FOLK-TUNE) Grade 4 Eugène Goossens, Op

SHEEP-SHEARING SONG “Folk Tune” (also known as “Sheep Shearing Song”) was originally composed for piano by Eugène Goosens. This SHEEP-SHEARING SONG setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for. (FOLK-TUNE) Grade 4 Eugène Goossens, Op. 38, No. 1 Percy Grainger was born in Australia on July 8, 1882. With a father frequently absent due to work, young Percy was doted upon by his formidable mother, the former Rose Aldridge, who supervised every aspect of his educa�on. He Scored for Wind Band by was tutored at home, with a large part of his diet consis�ng of the Anglo-Saxon Chronicles and the Icelandic sagas. He was fascinated with primi�ve peoples around the world, so that it became one of his life’s goals to incorporate aspects of their music into his own. (Folk-Tune) Percy Aldridge Grainger Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), le� Australia in 1895 to study in Frankfurt for a period which lasted un�l 1901. At the same �me he began to edited by compose and collect the musical folk material that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently so that he was always aware of the most recent R. Mark Rogers innova�ons in the musical world. He greatly admired the composers and composi�ons that were scandalizing Europe at that �me, and his le�ers reveal admira�on for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and Schönberg (along with others long since forgo�en). In 1914, with the outbreak of the First World War, he emigrated to the United States. Although he took American ci�zenship, he never forgot his roots in Australia, and in the 1930’s he oversaw Southern Music the Goossens/ GRAINGER/ Rogers construc�on of a Museum, located on the campus of the University of Melbourne, to house manuscripts and ar�facts from his life. He died in White Plains, New York, in 1961.

Eugene Goossens was born outside London on May 26, 1893, and his father and grandfather were both conductors before him. Goossens studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music, where he he later made associate. He was a violinist in Thomas Beecham’s Queen’s Hall Orchestra from 1912 to 1915. In 1921 he decided to make conduc�ng his career and founded his own orchestra. For nearly a quarter of a century, Eugene Goossens accepted posi�ons at U.S. orchestras, including the Rochester Philharmonic and the Cincinna� Symphony Orchestra before taking his career to Australia. There he conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these posi�ons concurrently un�l March 1956, when he was forced to resign a�er a major public scandal, only a year a�er being knighted. Eugene Goossens returned to England and died on June 13,

1962.

R. Mark Rogers began wri�ng for band while in high school, and con�nued with degrees from Texas Tech University and the University of Texas. Director of Publica�ons for Southern Music Company from 1993 and Managing Editor of the firm since 2015, Rogers has authored edi�ons of the music of Percy Grainger and John Philip Sousa that have entered band repertory worldwide. He is also widely published as an arranger and transcriber, with performances by all five of the Washington, DC service bands. Dr. Rogers is the conductor of the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio College, Texas Lutheran University and Trinity University, and prior to coming to San Antonio was on the faculty of the University of South Alabama and a staff member of the University of Texas Longhorn Band. A bassoonist, he performs with the orchestras of Corpus Chris�, Victoria, Laredo, San Antonio and Aus�n, as well as the Mid-Texas Symphony. He is ac�ve in church music and occasionally appears in music theater, performing numerous roles in the opere�as of Gilbert and Sullivan. Sudie, his wife of forty years, their children and spouses (and grandchildren), are the joy of his later years. S954CB

U.S. $75.00 Band Repertoire Classics Series HL00236105 R

MUSIC S954CB HL00236105 MUSIC FULL SCORE Eugène Goossens, Op. 38, No. 1

SHEEP-SHEARING SONG (Folk-Tune)

