the Ivor Novello award in the Malcolm’s wide-ranging musical personality - the gentle soul and the tough guy. early 1960s. The three movements are scored for different orchestral forces so we have Clive Jenkins published them separately in this new Goodmusic edition. S GMCO178 Duration: 8½ minutes Grade D Pack £32.00 Extra Score £8.00 Extra Parts £1.50 1. JAUNTING CAR Concert Originals Series GMCO196 Orchestration THREE PIECES FOR OBOE 2 Flutes, Oboe, 2 Clarinets in Bb (2nd db.Bass Clarinet), 2 Horns in F, Percussion (1 player: Glockenspiel, Wood Concert Originals Series GMCO179 Blocks), Harp, Celeste [opt.] Orchestration Strings (Violin 1, Violin 2, Viola, Cello, Bass) Solo Oboe Strings (Violin 1, Violin 2, Viola, Cello, Bass) A Jaunting Car, also called jaunty car, or sidecar, was a two- wheeled, open vehicle, popular in Ireland from the early 19th Oboist Michael Stowe, prize-winner, first class graduate century. It was unusual in having lengthwise, back-to-back or (Guildhall 2019), entered the music profession when the face-to-face passenger seats. The light, horse-drawn cart 2020 covid pandemic shut down all avenues of employment - carried four passengers (although the earliest versions carried with one exception. Peter Fisher, director of the Chamber more). It usually had a narrow, forward-facing driver’s seat. Ensemble of London, had three recording sessions booked at GMCO196 Duration: 2½ minutes Grade D the Henry Wood Hall and offered to squeeze Michael in as a Pack £35.00 Extra Score £5.00 Extra Parts £1.50 soloist. I hastily wrote three very short oboe solos on the understanding that not all might be recorded. Fortunately, all 2. LOUGH LEANE three were! Clive Jenkins Concert Originals Series GMCO197 GMCO179 Duration: 8½ minutes Grade D S Orchestration Pack £35.00 Extra Score £8.00 Extra Parts £1.50 2 Flutes, Oboe, 2 Clarinets in Bb, Bassoon, An oboe & piano reduction is also available GM355 £5.50

4 Horns in F [3+4 opt.], Harp

Strings (Violin 1, Violin 2, Viola, Cello, Bass)

Lough Leane is the largest of the three lakes of Killarney. For many of our titles you can view the scores The River Laune flows from the lake into the Dingle Bay to the northwest. The lake's name means "lake of learning" and hear a computer-generated performance probably in reference to the monastery on Innisfallen, an on our website at island in the lake which was a centre of scholarship in the early Middle Ages. GMCO197 Duration: 3½ minutes Grade D www.goodmusicpublishing.co.uk Pack £26.00 Extra Score £5.00 Extra Parts £1.50 MUSIC FOR ORCHESTRA 7 Peter LAWSON – A PLATINUM OVERTURE continued intended to suggest the Queen's love of the countryside, plants and animals. The second LANE, Philip element is slower and gentler, recalling the monarch's fondness for dancing in her more youthful days. The third element, adapted from the “Green Anthem” in my children’s (1950- ) opera, “Nessie”, is intended to mark the Queen’s commitment to conservation, Philip Lane was born in Cheltenham in 1950 and read music at encouraged in particular by the Prince of Wales. Birmingham University with John Joubert and Peter Dickinson. After a short, stormy development section – things have not always been straightforward As a composer he has had works performed at, amongst others, in the royal family during the Queen's long reign – there is a shortened recapitulation of Bath, Cheltenham and the Three Choirs Festivals and broadcast the punchy, pastoral and green themes, all now in the home key and the latter in the UK and abroad. He is also active in the commercial field decorated, as it were, with flowers. The overture ends with a triumphant coda. with much 'mood' music, special scores for BBC plays plus music Peter Lawson for the cartoon series "The Adventures of Captain Pugwash" and "Marco and Gina". GMCO195 Duration: 9 minutes Grade E Philip is also a prolific arranger and orchestrator mostly in the area of reconstructed Pack £75.00 Extra Score £12.00 Extra Parts £2.00 classic film scores for CD recordings, most recently in the ongoing Chandos Movie Series with the BBC Philharmonic. He is also a freelance record producer of mainly British orchestral and film music discs, one of which won 1998 "Film Music Disc of the Year" in the Gramophone Awards. MOZART, Wolfgang Amadeus BARDSONG Nine Shakespeare Lyrics (1756-1791) Concert Originals Series GMCO174 Baptised as Johannes Chrysostomus Wolfgangus Theophilus Orchestration Mozart (see the biography of his father, Leopold Mozart, above) Solo high voice, Harp Wolfgang was a prolific and highly influential composer of Strings (Violin 1, Violin 2, Viola, Cello, Bass) classical music. In his short life (he was just 35 when he died) he produced more than six hundred compositions including Where the bee sucks; Tell me where is fancy bred; Under the works that are widely acknowledged as pinnacles of symphonic, greenwood tree; Sigh no more; Fear no more the heat of the chamber, piano, operatic, and choral music. sun; Full fathom five; Blow, blow, thou winter wind; Come away death; It was a lover and his lass. These songs have been adapted from Philip Lane’s Four Shakespeare Lyrics & Five OVERTURE: KIND HEARTS & CORONETS arr.Lane Shakespeare Lyrics originally composed for choir. S Concert Pops Series GMCP021 GMCO174 Duration: 18 minutes Grade D Orchestration Pack £50.00 Extra Score £10.00 Extra Parts £2.50 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F High Voice & Piano (copy included in pack) GM219 £7.00 Strings (Violin 1, Violin 2, Viola, Cello, Bass)

SERENATA CONCERTANTE “Kind Hearts & Coronets” is a film released in 1949 which starred Alec Guinness and Dennis Price. Concert Originals Series GMCO173 In prison awaiting execution the next morning, Louis, the 10th Orchestration Duke of Chalfont (Dennis Price), puts down on paper the 2 x Solo Violins, Solo Viola, Solo Cello events that led him to his current situation. His mother has Strings: (Violin 1, Violin 2, Viola, Cello, Bass) been banished from her family, the D’Ascoynes, after she married Louis’ father, who was considered far beneath her. A three movement work for string orchestra including a solo After her death, the D’Ascoynes refused permission for her to string quartet. 1. Allegro; 2. Adagio; 3. Vivace be buried in the family crypt. Louis then plots his revenge, and kills all eight of those GMCO173 Duration: 10 minutes Grade D S ahead of him in the succession (all eight played by Alec Guinness) until he becomes the Pack £35.00 Extra Score £6.00 Extra Parts £2.00 Duke. Along the way, he becomes involved with the married Sibella (Joan Greenwood) who, when spurned, makes sure he ends up in prison. The day before his execution, Sibella recants her testimony, saving him not only from the gallows, but also sets him free. Once outside the prison however, he realises he's left something rather incriminating in his cell...... ! The music is from Mozart's Serenade K.203 and the aria "Il mio tesoro" from Don Giovanni. A commercial recording by the Royal Ballet Sinfonia conducted by Kenneth Alwyn is available on Silva Screen Records FILMCD 177. LAWSON, Peter (1951- ) GMCP021 Duration: 3 minutes Grade C Peter Lawson was educated at Cheltenham Grammar School and Pack £40.00 Extra Score £6.00 Extra Parts £1.50 at the Guildhall School of Music, where he won the Royal Philharmonic Society’s Young Composers’ Prize twice and graduated with a First Class degree and the Dove Memorial Prize for the best student. He later taught piano and composition and lectured on the structure of music there for eleven years. As a PIATTI, Polo (1954-) pianist and a composer he has had frequent broadcasts around Polo Piatti is an award-winning British-Argentine composer and the world and has made 10 CDs and 2 vinyls. He has recorded concert pianist and one of very few high-profile international the entire works of Lord Berners as a soloist, as a piano duettist with Alan MacLean and musicians concentrating exclusively on the creation, performance as an accompanist in his songs to Dame Felicity Lott and Roderick Kennedy. As a and promotion of melodic, universally appealing classical music. composer, he was first published at the age of 19 and has had performances all round He is considered a leading neo-romantic composer. He believes the world, from Europe, Russia and Kazakhstan to the Philippines, Japan and Australia as very strongly that only tuneful music is able to generate deep well as in the United Kingdom, notably in London in the Royal Festival Hall, Royal positive emotions, and in doing so, contribute greatly to a much Albert Hall, St John’s, Smith Square, Wigmore Hall, the Purcell Room and Fairfield Hall, better world today. His compositions have been performed and Croydon. Outside London, notable performances have been at the Cheltenham, Bath, loved all over the world for their evocative and passionate character. Considered a Huddersfield and Sevenoaks Festivals, York Minster and Exeter Cathedral. His skill as an pioneer performer of classical piano improvisations since his youth, he toured most arranger can be seen in his many arrangements that appear the Goodmusic catalogue. continents premiering his own works as a soloist and with orchestras throughout Europe, Asia, North and South-America. Piatti is a member of the Royal Society Of Musicians

