It is probably better not to order direct from INTRADA (based in Heerenveen, Holland). If the piece is published by INTRADA, I will order it and then send it on to you and you pay me ( either cheque or bank transfer) once I have worked out the price.
I suggest you make contact via the contact form on the website or else e-mail me. I will let you know the cost + postage and then send the music on to you. You can pay by cheque or bank transfer.
c.25 min the whole set.
A series of short character pieces,relatively simple to
start with but becoming more Complex as the series
progresses.The early ones date from before 1966. These pieces were extensively revised in 2006 with 2 new pieces (*) added.
First performance of the entire set was given by Duncan Honeybourne at a luch-time concert at Chepstow Parish Church, Gwent on July 23rd 2008.
Written at Bitterley and Ludlow. The composer was now
studying at the Birmingham School of Music. First performed
by the composer under the title "Canzona" at an Organ
recital at the Reid Memorial Church, Blackford, Edinburgh
on 21st March 1970. The recital included a performance of
Carl Nielsen's "Commotio".
This is now no.1 of an "Album of early pieces for organ"(1966-1989).
Recorded by Paul Derrett at Liverpool Metropolitan Cathedral as part of a double CD entitled "Mystical Vision".
Dated Ludlow 1966. Possibly performed at the Birmingham School of Music, where the composer studied from 1964 to 1968.
Written at the Birmingham School of Music. Score is lost. Copies exist at Bangor Cathedral. It was revised and performed at Bangor Cathedral sometime between 1977 and 1980.
Original version written at the Birmingham School of Music as a student Exercise. First performed there in rehearsal by a student group. Entered for a Composers competition - not successful. The original Finale (Allegro giocoso) was re-written as a Rondo - Bromfield September 1971.
The whole Wind Quintet was substantially revised and re-written in 1976. New order of movements.
An alternative Finale - Allegro spiritoso was witten in 1979.
The final definitive form of the WIND QUINTET Op.1 (1979) is now;
The Rondo Finale was revised in 2001 and can be substituted for the Allegro Spiritoso Finale or played as a movement in its own right.
The WIND QUINTET Op.1 was first performed, using the Rondo as a Finale by the Frysk Blazers Ensemble (Friesian Wind Ensemble) at a Concert held at the Rinkelbom centre, Heerenveen, North Holland on March 17th, 2002 at which concert was also performed the Magnificat and Nunc Dimittis "The St Anne, Alderney Service" arr. For choir and wind ensemble by the composer, and the First performance of "The Echoing Green" - commissioned by INTRADA, a Work for Choir and Wind Ensemble (sung by Capella 92 and accompanied by The Friesian Wind ensemble onducted by Gerben van der Veen. The concert Was recorded by INTRADA and is available on CD.
The short Pastorale is tonal (modal) and full of flowing contrapuntal lines. The Alla Marcia is a perky somewhat humorous movement with a reflective Trio. The Alla Marcia is repeated. The Recitative and Aria is the most serious Movement in the Quintet. After opening flourishes by horn,clarinet and bassoon in free time, answered by the ensemble.The rather doleful Aria melody is presented, played by the oboe over a gentle swaying accompanyiment. This builds towards an inexorable climax (a complex sequence of ringing bells) before dying away again. The Rondo Finale is humorous and virtuosic with a memorable theme which always remains with the horn. The Allegro spiritoso Finale uses a perky theme derived from the Pastorale and Subsequently develops it. The movement is rhythmic with changes of time Signature. It is suddenly halted by a slow Adagio section, but the overall Positive and humorous mood returns through to the end.
These Variations for organ were written at Ludlow and first performed by The composer at an organ recital at the Priory church of St Mary the Virgin, Bromfield on September 19th, 1968. The folksong was sung by Gillian Evans (Mezzo-soprano). Var.1 reflects on the theme and intensifies the solemn mood. Var.2 maintains the mood but inverts the theme.Var.3 brightens the mood in A major key.Var.4 returns to the minor and places the theme in the pedals. Var.5 ruminates on the theme over static harmonies.Var.6 treats the theme In imitation for full organ ending on a firm major chord.
The Variations were revised in 1980 (tidying up.No change in
This is now no.3 of an "Album of early pieces for the organ" (1966-1989).
