Philip Sparke (Composer)
 

Description:
Designed to open a Christmas or holiday concert, A Christmas Herald starts with a dynamic fanfare introducing a lyrical theme. This theme eventually turns into a descant to “Hark, the Herald Angels Sing,” which is subsequently introduced by trombones and euphonium. The famous carol tune then gradually transforms back into the fanfare, closing the work as it began. A perfect opener for any Christmas concert. Dur: 2:30

Philip Sparke (Composer)
 

Description:
A Christmas March was written to provide the young band something up-beat with which to open or close a Christmas or holiday concert. The main theme of the march is original, but many short references to well-known Christmas tunes appear in obvious and not-so-obvious places. These include Adeste Fidelis, Deck the Halls, Good King Wenceslas and Jingle Bells. God Rest Ye Merry, Gentlemen forms the march's trio section. A perfect piece for any Christmas concert. Dur: 2:00

Philip Sparke (Composer)
 

Description:
A Festive Tribute is an arrangement of a splendid chorus that Bach first used in the secular Cantata 207 of 1726, but is perhaps better known in its later version from Cantata 207a, the descriptively titled Auf, schmetternde Töne der muntern Trompeten (“Come, resounding tones of merry trumpets”). Much of the music for this cantata is celebratory and lushly scored for a large orchestra including trumpets, oboes d'amore and flutes, making it an ideal piece for a concert band arrangement. Dur: 3:00

Johann Sebastian Bach (Composer)
Philip Sparke (Arranger)
 

Description:
A Monmouth Overture was composed in 2007 for the Haberdashers' Symphonic Winds as part of Philip Sparke's year as composer-in-residence at the Monmouth school. The work is based around the 15th century “Agincourt Song,” written in honor of the victorious Henry V who triumphed over the larger but outdated French army. Henry V was born in Monmouth in 1387, giving this wonderful overture its historical title. Bring a piece of history with a modern twist to your concert program. Dur: 4:30

Philip Sparke (Composer)
 

Description:
A Quiet Moment was written in memory of James Philip Krofta, a highly respected American conductor who died in the year 2006. The calm, willful composition of Philip Sparke is equally at home on the concert platform as in the contest arena or at significant remembrance events when a “quiet moment” is required. Dur: 4:30

Philip Sparke (Composer)
 

Description:
Sir Hubert Parry (1848-1918) belongs to a forgotten generation of English composers who are often over-shadowed by Sir Edward Elgar, and the result has been that much of their work is little played or forgotten. In Parry's case, he is now mostly remembered for his hymn tunes, such as Jerusalem and Repton, both marvellous melodies, of course. The latter first appeared in Parry's oratorio Judith and was adapted as a hymn tune after the composer's death. The solo part can be played by a trumpet, clarinet or alto saxophone and will give your chosen soloist a chance to shine.

Charles Hubert Parry (Composer)
Philip Sparke (Arranger)
 

Description:
Sir Hubert Parry (1848-1918) belongs to a forgotten generation of English composers who are often over-shadowed by Sir Edward Elgar, and the result has been that much of their work is little played or forgotten. In Parry's case, he is now mostly remembered for his hymn tunes, such as Jerusalem and Repton, both marvellous melodies, of course. The latter first appeared in Parry's oratorio Judith and was adapted as a hymn tune after the composer's death. The solo part can be played by a trumpet, clarinet or alto saxophone and will give your chosen soloist a chance to shine.

 

Philip Sparke (Composer)
 

Philip Sparke (Arranger)
Sir Arthur Sullivan (Composer)
 

Description:
In 2007, Philip Sparke received the exciting task of composing three new works for the historic Monmouth School, situated on the Welsh/English border, at which he was composer-in-residence. Almshouse Street Blues was conceived in a truly democratic way, with each member of the band choosing the kind of piece they wanted! The result reflects the summer festival that takes place in the town each year, where you can experience anything from folk music to jazz and even bangra. With Almshouse Street Blues, Philip Sparke has written a work that will fit perfectly in any festival program. Dur: 4:45

Philip Sparke (Composer)
 

Description:
Christmas as celebrated in England is a relatively new tradition, dating from the time of Queen Victoria. Her husband Prince Albert was from Germany, and he brought many German Christmas traditions with him, including the Christmas tree and Christmas cards-even Christmas carols. Philip Sparke has however used a varied selection of English melodies to arrange into his Festival of Carols, which can be performed with an optional SATB choir. Includes: Sussex Carol • In the Bleak Mid-Winter • God Rest You Merry, Gentlemen • Once in Royal David's City • I Saw Three Ships • O Come, All Ye Faithful. Dur: 9:35

Philip Sparke (Arranger)
 

Description:
The four tunes used in this suite have been made universally popular in Sir Henry Wood's,Fantasia on British Sea Songs, which is an ever-present ingredient in The Last Night of the Proms. He introduced this colourful suite into the Proms in 1905, to celebrate the centenary of Nelson's brilliant victory at Trafalgar, when “Britannia” really did “rule the waves”. Bring the excitement of The Last Night of The Proms to any concert with this stirring new edition.