Of Great Britain, the Ivors Academy and the British Music Writers Council, among many A PLATINUM OVERTURE other prestigious organisations. Concert Originals Series GMCO195 Born in Buenos Aires, Polo Piatti was a child prodigy. He started piano lessons at the age Orchestration of 4 and became a successful concert pianist in his youth. He was admitted at the 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, exceptionally young age of 12 to one of South-America's most prestigious music 2 Bassoons, 4 Horns in F (3 & 4 optional), 2 Trumpets in Bb, academies, the Conservatorio Nacional Superior de Música in Buenos Aires, graduating 3 Trombones, Tuba, Timpani, Percussion (3 players: Triangle, later with distinction as Profesor Nacional de Música. Leaving Argentina to pursue an Snare Drum, Cymbals, Bass Drum, Glockenspiel), Harp/Kb international career from an early age, he continued his studies in Paris and Berlin, Strings (Violin 1, Violin 2, Viola, Cello, Bass) moving later to London to work as a composer, concert pianist, and conductor. In 2012 he founded and directed the first-ever International Composers Festival in Primarily intended as a concert piece celebrating the unique Hastings, Great Britain, with the aim to bring together composers and musicians from all seventy-year reign of Her Majesty Queen Elizabeth II in 2022, over the world to showcase new classical music that is melodic, harmonious, and but I also hope that it will have some sort of life of its own universally appealing. In the same year, he also founded Hastings’ longest established after the possibly never-to-be-repeated Platinum Jubilee, as I orchestra, the Hastings Sinfonia, remaining its Artistic Director until today. wanted it to be packed with stirring, uplifting tunes! In 2016 he was specially commissioned to compose a piece for Her Majesty The Queen, The piece is in modified Sonata form, with a fanfare for wind as its introduction. The Elizabeth II, for her Diamond Jubilee celebrations. The result was “Duty Sublime” (see first group consists of two elements, the first recalling an Elgarian Pomp and overleaf) a powerful composition for full orchestra that is currently performed by Circumstance March with its punchy motif. The second element, by contrast, stately and numerous orchestras in the United Kingdom and around the world. 2020 saw the majestic, is intended to reflect the monarch’s unfailing sense of duty as ambassador for composition of his “Argentine Dances”, a set of 14 works for orchestra all based on the peace and stability over the seventy-year period. many dance forms native to Argentina (see overleaf). The second group has three elements, the first being more pastoral – in three time – continued.... 8 MUSIC FOR ORCHESTRA Polo PIATTI – ARGENTINE DANCES Polo PIATTI continued A set of 14 orchestral pieces based on the many dances popular in Argentina. ARGENTINE DANCE No.3 – Tango There comes a time in the life of any composer when you start looking back at your Concert Originals Series GMCO183 roots, upbringing, and the many factors that facilitated and motivated your chosen career. Orchestration And so I look back to the time when I was 12 years old and incredibly fortunate to be Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, chosen to study at the National Conservatory in Argentina, which made it possible for me 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, to enjoy the best musical education possible. Many years later, I realised that everything Timpani, Percussion (3 players: Tenor Drum, Bass Drum, would have been very different indeed if my family had been forced to pay for my tu- Cymbals), Harp ition. Given their financial circumstances, I very much doubt that my life would have been Strings (Violin 1, Violin 2, Viola, Cello, Bass) in music. Luckily for me, admission to, what was at the time, the most prestigious music conservatory in South-America, was gained on merit alone and continues to be so to this This is the third of a total of fourteen symphonic dances. It was very day. inspired by the widely popular Tango, which originated during During my time at the National Conservatory, one of my most important music tutors the 1880s in the impoverished port area of the La Boca district was undoubtedly composer Carlos Guastavino, who taught us harmony. I remember him in Buenos Aires, where the composer grew up. Both a partner saying, during one of his lessons, how strange it was that no Argentine composer had ever as well as a social dance, the Tango is the combination of three written the country's national symphonic dances, in the same way Dvorak had written his historically preceding dances, the Candombe, the Milonga, and the Spanish-Cuban Slavonic Dances and Bartok his Hungarian Dances for their respective countries; especially Habanera. The Tango was frequently practised in the bars and brothels of the local port considering how many beautiful dances and airs exist in Argentina. He said he didn’t feel of the Argentine capital and spread from there to the rest of the world, making it one of compelled to write them himself, as he wanted to concentrate on his piano compositions, the most popular dances in history. but he was wondering if any of us, his students, would ever feel the urge to do so some- GMCO183 Duration: 4 minutes Grade D time in the future. Pack £45.00 Extra Score £8.00 Extra Parts £1.50 And now, more than fifty years later, I feel incredibly privileged to have been able to do just that. This work represents my unreserved gratitude to Argentina, my country of birth, for the start in life it gave me, which enabled me ultimately to have a fulfilling life in ARGENTINE DANCE No.4 – Cumbia Argentina & music. For that reason, I dedicate my Argentine Dances to the people of Argentina. Concert Originals Series GMCO184 Chamarrita Polo Piatti Orchestration

Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, SPECIAL OFFERS are available for orchestras wanting 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, to buy 4 or more PACKS of the Dances. . . Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Drum, Cymbals), Harp Choose any 4 Dances and pay only for 3. Strings (Violin 1, Violin 2, Viola, Cello, Bass) Buy all 14 and only pay for 10! This is the fourth of a total of fourteen symphonic dances. It was inspired by two traditional dances, the Cumbia Argentina The orchestral material (score and parts) for each dance is published separately. and the Chamarrita. The Cumbia, sometimes called Cumbia There is also a complete A4 sized Study Score containing all 14 dances Villera, has its origins in the slums of Buenos Aires and has and a similar A3 sized Full Score (both 208 pages). Colombian roots. The Cumbia Villera is intrinsically related to the well-known Murga, a celebratory and very popular form of A4 sized COMPLETE a street dance containing Cumbia-related rhythms, usually performed during the carnival STUDY SCORE season as well as during some national festivities in Argentina. The Chamarrita is a GMCO181X50 £40.00 musical form originally from the Rio de la Plata region. GMCO184 Duration: 3 minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50

A3 sized COMPLETE ARGENTINE DANCE No.5 – Malambo & Cueca Saltena FULL SCORE Concert Originals Series GMCO185 GMCO181X99 £90.00 Orchestration Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (4 players: Tenor Drum, Bass Drum, Claves, Triangle, Cymbals), Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass) ARGENTINE DANCE No.1 – Gato & Huayno Concert Originals Series GMCO181 This is the fifth of a total of fourteen symphonic dances. It was Orchestration inspired by two traditional Argentine dances, the Malambo and Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, the Cueca Saltena. The Malambo has its roots in the La Pampa 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, and southern regions of Argentina, while the Cueca Saltena, as Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass denoted by its name, is originally from Salta, a beautiful and Drum, Cymbals), Harp picturesque province in the North of Argentina. Strings (Violin 1, Violin 2, Viola, Cello, Bass) GMCO185 Duration: 4 minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50 This is the first of a total of fourteen symphonic dances. It was inspired by two traditional Argentine dances, the Gato and the ARGENTINE DANCE No.6 – Payada & Canto Huayno. The Gato is originally from the Cuyo region in the West and North-West of Argentina. Some musicologists suggest Concert Originals Series GMCO186 that the Gato originated in Peru, but opinions among experts Orchestration are divided. The Huayno, a traditional dance with strong pentatonic roots, originated in Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, the Andes region. 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, GMCO181 Duration: 4½ minutes Grade D Timpani, Percussion (2 players: Tenor Drum, Bass Drum), Pack £45.00 Extra Score £8.00 Extra Parts £1.50 Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass)

ARGENTINE DANCE No.2 – Carnavalito & Chamame This is the sixth of a total of fourteen symphonic dances. It was Concert Originals Series GMCO182 inspired by the Argentine Payada, which is originally from the Orchestration La Pampa and southern regions. The Payada is an improvised Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, recitation in rhyme, performed by two gauchos, competing 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, against each other in a vocal, public duel. While singing, the Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass singers accompany themselves by playing their respective guitars. Drum, Cymbals), Harp GMCO186 Duration: 4 minutes Grade D Strings (Violin 1, Violin 2, Viola, Cello, Bass) Pack £45.00 Extra Score £8.00 Extra Parts £1.50

This is the second of a total of fourteen symphonic dances.

It was inspired by two traditional Argentine dances, the Carnavalito and the Chamame. The Carnavalito originated in For all of these titles you can view the scores the Altiplano region of the Andes, which includes the and hear a computer-generated performance provinces of Jujuy and Salta. The Carnavalito’s popularity on our website at extends to other provinces in the North of Argentina. The Chamame is originally from the North-East and the Mesopotamia region of the country. GMCO182 Duration: 3½ minutes Grade D www.goodmusicpublishing.co.uk Pack £45.00 Extra Score £8.00 Extra Parts £1.50 MUSIC FOR ORCHESTRA 9 Polo PIATTI continued Polo PIATTI continued

ARGENTINE DANCE No.7 – Chotis Litoraleno & ARGENTINE DANCE No.12 – Cielito, Pericon & Concert Originals Series GMCO187 Chaya Riojana Concert Originals Series GMCO192 Copla Argentina Orchestration Orchestration Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Drum, Cymbals), Harp Drum, Suspended Cymbal), Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass) Strings (Violin 1, Violin 2, Viola, Cello, Bass)

This is the seventh of a total of fourteen symphonic dances. It This is the twelfth of a total of fourteen symphonic dances. It was inspired by two traditional Argentine dances, the Chotis was inspired by three different traditional Argentine dances, the Litoraleno and the Chaya Riojana. The Chotis Litoraleno is Cielito, the Pericon, and the Copla Argentina. The Cielito is originally from the Mesopotamia region of Argentina, while the originally from the La Pampa and Buenos Aires region, as is the Chaya Riojana, as indicated by its name, is originally from the Pericon, and the Copla Argentina has its roots in the North semi-arid mountain ranges and agricultural valleys of the West of the country. province of La Rioja. GMCO192 Duration: 4½ minutes Grade D GMCO187 Duration: 3½ minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50 Pack £45.00 Extra Score £8.00 Extra Parts £1.50

ARGENTINE DANCE No.8 – Huella & Takirari ARGENTINE DANCE No.13 – Escondido & Bailecito Concert Originals Series GMCO188 Concert Originals Series GMCO193 Orchestration Orchestration Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Drum, Cymbals), Harp Drum, Cymbals), Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass) Strings (Violin 1, Violin 2, Viola, Cello, Bass)

This is the eighth of a total of fourteen symphonic dances. It This is the thirteenth of a total of fourteen symphonic dances. was inspired by two traditional Argentine dances, the Huella It was inspired by two traditional Argentine dances, the and the Takirari. The Huella, originally from the southern Escondido and the Bailecito. The Escondido is originally from region of Argentina, is a local interpretation of the European the north of the country and its popularity extends as far as 18th-century Minuet and Gavotte. The Takirari on the other Bolivia, while the Bailecito originated in the northern regions of hand originated in the provinces of Jujuy and Chaco in the North of Argentina and is Argentina. popular in some parts of Bolivia, too. GMCO193 Duration: 5½ minutes Grade D GMCO188 Duration: 3½ minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50 Pack £45.00 Extra Score £8.00 Extra Parts £1.50 ARGENTINE DANCE No.14 – Zamba & Vidalita ARGENTINE DANCE No.9 – Baguala & Vidala Concert Originals Series GMCO194 Concert Originals Series GMCO189 Orchestration Orchestration Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (5 players: Triangle, Cymbals, Tenor Timpani, Percussion (2 players: Tenor Drum, Bass Drum), Drum, Bass Drum, Claves), Harp Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass) Strings (Violin 1, Violin 2, Viola, Cello, Bass) This is the last of a total of fourteen symphonic dances. It was This is the ninth of a total of fourteen symphonic dances. It inspired by two traditional and contrasting Argentine dances, was inspired by two traditional musical Argentine forms, the the Zamba and the Vidalita, both originally from the North of Baguala and the Vidala. Both are popular airs, originally from the country. the North-West of the country. GMCO194 Duration: 5½ minutes Grade D GMCO189 Duration: 3½ minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50 Pack £45.00 Extra Score £8.00 Extra Parts £1.50 DUTY SUBLIME ARGENTINE DANCE No.10 – Milonga & Candombe Concert Originals Series GMCO176 Concert Originals Series GMCO190 Orchestration Orchestration Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, Bass Clarinet, Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Tuba, Timpani, Percussion (2 players: Bass Drum, Cymbals) Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Organ (or Piano) [optional] Drum, Cymbals), Harp Strings (Violin 1, Violin 2, Viola, Cello, Bass) Strings (Violin 1, Violin 2, Viola, Cello, Bass) Duty Sublime was privately commissioned to celebrate HM This is the tenth of a total of fourteen symphonic dances. It Queen Elizabeth's 90th Birthday in 2016. The piece was inspired by two traditional Argentine dances, the Milonga endeavoured to capture Queen Elizabeth's personality, dignity and the Candombe. The Milonga is originally from the La and above anything else, her admirable sense of duty. Pampa and southern regions of Argentina, and the Candombe GMCO176 Duration: 5 minutes Grade D had its beginnings in the capital Buenos Aires, specifically in the Pack £45.00 Extra Score £5.00 Extra Parts £1.50 district of San Telmo, La Boca, and Montserrat. The Candombe is also very popular in Uruguay. THE IMPOSSIBLE PIECES GMCO190 Duration: 3½ minutes Grade D Pack £45.00 Extra Score £8.00 Extra Parts £1.50 Concert Originals Series GMCO177 Orchestration 2 Flutes, Oboe, Cor Anglais, 2 Clarinets in A, 2 Bassoons, 4 ARGENTINE DANCE No.11 – Chacarera & Triunfo Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Concert Originals Series GMCO191 Percussion (3 players: Triangle, Bass Drum, Cymbals), Harp Orchestration (or Piano) Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, Strings (Violin 1, Violin 2, Viola, Cello, Bass) 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Solo Trumpet in C (No.1 & 4) Timpani, Percussion (4 players: Tenor Drum, Triangle, Bass Solo Clarinet in A (No.2 & 4) Drum, Cymbals), Harp Solo Violin (No.3 & 4) Strings (Violin 1, Violin 2, Viola, Cello, Bass) The Impossible Pieces were conceived as four short individual This is the eleventh of a total of fourteen symphonic dances. It pieces written for three world class soloists (clarinet, trumpet was inspired by two Argentine dances, the Chacarera and the and violin), each leading the orchestra with a different melody while the orchestral Triunfo. The Chacarera originated in the province of Santiago accompaniment remains exactly the same. What makes the work unique is the surprise at del Estero in the North, while the Triunfo has its roots in the the end, when all three soloists come together in a glorious finale with all three melodies La Pampa and southern regions of the country. slotting together seamlessly in the fourth piece. Constructed with a very elaborate GMCO191 Duration: 3½ minutes Grade D counterpoint throughout, universally appealing, uplifting and with the flair and panache Pack £45.00 Extra Score £8.00 Extra Parts £1.50 of a concerto but much shorter in length, The Impossible Pieces may be difficult to play continued....

