Orchestra 9-13

Orch SoSSAATTBBGbCb. Written for the 2006 Northern Recorder Course, I hope that this short (4 minute) piece is an appropriate memorial to Dennis Bamforth, without whom we would not have the recorder orchestras that we have today. In a very formal way it reflects the range of a standard orchestra, as a slow moving chromatic scale underpins the whole piece, starting on the lowest contrabass note, and finishing on the highest note of the sopranino. Along the way there are several changes of texture, typical of recorder orchestras. The music is poignant, slow moving and very chromatic - accurate tuning is difficult, but essential
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Orch SoSSAATTBBGbCb. Steve has been involved for some time with a project to bring the pleasures of the recorder orchestra to players who are technically not very strong. There is little music suitable for such groups, and this easy arrangement of the very well-known tune Scarborough Fair is one attempt at starting to fill that gap. It's only because jis arrangement is aimed at a completely different set of players that he would dare to work on the same tune as used by Paul Clark in his famous set of variations!

8 AATTTTBB This piece is a re-arrangement of the Serenade that features eight gemshorn

Orch: SoSSTAATBBGbCb. Three varied blues - one funky, one wistful, and one big-band blues which uses a theme from Bach's 3rd Brandenburg Concerto! Written as crowdpleasing 'stocking fillers', these make no profound musical statement, but are a bit of fun. Reasonably easy music for orchestras who are good at rhythms.

1 A+T & 1 T&Gb + SoSSAATTBBGbCb.Steve says: ' I wrote this concerto for Margaret Shearing and David Scruby. The piece has an unusual structure in that although it falls pretty clearly into three movements, the movements blend into one another, giving a single 12-minute piece of music. Not only do the soloists therefore have a certain stamina problem, but they also need to change instruments - treble and tenor at the start becomes tenor and (essential) great bass, and ends with descant and treble. The orchestral accompaniment is not at all difficult to play, so maximising the chances of two soloists having the opportunity to perform the piece. The solo parts are quite tricky in places, but not virtuosic.'

Orch SSAATTBBGbCb. This is quite a dramatic setting of an ancient story of love and murder, using the same forces as Calm Is The Morn Without A Sound.

Orch - 1 So/A & SAATTB(GbCb). This piece was written to provide a concerto for groups limited by their size and/or technical ability. It is particularly suited to branch meetings of the Society of Recorder Players. The solo part is a bit tricky in places (but is not in virtuoso territory), while the orchestral parts are moderate only. The solo part could be played on treble if the 'orchestra' is small.

Orch: 1 A +orch SAATTBGbCb. In the same way as the concertino for sopranino recorder, this piece was written to provide a concerto for groups limited by their size and/or technical ability. The solo part is tricky in places, while the orchestral parts are playable by - for example - a typical branch of the Society of Recorder Players.

Orch: 1 Cb + orch SoSAATTB(opt Gb & Cb).Steve says: ' As an enthusiastic contra player myself, this was a piece that just had to be written in the end! The dialogue between soloist and ensemble is cunningly managed so that the contra remains centre-stage and audible throughout. There is some gentle music, but perhaps surprisingly many vigorous and exciting moments as well. The solo part needs some nimble playing, but is not particularly difficult. It fits on all makes of contra, as there are no low F#s or G#s.'

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.