Light concert music from Bernaerts, Chandos, DeHaske, Faber, Gramercy, Howard Snell, Kirklees, Lake Music, Novello, Obrasso, R Smith, Salvation Army, Studio Music, Windwood Music, Wright & Round and many, many more.
Categories: LIGHT CONCERT MUSIC, Music from the First World War Composer: Philip Sparke
Grade 4 Duration 8:25
In Memoriam: For the Fallen was commissioned by Bolsover District Council for the Bolsover Brass Summer School 2014.
It is a setting for narrator and band of Laurence Binyon’s (1869-1943) poem, For the Fallen, which was first published in The Times in September 1914. Binyon was dismayed at the outbreak of war and especially concerned by the large number of casualties suffered by the British Expeditionary Force in the early months of the battle on the Western Front. Too old to enlist, he volunteered as a hospital orderly in France. The poem is known world-wide as the famous fourth stanza (They shall grow not old…) has become a regular part of Remembrance Day and ANZAC Day services.
In Memoriam: For the Fallen is a musical accompaniment to the poem, shadowing the mood of each stanza.
Category: LIGHT CONCERT MUSIC Composer: Alfonso Ferrabosco II Arranger: Elgar Howarth
In Nomine was a very popular form in the 16th and 17th Centuries – effectively it became a showcase of contrapuntal skills and all the major composers of the day contributed to the genre. The pieces were based on a pre-existing melody (initially the ‘Benedictus’ from John Taverner’s Missa Gloria tibi Trinitas, though later other such ‘cantus firmus’ were used) which sounded in the alto part spread over one, or even two bars. The music is typically four or five parts and in this arrangement Elgar Howarth shares the ‘In Nomine’ between two trombones.
Category: LIGHT CONCERT MUSIC Composer: Orlando Gibbons Arranger: Elgar Howarth
Duration: 4:45
Orlando Gibbons was organist at both the Chapel Royal and Westminster Abbey and wrote this ‘In Nomine’ (a popular form in England during the 16th- and 17th-centuries) for viols. Based on a plainsong, it enabled beginners to play the cantus fimus while more experienced members of the consort supplied more technically demanding parts.
Elgar Howarth’s transcription for brass provides a work of majestic sonorities.