10 MUSIC FOR ORCHESTRA Polo PIATTI – THE IMPOSSIBLE PIECES continued (though not impossible!) making them true showcase works for virtuoso soloists. The Impossible Piece No.1 for Trumpet in C & Orchestra SCHUBERT, Franz The Impossible Piece No.2 for Clarinet in A & Orchestra The Impossible Piece No.3 for Violin & Orchestra (1797-1828) The Impossible Piece No.4 for Trumpet in C, Clarinet in Bb, Violin & Orchestra He was an Austrian composer considered to be both the last The orchestra plays the same accompaniment for each piece. master of the Viennese Classical school and one of the earliest All four pieces can be played one after the other with the three proponents of musical Romanticism. Although he died at the soloists coming together for No.4. Alternatively, Nos.1, 2 or 3 young age of 31, he managed to write some 600 songs, 9 would make ideal solo encore pieces if played alone. It would symphonies, various sonatas, string quartets, and other works. also be possible to perform No.4 with only two of the three soloists. MARCHES MILITAIRES . . . You need to listen to the computer-generated Schubert's “Trois Marches Militaires” were written for piano duet when the composer performance on our website to actually believe it! was in his early twenties, while teaching music to the daughters of Count Johann Karl

Duration 3½ minutes each piece Esterhazy at his summer home in Zseliz, then in Hungary. The French title may have 14 minutes for all four one after the other been to deflect the performers from assuming that the marches were Austro-Hungarian GMCO177 Grade F in nature and, maybe, to appeal to a more international clientele when they were Pack £45.00 Extra Score £8.00 Extra Parts £1.50 published in 1826. In this regard they do not stand alone, as the composer gave French titles to a number of piano pieces, such as the “Moments Musicaux”. Sadly, Schubert Large A3 Full Score £20.00 only lived for another two years and never achieved recognition in France until after his death. A soloists & piano reduction is also available GM335 £7.00 MARCHE MILITAIRE No.1 Concert Classics Series GMCL213 Orchestration SATIE, Erik 2 Flutes (2nd db.Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, (1866-1925) Tuba, Timpani, Percussion (3 players: Triangle, Snare Drum, A composer, pianist and writer, he was born in Honfleur in Bass Drum), France. Satie introduced himself as a "gymnopedist" from Strings (Violin 1, Violin 2, Viola, Cello, Double Bass)

1887, shortly before writing his most famous compositions, the The first march, in D major, is by far the best known - even Gymnopédies. He also referred to himself as a Stravinsky quotes it in his Circus Polka - and is available here "phonometrograph" or "phonometrician," meaning "someone separately as well as being in included in the set of three who measures and writes down sounds". He preferred this shown below. definition of his profession to "musician," after having been called "a clumsy but subtle GMCL213 Duration: 5½ minutes Grade D technician" in a book on contemporary French composers in 1911. Ahead of his time, Pack £30.00 Extra Score £6.00 Extra Parts £1.50 his work displays many 20th century avant-garde artistic ideas. TROIS MARCHES MILITAIRES TROIS GNOSSIENNES (arr.Lawson) Concert Classics Series GMCL214 Concert Classics Series GMCL211 Orchestration Orchestration 2 Flutes (2nd db.Piccolo), 2 Oboes, 2 Clarinets in Bb, Flute, Piccolo, Oboe, 2 Clarinets in Bb, 2 Bassoons, 2 Horns 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Tuba, Timpani, Percussion (3-4 players: Triangle, Cymbal, Percussion (2 players: Glockenspiel, Tam-Tam, Tambourine), Snare Drum, Bass Drum), Harp (or Keyboard), Optional soloist. Strings (Violin 1, Violin 2, Viola, Cello, Double Bass) Strings (Violin 1, Violin 2, Viola, Cello, Bass) The three marches are in ternary form, with the march The Trois Gnossiennes were composed between 1890 and sections recapitulated after a central Trio. The first one, in D 1893. The word Gnossiennes was artificially invented by major, is by far the best known - even Stravinsky quotes it in Satie. At that time, he was interested in ‘Gnosticism’, or the his Circus Polka. In fact, all three marches are equally tuneful seeking of wisdom as a result of helping others. Others and memorable. The second march is shorter and triumphal attribute the title to the Cretan word ‘knossos’ or ‘gnossos’. in nature. The third is longer and has an endearing 'swagger', with a spectacular The remains of the Palace of Knossos were first discovered in 1878 and there was much appearance of Schubert's characteristic German 6th chord in the thirty-second bar. The talk at the time of the connection to the myth of Theseus, Ariadne and the Minotaur. central Trio sections, in particular, are full of Viennese finesse and will bring a smile of Like the Gymnopédies, the Gnossiennes are dreamy, mysterious, harmonically modal and delight to the listener with their unexpected harmonic twists. They are charming, almost similar to each other in mood, with the Gnossiennes, being more ‘Middle Eastern’ in balletic in nature and it is no surprise that Isadora Duncan saw the choreographic their melodic construction. They were originally written in free time, without time potential of the first piece in 1909. signature and bar lines, the idea presumably being to invite freedom of interpretation. GMCL214 Duration: 17 minutes Grade D For this orchestration, I have put in bar lines and time signatures, as it would clearly be Pack £60.00 Extra Score £8.00 Extra Parts £2.00 confusing in rehearsal if there was no clarity for the conductor to indicate from where to stop and start! However, the bar lines should not be regarded as a constriction and I have indicated that each piece should be rather ‘elastic’ (rubato) in tempo. I have tried to reflect the relaxed, hypnotic mood and let solo instruments carry the melodic lines STRAUSS, Richard and ‘tell the story’. Throughout, Satie gave typically quirky instructions to the pianist and I have reproduced these in the score above the relevant instrumentalist’s phrase, (1864-1949) with a translation from the French…not a literal one in some cases. Peter Lawson Richard Georg Strauss was a German composer, conductor, This can either be performed as an orchestral work in three movements or with a soloist pianist, and violinist. Considered a leading composer of the late (woodwind, brass or string possibilities) accompanied by the orchestra. The outer Romantic and early modern eras, he has been described as a movements lend themselves to a dialogue between the players, while the middle successor of Richard Wagner and Franz Liszt. Along with Gustav movement is shorter and more suitably an accompanied solo. If accompanied by an Mahler, he represents the late flowering of German Romanticism orchestra, one of the Gnossiennes might well work as a peaceful and telling encore after after Wagner, in which pioneering subtleties of orchestration are the heroics of a concerto! combined with an advanced harmonic style. Strauss's compositional output began in GMCL211 Duration: 7½ minutes Grade E 1870 when he was just six years old and lasted until his death nearly eighty years later. Pack £45.00 Extra Score £6.00 Extra Parts £1.50 A soloists & piano reduction is also available GM301 see page 16 SUNRISE from ALSO SPRACH ZARATHUSTRA Concert Classics Series GMCL212 Orchestration (* = optional instruments) 3 Flutes (3rd*), Piccolo*, 3 Oboes (3rd*), Clarinet in Eb*, 2 Clarinets in Bb, 3 Bassoons (3rd*), 6 Horns in F (5&6*), 4 Trumpets in C (3&4*), 3 Trombones, 2 Tubas (2nd*) Timpani, Cymbals, Bass Drum, Organ* (or keyboard*), Strings (Violin 1, Violin 2, Viola, Cello, Double Bass)

