Grieg, Edvard Hagerup
Grieg arr. Martelli – Norwegian Dance Opus 35 No. 1 (String Quartet)
This charming and characteristic dance is one of Grieg's many pieces for piano with a distinct national flavour, here expertly transcribed for string quartet by Carlo Martelli. For conservatories and professionals.
Grieg, Edvard Hagerup
Grieg arr. Martelli – Nocturne from Lyric Pieces (String Quartet)
This is one of more than sixty short piano pieces by the famous Norwegian composer, and is also one of four movements that Grieg orchestrated and incorporated into his Lyric Pieces. For secondary schools, colleges, conservatories and professionals. The Pavão Quartet recorded this arrangement on the CD Dreaming, released in 2008 on Discrete Recordings DISC0801 and re-released in 2010 on Discadia Records DISCA001. Included on the same CD are four more of Martelli’s Elgar, Beethoven, Debussy and Dvořák arrangements also published by Broadbent & Dunn.
Grieg, Edvard Hagerup
Grieg arr. Martelli – Morning from Peer Gynt (String Quartet)
Grieg's beautiful evocation of dawn is here superbly translated for the four stringed instruments by Carlo Martelli. For conservatories and professionals.
Grieg, Edvard Hagerup
Grieg arr. Martelli – March of the Dwarfs from Lyric Pieces (String Quartet)
One of six Lyric Pieces, originally for piano, which have been expertly transcribed for the four strings by Carlo Martelli. Better known in its orchestrated version this quiet march has a wistful middle section.
Grieg, Edvard Hagerup
Grieg arr. Martelli – In the Hall of the Mountain King from Peer Gynt (String Quartet)
One of the most difficult problems for an arranger with only a string quartet to deal with is to reproduce and translate into chamber music terms the cumulative effect of a lengthy orchestral crescendo. Carlo Martelli in this case has solved the problem to brilliant effect. For conservatories and professionals.
Grieg, Edvard Hagerup
Grieg arr. Martelli – Bridal Procession from Folk Life, Opus 19 No. 2 (String Quartet)
This opus cleverly conjures up the vision of an approaching procession, the wild merrymaking as it passes by and its subsequent fading away into the distance. In the closing bars of this characteristically masterly arrangement Carlo Martelli has introduced sly references to both Mendelssohn's and Wagner's wedding marches. For colleges, conservatories and professionals.
Granados, Enrique
After De Falla, the most distinguished of recent Spanish composers, Granados employs the musical idiom that has come to be considered, in a general sense, Spanish. Granados' fame rests mostly on his piano pieces, with the original of this arrangement by Carlo Martelli being one of the most famous.
Saxophone Quartet
Written for Trinity College of Music where the composer Gordon Carr was a professor for eighteen years. Fun music and rhythmically demanding.
Horn & Piano
Soliloquy was written for Laura Sheppard when she was a student at Trinity College of Music, and was an Associated Board of the Royal Schools of Music (ABRSM) exam piece, as well as having been a Trinity College of Music grade 7 exam piece between 1998 and 2006. For studios, schools, colleges, conservatories and professionals.
This charming four movement work, that aptly sounds like the title, is heavily influenced by twentieth century masters. The first movement dances between key signatures, creating the feeling of puppets not altogether in control of their faculties, while the second movement is unashamedly intense in character. The third movement includes some very nice jazz-like voicing at the beginning of the movement, with Carr using all the piano registers to add depth and colour. The Latin flavour of the final movement is a total departure from the previous three movements, bringing the ear back to the ballet again, this time in a fiery dance. The asymmetrical rhythms, shifting time signatures and registers, and the once-again intense chromatics jar us back to the herky-jerky puppets as they summon their ersatz dance skills. For the advanced intermediate performer as well as seasoned professionals.
Brass Quintet
Written for players at the Centre for Young Musicians in London where the composer Gordon Carr taught for thirty years.
Brass Quintet
Written for Thames Brass, a successful professional brass ensemble in which the horn player at the time was one of the composer's former students. Having spent much of his life as a horn player, and having also had the honour of working with the finest players, in Movements for Brass the composer explores the sonorities of brass in a way that is rewarding to play.
This piece takes its title of Lyric Suite from that by Edvard Grieg, a composer much admired by the arranger. There is no attempt to imitate his style, but Grieg said that he wanted to make houses for people to live in rather than build cathedrals, and that is very much the thought behind these pieces.
Written for Sally Mays and broadcast by her on ABC, each movement is a musical sketch of one of Sally's friends, mostly distinguished musicians.
A lovely suite of pieces based on images of different animals. Written for Sally Mays and broadcast by her on ABC. For studios and schools.
Horn & Piano
Written in memory of Lennie Clarke, who was a fellow student at the Royal Academy of Music, and played by the composer at a memorial concert. The work has been used in final recitals at the Royal Academy of Music and Trinity College of Music.
Horn, Violin & Piano
Written for the Hermes Ensemble with the composer being the horn player, Castle of Dreams is a companion piece for the Brahms Horn Trio and is of similar difficulty.
Hosepipe in F
Gordon Carr – A Short Piece for A Long Piece of Garden Hose (Hosepipe or Horn in F & Piano)
This short piece for hosepipe is absolutely brilliant if played at a lick, and is the perfect encore to send an audience home smiling. Written for the composer to play on a tour of the West Country with the Bristol Sinfonia, it has been performed internationally.
