Little Suite for trumpet (or cornet) and piano adapted Hindmarsh.
In the 1950s Wilfred Heaton composed a suite for recorder and piano for fellow Sheffordian Philip Rodgers. These five lively miniatures were later adapted for brass quintet (Five Bagatelles) and brass band (Five Little Pieces). The adaptation makes this fascinating collection of Heaton miniatures available to cornet and trumpet players. Duration: 9 mm
THE WILFRED HEATON EDITION
John Wilfred Heaton (1918 — 2000) was a composer of refined sensibility and technical skill, the true extent of whose creative gifts has only emerged since his death in May 2000. As his many admirers suspected, the music currently in print represents just a small part of what he actually composed. The Wilfred Heaton Edition, a joint project between Kirklees Music and the Wilfred Heaton Trust, will make available the remainder of his rich legacy of finished pieces, as well as performing editions of those works lost and/or complete in sketch form. Wilfred’s life in music was underpinned by wide-ranging interests in the arts, in philosophy, and by his strong religious background and faith. Yet at times during his long life, his creative impulse was often tested and questioned .
Born in Sheffield to Salvationist parents, his musical talents were nurtured through the Salvation Army. He began piano lessons at the age of eight. Soon after that he was learning the cornet and writing music of his own. His piano teacher, Salvationist songster Mrs. Bennett, guided him to his first musical milestone, an LRAM in piano, awarded when he was eighteen. He left school to become an apprentice in a small brass instrument manufacture and repair business in Sheffield, Cooking and Pace. Apart from war service in the RAF, he remained there for over twenty years, composing whenever he could. Heaton noted on a page of his last work, the autobiographical Variations, "I got help initially from a crippled SA musician [George Marshall], who had a very sound harmonic instinct, but who stressed contrapunial studies above all; then from a local music master who initiated me into the wider world of chamber and orchestral music; and finally, a lot later [the 1950’s] Matyas Seiber, whose instruction on Bach studies was invaluable. These are three with whom I had personal contact, but along with other inspiring composers — the scores of the 18th century German giants and the 20th century masters. It was expected that Wilfred would dedicate his musical talents to the Salvation Army, and in his own words, he continued to “do a good job” for the Army throughout his life. However, what he offered for publication was not always accepted. The technical and musical complexities of his best work, while placing him firmly in the European classical mainstream, were often thought to be too radical for Salvation Army performance. Those pieces that were published, like the March Praise and the Meditation Just as I am have become Salvation Army favourites, but several more were rejected. Others, like the Toccata, eventually found their way into print many years later. In his 20's and 30's, Wilfred’s musical ambitions extended beyond the brass band. There was a Suite for orchestra, which later became a Piano Sonata and eventually the Partita for band. His Op.1 was a Rhapsody for oboe and strings. Op.2 was a suite of Three Pieces for piano. Both works received performances in London under the auspices of the Society for the Promotion of New Music. There was also a Little Suite for recorder and piano, composed in 1955 for the Sheffield-based recorder virtuoso, Philip Rogers. He also composed for chamber ensembles and voices.
In the late-1950’s, Wilfred’s life began to take a different course. He had taken up the french horn and was working as a peripatetic brass teacher, a move which in 1962 took the Heaton family to Harrogate. Much of the day-to-day work of instrument repair was left in the hands of Herbert Cooking, son of the former owner, who had worked under Wilfred’s enlightened guidance for thirteen years. When Herbert Cooking moved to the United States in 1964, the Sheffield business was closed. Wilfred played in a number of teachers’ orchestras and ensembles. He was a founding conductor of the Dales Sinfonia. He formed and conducted the local schools youth orchestra. Between 1962 and 1969 he was Musical Director of the Leeds Symphony Orchestra. In 1970 he spent some months as resident Musical Director of the Black Dyke Mills Band. However, as his professional activities increased, Heaton’s own creativity went into decline. He continued to arrange music for all the performing groups with which he was involved, but he composed very little. Another note on the score of Variations offers the explanation: ". . .all compositional ambitions were brought to a halt through my contact with Rudolf Steiner’s Anthroposphical Movement. Involvement in this seemed to dry me up at a tempo. I lost the impulse to compose. Such an activity seemed unimportant compared with the spiritual impulses provided by Steiner." Most of his spare time was now dedicated to a systematic exploration of the worlds of philosophy, of letters and of spirituality. From time to time, though, he was persuaded out of this creative semi-retirement, most notably in 1973, when he completed Contest Music - the only wholly original work to be published in his life-time. In his later years Wilfred was pleased, but always appeared surprised, at the appreciative reception his music was by then receiving. He never re-gained his old fluency but he was encouraged by family and friends - notably the conductor Howard Snell - to take up his composing pen once again. After the death of his wife and his own retirement from teaching, there was a welcome "Indian summer" - two substantial concertos, two marches and his final Variations. A few weeks before he died, Heaton remarked that as a young man all he wanted to be was a composer. "And I suppose that urge never really leaves you" he added. Wilfred Heaton once said to a colleague there would be some surprise at what would emerge from his "unregarded corner". He was quite right.