Scored for Wind Band by Percy Aldridge Grainger

Edited by R. Mark Rogers

INSTRUMENTATION

1-FULL SCORE 3-1st TRUMPET in Bb 1-SMALL FLUTE (Piccolo) 3-2nd TRUMPET in Bb

4-1st FLUTE 3-3rd TRUMPET in Bb 4-2nd FLUTE 1-1st HORN in F 1-1st OBOE 1-2nd HORN in F 1-2nd OBOE 1-3rd HORN in F 1-ENGLISH HORN 1-4th HORN in F 1-CLARINET in Eb (at will) 2-1st TROMBONE 4-1st CLARINET in Bb 2-2nd TROMBONE 4-2nd CLARINET in Bb 2-3rd TROMBONE 4-3rd CLARINET in Bb 2-1st EUPHONIUM (Baritones) 2-ALTO CLARINET in Eb in Treble or Bass Clef 2-BASS CLARINET in Bb 2-2nd EUPHONIUM 1-DOUBLE ALTO CLARINET in Eb in Treble or Bass Clef (substitute for Bass Saxophone) 4-TUBAS 1-DOUBLE BASS CLARINET in Bb 1-STRING BASS (substitute for Double Bassoon) 3-PERCUSSION: 1-1st BASSOON Kettle-Drum (only one drum required), 1-2nd BASSOON Suspended Cymbal, Gong 1-DOUBLE BASSOON 1-SOPRANO SAXOPHONE in Bb 2-1st ALTO SAXOPHONE in Eb 2-2nd ALTO SAXOPHONE in Eb 2-TENOR SAXOPHONE in Bb 1-BARITONE SAXOPHONE in Eb Grade 4 1-BASS SAXOPHONE in Bb Duration: SAMPLE Approx. 2:30 Minutes

Percy Grainger’s settings of the folk-music of various cultures are widely known to wind band conductors. Although he collected a number of these melodies himself, he was equally willing to turn his attention to a melody collected by someone else. In the case of the present setting, he neither collected the tune nor composed the setting. “Sheep Shearing Song” was collected in Somerset by the eminent English folk-musicologist Cecil Sharp in 1904 from the singing of William King. Eugene Goossens’ setting for solo piano of this melody appeared in 1923 as the first of Two Ballades, Op. 38 for solo piano, where it appears under the title “Folk Tune.” Grainger and Goossens were part of a larger group of musicians who met regularly from about 1906 onwards to privately perform each other’s music and offer encouragement. Goossens also participated in the first all-Grainger concert in May of 1912, playing 2nd violin in the string quartet that performed “Molly on the Shore” and “Mock Morris.” In 1923, Goossens accepted George Eastman’s invitation to conduct the newly formed Rochester Philharmonic Orchestra, by which time Grainger was already an American citizen and a fixture on the New York music scene. In the 1940s, during the years Grainger spent working with the National Music Camp in Interlochen, he increasingly focused his attention to improving the repertory of music for wind band. One of the items that took his fancy was Goossen’s setting of “Sheep Shearing Song,” which prompted Grainger to set the work for “military band” (the term used by British-trained band composers to indicate a mixed wind band of woodwinds, brass and percussion, as distinguished from the all-brass bands still heard today). Grainger’s scoring was written July 2 to 6, 1942 with parts copied at Interlochen. Upon his return to Springfield, Missouri in September, he wrote out the conductor’s score. While Goossens’ harmonic treatment of the folk melody is not similar to what Grainger himself might have written, it is not altogether unlike Grainger’s second setting (1920) of “Irish Tune from County Derry,” distinguished from the earlier settings by featuring “elastic scoring.”

EUGENE GOOSSENS

Eugene Goossens was born outside London on May 26, 1893, and was the third member of the family to carry that name. The family was of Belgian extraction and his father and grandfather were both conductors before him. [His father and grandfather spelled Eugène with a grave accent; he himself did not. Nevertheless, Grainger persisted in the use of the grave accent in his manuscript parts, so that spelling appears in the Southern Music Company edition of “Folk Tune.”] Goossens studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music. He won the silver medal of the Worshipful Company of Musicians and was made associate of the Royal College of Music. He was a violinist in Thomas Beecham’s Queen’s Hall Orchestra from 1912 to 1915. In 1921 he decided to make conducting his career and founded his own orchestra. On June 7, 1921, he gave the British concert premiere of Stravinsky’s The Rite of Spring at the Queen’s Hall with the composer present. For nearly a quarter of a century, Eugene Goossens accepted positions at U.S. orchestras. He conducted the Rochester Philharmonic from 1923 to 1931, and from 1931 to 1946 he conducted of the Cincinnati Symphony Orchestra, succeeding Fritz Reiner. One of the lasting impacts of his time in Cincinnati came during World War II. Goossens wrote to several composers and commissioned 18 fanfares meant to support the war effort. One of the fanfares that the orchestra received and premiered during the 1942-43 season was Aaron Copland’s Fanfare for the Common Man. Goossens spent nine years in Australia, from 1947 to 1956. He conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these positions concurrently until March 1956, when he was forced to resign after a major public scandal, only a year after being knighted. Eugene Goossens returned to England and died on June 13, 1962.