The Sonatina for Clarinet and Piano was written during the composers last year at the Birmingham School of Music and was first performed at a concert there on May 18th, 1968 by Colin Smith (Clarinet) and the composer (Piano) The piece was commended by the Principal, Gordon Clinton and offered for Publication to Curwen edition. Favourable comments were passed by Maurice Jacobson but the piece was not published. It was revised in 1979. The Sonatina is tonal, with a highly rhythmical first movement, with many Changes of time signature.The recap. Removes these. The slow movement Presents an expressive melody for clarinet over a chordal accompaniment. The middle section presents a second melody before the first re-appears in shortened form. The final Presto movement is fast and cast in Rondo form.
This piece was exhaustively revised in June 2008 and awaits a first performance in its new format.
The Piano Sonata (Fantasy) was written at Ludlow during the composers period of study at Reading University for a Diploma in Education. It is dedicated to his Piano teacher at the Birmingham School of Music - William Fellowes. The piece is still relatively tonal with a first movement that is highly restless with many changes of tempo.It basically alternates two themes,eventually leading to the slow movement which develops a theme marked "like an echoing chime". This leads directly into the Finale - marked Poco Allegretto,a swinging Rondo theme with the occasional rhythmical "hiccup"!
This piece was extensively revised in 2006 and received six performances at various locations in 2007 by pianist Duncan Honeybourne. First performed by him at a lunchtime recital at Bristol Cathedral on January 9th 2007.
These three short pieces were the original part of a projected three movement Pastoral Suite for Clarinet and Piano.They were written at Edinburgh during the period the composer was Assistant Director of Music at George Heriot's school. They were performed at a concert at George Heriot's by Philip Larsson (a pupil) and the composer and preserved in a recording.
The first two pices were extensively revised in July 2008 and a new third piece, "Church on Sunday *" was added. The piece awaits a first performance in its new format.
The Carillion for organ had its origins during the composers period at Reading. It was cast in its final form at Edinburgh, and performed at an organ recital at St Paul and St George's Church, York Place sometime in 1971 and subsequently withdrawn. It was revised in 1980.
This piece has undergone further revision in 2002 and 2007 and is now no.7 of "An album of early organ pieces"(1966-1989)
This Fanfare was written for the George Heriot's School Concert held in the Usher Hall, Edinburgh on December 16th, 1970.It was written to be played on the Usher Hall organ (then in an appalling state!) as the large school choir entered. Part of the original performance (in 1970) by the composer survives. The piece has been recorded by Paul Derrett on his "Benchmarks" series of organ recordings.(Volume 7; Ludlow and Leominster) 806807 CD.
This is now no.5 of "An album of early organ pieces"(1966-1989)
The "Scottish Folksong Suite" was written in honour of the headmaster of George Heriot's school, Edinburgh, William Mcl. Dewar on the occasion of his retirement in 1970. It was performed at a George Heriot's School Concert at a School Concert held in the Usher Hall on the 26th June, 1970.The baritone soloist in nos.1 and 7 was Colin Brown. The choir sang in nos.2 and 7.An LP recording was made of this Concert. The piece was revised in 2001 (without the vocal additions) with a new Finale based on "Scotland the brave". The suite now became "The Pride of Scotland"
2 Flutes, 2 Oboes, 2 Clarinets (B flat) 2 Bassoons, 4 Horns in F, 2 Trumpets (B flat) 3 Trombones, Tuba, Harp, Piano , Timpani, Percussion (2 players) Cymbals (clashed) Suspended Cymbal (wire brushes) Snare Drum, Wood Block, Triangle, Castanets, Tambourine. Strings.
The "Pride of Scotland" is a Suite for Orchestra consisting of seven relatively short movements based on Scottish folksongs, several of which are not well known. It lasts about 20 minutes.The Introduction is a jovial march for full orchestra. The Nocturne is more expressive and lightly scored. The Jig has a short preface for full orchestra followed by the tune in various instruments leading to a full statement.The Interlude treats "Loch Lomond" to a slightly jazzy treatment with the tune in close harmony (Clarinets and horns) accompanied by pizz cellos and basses plus percussion. The Canzonetta is a rich harmonisation of a beautiful melody.The Scherzo (also somewhat jazzy) treats the tune in a humorous fashion.The Finale is a boisterous version of the famous Scottish tune.
The "Pride of Scotland" was first performed in 2004 by the Melbourne School Symphony Orchestra (Australia) conducted by Martin Rutherford firstly on December 13th at a concert in Greyfriars Kirk, Edinburgh and secondly at a concert in St Laurence's Parish Church, Ludlow, Shropshire on December 18th. One or two small revisions were made to the score following these performances.
