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PNC160 SINFONIE IN B FLAT OPUS 18 No. 2/”Lucio Silla” Overture W.B.17 by JOHANN CHRISTIAN BACH  (1735 - 82) (edited by Pat Spence)

Written in 1774 as the overture to Bach’s 3 act opera seria Lucio Silla, the first performance took place in November 1775 at the New Theatre in Mannheim. It has since taken on an independent existence as a symphony. Although not originally planned as a symphony, it stands up well to comparison with Haydn’s contemporary Farewell Symphony, particularly the orchestration in the slow movement which makes eloquent use of the full wind section - especially the oboe. Scoring 2;2;2;2: 2;0;0;0: strings. 

JC BACH-SINFONIE IN Bb-SCORE.mus.pdf

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PPS043 OVERTURE: SUFFOLK CELEBRATION by BERNARD BARREL

7 minutes. Scoring  2;2;2;2: 4(2);2;3;1:timps; 2 perc. strings.

Like the north east wind, the boistrous opening braces us for the urban industrial first theme. The dreamy brooding second theme takes us to the lonely and mysterious Suffolk coastal marshes. The two are combined in a fugal texture, the climax emerging from a mist over the marshes into a bright, clear day - a glorious cacophany! All too soon the second theme creeps back to the marshes until almost lost in the distance ... urbanity however, has the last word!

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PPS017 KILLED IN ACTION  A Prelude & Fugue for orchestra Opus 74 by GORDON DALE

14 minutes. double wind+ b. trb & tuba; timps;2 perc. strings.

Inspired by W.H Davies’ poem , the Prelude depicts the peace before the 1914 - 18 war in Britain and Germany. National songs of both countries appear without menace as though whistled in the fields. A change of tempo and there is a build up to a state of war, a coldness in the strings and the marching of army boots in the percussion. The patriotic songs are twisted by chauvinism and nobody is listening to anyone else. The fugue subject is vicious and agitated, the voice of reason, though still present is lost in the snarling of war. Brief interludes of tonality reflect the ceasing of fighting at night to tend the wounded and bury the dead. The full horror of the stretto is achieved by bringing in all the different factions in different keys and speeds. The final terrible chords are preceded by a few bars of requiem for both sides.

“ a deeply committed work, the dissonances and climaxes of which were intensely gripping.” (Chester Observer).

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PPS039 MINI SYMPHONY Opus 81 by DAVID GOW

9 MINUTES  SCORED 2 (picc);2;2;1:3;2;3;1:3 PERC.timps: Optional harp,  STRINGS.

Written for and first performed by the Hounslow Youth Orchestra in 1968, this work has received many performances by other youth , amateur and summer course orchestras as well as broadcast performances by the BBC Concert orchestra.

“..this was an exciting -  and in the middle movement, lyrical - work which orchestra and audience clearly enjoyed.  This short piece ... has numerous opportunities for soloists which the young players seized with obvious delight.” (Gloucs. Echo).


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PPS061 PRELUDE “IN CELEBRATION” by JACK HAWES

Written for and first performed by Paul Hardman and the Ipswich Orchestral Society for the orchestra’s 70th anniversary concert in 1972. scored for 2 (picc.);2;2;2:4;2;3;1: timps + 2 perc.: harp & strings. 7 minutes,

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PPS090 “SPIRIT OF YOUTH”  (Childrens’s Concert March) by JACK HAWES

Written for and first performed by the Ipswich Orchestral Society for the orchestra’s Family Concert in March 1995 “witty and effective” (Evening Star).

Scored for 2 (picc.);2;2;2:4;2;3;1: timps + 2 perc.: & strings. 5 minutes.

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PPS010 FESTIVAL PRELUDE by IAN MILNES

Scored for 3 (Picc.);3(c.a.);3 (b.cl.);3 (d.bn):4;2;3;1:4 perc.; timps & strings.

4 minutes.

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PPS045 PRELUDE & FUGUE ON ‘GOD REST YE MERRY GENTLEMEN” by STUART NETTLESHIP. Scored for 2;2;2;2:2;4;3;1: 2 perc.; timps & strings. + vn.3.  Six minutes.

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