Category: Books Arrangers: John Miller, Leslie Pearson
Contents : 01. ALL IN A GREEN GARDEN - Trad./Miller 02. STEAL AWAY - Spiritual arr. Miller 03. BULGARIAN DANCE by John Miller 04. BRITISH GRENADIERS - Trad. arr. Miller 05. The ALBATROSS by John Miller 06. FAIREST ISLE by Henry Purcell arr. Pearson 07. JOHN COME KISS ME NOW by William Byrd arr. Miller 08. TONGUE IN CHEEK by Leslie Pearson 09. GREENSLEEVES - Trad./Miller 10. MEXICAN SUNSET by John Miller 11. HABANERA by G.Bizet arr. Miller 12. ICH RUF ZU DIR by J.S.Bach arr. Pearson 13. The HUMP by John Miller 14. JESU JOY OF MAN'S DESIRING by J.S. Bach arr.Pearson 15. SUNSET STRIP by Leslie Pearson
First performance pieces for trombone/euphonium with piano Contents :
01 GOING SOLO (easy version)by Alan Gout 02. PAVANE (from ‘Capriol Suite’) Peter Warlock 03. 0 SACRED HEAD SORE WOUNDED by J.S. Bach 04. EDWARDIAN EVENING by Alan Gout 05. CIRCUS CLOWNS by Alan Gout 06. BALLAD by Edvard Grieg 07. BARCAROLLE by Alan Gout 08. SERENADE by Frederick Delius 09. ROUGH and READY Rag by Alan Gout 10. BOOGIE for 'BONE by Alan Gout 11. TAKE A PAIR OF SPARKLING EYES by A. Sullivan 12. PRELUDE by Alan Gout 13. GOING SOLO (hard version) ALAN gOUT 14. The OLD CASTLE by Modest Musorgsky 15. SICILIENNE by Gabriel Faure 16. BLUES for ‘BONE Alan Gout
The words of the American devotional song Sweet Hour of Prayer were written by Rev. William Walford in 1845. The tune, published in 1869, is the work of William B. Bradbury, a celebrated New England hymn tune writer, Heaton’s evocative arrangement has been recorded or performed by Brett Baker, Ian Bousfield and Christopher Thomas. Duration 3 mins
THE WILFRED HEATON EDITION
John Wilfred Heaton (1918 — 2000) was a composer of refined sensibility and technical skill, the true extent of whose creative gifts has only emerged since his death in May 2000. As his many admirers suspected, the music currently in print represents just a small part of what he actually composed. The Wilfred Heaton Edition, a joint project between Kirklees Music and the Wilfred Heaton Trust, will make available the remainder of his rich legacy of finished pieces, as well as performing editions of those works lost and/or complete in sketch form. Wilfred’s life in music was underpinned by wide-ranging interests in the arts, in philosophy, and by his strong religious background and faith. Yet at times during his long life, his creative impulse was often tested and questioned .
Born in Sheffield to Salvationist parents, his musical talents were nurtured through the Salvation Army. He began piano lessons at the age of eight. Soon after that he was learning the cornet and writing music of his own. His piano teacher, Salvationist songster Mrs. Bennett, guided him to his first musical milestone, an LRAM in piano, awarded when he was eighteen. He left school to become an apprentice in a small brass instrument manufacture and repair business in Sheffield, Cooking and Pace. Apart from war service in the RAF, he remained there for over twenty years, composing whenever he could. Heaton noted on a page of his last work, the autobiographical Variations, "I got help initially from a crippled SA musician [George Marshall], who had a very sound harmonic instinct, but who stressed contrapunial studies above all; then from a local music master who initiated me into the wider world of chamber and orchestral music; and finally, a lot later [the 1950’s] Matyas Seiber, whose instruction on Bach studies was invaluable. These are three with whom I had personal contact, but along with other inspiring composers — the scores of the 18th century German giants and the 20th century masters. It was expected that Wilfred would dedicate his musical talents to the Salvation Army, and in his own words, he continued to “do a good job” for the Army throughout his life. However, what he offered for publication was not always accepted. The technical and musical complexities of his best work, while placing him firmly in the European classical mainstream, were often thought to be too radical for Salvation Army performance. Those pieces that were published, like the March Praise and the Meditation Just as I am have become Salvation Army favourites, but several more were rejected. Others, like the Toccata, eventually found their way into print many years later. In his 20's and 30's, Wilfred’s musical ambitions extended beyond the brass band. There was a Suite for orchestra, which later became a Piano Sonata and eventually the Partita for band. His Op.1 was a Rhapsody for oboe and strings. Op.2 was a suite of Three Pieces for piano. Both works received performances in London under the auspices of the Society for the Promotion of New Music. There was also a Little Suite for recorder and piano, composed in 1955 for the Sheffield-based recorder virtuoso, Philip Rogers. He also composed for chamber ensembles and voices.