Philip Sparke (Composer)
 

Description:
The four tunes used in this suite have been made universally popular in Sir Henry Wood's,Fantasia on British Sea Songs, which is an ever-present ingredient in The Last Night of the Proms. He introduced this colourful suite into the Proms in 1905, to celebrate the centenary of Nelson's brilliant victory at Trafalgar, when “Britannia” really did “rule the waves”. Bring the excitement of The Last Night of The Proms to any concert with this stirring new edition.

Philip Sparke (Composer)
 

Philip Sparke (Composer)
 

Description:
As the title suggests, this piece comprises a set of variations on an original chorale, which is presented in the opening bars. The chorale uses the dark middle and lower sections of the band and is extended with minor variations until a pause leads to the first real variation, marked Vivo. This is in the form of a moto perpetuo. The second variation is a beautiful Andante introduced by a solo clarinet. Following a full band climax the final variation opens with quiet, nervous energy until its main theme is introduced. The chorale makes a brief appearance until the main theme reappears. This leads to a triumphant final augmented statement of the chorale theme, decorated by the florid clarinet theme in the upper woodwinds. A dazzling new concert work.

Philip Sparke (Composer)
 

Description:
Mozart originally wrote this concerto for a clarinet with an extended lower range, compared to the conventional instrument. As early as 1802, published versions appeared with registral changes, which made the concerto playable on instruments without the extra keys. When producing an edition for the conventional clarinet there are two choices to be made about the extra notes; Is it better to maintain the musical line, and hence transpose whole phrases or passages up an octave, rather than single notes, or is the chalumeau tone more important, in which case it may possibly be better to alter one or two notes to keep the correct octave. In this edition Philip Sparke has usually gone for the former so thesequences make musical sense, but have taken the second option in some places. This fantastic work will prove popular with soloist, band and audience alike.

Philip Sparke (Arranger)
Wolfgang Amadeus Mozart (Composer)
 

Description:
Mozart originally wrote this concerto for a clarinet with an extended lower range, compared to the conventional instrument. As early as 1802, published versions appeared with registral changes, which made the concerto playable on instruments without the extra keys. When producing an edition for the conventional clarinet there are two choices to be made about the extra notes; Is it better to maintain the musical line, and hence transpose whole phrases or passages up an octave, rather than single notes, or is the chalumeau tone more important, in which case it may possibly be better to alter one or two notes to keep the correct octave. In this edition Philip Sparke has usually gone for the former so thesequences make musical sense, but have taken the second option in some places. This fantastic work will prove popular with soloist, band and audience alike.

Philip Sparke (Arranger)
W.A. Mozart (Composer)
 

Description:
This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original.

Philip Sparke (Arranger)
 

Description:
This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original.

Philip Sparke (Arranger)
 

Description:
The original concept for this work was a suite of short movements, each with its own character, but by the time the first movement was complete it was clear that a conventional three-movement format was going to work out better. The opening movement contains much syncopation and is almost rag-like in style. The slower second movement explores the unsurpassable ability of the euphonium to play lyrically, with a theme that is later taken up by the band whilst the soloist weaves a filigree descant. This leads straight into the third movement, which is almost bebop in style and shows off the jazzier capabilities of the euphonium. The concerto was composed for the virtuoso soloist, Steven Mead. A version for euphonium and piano is also available.

Philip Sparke (Composer)
 

Description:
The original concept for this work was a suite of short movements, each with its own character, but by the time the first movement was complete it was clear that a conventional three-movement format was going to work out better. The opening movement contains much syncopation and is almost rag-like in style. The slower second movement explores the unsurpassable ability of the euphonium to play lyrically, with a theme that is later taken up by the band whilst the soloist weaves a filigree descant. This leads straight into the third movement, which is almost bebop in style and shows off the jazzier capabilities of the euphonium. The concerto was composed for the virtuoso soloist, Steven Mead. A version for euphonium and piano is also available.

Philip Sparke (Composer)
 

Philip Sparke (Composer)
 

George Frederich Handel (Composer)
Philip Sparke (Arranger)
 

Philip Sparke (Composer)
 

Description:
This short and lively overture will make a fantastic opening piece for any concert. It begins with the fanfare-like main theme played by the clarinets and saxophones, which is taken up by the whole band. Following a slower central chorale the original tempo returns and the opening fanfares re-appear to bring the piece to a triumphal end.

Philip Sparke (Arranger)