PERCY ALDRIDGE GRAINGER

Percy Grainger was born in Australia on July 8, 1882. His father was an architect from London, his mother the daughter of a London hotel manager who had come to Australia to make his fortune. The father, John Harry Grainger, was a man of some learning who was regularly away from the household supervising the construction of public works in Australia. In his absence, young Percy was doted upon by his formidable mother, the former Rose Aldridge, who supervised every aspect of his education. He was tutored at home, with a large part of his diet consisting of the Anglo-Saxon Chronicles and the Icelandic sagas. Rose Grainger was a beautiful woman with strong Nordic features (inherited by her son), but like many people of that day, she passionately disliked members of other ethnic groups, and she instilled in Percy many outrageous notions. He was fascinated with primitive peoples around the world, so that it became one of his life’s goals to incorporate aspects of their music into his own. Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), left Australia in 1895 to study in Frankfurt for a period which lasted until 1901. At the same time he began to compose and collect the musical folk material that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently so that he was always aware of the most recent innovations in the musical world. He greatly admired the composers and compositions that were scandalizing Europe at that time, and his letters reveal admiration for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and Schönberg (along with others long since forgotten). In 1914, with the outbreak of the First World War, he emigrated to the United States. In 1928, he married the Swedish beauty Ella Viola Ström. Although he took American citizenship, he never forgot his roots in Australia, and in the 1930’s he oversaw the construction of a Museum, located on the campus of the University of Melbourne, to house manuscripts and artifacts from his life. He died in White Plains, New York, in 1961.

R. MARK ROGERS

R. Mark Rogers began writing for band while in high school, and continued with degrees from Texas Tech University and the University of Texas. SAMPLEDirector of Publications for Southern Music Company from 1993 and Managing Editor of the firm since 2015, Rogers has authored editions of the music of Percy Grainger and John Philip Sousa that have entered band repertory worldwide. He is also widely published as an arranger and transcriber, with performances by all five of the Washington, DC service bands. Dr. Rogers is the conductor of the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio College, Texas Lutheran University and Trinity University, and prior to coming to San Antonio was on the faculty of the University of South Alabama and a staff member of the University of Texas Longhorn Band. A bassoonist, he performs with the orchestras of Corpus Christi, Victoria, Laredo, San Antonio and Austin, as well as the Mid-Texas Symphony. He is active in church music and occasionally appears in music theater, performing numerous roles in the operettas of Gilbert and Sullivan. Sudie, his wife of forty years, their children and spouses (and grandchildren), are the joy of his later years. Full Score SHEEP-SHEARING SONG Eugène Goossens, Op. 38, No. 1 S954 scored for Wind Band by Percy Aldridge Grainger Flowingly (FOLK-TUNE) edited by R. Mark Rogers Molto tranquillo e con moto Œ = about 80* from Somerset, England 3 Piccolo & b 4 ∑ ∑ ∑ ∑ ∑ ∑ 3 Flutes 1 & b 4 ∑ ∑ ∑ ∑ ∑ ∑ 2 3 Oboes 1 & b 4 ∑ ∑ ∑ ∑ ∑ ∑ 2 3 English Horn & 4 ∑ ∑ ∑ ∑ ∑ ∑