Horn & Piano
The first movement The Happy Fox is a London College of Music Grade 8 exam piece until further notice, and a Trinity College London Grade 8 exam piece until further notice
The second movement Idyll is a London College of Music Grade 7 exam piece until further notice, and a Trinity College London Grade 7 exam piece until further notice
The third movement To Home is a Trinity College London Grade 8 exam piece until further notice
This delightful piece, written for Laura Sheppard when a student at Trinity College London, is beautifully written for both horn and piano.
The first movement The Happy Fox was an Associated Board of the Royal Schools of Music (ABRSM) exam piece for Grade 8 between 2004 and 2012. Happy Fox has been a London College of Music Grade 8 exam piece since 2011 and has been a Trinity College London Grade 8 exam piece since 1998.
The second movement Idyll was an Associated Board of the Royal Schools of Music (ABRSM) exam piece for Grade 7 between 2004 and 2012 and a Trinity College London Performers Certificate exam piece between 1998 and 2004. Idyll has been a London College of Music Grade 7 exam piece since 2011 and has also been a Trinity College London Grade 7 exam piece since 2002.
The third and last movement To Home! was an Associated Board of the Royal Schools of Music (ABRSM) exam piece for Grade 8 between 2004 and 2012 and a Guildhall School of Music and Drama Grade 7 exam piece between 1996 and 1999. To Home! has been a Trinity College London Grade 8 exam piece since 2004.
Oh for the joys of the British seaside, perfectly captured in what is widely considered a glorious gem of a song. Glover-Kind penned, besides the classic chorus, three verses with quite a cast of characters, including a certain 'William Sykes the burglar' who seems to have led the arranger Bill Thorp into a somewhat Dickensian train of thought.
Horn Quartet
An arrangement by Martin Yates for horn quartet of this popular song.
Horn Quartet
An arrangement by Martin Yates for horn quartet of this popular song.
This bittersweet song, here arranged by Bill Thorp for string quartet, was famously sung by Fred Astaire in the 1937 film Shall We Dance? Lines from Ira Gershwin's lyric seem to have suggested the dreamy middle section "The way your smile just beams, The way you sing off key, The way you haunt my dreams". **** Not for sale in the USA ****
Gershwin, George
Since described as the best popular song ever written, this gem was inexplicably dropped from Lady Be Good, the Gershwins' first complete Broadway score, before it reached New York. However, it had an unlikely champion in the then Lady Mountbatten who brought her autographed copy back to London where soon nearly every band was playing it by ear, and from where its popularity spread to Paris and beyond. In this version, originally marked "not necessarily narcissistically", the arranger Bill Thorp subtly suggests the identity of the eponymous 'man'.
Gershwin, George
Little is known of Irving Caesar's alternative lyric (and title Swansea) for this, George Gershwin's first big success (1919). Prompted by an unexpected and entirely spurious visit to Wales the following year, the new version is suffused with Celtic overtones and contains the legendary lines "I'd give the world to be, Among the folks in D-Y-F-E-D". The next port of call on the companions' short European tour (reflected in this arrangement by Bill Thorp) was Prague (aha!) where they eagerly imbued the Bohemian spirit and lifestyle of the artistic community centred on Novy Svet (literally 'New World'), the old poor quarter.
Gershwin, George
This wistful song first appeared in George White's Scandals of 1924 and has been deservedly popular ever since. The chorus begins with the query "Somebody loves me, I wonder who?", which prompted the arranger Bill Thorp to mark this, one of his pet arrangements, "with an enquiring mind", and to musically explore possible solutions, considering Maria, Liza and Susie along the way before settling on his faithful boyhood friend (and dedicatee) 'my old dog', whose name you are invited to discover.
Gershwin, George
Gershwin arr. Thorp – Nice Work If You Can Get It (String Quartet)
This song featured in the 1937 film A Damsel in Distress starring Fred Astaire and Joan Fontaine. 50 years later the arranger Bill Thorp dedicated his version to 'Mrs T' which, taken with the song's title and original marking "with gainful employment", has been considered by some to be a wry political comment. However, things are not always as they seem, a more commercial example of which we find in the songs initial couplet "The man who only lives for making money, Lives a life that isnt necessarily sunny", the penultimate word of which clearly gave the arranger some employment. **** Not for sale in the USA ****
Gershwin, George
This beautiful song was one of Gershwin's last, featuring in the 1938 film the Goldwyn Follies. It has been marked to be played entrancingly, apparently prompted by lines from Ira Gershwin's lyric "there came a knock-knock-knocking at the door - Love walked right in" which seemingly caused the arranger Bill Thorp's mind to make an imaginative leap to a mid-19th century Parisian garret, a celebrated knock at an operatic door, and the entrance of Puccini's Mimi. Ideal for weddings. **** Not for sale in the USA ****
Gershwin, George
According to his brother (and lyricist) Ira, this was the last song that George Gershwin worked on before his untimely death at the age of 38; it became even more popular after being featured in the 1951 film An American in Paris. It is marked 'Solid Rock Feel' by the arranger Bill Thorp, apparently due to the culminating lines of Ira's apocalyptic lyric "In time the Rockies may crumble, Gibraltar may tumble, They're only made of clay, But our love is here to stay". **** Not for sale in the USA ****