This large-scale piece for Organ was written in December 1973. The sub-title, "Mors et Resurrectionem" suggests that it is a meditation on the burial of Christ and his resurrection From the dead. The piece is unperformed in its original version. Prelude, Invocation and Passacaglia was revised in 2002 and biblical quotations were used for each heading.
Further revisions took place in 2007 and the piece remains as yet unperformed.
A highly chromatic opening marked Molto Adagio e mesto leads to a triadic passage (Swell Celestes).Further ideas follow. The opening material (including the celestes idea) return and Are varied in shorter notation. A complex passage on the Great organ ushers in the;
An octave sustained B heralds an invocatory chordal sequence played on a solo reed. This leads directly into the;
The Passacaglia theme (in a tonality of C) is initially stated in the top line over a sustained Pedal C. A series of variations follow which include inversion, stretto, leading to some quieter variations. The final four variations are loud, culminating in the final Largamente variation bringing the piece to a majestic close.
This Suite for Clarinet and Piano was written while the composer was Director of Music at Sherborne Preparatory School (1974-1977). Holiday periods were spent at his Parents home - now "Onny Cottage" at Bromfield near Ludlow. The countryside has always been an important influence. The gentle modal Pastorale reflects this. The Scherzo is a more dramatic and stormy affair. The Finale returns to a mood of peace and calm. The Main theme - often treated canonically is in 7/8 time, and the piece is not uninfluenced by gentle chiming bells.
This piece was extensively revised in 2008 and awaits a first performance in the new format.
Prelude and Fugue in A (The Lydian) was written in 1976 whilst the composer was teaching in Sherborne, Dorset. The piece was entered for the 1976 International Organ Competition at St Michael's Church, Zwolle, the Netherlands,but was not successful. It is dedicated to all the great Baroque organs of Europe and written in humble homage to Johann Sebastian Bach. Although Bach was an important influence in this piece, even more important was the influence of the Danish composer Carl Nielsen, and in particular his mighty organ piece "Commotio" written in 1931. The composer discovered this piece in Wilhelm Hansen's music shop in Copenhagen (during a tour of Denmark in which he re-joined the Shropshire County orchestra playing the cello in 1967). He learnt the piece and played it at two organ recitals in Edinburgh in 1970. Prelude, Invocation and Passacaglia Op.5 (1973) first shows the influence of Nielsen, especially in the Passacaglia. In the Prelude and Fugue in A (The Lydian), the influence is much deeper.The Prelude is contrapuntal and is built around two motifs which develop sequentially, building up wave upon wave of sound leading to a climax at bar 87 whereupon the restless mood subsides into more tranquil waters, leading directly into the Fugue. Here, the distinction between Fugue and passacaglia is somewhat obscured as the fugue subject appears in the top voice over a tonic pedal of A. The dynamic level steadily increases, as does the complexity of the contrapuntal writing. The climax is reached by bar 54 and the mood becomes steadily more tranquil and the Fugue ends on a resolving chord of A major.The title "Lydian" was employed to highlight the modal writing, especially in the Prelude.
First performance by Anthony Gritten at a lunch-time recital in Tewkesbury Abbey on August 12th 2008. A further performance took place at Chester Cathedral on September 11th, 2008
This piece was extensively revised in 2007 and renamed Prelude, Aria and Passacaglia. It was at this time that the middle Aria was added. After further revisions in 2008 the piece has now found its final form.
2 Flutes, 2 Oboes, 2 Clarinets (B flat), 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Tuba, Timpani, percussion (5 Players) - Snare Drum, Cymbals, Bass Drum, Triangle,Tambourine, Glockenspiel, Harp. Strings. Duration; c. 20 mins.
"A Welsh Suite" (based on Folksongs) was written during the Summer of 1977 for the tour of Wales by the first Orchestra of George Heriot's School, Edinburgh conducted by Martin Rutherford. It was, unfortunately, not possible to include the piece on the tour because of lack of rehearsal time, so the Suite was finally given its first performance on the 19th December, 1978 in the Usher Hall, Edinburgh at the annual George Heriot's School Concert.An LP recording was made, and this has been transferred to CD. The piece was revised in 2003 with a new title, some improvements to the scoring of nos. 6 and 7, and the number of percussion players reduced to 3. It is now dedicated to my father - Cyril Herbert Francis who died in 1998. He was born and lived the early part of his life in Wales (around Wrexham). His favourite Welsh folksong was the deeply introspective no.4 - "Dafydd y Garreg Wen" - "David of the White Rock".
