Orchestra 9-13

1 S + SoSSAATTBBGbCb. Steve says: 'This 8 minute piece was written for an 'Easy Recorder Orchestra Playing Day' in 2008, to give an interesting experience for less proficient players. The guest at the day was Helen Hooker, and so I came up with a piece where the solo part is tricky, but the orchestra parts are easy. The only possible problem is that the time signature changes quite often, but always with a constant crotchet beat. Given the presence of a suitable soloist, the concertino is readily playable by any SRP branch (for example), as long as the right instruments are available. Why 'Spanish'? I used to play the classical guitar, and the influences of Spanish guitar music keep bubbling up in my recorder music. I let them bubble up freely for a whole piece!'

1 Cb + SoSATBGbCb. Steve says: 'When, four years ago, I wrote the first Concertino for contrabass recorder (i.e. Concertino No 4), I hoped that it might get a couple of performances. In fact it has outsold all of my other concertini put together, has been performed often all over the world, and has even been recorded on a CD. Clearly there is a need for excellent contra players to show what they can do! The second contra concertino is considerably easier than the first, but still lively and - in the second movement - really quite pretty. Once again the dialogue between soloist and ensemble is managed so that the contra is never drowned. The solo part fits all makes of contra, as there are no low F#s and, although there are three Abs, alternatives are provided.'

12 SATTBBGbGbGbCbCbCb. This 5-minute piece was written at the request of Gabi Harste for the recorder orchestra Blockflötenensemble Garbsen, on their 10th anniversary. Blockflötenensemble Garbsen is not a large ensemble, but it boasts a large number of great basses and contrabasses, hence the unusual instrumentation of the piece. Spirits Of The Water tries to suggest the essence of both still and flowing waters. Of moderate difficulty only.

Orch So/S ATTBBGbCb. An arrangement for (non-standard) recorder orchestra of the Summer Sextet. The piece features rather odd instrumentation: the same players double on sopranino and descant (but still have very long rests), and the trebles (one part only) don't play anything for the first two minutes (and could nearly play their whole part on a tenor). Nevertheless, this is an interesting 12 minutes of music, which explores several different moods. The difficulties are primarily musical, rather than technical.

12 SSSAAATTTBBB. Steve says: 'There is very little modern music for two or more choirs, and I thought that I would add to the very short list with a fairly substantial piece (it's about 11 minutes long). There are no parts for bigger basses, and I don't think the piece would benefit from adding them either. Of moderate difficulty only.'

12 SSSAAATTTBBBGbGbGbCbCbCb

Orch: SoSSAATTBBGbCb. A four movement symphony for recorder orchestra. This is by no means the only symphony for recorder orchestra, but its often insistent rhythms and jazz feel mark it out as something different. Not particularly difficult to play, as long as players count carefully, and have the courage of their convictions. There is some beautiful music for a solo great bass in the slow movement.

Orch: SoSSAATTBBGbCb. A second symphony for recorder orchestra, this time in three movements. The jazz influences in this symphony are much less obvious than in the first, although strong - even violent - rhythms are again much in evidence. In its quieter moments there are many attractive tunes, often tinged with sadness. There is nothing which is particularly difficult to play in this long (23 minute) piece, provided that extra care is taken with the rhythms.

Orch SoSSAATTBBGbCb. Steve says: 'This symphony is written for a standard recorder orchestra. It comes closer to jazz, blues and rock music than any other piece for recorders which I have written to date. Recorders can play like that, and very well too, but it's really important to observe all of the articulations! It is dedicated to Pam Smith, with thanks for her support and for all of the talent and hard work she brings to bear on conducting my pieces.'

11 SoSSAATTBBGbCb. This symphony is written for a standard recorder orchestra. It is a very 'integrated' piece, in that there is a handful of ideas which appear in the first movement, and keep reappearing throughout all three movements. There are some sombre moments, but unsurprisingly some passages which sound suspiciously like rock music (especially in the last movement). This symphony is perhaps slightly easier to play than the first three.

SoSSAATTBBGbCb

SATBGbCbx2. This symphony is written for two DTrTBGtBCtB orchestras. The orchestras should be seated a little distance apart to bring out the frequent antiphonal effects. The piece works well either played one-to-a-part or with larger forces.