# reedy, espress. # 3 ∑ ∑ ∑ ŒŒ Clarinet in Eb & 4 œ# ˙ œ œb œ œb p # 3 espress. (but accompanyingly) & 4 ∑ ∑ ∑ ŒŒ 1 œ# ˙ œ œb œ œ# reedy p espress. (but accompanyingly) # 3 ∑ ∑ ∑ ŒŒ Bb Clarinets 2 & 4 œ œ œ œb œ œ# œn reedy p # 3 3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ # # 3 ∑ ∑ ∑ ŒŒ Eb Alto Clarinets & 4 œ œ œ œ ˙ œn p # 3 reedy b & 4 ∑ ∑ ∑ ŒŒ B Bass Clarinets œ œ œ œ ˙ œb p reedy ? 3 ∑ ∑ ∑ ŒŒœ œ œ bœ œ œ# œn Bassoons 1 b 4 œ œ œ ˙ œb 2 p ? 3 Double Bassoon b 4 ∑ ∑ ∑ ∑ ∑ ∑ molto espress. b # 3 ŒŒ ˙ j B Soprano & 4 œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ Saxophone p ˙ b # 3 unis. œ ˙ œ œ E Alto 1 & # 4 ŒŒœœ œ œ œ. œ œ. œ œ œ œ œ œ Saxophones J ˙ 2 p molto espress. ˙ b # 3 molto espress.œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ B Tenor & 4 ŒŒ J ˙ Saxophones p b # 3 E Baritone & # 4 ∑ ∑ ∑ ∑ ∑ ∑ Saxophone b # 3 B Bass & 4 ∑ ∑ ∑ ∑ ∑ ∑ Saxophone Flowingly # 3 1 & 4 ∑ ∑ ∑ ∑ ∑ ∑ b B Cornets # 3 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ 3 3 unis. ˙ 1 & 4 ŒŒœ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ 2 J ˙ p molto espress. Horns in F 3 unis. ˙ 3 & 4 ŒŒœ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ 4 J ˙ p molto espress. ? 3 1 b 4 ∑ ∑ ∑ ∑ ∑ ∑ Trombones ? 3 2 b 4 ∑ ∑ ∑ ∑ ∑ ∑ 3 # 3 Baritones & 4 ∑ ∑ ∑ ∑ ∑ ∑ ? 3 Euphoniums b 4 ∑ ∑ ∑ ∑ ∑ ∑ ? 3 ∑ ∑ ∑ ∑ ∑ ∑ Tubas b 4SAMPLE ? 3 String Bass b 4 ∑ ∑ ∑ ∑ ∑ ∑ ? 3 Kettle Drum 4 ∑ ∑ ∑ ∑ ∑ ∑ & Percussion 1 2 3 4 5 6

not Copyright © 2017 by Southern Music Company (ASCAP). *This metronome marking is International copyright secured. All Rights Reserved. shown in the players’ parts. Digital and photographic copying of this publication is illegal. 4 9 7 Picc. & b ∑ ∑ ∑ ∑ ∑ ∑ b ∑ ∑ ŒŒunis. œn œ œn œ œ œn Flutes 1 & œ œ œ œ 2 œ œ œ F P Oboes 1 & b ∑ ∑ ∑ ∑ ∑ ∑ 2

E. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ # b # E Cl. & œn œn œ# œ œb œn œn . j œ# œn ˙ œ œ# > œ œ œ œb œ œ# œn œ œ > > F F # & œ œb j 1 ˙n œn œ œ# œ# >œ# œn œn œ œn . œœb œ œ# œn œ œ œ# œn > > F p # F b 2 & œb B Clars. ˙ œ œ œ œ ˙# œ œ œ# œ œ# œb œ ˙# > P # F F & Œ ŒŒ Œ ∑ ∑ 3 œ œ œ ˙ œ# œn œ œ œ > > P F p reedy # p & # Al.Cls. œn œ œ œ œ ˙ œ# œ# œ œn ˙ œ œ# œ œ# œ# > F P # F & œ œ Bs.Cls. œ# œ# œ œn œ œ œ# œ œ œ# œ# ˙ œ ˙ P > F F œ bœ œ ? œ œ œ œ œb œn œ bœ nœ #œ nbœ œ ˙# Bsns. 1 b œ# œn œ œ ˙ œb œn œ œ# œn 2 ˙ œ ˙ > F F P ? DBsn. b ∑ ∑ ∑ ∑ ∑ ∑