The opening of Also Sprach Zarathustra became well-known following its use in the Stanley Kubrick film 2001: A Space Odyssey when portraying the dawn of Mankind. It makes a spectacular opening “fanfare” for any occasion. This edition is in the original orchestration with a typically large Strauss orchestra, but many of the instruments can be omitted (as indicated) so it can be performed by a standard sized orchestra. GMCL212 Duration: 2 minutes Grade D Pack £26.00 Extra Score £5.00 Extra Parts £1.50 MUSIC FOR CHOIR 11 ALL VOICES ALL VOICES ELGAR, Edward (1857-1934) PARRY, Hubert (1848-1918) POMP & CIRCUMSTANCE MARCH No.1 JERUSALEM arranged by Peter Lawson (Land of Hope & Glory) arranged by Peter Lawson for SATB or SA+Men or SSA or TTBB for SATB or SA+Men or SSA or TTBB with piano or organ or orchestra accompaniment with piano or organ accompaniment A new arrangement by Peter Lawson of Parry's Jerusalem for either SATB choir or SA+Men (or piano duet or orchestra) choir or SSA choir or TTBB choir, which is In Elgar's Pomp and Circumstance March No.1 compatible with either the Parry orchestration the “Land of Hope and Glory” section first (Goodmusic GMCH006) or the Elgar appears in the key of G (rather low for voices) orchestration (Goodmusic GMCH011) whereas and triumphantly returns near the end in D previously only a compatible unison version was (rather too high for some voices). With this available. It can also be performed with just arrangement, instead of singing in unison, choirs piano or organ accompaniment. could comfortably sing in harmony with the (Duration 2½ minutes) audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them. As the choir is only involved for part of the work, the March does give an opportunity for the pianist to shine and could be played by a competent grade 7-8 pianist. There is also available a piano duet arrangement (GM327) which could be used to accompany the choir, or, of course, if you have a full orchestra, that would do . . . . . (Duration 6 minutes) Mixed Voice Choir (SATB) Goodmusic GM328 £2.50 Mixed Voice Choir (SATB) Goodmusic GM321 £1.75 Mixed Voice Choir (SA+Men) Goodmusic GM329 £2.50 Mixed Voice Choir (SA+Men) Goodmusic GM322 £1.75 Upper Voice Choir (SSA) Goodmusic GM330 £2.50 Upper Voice Choir (SSA) Goodmusic GM323 £1.75 Male Voice Choir (TTBB) Goodmusic GM331 £2.50 Male Voice Choir (TTBB) Goodmusic GM324 £1.75 Piano duet - Goodmusic GM327 £5.00 CHILDREN’S & FEMALE VOICE CHOIR LAWSON, Peter (1951- ) CONSERVATION for SATB or SA+Men or SSA or TTBB with piano or orchestra A NEW WORLD VOCALISE Taken from Dvorak's famous “Largo”, the second movement accompaniment of his Symphony No.9 “From the New World”, here “Conservation!” is an adaptation of the “show- arranged for unaccompanied wordless SSA choir. stopper” from Peter’s children’s opera, “Nessie”. (Duration 3 minutes) Set on the banks of Scotland’s Loch Ness, the DVORAK arranged by PHILIP LANE opera is the story of the conflicting aspirations of Roberton naturalists and property-developers, with the 75638 £1.75 mysterious Loch Ness monster, Nessie, caught between the opposing factions. In the opera, the song is an uplifting entreatment by the naturalists to the property-developers, to turn their land, on AVE MARIA the banks of the loch, into a wildlife park, rather A lovely gentle setting of the Ave Maria for unison voices than a theme park. In this version, the words or a mezzo-soprano solo with organ accompaniment. relating directly to Loch Ness have been re- Vocal range C-E. (Duration 2 minutes) written, particularly in the short middle section, by CLIVE JENKINS which reflects the dire warnings of climate Roberton 75641 £1.50 change. The outer sections are up-beat and largely unchanged, but the messages throughout are even more relevant today, thirty years after the original version. (Duration 3½ minutes) Mixed Voice Choir (SATB) Goodmusic GM351 £3.75 Mixed Voice Choir (SA+Men) Goodmusic GM352 £3.75 SWEET WAS THE SONG Upper Voice Choir (SSA) Goodmusic GM353 £3.75 A Christmas song for soprano and alto voices Male Voice Choir (TTBB) Goodmusic GM354 £3.75 with piano or organ accompaniment. Orchestral score £7.00 and parts £1.50 each Words are by William Ballet (early 17th Century). (Duration 2 minutes) by CLIVE JENKINS LEHAR, Franz (1870-1948) VILIA arranged by Peter Lawson Roberton 75639 £1.50 for SATB or SA+Men or SSA or TTBB with piano accompaniment DALMATIAN CRADLE SONG Probably the best-known song from “The Merry This much-loved song was created by Hugh Roberton from Widow” arranged for choir and piano by Peter “a tune noted from the singing of a peasant in Yugoslavia”. Lawson. “The Merry Widow” is an operetta by Also available in its original form for solo (or unison voices) the Austro-Hungarian composer Franz Lehar with and piano (No.75012), this new arrangement by Kerry Boyle libretto by Viktor Leon & Leo Stein and English is for unaccompanied upper voice choir (SSA). words by Adrian Ross. The story concerns a rich (Duration 2 minutes) widow of Pontevedro (a poverty-stricken Balkan HUGH ROBERTON arranged by KERRY BOYLE state), and her countrymen's attempt to keep her money in the principality by finding her the Roberton 75640 £1.50 right husband. It was based on an 1861 comedy play, “L'attache d'ambassade” (The Embassy Attache) by Henri Meilhac. MALE VOICE CHOIR

Vilia (or Vilja) means “the maid of the woods” and is sung in Act 2 of the operetta by Hanna Glawari (the wealthy widow) at a party to THREE WISE MEN celebrate the birthday of the sovereign, the A Christmas song for men's voices (Tenor, Baritone, Bass) Grand Duke. (Duration 4½ minutes) and piano. Words and music by Clive Jenkins. This can be sung by a trio of male voices or Mixed Voice Choir (SATB) Goodmusic GM307 £1.75 a male voice choir. (Duration 2½ minutes) Mixed Voice Choir (SA+Men) Goodmusic GM308 £1.75 by CLIVE JENKINS Upper Voice Choir (SSA) Goodmusic GM309 £1.75 Male Voice Choir (TTBB) Goodmusic GM310 £1.75 Roberton 53219 £1.75

12 MUSIC FOR CHOIR MIXED VOICE CHOIR MIXED VOICE CHOIR

ARNE, Thomas (1710-1778) CARR, Paul (1961- )

RULE BRITANNIA! arranged by Peter Lawson FOUR NEW SEASONS for SATB choir and orchestra for SATB or SA+Men with piano Vivaldi reimagined! Settings of poems depicting the four seasons. or orchestra accompaniment Each season is made up of three interlinked sections/poems.

The famous “Rule Britannia!” always heard at Ever since I first encountered Vivaldi's Four Seasons I have loved the the Last Night of the Proms as the final part of imagery and variety these four concertos for violin and string Henry Wood's “Fantasia on British Sea Songs” orchestra conjure up. There have been many re-interpretations of here arranged for a mixed voice choir. The this work by various composers over the years, a sure testament to verses could be sung by a soloist or soloists. its enduring popularity, but very few have involved voices, and I’ve Orchestral accompaniment available - see page 5 long thought of using the original Vivaldi as a basis for a new choral (Duration 3 minutes) work, setting poems suggested to me by the atmosphere created by the individual movements in each of the four concertos. Mixed Voice Choir (SATB) Goodmusic GM299 £1.75 For the most part, I have taken the harmonic structure of each movement and formed Mixed Voice Choir (SA+Men) Goodmusic GM298 £1.75 new material of my own, adding in direct quotes here and there from the more popular and instantly recognisable sections of the Vivaldi. The poems all relate to the moods and CARR, Paul (1961- ) atmosphere created by Vivaldi's evocative music, and mostly belong to their respective seasons. Paul Carr (Duration 45 minutes) I OFFER YOU LOVE for SATB and piano Vocal Score – Goodmusic GM313 £12.50 A setting of Mahatma Gandhi's Prayer for Peace about love, Full Score – Goodmusic GM313-00 £60.00 compassion and a longing for peace. Composed as a gift for Jon L. Orchestral Parts £4.00 each Culpepper and the Dallas Chamber Choir, who's beautiful performance of my “Holding the Stars” enthralled me. Paul Carr INTO THE LIGHT for SATB choir and orchestra (Duration 5 minutes) In composing this large-scale choral work in celebration of the 1000 Goodmusic GM312 £3.50 year anniversary of the founding of St Edmundsbury Cathedral, as a source of text, I have incorporated quotes from The Rule of Saint Benedict, under whose doctrine the original Benedictine Abbey was founded, and woven them through verses from three Psalms; Psalms that particularly appealed to me, and were a source of inspiration in praising a devotion and love for God. IN THE BLEAK MIDWINTER for unaccompanied SATB I have used Handel's beautiful “Ode for the Birthday of Queen An excellent new setting of Christina Rosetti's well-known text. Anne” (a work I only recently discovered) as the basis for the For unaccompanied mixed voice choir (SATB). opening movement; its regal qualities here taken a step further with (Duration 5 minutes) music that seems to embrace, and even enhance the splendour of devout belief. The work takes its title from the opening lines of Saint Benedict “Let us open our eyes to the Goodmusic GM358 £1.75 light that comes from God”, and is in three movements, with the second movement being the dramatic core of the piece (“Out of the depths I cry to you, O Lord”), flanked by two emotionally-charged paeans in praise to the glory of God. Paul Carr Commissioned by and dedicated to Leslie Olive and Suffolk Philharmonic Orchestra, in celebration of the 1,000th anniversary of the founding of the Abbey of St Edmund, Bury St Edmunds, Suffolk. (Duration 23 minutes)

Vocal Score – Goodmusic GM315 £8.00 GO, LOVELY ROSE for SATB and piano Full Score (A4) – Goodmusic GM315-00 £12.50 A superb new setting by Paul Carr of “Go, Lovely Rose” by Full Score (A3) – Goodmusic GM315-50 £25.00 Edmund Waller (1606-1687) for SATB choir and piano. Orchestral Parts £2.50 each (Duration 5 minutes)

Goodmusic GM363 £2.50 THE LIGHT OF LOVE for SATB choir and orchestra

The Light of Love – A Requiem Mass for mixed voice choir with soprano saxophone, violoncello, harp and organ. In this second Requiem by Paul Carr he uses the standard Latin Requiem text with additional words by Euan Tait.

Having already composed “Requiem for an Angel” in 2006 it was a little daunting thinking about starting a second Requiem, especially MUSIC, WHEN SOFT VOICES DIE for SATB during the coronavirus lockdown period in 2020. I found myself Beautiful new setting by Paul Carr of “Music, when soft voices die” relishing the creative process, even though writing a Mass for the by Percy Bysshe Shelley(1792-1822) for unaccompanied Dead during such a troubled time in the world. In talking through SATB choir. the project with Ken and Stella Palmer who commissioned the work, (Duration 5 minutes) I learned that their most favoured Requiem was the Mozart and that gave me the key to starting, in using the Mozart as a model – in some movements I have used harmonic and Goodmusic GM364 £1.75 thematic structures from the Mozart as a basis for my own. It was also Ken and Stella's wish that I use my “Air for Strings” (which they often hear played on Classic FM) for the Agnus Dei. I've always loved Euan Tait's words and his emotional response to the Requiem texts have been the most vital part in creating this substantial, though intimate Requiem; and this being my second, we decided upon a different title, “The Light of Love”, as ‘light’ and ‘love’ are the two most prevalent themes in this work. Paul Carr YOU GOD ARE MY GOD for SATB, trumpet and organ (Duration 55 minutes)

A beautiful setting of words from Psalm 63, a Psalm of David, for Vocal Score – Goodmusic GM332 £12.50 SATB choir, trumpet and organ. A separate trumpet part is available Sudy Score (A4) – Goodmusic GM332-00 £15.00 as well as the score. Full Score (A3) – Goodmusic GM332-50 £40.00 (Duration 7 minutes) Set of instrumental parts – Goodmusic GM332-01 £25.00

Vocal Score – Goodmusic GM339 £4.00

Trumpet Part – Goodmusic GM339-01 £2.00 HANCOCK, Simon

GO TO THE CHILD for SATB and piano

A finalist in the BBC Radio 3 Carol Competition 2019, this lovely

carol for unaccompanied mixed voice choir is a setting of words by For all of these titles you can view the scores Imtiaz Dharker. Rise and go on a bitter night and hear a computer-generated performance when hope lies frozen in the ground, on our website at hushed and hidden out of sight, no living thing for miles around. (Duration 3 minutes) www.goodmusicpublishing.co.uk Goodmusic GM341 £2.50

MUSIC FOR CHOIR – MUSIC FOR SOLO VOICE 13 MIXED VOICE CHOIR SOLO VOICE

HOLST, Gustav (1874-1934) HOLST, Gustav (1874-1934)