In the revision of 2003 it was called "The Glory of Wales".
2 Flutes, 2 Oboes, 2 Clarinets (B flat), 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Tuba, Harp, Timpani, Percussion (3 Players) - Cymbals (clashed), Snare Drum, Bass drum , Triangle, Suspended Cymbals (Soft sticks), Glockenspiel.Strings.
The stirring march-like tune, "Loudly Proclaim" is followed by the "Bells of Aberdovey" which alternates two tempi, one atmospheric, the other stating the tune. The Scherzo, "Hunting the Hare" suggests the hunt in full swing with the jaunty tune in the Woodwind, leading to a frenzied climax, before the hunt disappears from view. The Lament, "David of the White Rock" is deeply introspective, with the melody presented as a solo on the Oboe over richly divided strings. The folktune "Dadl dau" is almost another Scherzo, but presented in the form of a fugato. Tranquillity abounds in "The idle days of Summer", with a gentle ending suggesting a beautiful sunset. The Finale contrasts two Welsh folksongs; "On this day" and "Captain Morgan's March", and again, as in no.2, two contrasting tempi are chosen. "On this day" finally ends the movement, bringing "The Glory of Wales" to a glorious conclusion. The 2003 revision is at present awaiting a first performance.
2 Flutes, 2 Oboes, 2 Clarinets (B flat), 2 Bassoons. 4 Horns, 2 trumpets (in B flat), 3 trombones, Tuba. Harp, Timpani, Percussion; (4 Players) - Glockenspiel, Xylophone, Triangle, Snare drum, Suspended Cymbal, Cymbals (clashed),Tubular Bells (optional), Tam Tam. SOLO PIANO.Strings.
This highly ambitious large-scale work was written at Bromfield, near Ludlow between April and October of 1978. In 1977, the composer was accepted as a Post-graduate student at the University College of North Wales, Bangor to work towards the degree of M.Mus. in composition under the direction of Professor William Mathias. This extended composition was finally submitted for the degree of M.Mus and was successful. It remains, as yet, unperformed. The large-scale first movement alternates three blocks of ideas, each with an associated tempo.The first - is slow and rhetorical, the second - is fast and highly rhythmical. The third - is more relaxed and lyrical. In all these blocks, the solo Piano plays an important role.The alternation of this material eventually leads to a Cadenza . The fast block finally ends the movement with an emphatic chord of D major. The slow movement begins mysteriously with a slow haunting funeral march. This gives way to a much more lyrical middle section with a dominating melody. The opening returns, leading to a short cadenza. The movement ends with a reminiscence of the middle section tune. An air of Pageantry surrounds the opening of the Finale, leading up to a theme in quicker tempo introduced by the Piano and subsequently developed. The middle section treats this theme as a short Fugato leading to a reprise of the opening material. This leads to a further Cadenza after which the faster material draws the movement to an emphatic close.
The language of the Piano Concerto no.1 is freely tonal and the piece is not uninfluenced by the Piano Concerto of Michael Tippett or even those of William Mathias himself. The solo Piano part is demanding with several moments requiring virtuosity. For the most part it is well integrated with the orchestra. The emphasis, in general, is on lyricism rather than drama.
The piece was thoroughly revised in 2007 and awaits a first performance in its new format.
For 2 Violins, 2 Clarinets (B flat) and Harp.
This piece, for the unusual combination of 2 violins, 2 Clarinets and Harp was written initially as a composition exercise with the promise of a performance by the University College Contemporary Music Ensemble, Bangor. It was first performed by this group directed by Jeffrey Lewis at a Concert in the Powis Hall, University College of North Wales, Bangor on the 8th February, 1979. The concert was subsequently included in the North Wales Music Festivl at St Asaph cathedral and broadcast on Radio 3. A tape was made of this broadcast. The composer wrote in a programme note; "This work was written in November 1978 for the Contemporary Music Ensemble. The form is a mirror reflection of the three contrasted sonorities used, and consists of three blocks of contrasting material which re-appear several times. Each block never loses its identity but is continuously varied on each repition.
The Harp is never fully integrated into the ensemble and is often used to link up sections. Even in the refrain, its insistent ostinato patterns contrast with the frequent octave writing for violins and clarinets.