# œ œ œ œ œ œ# œ ˙œœ# œ œ# œ œ œ# œ œ S.Sx. & œ . J œ œ œ œ F F P œ œ# œ# œ œ# œ œ œ# ## œ œ œ œ. œ œ ˙œ œ œ œ œ œ A.Sxs. 1 & J œ 2 F F P œ œ œ œ. œ œ# œ ˙ # œ J œ# œn T.Sxs. & œ œb œn œ# œb œ ˙# F F P ## œn œ œ B. Sx. & ∑ ∑ ŒŒ œ œ œ# œ œ œ# œ# F P # ∑ ∑ Œ ∑ ∑ ∑ Bs.Sx. & ˙ F > # 9 MUTED molto espress. ∑ ∑ ŒŒœœ# œ œ# œ œ œ# œ œ 1 & œ œ œ œ Crnts. F P # MUTED unis. œ# œ œ# œ œ œ# 2 & ∑ ∑ ŒŒœ œ œ œ œ œ 3 œ molto espress. F P œ œ œ œ œ. œ œ# œ ˙ œ œ# œb œ œb . j 1 & J œœb œ œ# œn œ œ œ 2 F P - - Horns œ œ œ œ. œ œ# œ ˙ 3 & œ J Œ ∑ ∑ ∑ 4 F ? 1 b ∑ ∑ ∑ ∑ ∑ ∑ Trbns. ? 2 b ∑ ∑ ∑ ∑ ∑ ∑ 3 espress.œ # œ œ œn œ# œ œ# œn œ œn . œœb œ œ# œn œ œ# œn Bars. & Œ ŒŒ J œ P F P ? ∑ ∑ ∑ ∑ ∑ ∑ Euphs. b SAMPLE ? Tubas b ∑ ∑ ∑ ∑ ∑ ∑ ? St. Bs. b ∑ ∑ ∑ ∑ ∑ ∑ ? Perc. ∑ ∑ ∑ ∑ ∑ ∑

7 8 9 10 11 12 S954 Goossens/Grainger: Folk-Tune SHEEP-SHEARING SONG “Folk Tune” (also known as “Sheep Shearing Song”) was originally composed for piano by Eugène Goosens. This SHEEP-SHEARING SONG setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for. (FOLK-TUNE) Grade 4 Eugène Goossens, Op. 38, No. 1 Percy Grainger was born in Australia on July 8, 1882. With a father frequently absent due to work, young Percy was doted upon by his formidable mother, the former Rose Aldridge, who supervised every aspect of his educa�on. He Scored for Wind Band by was tutored at home, with a large part of his diet consis�ng of the Anglo-Saxon Chronicles and the Icelandic sagas. He was fascinated with primi�ve peoples around the world, so that it became one of his life’s goals to incorporate aspects of their music into his own. (Folk-Tune) Percy Aldridge Grainger Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), le� Australia in 1895 to study in Frankfurt for a period which lasted un�l 1901. At the same �me he began to edited by compose and collect the musical folk material that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently so that he was always aware of the most recent R. Mark Rogers innova�ons in the musical world. He greatly admired the composers and composi�ons that were scandalizing Europe at that �me, and his le�ers reveal admira�on for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and Schönberg (along with others long since forgo�en). In 1914, with the outbreak of the First World War, he emigrated to the United States. Although he took American ci�zenship, he never forgot his roots in Australia, and in the 1930’s he oversaw Southern Music the Goossens/ GRAINGER/ Rogers construc�on of a Museum, located on the campus of the University of Melbourne, to house manuscripts and ar�facts from his life. He died in White Plains, New York, in 1961.

1962.

U.S. $75.00 Band Repertoire Classics Series HL00236105 R

MUSIC S954CB HL00236105 MUSIC