CLEAR AND COOL for SATB and orchestra THE HOLST SONGBOOKS

Gustav Holst composed solo songs for voice and piano at various stages of his career, The first and only performance of “Clear and Cool” in Holst’s time but with an abundance from the late 1890s (towards the end of his student days) into took place on 26th March 1897 at the Athenaeum, Goldhawk the early 1900s. Richard Capell, writing in The Musical Times in January 1927, Road, London, accompanied on the piano by Thomas Dunhill. mentions that songs by Holst were appearing in the programmes of London recitals early Reflecting his increased interest in politics, Holst had formed a in the 1900s and several early examples were heard in company with the first Hammersmith Socialist Choir (where he met his future wife Isobel). performances of Vaughan Williams’ “Songs of Travel” and “The House of Life” in The text is from “The Water Babies” by Charles Kingsley, widely 1904. Only a relatively small number of Holst’s songs were published and, of those that read by generations of children. Here he describes the contrasting were, many have been out of print for some time. The Holst Songbook (in 4 volumes, qualities of a river, symbolising good and evil, and the ABA structure published in versions for both high and low voice) brings together all the solo songs for of the poem is reflected in Holst’s musical setting. His earliest works the first time and presents a wonderful opportunity for these hitherto undiscovered gems were influenced by the music of Sullivan, but here there is more than to be performed and appreciated for the first time. a hint of Wagner in some of the harmonic progressions. Although Holst had prepared a full orchestral accompaniment, it remained dormant for 122 years! THE HOLST SONGBOOK Volume 1 First performance with orchestra 23rd November 2019 by the Charlton Kings Choral Society in Pittville Pump Room, Cheltenham conducted by John Wright. Volume 1 includes 13 songs dating from the late Composed 1897, First publication 2020 1890s. Indeed, we know that the majority date Edition edited by John Wright. Scores and orchestral material available on sale or hire. from 1897/1898. Holst, born in 1874, would (Duration 8 minutes) have been 23/24 years old at the time. Holst’s daughter Imogen was fairly dismissive of much of Vocal Score – Goodmusic GM300 £6.00 her father's early output and refused to use her H Full Score – Goodmusic GM300-00 £10.00 numbering sequence to such early works. Orchestral Parts £1.50 each Nevertheless, as all the works in Volume 1 have been ascribed an H number so I think that we can THE VOYAGER Twelve part-songs for mixed voice choir assume that Imogen approved of these works. CONTENTS: A collection of 12 previously unpublished part-songs by Gustav O Lady, Leave thy Silken Thread (Range – High Voice: D-G / Low Voice: Bb-Eb) Holst for mixed voice choir (SATB). Some are in 4 parts and others Spring’s Message (Fruhlingsbotschaft) (C-E / C-E) are for 6-part choir, some are unaccompanied and others with piano Awake, my heart (E-A / C-F) accompaniment. 52 pages. Edited by John Wright, Benedict Preece Song to the Sleeping Lady (E-F# / C-D) & Paul Sarcich. Includes notes on the part-songs by Chris Cope of The Ballade of Prince Eric (C-G / A-E) the Holst Society. A Lake and a Fairy Boat (D-F / B-D) Contents: The Stars are with the Voyager; Spring it is Cheery; Sing Heigh-Ho (D-G / B-E) O Lady, Leave thy Silken Thread; There’s a Voice in the Wind; Airly Beacon (E-G / C-Eb) Frank Leigh’s Song: A.D. 1586 (Ah Tyrant Love); A Hope (E-G# / C-E) Come Away, Death; It was a Lover and his Lass; The Day of the Lord (E-A / B-E) In Youth is Pleasure; Now Rest Thee From All Care; Not a Sound (E-F / C#-D) Diverus and Lazarus; Playground Song; The Lover’s Complaint. Whether We Die or We Live (C-F / Bb-Eb) (Total Duration c.25 minutes)

Autumn Song (C-F / Bb-Eb) Goodmusic GM336 £10.00 High Voice – Goodmusic GM345 £10.75

Low Voice – Goodmusic GM346 £10.75

LEWIS, Paul (1943- ) THE HOLST SONGBOOK Volume 2

FOUR ANTICKE DANCES for SATB and harp Volume 2 includes 13 songs dating from the

These pieces are evocations of 16th and 17th century dance forms period 1896 to 1905. By the latter date Holst, by a composer long fascinated by the period. The melodies are new born in 1874, would have been about 30 years and no genuine anticke (old English for antique) tunes are used. of age, approaching his maturity as a composer MONSIEUR LEO’S BASSEDANSE was inspired by accounts of and creating his own distinctive style. All the masques in the grounds of the royal chateau at Amboise in the Loire songs in Volume 2 have been ascribed an H Valley, for which Leonardo da Vinci, living nearby, devised sets and number, so, again, we can safely assume that costumes. The Bassedanse was popular in France and Italy - a dance Imogen approved of them. in which couples moved in a processional manner. The French text translates as "Monsieur Leonard, artist at the court of King Francois". CONTENTS: MASTER WILL'S SARABAND was originally written to accompany Love’s Gleaning-Tide (Range – High: D-E / Low: D-E) a reading of "Music Ho! Music such as charmeth sleep!" from William Shakespeare's "A Song from Heine (D-A / A-E) Midsummer Night’s Dream" at Petworth House in Sussex. The Saraband was a slow Bhanavar’s Lament (E-F# / D-E) dance in three-time with the emphasis on the second beat. Ah, come, Fair Mistress (Db-G / Cb-F) MISTRESS NELL'S PAVAN is named after King Charles II's favourite mistress, Nell She who is dear to me (F-G[F] / Eb-F[E]) Gwynn, and describes her not as the boisterous Covent Garden orange seller or the A Prayer for Light (C#-A / A-F) glittering star of the London stage, but as the luscious court beauty painted nude and To a Wild Rose (D-F / B-D) recumbent by Sir Peter Lely. The king referred to Nell Gwynn as "Pretty witty Nell". Invocation to the Dawn (F-G / D-E) The Pavan was a slow courtly dance. Fain would I change that note (Db-Ab / B-F#) MASTER KIT'S BRAWL. Brawl was Shakespeare's anglicization of the almost In a Wood (G#[B]-F# / G#[B]-F#) unpronounceable French Bransle, a lively dance suited to tavern and village green. "Kit" Between us now (C-F / A-D) was the nickname of Christopher Marlowe, playright and spy, whom some believe was I will not let thee go (D-G / Bb-Eb) the author of Shakespeare's plays, and who died in a tavern brawl, though not of the Darest thou now, O Soul (Bb-G# / Ab-F#) dancing kind! Paul Lewis High Voice – Goodmusic GM359 £10.75 Four Anticke Dances started life in 2015 as a solo harp work. This arrangement for Low Voice – Goodmusic GM360 £10.75 choir and harp was made in 2019 for harpist Cecily Beer and the Choir of Royal Holloway, director Rupert Gough, with texts by the composer. (Duration 5 minutes) Vocal Score – Goodmusic GM279 £6.25 Harp Part – Goodmusic GM279-01 £4.00 THE HOLST SONGBOOK Volume 3 & Volume 4

The remaining volumes will be RIGLER, Terry published later this year

SEND DOWN A SONG FOR ME for SATB and piano

A splendid ballad by Terry Rigler (words and music) reflecting on the power of music and the pleasure of singing. Originally written for the Bournemouth Male Voice Choir (of which Terry is a member) this arrangement is for SATB mixed voice choir and piano. (Duration 4½ minutes)

Roberton 63318 £2.50 (Male voice choir version – Roberton 53214 £2.50)

14 MUSIC FOR SOLO VOICE – INSTRUMENTAL MUSIC SOLO VOICE PIANO

HO, Owen ELGAR, Edward (1857-1934)

STILL GLIDES THE STREAM POMP & CIRCUMSTANCE MARCH No.1 for piano duet arranged by Peter Lawson This song was the joint winning entry in the Association of English Singers and Speakers’ Song Writing Competition 2019, generously This arrangement came about when I was making a harmonised supported by the Thompson Educational Trust. It is a setting of choral version of “Land of Hope and Glory”. The March sections Matthew Arnold's poem “The River”. Range A-D are very busy and the piano reduction would either sound (Duration 5½ minutes) disappointingly simplified or would be almost impossibly difficult to play which led to “I could make a piano duet arrangement of it”. Roberton 2582 £4.00 So this version, which may sound flashy, isn’t too difficult and,

hopefully, will entertain performers and audience alike. It could be .....and don’t forget the winner of the used to accompany a choir (see page 11 for the choral copies). 2018 AESS Competition: Peter Lawson (Duration 6 minutes) Tim Ravalde – DREAMERS Goodmusic GM327 £5.00 Words by Siegfried Sassoon. Its first performance was given on 3 November 2018 as part of the London Song Festival by Florian Panzieri, tenor, and Nicole Johnson, piano. Range D-F# LEWIS, Paul (1943- ) (Duration 2¾ minutes) ANYONE FOR TAKEAWAY? for solo piano

Roberton 2581 £3.50 Three easy pieces for piano. Tasty foreign takeaway meals are a regular source of happiness and convenience in this busy modern world. Surveys show the most popular to be Chinese, Indian and Italian pizza. So great a part of British culture are they that they are often rated above good old British fish'n'chips! PALMER, Geoffrey Molyneux (1882-1957) Chinese Takeaway: The woks are sizzling in the kitchen of the local Chinese takeaway! This piece uses the Oriental pentatonic scale, CHAMBER MUSIC – 32 songs for high voice and piano which, when in the key of C consists of the notes C,D,E,G and A.

32 songs by Anglo-Irish composer Geoffrey Molyneux Palmer setting Indian Takeaway: The piano imitates a sitar with its drone bass. The the text of James Joyce's “Chamber Music”. The cycle is a kind of second and sixth notes of the D major scale are flattened to imitate Irish “Winterreise” that adds significantly to the history of Georgian an Indian scale so as to add a touch of exotic spice to the music! song. Published for the first time, these songs have been edited by Pizza Delivery: A happy-go-lucky Italian tarantella for the pizza delivery bike with the Peter Dickinson who provides extensive introductory and editorial shrill peep-peep of its hooter as it threads its way through the traffic. Paul Lewis notes about the songs. The 88 page volume also includes some (Duration 4 minutes) ‘amples of Palmer's manuscripts as well as copies of letters from Joyce to Palmer. Joyce considered that of the many musical settings Goodmusic GM343 £4.00 of his poetry, those by Palmer were the finest. In exchanges with Palmer, Joyce urged that the songs be pitched in a high key and as a SCHUBERT, Franz (1797-1828) result the overall range of the songs is from D to high B, though only one song reaches B and two others Bb. In these three songs slightly lower alternatives are offered! MARCHES MILITAIRES for piano duet edited by Peter Lawson A complete recording is available on Heritage CD HTGCD175 (entitled “Joyce’s Edited by Peter Lawson, who has also done an orchestral Favourite Songs”) with Martyn Hill [tenor] and Peter Dickinson [piano]. arrangement of these three marches (see page 10) here is a new (Total duration around 45 minutes) clear edition of these favourite pieces. The three marches are in ternary form, with the march sections recapitulated after a central Goodmusic GM338 £15.00 Trio. The first one, in D major, is by far the best known – even Stravinsky quotes it in his Circus Polka. In fact, all three marches are POLLARD, Clive equally tuneful and memorable. The second march is shorter and triumphal in nature. The third is longer and has an endearing BECAUSE I LIKED YOU BETTER swagger, with a spectacular appearance of Schubert's characteristic German 6th chord in the thirty-second bar. The central Trio Words by A.E.Housman, music by Clive Pollard for voice and piano. sections, in particular, are full of Viennese finesse and will bring a In two keys (both in the same copy) smile of delight to the listener with their unexpected harmonic twists. They are charming, Lower Range: B-E, Higher: Range C#-F#. almost balletic in nature and it is no surprise that Isadora Duncan saw the choreographic (Duration 2½ minutes) potential of the first piece in 1909. Above all they are immense fun to play. Peter Lawson Roberton 2583 £3.50 (Duration 17 minutes)