The work abounds in contrasts and juxtapositions and can therefore be likened to a mosaic.
2 Flutes, 2 Oboes, 2 Clarinets (B flat), 2 Bassoons. 4 Horns, 2 Trumpets, 3 trombones, Tuba. Timpani, Harp, Percussion (3 Players) - Glockenspiel, Cymbals, Bass drum, Side drum. Strings.
This short piece for Orchestra was written as a composition exercise for Professor William Mathias while the composer was a Postgraduate student at the University College of North Wales, Bangor. A martial and declamatory opening section (Molto Maestoso) eventually gives way to a dance-like middle-section (Poco Vivace). This leads to a climax, as the pace slows, heralding in a return of the opening material before the final mysterious, dream-like Coda. The first performance was given on March 27th, 2001 by the Melbourne Grammar School Symphony Orchestra, Melbourne, Australia conducted by Martin Rutherford.
A Musical for Schools in 2 Acts + an Entracte. Libretto by IAN BARGE.
Single Flute, Oboe, 2 Clarinet (B flat), Bassoon, 2 Horns in F, Single trumpet in B flat, Trombone, Timpani, Percussion; (1 Player) - Side drum (snares), Tambourine, Triangle, Cymbals (clashed),Wood block. Strings (minimum 2 2 2 2 1). Piano score/vocal score available. Orchestral score, orchestral parts for hire only.
The "Magical Piper of Hamelin Town" - a musical for schools was written in 1978 for students at Ludlow College to perform. The librettist was the Head of Drama, Ian Barge.The Musical was performed in the High Hall of Ludlow College during the Summer of 1979. The children's chorus was provided by St laurence's junior School. The original title was "Lord of the Rising Fire", but this was subsequently changed. Accompaniment was provided by the composer at the Piano, and there was a solo flautist. The score was revised in 1981, but there were no changes to the substance.
This piece was extensively revised in 2005 and is now termed as an operetta. The original piano accompaniment has now been arranged for a small orchestra and the operetta awaits a first performance in this new format.
These responses were written in 1979 for Andrew Goodwin and the Choir of Bangor cathedral. Copies are held by the Cathedral, and the responses have been sung at various services there. They were adapted for the Church of Wales.
This Magnificat and Nunc Dimittis was written at the suggestion of Andrew Goodwin, Organist and Master of the choristers at Bangor Cathedral, North Wales. He had commented on the lack of settings for boys voices. It was first performed at an Evensong in Bangor cathedral on June 26th, 1979. A recording exists.
The title of this short piece, written in August 1979 at Bromfield, originates from Buckley, Clwyd, where the composer's sister Kate was living at the time of composition. "Buckley Mug" was a general title given to earthenware pots, dishes etc made in that area. Kate was learning the Flute at this time, which is how the piece came into being.
Extensively revised in 2008 and extended to become a Concert piece. The piece has yet to be performed in its new format.
This second version of the "Carillion" for Organ dates from 1976. The original version (no.1) was written in 1970. It was felt that the original version was too continuous and the whole structure could not rest on one theme only. Subsequently,the piece was re-cast in 1976 with the main theme cast alongside contrasting subsidiary material. There were revisions in 1979, and the piece was first performed at an organ recital at Bangor Cathedral on June 20th, 1979 by Andrew Goodwin, the Cathedral organist. It was played again at two further recitals given by Andrew Goodwin at St George's Hall, Liverpool on 14th June, 1980 and at Chester Cathedral on 30th August,1980. The carillion theme is presented (lontano- pp) and is contrasted with a louder chordal idea played on the Great organ. A highly expressive prayerful section follows. These three blocks steadily interact and the whole piece increases in momentum and dynamic surge until the music becomes continuous and the original carillion motif becomes dominant through to the final emphatic chord.
Carillion (no.2) has also been performed by Anthony Gritten at a recital in Westminster Abbey on September 9th, 2007
This piece for Organ solo was written in Bangor in December 1979 for the organist Marc Rochester, who was at that time Assistant organist at Bangor Cathedral. It was first performed at an organ recital in Leominster Priory Church on June 10th,1980 by Marc Rochester. The Toccata is highly rhythmical,fast, and with many changes of time signature.The effect is jazzy,with much use of triadic harmony.The overall effect is one of considerable exhilaration.
This piece was revised in 2007 and awaits a first performance in the new format.