In the late-1950’s, Wilfred’s life began to take a different course. He had taken up the french horn and was working as a peripatetic brass teacher, a move which in 1962 took the Heaton family to Harrogate. Much of the day-to-day work of instrument repair was left in the hands of Herbert Cooking, son of the former owner, who had worked under Wilfred’s enlightened guidance for thirteen years. When Herbert Cooking moved to the United States in 1964, the Sheffield business was closed. Wilfred played in a number of teachers’ orchestras and ensembles. He was a founding conductor of the Dales Sinfonia. He formed and conducted the local schools youth orchestra. Between 1962 and 1969 he was Musical Director of the Leeds Symphony Orchestra. In 1970 he spent some months as resident Musical Director of the Black Dyke Mills Band. However, as his professional activities increased, Heaton’s own creativity went into decline. He continued to arrange music for all the performing groups with which he was involved, but he composed very little. Another note on the score of Variations offers the explanation: ". . .all compositional ambitions were brought to a halt through my contact with Rudolf Steiner’s Anthroposphical Movement. Involvement in this seemed to dry me up at a tempo. I lost the impulse to compose. Such an activity seemed unimportant compared with the spiritual impulses provided by Steiner." Most of his spare time was now dedicated to a systematic exploration of the worlds of philosophy, of letters and of spirituality. From time to time, though, he was persuaded out of this creative semi-retirement, most notably in 1973, when he completed Contest Music - the only wholly original work to be published in his life-time. In his later years Wilfred was pleased, but always appeared surprised, at the appreciative reception his music was by then receiving. He never re-gained his old fluency but he was encouraged by family and friends - notably the conductor Howard Snell - to take up his composing pen once again. After the death of his wife and his own retirement from teaching, there was a welcome "Indian summer" - two substantial concertos, two marches and his final Variations. A few weeks before he died, Heaton remarked that as a young man all he wanted to be was a composer. "And I suppose that urge never really leaves you" he added. Wilfred Heaton once said to a colleague there would be some surprise at what would emerge from his "unregarded corner". He was quite right.
Divertimento for Euphonium or Baritone is written in four distinct and individual movements - each tailored to display a different characteristic of the instrument.
Comissioned in 2009 by Welsh College of Music and Drama student Lynsey Orr, Divertimento for euphonium or baritone is written in four distinct and individual movements, each tailored to display a different charecteristic of the instrument.
I Intrada - traditional in style with a pompous melody line which conjures images of the English countryside
II Siciliana - a slow and melancholic movement, full of emotion and a hint of an Irish air.
III Habanara - a rousing passionate movement written with technicallity in mind.
IV Rondo - a combination of jazz and traditional melodic influences, requiring dexterity from the soloist.
Commissioned and recorded by Black Dyke Band's principal tuba Joseph Cook who was born in county Durham, this two movement "song and dance" takes inspiration from the River Wear as it passes Durham Cathedral and castle. The title is loosely derived from the 1970's hit for Lindisfarne - "Fog on the Tyne".
Categories: SOLOS for E♭. Horn, SOLOS for Horn in F Arranger: Rob Hume
A book of eight beginning solos for Eb. OR F Horn ( both parts included ).
Tunes Included are : 01. Bring Him Home by Claude-Michel Schoenberg 02. Hallelujah by Leonard Cohen 03. Mad World by Roland Orzabal 04. Over The Rainbow by Harold Arlen 05. Perfect Day by Lou Reed 06. Tears In Heaven by Eric Clapton & Will Jennings 07. True Colours by Billy Steinberg & Tom Kelly 08. What A Wonderful World by George Weiss & Rob Thiele
Category: SOLOS - Euphonium Composer: Peter Graham
Click on MORE DETAILS to listen to an audio extact or view the Euphonium part.
The title of this euphonium solo, The Red Novae, is derived from two sources; the description of a stellar explosion thought to be caused by the merger of two stars, and as a form of anagram of the dedicatee’s name (Dave Thornton). The work offers the soloist an opportunity to exploit a variety of sound worlds including the use of optional electronics. (Supplied with treble and bass clef soloist parts).
Extract performed by David Thornton (euphonium) with the Brighouse and Rastrick Band, conductor David King. Full recording available on War of the Worlds - The Music of Peter Graham.
Categories: SOLOS - Tuba in BC, SOLOS - E♭. Bass Arranger: Christopher Mowat
11 Solos of medium difficulty ( Grade 4/5)
Includes : 01. PRELUDE to TE DEUM 02. L'ELEPHANT 03. LE CAN CAN 04. THE SWAN 05. UN BAL 06. MARCHE FUNEBRE d'une MARIONETTE 07. CHANSON du TOREADOR 08. BERCEUSE 09. DANCE MACABRE 10. PAVANE pour une INFANTE DEFUNTE 11. LE CAKE WALK
Category: SOLOS - E♭. Bass Arranger: Christopher Mowat
11 Solos of medium difficulty ( Grade 4/5)
Includes : 01. PRELUDE to TE DEUM 02. L'ELEPHANT 03. LE CAN CAN 04. THE SWAN 05. UN BAL 06. MARCHE FUNEBRE d'une MARIONETTE 07. CHANSON du TOREADOR 08. BERCEUSE 09. DANCE MACABRE 10. PAVANE pour une INFANTE DEFUNTE 11. LE CAKE WALK
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