Goodmusic GM317 £5.50

THOROGOOD, Peter (1927- )

FANTASY VARIATIONS for solo piano A RAINBOW AND A CUCKOO’S SONG I began planning Fantasy Variations after hearing the simple tune Seven Songs for High Voice & Piano with words by W.H.Davies and from the clock on Copenhagen City Hall. I was studying with the music by Clive Pollard. Swiss pianist and musicologist Francis Engel at the Royal Irish Sweet Chance (Range D-F#); April’s Charms (G-F) Academy of Music. A gifted friend and fellow pupil, John Benson, A Young Thrush (F-D); Pot and Kettle (D#-E) was to go to London in the hope of studying with composer Herbert Wild Blossoms (E-F); The Cuckoo (G-G) Howells. Professor Engel, eager to help his star pupil, duly purchased Leisure (F-F) the flight ticket on John's behalf. The bleak January day began with (Total duration around 12 minutes) joy and ended with abject horror, as that evening news came that

Goodmusic GM342 £6.00 John's plane had crashed in the Welsh mountains in heavy rain, and all on board were killed. Words could not describe the grief and shock of John's family, fellow students and teachers. In due course, a concert was organised at the Academy to raise money for competitions in John’s name, and Francis Engel suggested that I should complete my Fantasy Variations for the occasion. On the WARLOCK, Peter (1894-1930) day of the concert, 9th June 1952, a deep gloom pervaded the corridors of the Academy; practice rooms were deserted and voices hushed. The unbearable silence A SOPRANO SONGBOOK continued into the evening and was made worse by the decision to dispense with A collection of 23 songs by Peter Warlock in an up-to-date edition applause. We had to walk silently on and off the platform. Professor Engel suffered by Michael Pilkington, published in association with the Peter unassuageable pangs of remorse at having given John the money to go to London, and Warlock Society. An 84 page book with photographs and extensive eventually left Ireland for his home on the lake of Thun. Peter Thorogood notes containing:- (Duration 19 minutes) Sleep; Sweet Content; A Sad Song; Late Summer; Autumn Twilight; Goodmusic My little sweet darling; Consider; Balulalow; Take, O take those lips GM314 £6.00 away; Pretty Ring Time; Lullaby; The bayly berith the bell away; The

Singer; The Lover's Maze; Rest sweet nymphs; Cradle Song; The First Mercy; Jillian of Berry; Robin Good-fellow; Mourn no moe; For most of these titles you can view the scores Ha’nacker Mill; The Night; My Own Country. and hear a computer-generated performance

Goodmusic GM337 £15.00 on our website at www.goodmusicpublishing.co.uk INSTRUMENTAL MUSIC 15 ORGAN SOLO INSTRUMENTS & PIANO

BACH, J.S. & ELGAR, Edward CARR, Paul (1961- )

FANTASIA & FUGUE in C minor BWV 537 for organ duet DOUBLE CONCERTO for two saxophones & piano

arranged by Richard Brasier and Tom Bell J.S.Bach's Double Violin Concerto has been “reimagined” by Paul J.S.Bach’s Fantasia & Fugue in C minor as orchestrated by Elgar, Carr (definitely reimagined rather than arranged!) for soprano and then arranged for organ duet by Richard Brasier and Tom Bell. alto saxophones and orchestra. This is a reduction for two saxes and There is a poignant story connected with this work. Edward Elgar piano. Written for the brilliant young saxophonists Rob Burton and had been hoping to write a new piece of his own for the Gloucester Vicent Bas Ibanez - first performances are scheduled for 2021. Three Choirs Festival in 1922, but following his wife’s death, he was Piano part and saxophone parts included. finding it impossible to write original music, because, as he said “The See page 5 for orchestral material. upset has been too great”. So, instead, he turned for solace and (Duration 20 minutes) inspiration to the music of Bach, and Elgar’s magnificent orchestral Goodmusic GM357 £10.00 showpiece was the result.

This arrangement was premiered by Richard Brasier and Tom Bell on 2nd March 2016 at Holy Trinity Sloane Square, London, UK RUNNING WITH DOGS for tenor saxophone & harp/piano (Duration 9½ minutes) This was originally composed in 2007 on the beautiful island of Goodmusic GM333 £7.50 Mallorca, where I was living at the time. The piece formed the first movement of my Bassoon Sonatina, but was later re-worked as a solo piece for Clarinet and Piano: it's the sort of piece that lends itself HOLST, Gustav (1874-1934) well to a variety of instruments. In 2020 the Spanish saxophonist, SCHERZO for organ duet arranged by Richard Brasier Vicent Bas Ibanez, asked if I'd ever written anything for Tenor Saxophone and Harp, a lovely combination, and as Vicent was Gustav Holst started work on his second symphony on 30th July studying at the Conservatori Superior de Musica in Palma, this re- 1933. He decided to begin with a scherzo. He finished the first working of “Running With Dogs” felt an obvious choice in sketch on 18th August 1933. During the final eight months of his responding to his request. I've basically re-written it for this life, he managed to orchestrate the Scherzo (H192), through bouts combination, but the carefee, light-hearted feeling of the piece remains at it's core. of illness. Unfortunately, he never commenced work on the other When in Mallorca, I had three dogs, Mallorcan Rateros, all of them rescued when two or three movements (whatever he intended). In the event, Holst puppies – a very cute miniature Pincher type of breed. In the winter months when the never heard a live performance of the work. The first performance majority of tourists had left and the beaches deserted, I used to let them run across the was given on 6th February 1935 by the BBC Symphony Orchestra white sands of Canyamel Beach, watching them relish in the freedom of being out in this under its conductor, Adrian Boult. Boult suggested that it should be wild and beautiful setting. Paul Carr performed twice in the concert and went on the say, “It is fiendishly The harp part can also be played on the piano. difficult to play and I imagine not too easy to listen to and so I think a case for (Duration 5 minutes) immediate repetition might be made.” The Musical Times later wrote, “As it stands, it sounds too inconclusive, but it is characteristically angular, rather chilly in temperature Goodmusic GM344 £5.00 and European rather than national in style… as if Hindemith had taken a hand in a scherzo by Vaughan Williams.” LOVE SONG for cello & piano This arrangement for organ duet of the Scherzo pushes the bounds of virtuosity on the organ to the very limit. The orchestral original transfers exceptionally well to the organ, An arrangement of Paul's beautiful setting of “Now Sleeps the so the task of re-committing to manuscript was not an onerous one. Rehearsing the work Crimson Petal”, from his “Old-Fashioned Love Songs” originally requires hours of slow practice, unnatural contortions of the human body, patience, and composed for solo voice. (Goodmusic GM262) complete confidence in your performing partner. The work was premiered by Richard (Duration 3 minutes)

Brasier and Tom Bell on 7th March 2015 at Westminster Central Hall, as part of the Goodmusic GM318 £4.00 annual London Organ Day. Richard Brasier A recording is available on EMR CD062. (Duration 7 minutes)

Goodmusic GM326 £7.00

PARRY, Hubert & ELGAR, Edward JENKINS, Clive (1938- ) JERUSALEM arranged for voices & organ by Joseph Wicks THREE PIECES FOR OBOE Reduction for oboe & piano

An organ arrangement of the Elgar orchestration of the Oboist Michael Stowe, prize-winner, first class graduate (Guildhall accompaniment to Parry's Jerusalem. More florid than Parry's 2019), entered the music profession when the 2020 covid original orchestration, Elgar's version is a popular favourite pandemic shut down all avenues of employment – with one particularly at the Last Night of the Proms. This organ version by exception. Peter Fisher, director of the Chamber Ensemble of Joseph Wicks includes all Elgar's tricky bits! London, had three recording sessions booked at the Henry Wood (Duration 2½ minutes) Hall and offered to squeeze Michael in as a soloist. I hastily wrote three very short oboe solos on the understanding that not all might Goodmusic GM334 £3.50 be recorded. Fortunately, all three were! Clive Jenkins See page 6 for orchestral material. (Duration 8½ minutes)

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Digital titles are added regularly but if there is a particular title from our catalogue that you would like us to add, let us know and we'll see if we can move it higher up the queue ...... 16 INSTRUMENTAL MUSIC SOLO INSTRUMENTS & PIANO HARP MUSIC

PIATTI, Polo (1954- ) LEWIS, Paul (1943- )

THE BIRDS for flute & piano ADIEU MICHEL for harp(s)

This piece for flute and piano was inspired by the multitude of birds Since my teenage years the music of French composer Michel that could suddenly be heard once more when human activity came Legrand has been a source of joy and inspiration. When I heard of to a standstill during the global pandemic in spring of 2020. his death in January 2019 I went straight to the piano and found It is dedicated to Daisy Noton, a BBC Young Musician of the year this melody waiting beneath my fingertips. It is a gentle tribute to a finalist, who premiered it in August 2020. musical hero, suggestive of a French ballad or movie theme from the (YouTube video available: Search for “Piatti The Birds”)) 1960s when I first discovered Legrand's music. Paul Lewis (Duration 5½ minutes) (Duration 4 minutes) Available for solo harp, harp duet and Goodmusic GM340 £5.00 4-part harp ensemble.

Solo Harp Goodmusic GM302 £4.00 THE IMPOSSIBLE PIECES for trumpet/clarinet/violin & piano

This is a piano reduction of the orchestral accompaniment with Harp Duet copies of the solo parts included: Goodmusic GM320 £5.00 Solo Trumpet in C (No.1 & 4) Solo Clarinet in A (No.2 & 4) Four-part Harp Ensemble Solo Violin (No.3 & 4) Scored for two pedal harps and two lever harps though the lever harp parts can also be played on The Impossible Pieces were conceived as four short individual pieces pedal harps. A score and one of each part is written for three world class soloists (clarinet, trumpet and violin), included. Individual extra parts are also available. each leading the orchestra with a different melody while the Score and one copy of each part – Goodmusic GM303 £6.50 orchestral accompaniment remains exactly the same. What makes the Extra parts £1.50 each work unique is the surprise at the end, when all three soloists come together in a glorious finale with all three melodies slotting together seamlessly in the fourth piece. Constructed GIRL WITH HARP AND ROSES for harp (& strings) with a very elaborate counterpoint throughout, universally appealing, uplifting and with the flair and panache of a concerto but much shorter in length, The Impossible Pieces In December 2018, browsing in an antique shop, I discovered a may be difficult to play (though not impossible!) making them true showcase works for hand-coloured photographic print, dated 1900, of a loosely attired virtuoso soloists. maiden with long wavy pre-Raphaelite hair bearing roses and gazing The Impossible Piece No.1 for Trumpet in C & Orchestra languidly into the air by a harp remarkably similar to the 1887 Erard The Impossible Piece No.2 for Clarinet in A & Orchestra Gothic harp I had recently purchased. Is she Erato, the Muse of The Impossible Piece No.3 for Violin & Orchestra Love Poetry, more often portrayed with a lyre? Is she Ophelia The Impossible Piece No.4 for Trumpet in C, Clarinet in Bb, Violin & Orchestra contemplating a watery grave? Or is she the spirit of the harp itself? The accompaniment is the same for each piece. All four pieces can be played one after Whatever or whomsoever she is, she is made all the more alluring by the other with the three soloists coming together for No.4. Alternatively, Nos.1, 2 or 3 the presence of the harp, that most seductive of musical instruments. would make ideal solo encore pieces if played alone. It would also be possible to perform Together, maiden and harp inspired this composition. Paul Lewis No.4 with only two of the three soloists. (Duration 4½ minutes) (Duration 3½ minutes each piece – 14 minutes for all four one after the other) Solo Harp Goodmusic GM335 £7.00 Goodmusic GM267 £4.00

Version for Harp & String Quartet (1866-1925) Score and set of parts SATIE, Erik Goodmusic GM362 £6.00 TROIS GNOSSIENNES for solo instrument & piano

An arrangement for a variety of solo instruments with piano accompaniment. Suitable for Violin, Viola, Violoncello, Flute, Oboe, Clarinet, Saxophone in Eb or Bb, Bassoon, Horn, Trumpet, MEDITATION AND DANCE for harp

Trombone or Tuba. Buy the piano accompaniment part plus A gentle piece to induce reminiscence and memories of childhood, whatever solo part you require. commissioned by harpist Margaret Watson for her mother Carol's May also be performed with orchestral accompaniment (see page 10) eightieth birthday celebrations in November 2019. Using the English extended musical alphabet by which every letter of the Satie composed his “Trois Gnossiennes” between 1890 and 1893. alphabet is assigned a note, letter R becomes note D, O becomes A Although he wrote four other pieces in a similar vein for piano, who and L becomes E, thus the name Carol becomes the musical motif others subsequently named Gnossiennes, the first three are by far the CADAE which is heard at the beginning and end of the work and best known of his piano output along with the “Trois Gymnopedies”. Like the which provides the basis for a free flow of musical thought. Gymnopedies, the Gnossiennes are dreamy, mysterious, harmonically modal and similar (Duration 5 minutes) Paul Lewis to each other in mood, with the Gnossiennes, being more Middle Eastern in their melodic construction. They were originally written in free time, without time signature Goodmusic GM305 £4.00 and bar lines, the idea presumably being to invite freedom of interpretation. For this version, I have put in bar lines and time signatures, as it would clearly be confusing in MEMORIES OF AMBOISE for harp rehearsal if there was no clarity to indicate where to stop and start! Throughout, Satie gave typically quirky instructions to the pianist and I have reproduced these in the score Amboise is my favourite Loire Valley city. Though it was the historic above the relevant instrumentalist’s phrase, with a translation from the French…not a architecture that first attracted me, the memories I celebrate here literal one in some cases. For instance, at one point Satie instructs the performer to are of a personal nature and reflect the heartfelt hospitality I have Ouvrez la tete (literally ‘open your head’). I have altered the translation to open your always received in the city. mind, as this would be more likely to engender a slight difference in the way in which “Au Cheval Blanc” (At The White Horse): Le Cheval Blanc is a the performer interpreted the phrase, if only just! Peter Lawson hotel and restaurant near the chateau. When I was a guest in 2002 (Duration 7½ minutes) the proprietress was a young Spanish woman whose warmth, allied with the animated gestures of a flamenco dancer, quite disarmed me. Piano accompaniment – Goodmusic GM301 £4.50 I began this piece on my return to England, but Teresa has Violin solo part – Goodmusic GM301-01 £1.50 subsequently sold the hotel and moved away I know not where, so Viola solo part – Goodmusic GM301-02 £1.50 she will never know about the music she inspired. Cello solo part – Goodmusic GM301-03 £1.50 “A la Patisserie Bigot”: La Patisserie Bigot is my favourite salon de thé. I have paid many Flute solo part – Goodmusic GM301-04 £1.50 visits but still fondly recall the first one in 1978. Since its opening it has been presided Oboe solo part – Goodmusic GM301-05 £1.50 over by successive Bigot family matriarchs, and I am lucky enough to have met the three Clarinet in Bb solo part – Goodmusic GM301-06 £1.50 ladies who have fulfilled this role. In fact on my last visit in 2008 they were all were Saxophone in Eb solo part – Goodmusic GM301-07 £1.50 present and my wife and I have happy memories of sharing a table with the charming Saxophone in Bb solo part – Goodmusic GM301-08 £1.50 grand-mere who first welcomed me thirty years previously. Bassoon solo part – Goodmusic GM301-09 £1.50 My Memories of Amboise are therefore dedicated to the four ladies whose hospitality Horn in F solo part – Goodmusic GM301-10 £1.50 was my inspiration, and after lying unfinished for eighteen years, the pieces were Trumpet solo part – Goodmusic GM301-11 £1.50 completed in 2020 at the request of harpist Rachel Talitman, for whose enthusiasm I am Trombone solo part – Goodmusic GM301-12 £1.50 ever grateful. Paul Lewis Tuba solo part – Goodmusic GM301-13 £1.50 (Duration 7 minutes)

Goodmusic GM319 £4.50 INSTRUMENTAL MUSIC 17 HARP MUSIC HARP MUSIC

LEWIS, Paul (1943- ) LEWIS, Paul (1943- )

PARIS PARAPLUIE for harp SUITE JAZZERESQUE for harp

A photo of harpist Maia Darmé, smiling beneath her umbrella in the An inevitable consequence of a long career as a professional Paris rain, inspired this Parisian-style waltz. composer is a bottom drawer (and in my case several boxes) full of S'il pleut a Paris, n'importe pas, c'est la pluie parisienne! works begun and never finished and others finished but forgotten. If it rains in Paris, no matter, it's Parisian rain! Sifting through these recently I came upon sketches for an Paul Lewis autobiographical suite begun in 1973 when I was renting a basement A beautiful video of Maia Darmé performing this in Paris flat beneath a Greek greengrocer's in the Fitzrovia district of Central is available on YouTube (Search for “Paris Parapluie”) London to work as musical adviser and sometime composer on the (Duration 4½ minutes) 26-part TV series Orson Welles Great Mysteries while simultaneously scoring Spring and Autumn, a popular TV comedy series. Seeing the Goodmusic GM253 £4.50 music again after 47 years has brought back vivid memories of my 30 year-old self coping with an unusually frenetic year workwise and personally. With much revising and refurbishing, the pieces have been transformed into this jazzy little PERFUME NOTES for soprano vocalise or flute or violin & harp suite for harpist Maia Darmé. Three melodies that leave the listener with memories which, like a Charlotte Street A charming lane lined with 18th century houses, restaurants and the perfume, waft in and out of the mind: Jasmine, a youthful, bright Fitzroy Tavern, famous haunt of artists, intellectuals and writers. and fresh fragrance bringing with it memories of spring and the Fitzrovia Romance A composer in amorous mood. Fitzrovia was known from the 19th promise of summer; Musk, a powerful fragrance that has presence century onwards for the dubious morals and bohemian lifestyle of its inhabitants, notably and a passionate character; Rose, a timeless scent that evokes the infamous Bloomsbury set in the 1920s. In retrospect it seems that in my own nostalgia. The rose is the eternal flower of romance and love. modest way I may have inadvertently contributed to the local tradition of louche living, Without the essence of pure love, what we create can have no soul. dallying there with a Russian artist, an American ballet dancer and a children's nanny Sharon Elizabeth from Kensington. Which one inspired this melody I cannot remember! Paul and Sharon Elizabeth Lewis’s interest in the ancient art of The location of my flat, a long street lined with Georgian and blending and distilling perfume began with a visit to the Chateau de Cleveland Street Victorian buildings and cosmopolitan cafes beneath the gaze of the iconic Post Office Chamerolles, France, where recreations of ancient perfumes made Tower with its sky-high revolving restaurant. It was in this and neighbouring streets that I from plants grown in the chateau’s renaissance gardens can be enjoyed. It was the walked my dog every morning before the daily round of rehearsal rooms and recording parfumier’s terminology for the layers of scents known as high, base and the heart notes, studios. Paul Lewis (Duration 10 minutes) which when combined create a perfume by making a perfect “accord” or chord, that suggested this musical evocation of heady olfactory delights. Goodmusic The three arias that make up Perfume Notes were composed in 2008 and premiered GM348 £5.00 that year by the dedicatee Sharon Elizabeth and the composer in a gala concert to celebrate the first anniversary of the opening of the Tauranga Art Gallery, New Zealand. This harp adaptation of the original piano accompaniment was made in March 2020. INSTRUMENTAL ENSEMBLE (Duration 7½ minutes)

Goodmusic GM316 £5.00 (1961- ) CARR, Paul for piano quartet POSTCARDS FROM BOLOGNA for harp SUMMER MUSIC

Bologna is known as ‘la Dotta’, ‘la Grassa’, ‘la Rossa’ – the Learned, Score & parts for Violin, Viola, Violoncello and Piano are included. the Fat, the Red. The three musical postcards are evocations of these In the late Summer of 2017, I composed this “Summer Music”, three facets and are dedicated to harpist Gabriella Dall’Olio, a native originally for Clarinet, Cello and Piano, but I then also arranged it of Bologna, in celebration of her home town. for a variety of instrumental combinations, and most recently, this La Dotta – the Learned: Solemn and serious as befits this ancient seat one, for Piano Quartet. Although given the title of Summer Music of learning. Bologna University, founded in 1088, was soon renowned and originally composed during the month of August, the music of for its teaching of religious and civil law and led the way in European the first two movements (One weekend in August; The softness of scientific research. A sombre note is struck by the survival of an ornate rainfall at night) is instilled with a certain unease, a longing for anatomical theatre with a marble slab on which human corpses were happier times perhaps; it must have been my mood at the time as dissected while students watched from the surrounding banks of seats. the late summer of 2017 was particularly wet and stormy. However, La Grassa – the Fat: All the happiness and hustle-bustle of café life in the city centre as the final movement (Bicycles on Sunday Morning) returns us to summery optimism; in local families and tourists enjoy Bologna’s famous cuisine! Street musicians stop at tables fact, during lockdown I bought a bike and as the weather in early Summer was outside and a fiddler steps inside to serenade diners with a romantic ballad. The present surprisingly lovely, I took myself off on long bike rides along the River Avon, losing melodies are all original and no genuine Italian tunes were harmed in the creation of this myself in the quiet unspoilt beauty of this country. Paul Carr piece! (Duration 15 minutes)

La Rossa – the Red: Le Due Torri, the famous Two Towers, and the splendid mediæval Goodmusic GM347 £15.00 buildings lining the Piazza Maggiore are built of the red bricks that lend their distinctive hue to this splendid city. Paul Lewis (Duration 12 minutes) LEWIS, Paul (1943- )

Goodmusic GM311 £5.00 WHATLINGTON WALTZES for theremin (or flute or violin)

& harp (or piano) RYE RAMBLES for lever harp It was at Mrs.Yarrington's Music Club in the village hall at Rye Rambles is a tone poem for solo lever harp in three continuous Whatlington, East Sussex, that I first heard “Stranger Strings”: sections written in 2019 and based on material from Rye Festival Charlie Draper on theremin and Holly Lowe on harp. I have always Suite, a work for string orchestra and harp composed for the 40th adored the harp and have long had a hankering for the theremin, so anniversary Rye Arts Festival in 2011. this mesmerising combination immediately set my compositional While walking through the cobbled streets for which the ancient juices bubbling and the three Whatlington Waltzes are the result. town of Rye is famous and which, though now thronged with Since theremins are rare and exotic creatures and sightings of them tourists, once echoed to the clatter of horse-drawn carriages, we few and far between, I have confined the solo part within the range encounter Morris Dancers whose presence unites past and present. of the flute (and consequently the violin) to increase the music's We find ourselves on nearby Romney Marsh, a mystical landscape chances of performance. where isolated and redundant churches echo to the ghostly chanting Wistful Waltz A chance encounter some twenty years ago with a young street performer of plainsong and Church of England hymns are sung in churches still in use. Rye was on Brighton seafront led to a brief but touching friendship. Anna Neil, tall, slim and once a busy seaport and The Mermaid Inn was the haunt of notorious smuggling gangs. beautiful, stood motionless on a slowly revolving pedestal with a large golden key turning We eavesdrop across the centuries as a fiddler strikes up and an unruly nautical knees-up in the small of her back, convincing watching children that she was a life-size doll. I ensues. Paul Lewis wrote this melody as a harp piece for her to revolve to but she had moved on to bestow (Duration 7½ minutes) her fairy dust elsewhere before I could play it to her. The combination of theremin and harp ideally conjures up the gentle other-worldliness of Anna’s persona. Goodmusic GM306 £4.50 Woeful Waltz A slow, mournful waltz, perhaps my hommage to film composer Bernard Herrmann in his less tempestuous moments.

Wilful Waltz Marked Brisk and belligerent, this is a waltz that, once in motion, doesn't For all of these titles you can view the scores want to stop! Paul Lewis (Duration 6½ minutes) and hear a computer-generated performance Goodmusic GM349 £5.50 on our website at

www.goodmusicpublishing.co.uk 18 INSTRUMENTAL MUSIC – OPERA INSTRUMENTAL ENSEMBLE CHILDREN’S OPERA

LEWIS, Paul (1943- ) LAWSON, Peter (1951- )

VALSE LENTE for theremin (or violin or flute) and piano NESSIE An opera for children This haunting melody came out of the ether one day as if tailor- Nessie is a children’s opera in two acts, commissioned by made for the theremin with its other-worldly quality, and is therefore Trinity Boys’ Choir from Trinity School, Croydon and dedicated to the eminent theremin virtuoso Charlie Draper. was first performed by them and their school orchestra, “Valse Lente” also sounds well on flute or violin. Paul Lewis conducted by David Squibb, in March 1989 in the (Duration 4 minutes) Fairfield Hall, Croydon. The work was revised in 2019.

Goodmusic GM356 £4.50 Although written for the available resources, boys could be replaced by girls and the names of characters with solo parts changed accordingly. Tenor and Bass parts can be regarded as optional if broken voices are not available, or THEREMIN adults could play the parts of the parents. The pianist can The theremin was invented in Russia by Lev fill in for missing instruments if necessary, or play from Theremin and first demonstrated publicly in the vocal score if no orchestra is to hand. The work can 1920. It is in effect a radio receiver with be staged, semi-staged or put on as a choral concert item. protruding antenna and metal loop employing high frequency circuits and oscillating valves to It is the story of the conflicting aspirations of naturalists enable the instrument to be played, without and property-developers, with the Loch Ness monster, contact, by means of hand movements that Nessie, caught between the opposing factions. The scene resemble a surreal digital ballet. The unearthly, is the banks of Loch Ness, the deepest and most mysterious of the Scottish lochs. We almost human voice-like quality of its sound first see the loch-side at dawn. Property developers are sizing up the area for made the instrument a ‘sine qua non’ for development into a theme park – with plastic brontosauruses popping out of the loch by science fiction film composers in the 1950s. the dozen. Naturalists are meanwhile monitoring the breeding capercaillies amongst the (and for the theme tune for ITV’s pinewoods. The developers have a cynical disregard for conservation and the laws of the “Midsomer Murders”!!) land, expressed in their song, “Grease a Few Palms”. We next see the children of the naturalists at play on the first really warm day of May (“Stories from the Trees”). They encounter the children of the developers, who try to kick them off their fathers’ land. The naturalists’ children win the ensuing fight and they SEAFORD SNAPSHOTS for horn & strings all make up their differences (“Peril in Partnership”). This suite of six movements was commissioned by Brian Spiby to The Wildlifers are horrified to learn of the intentions of the developers and suggest the celebrate his adoptive home town of Seaford on the Sussex coast and more environmentally-sensitive idea of a wildlife park instead, but the children decide its fascinating history. It is scored for Horn in F and string quartet that they can only convince the developers of this if the monster is sighted. Thoughts of plus an optional double bass. manufacturing a fake (“How do you Build a Monster?”) are dismissed in favour of In mediæval times Seaford was one of the most Splash Point: looking for the real monster. They go off in search…. prosperous ports on the South Coast of England with a long history of attacks by the French. In the 12th century it was designated a “Cinque Port” with an obligation to victual two warships, and was granted a Royal Charter by Henry VIII in 1565, subsequently suffering a decline in its fortunes when the harbour silted up in a storm a few years later. Horn calls echoing from ship to shore open the movement and are followed by a rousing melody in sea shanty-style symbolising the spirit of old Seaford. The Seven Sisters: Seven gentle hills slope down to white cliffs as the South Downs meet the sea. Magnificent and moody, these sentinels have guarded the entrance to the Cuckmere River for millennia and now try vainly to protect the fragile edges of our Peter Lawson Not Peter Lawson coastline, not from the French, but from the English Channel. Gently undulating muted strings beneath a slowly unrolling horn melody portray the whale-backed hills as they Act Two is set by a different part of the loch. The children are lost in the mist which has appear from the vantage point on the outskirts of Seaford. suddenly descended and are tired and hungry. Suddenly a dark shape appears out of the Corsica Hall: Built in 1832 from the proceeds of imported Corsican wine, this was the mist on the loch. They run off in a state of high excitement. Meanwhile, the worried residence of the local MP John Fitzgerald. Over the decades it saw many “grand parents are looking for them, bickering to each other all the while about their conflicting assemblies” attended by the great and the good of Seaford, when writers, poets and interests. The naturalists expound their ideas about a wildlife park in a song entitled politicians danced among the columns in the elegant panelled ballroom. Taking its cue “Conservation!” However, the children have been missing for eight hours and it is from Weber’s Invitation to the Dance, the solo cello depicts the opening of an envelope getting dark. They go off, still searching. bearing an elegantly written invitation to attend a ball at Corsica House. A spirited waltz Darkness falls and we next see the parents at dawn, now desperate. Convinced that their follows and the movement ends with a wistful recollection of a dazzling evening. children have met with a tragic fate, they intone an elegy (“Shadow of Death”). Their The Esplanande: The 1920s and 30s saw Seaford in its heyday with the doubling of mutual loss unites the parents and the idea of a wildlife park finally meets with the the railway line, the increase in the number of schools and its reputation for “fresh air” - approval of the developers. While the parents continue their search, the children, tired the wind! A golf course encouraged an increase in the number of fashionable hotels, and pathetic, tramp on stage and curl up asleep beside the loch. The monster gradually dance halls and roller skating rinks, all lending themselves to that very Edwardian habit: rises from the water, the children waking to greet her as if in a dream. The monster promenading. A rhythmic introduction played by the quartet tapping the strings with the subsides and the children go back to sleep. wood of their bows opens this piece in the style of an Edwardian novelty number, a cross The parents return and find the children. They are too overjoyed to pay attention to the between a seaside saunter and a cakewalk. fact that the children claim they have seen the monster. The children, while much The Beach Huts: In 2018 Seaford re-created some of the “fresh air and fun” pleased to be reunited with their parents and the news about the wildlife park are, atmosphere of the 50s and 60s with its new beach huts, so reminiscent of those candy- nevertheless, sad not to have been believed. The parents begin taking their children floss,”kiss me-me-quick”, Donald McGill saucy postcards days. Vintage jollity prevails as home but return, saying that they’ve been discussing with each other that if there really the 2nd violin and viola pluck their instruments banjo-style in this upbeat movement is a monster, then it will be protected for ever by the Loch Ness Wildlife Park. This goes based on an unfinished piece written in the early 60s when the composer was one of down well with the children and now all parties are happy! many who supplied the cinema newsreels with music. The Buckle: In 1545 the French launched the last seaborne attack on Seaford but were The number of parents and children can be varied to suit the available resources. Tenor roundly defeated when Sir Nicholas Pelham, (emblem a buckle) did, to quote his and Bass parts (Parents) can be regarded as optional if broken voices are not available, or epitaph, “repell them back aboord.” This “love-hate” relationship with the French has adults could play the parts of the parents. It can be performed as a staged opera, semi- thankfully stabilised over the centuries and the entente is now cordiale, only one staged or given as a concert performance. An orchestral accompaniment is available but traditional enemy remaining – the sea. A moody opening suggests impending peril and it can be performed just with piano. A full vocal score and also a chorus part is available we hear the mediæval French melody L’homme Armé played by the horn, muted by on sale or hire. (Duration 60 minutes) inserting the fist into the bell. The French song describes the fear of armed men arriving and the need to be well equipped to resist, echoing the plight of all Channel ports over Vocal Score – Goodmusic GM350 £17.50 many hundreds of years. The pace increases as Pelham arrives in Seaford to give battle Chorus Score – Goodmusic GM350-50 £7.50 with a hastily gathered band of men. This is represented by the “Spirit of Seaford” Orchestral Score & Parts on sale and for hire theme from the first movement, also played by the horn but now with all its natural unmuted nobility of tone. The two tunes give musical battle until the French retreat.

Heralds signal from ship to shore in a brief recap of the very first notes of the suite. Brian Spiby & Paul Lewis (Duration 18 minutes) For all of these titles you can view the scores and hear a computer-generated performance Score & Parts – Goodmusic GM325 £25.00 on our website at

ON SALE OCTOBER 2021 (following the first performance) www.goodmusicpublishing.co.uk

MUSIC CHARTS 19

Here are some charts which you might like to copy and/or cut out. They are useful for students or maybe yourself!

KEY SIGNATURES MAJOR KEYS MINOR KEYS

C# major 7 sharps A# minor

F# major 6 sharps D# minor

B major 5 sharps G# minor

E major 4 sharps C# minor

A major 3 sharps F# minor

D major 2 sharps B minor

G major 1 sharp E minor

C major A minor

F major 1 flat D minor

Bb major 2 flats G minor

Eb major 3 flats C minor

Ab major 4 flats F minor

Db major 5 flats Bb minor

Gb major 6 flats Eb minor

Cb major 7 flats Ab minor Goodmusic incorporating Roberton Publications

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