solo cl with ensemble (fl, bn, str qt, db) or orchestra (fl, bn, strings)
2021 13' Composers Edition
Commissioned by the Radford Trust for the 2022 Cornwall Music Festival, Carricknath is dedicated to Thea King (clarinet), Jane Fletcher (bassoon) and Jennet Campbell (flute), three inspirational woodwind players in the musical life of Cornwall.
Carricknath continues a long and fruitful association between the Radford Trust and the Cornwall Music Festival. Early in 2021 I was asked by Emma Campbell, a trustee of the Radford Trust and a friend of many years’ standing, to write the set piece for the Concerto Class of the 2022 Festival. I was delighted to accept the commission.
It’s written for a clarinettist of around Grade 6 to 7 standard. The orchestra is made of seven instruments (flute, bassoon, string quartet and double bass), though a larger string group can be used if desired. A piano reduction is also available.
The inspiration is Carricknath Point, the headland at the southern entrance of St Mawes Harbour. This has a special significance both for me – many childhood holidays were spent in St Mawes (in the cottage where my father had lived as a small boy during the Second World War), exploring the area by water and on foot, and a constant of those holidays was the view over to the Point. Another family link: after the war my grandmother Maisie Stephens, who lived in St Mawes for many years, was involved with replanting the pine trees that are such a feature of Carricknath Point, to replace some that had died. The Point also has great significance for Emma Campbell, who has long and enduring family links to nearby Bohortha and St Anthony in Roseland.
As seen from St Mawes, the Point has a distinctive shape, beginning on high ground at the left of the field of view, then as your eye moves to the right it falls fairly quickly then more gradually over fields; finally it drops away sharply to the sea, interrupted by the stand of pine trees. I have transcribed this shape into musical form, with a line that starts high (on a D) falls quite quickly then more gradually, rises briefly over the pines then falls precipitously down to a unison low note (an E flat): the sea. Throughout Carricknath there is a conflict between these two pitches (D and E flat) that remains unresolved until the final bar, and extended use of a synthetic scale that contains ever sharper notes as it rises in pitch.
The solo clarinet part is prominent throughout, often giving the melodic lead, presenting new ideas, or providing a countermelody, and makes the most of both the wide range of the instrument and its inherent singing tone, as well as its capacity for sharply accented and staccato passages. The flute and bassoon both also have moments in the limelight, and sometimes the wind instruments work as a trio. The piece is structured in the form of a free rondo, with the descending Carricknath motif as the rondo theme, and a variety of linked themes and contrasting material interspersed with it.
Carricknath is both an exploration and a celebration of the landscape and character of this special piece of Cornish coastline. In a single movement, it takes about 13 minutes to perform.preview score Publisher details & further information
- Pinocchio (chamber orchestra version)
2121 - 2210 - 2perc - pno - str
2021 35' contact composer
Choreographed and directed by Gavin McCaig, the children’s ballet Pinocchio was commissioned by Northern Ballet. Initially intended to premiere in 2020, it was postponed due to the pandemic. The premiere is on 26 October 2021 at the Stanley & Audrey Burton Theatre, Leeds, with performances until 30 October, followed by a further run of performances at the same venue from 7 to 11 December 2021. The ballet then tours the UK in spring 2022.
In this original retelling of the Italian story by Carlo Collodi, a lonely carpenter wishes for his puppet Pinocchio to come to life. After his dream comes true by the magic of a wishing well, Pinocchio sets out to prove himself worthy of becoming a real boy.
The score was written in 2020 for a quartet of clarinet doubling alto saxophone, viola, cello and piano. This orchestral version was produced in summer 2021 in preparation for its recording by Northern Ballet Sinfonia in November 2021.
The chamber orchestra version is scored for two flutes, oboe, clarinet doubling alto saxophone, clarinet doubling bass clarinet, bassoon, two horns, two trumpets, tenor trombone, two percussionists, piano and strings.Publisher details & further information
- North Country for string orchestra
2021 12' Composers Edition
III With abandon
I composed North Country in January 2021, in response to a commission from Paul Bryant, a retired orthopaedic surgeon who has made a number of stringed instruments – including a string quartet – in recent years. This commission came about through a mutual friend, Helen Dodd, who suggested that he should have a new piece of music to celebrate the completion of his quartet of instruments.
Helen put us in touch, and we agreed on a plan: a new piece of about 12 minutes duration in three movements, interwoven throughout with references to the northern English folk tune ‘The Oak and the Ash’. This tune is a great favourite of mine – I love its sudden changes of character – and it proved fertile inspiration for the three movements.
Here is the text of its first verse:
A North Country maid up to London had strayed,
Although with her nature it did not agree.
She wept and she sighed, and so bitterly she cried,
“How I wish once again in the North I could be!
Oh the oak and the ash, and the bonny ivy tree,
They flourish at home in my own country.”
The first movement, marked Lilting, has something of the character of a Scots slow air. It’s built around the melody of ‘The Oak and the Ash’, but transposed to a pentatonic scale, which gives it an open-air, folk-like quality.
The second movement, marked Heartfelt, grows from a rich reharmonisation of an 8-note segment of ‘The Oak and the Ash’. At the centre of the movement is a jaunty and irregular dance-like episode, this time based on an inverted version of the full tune. The movement closes with a return to an extended and more passionate version of its opening material.
The third movement, marked With abandon, draws on Latin-American rhythms, and is structured like a canon, with successive entries of the same material. After entries from first violin, second violin and viola, the full tune of ‘The Oak and the Ash’ appears in recognisable form. The tune gradually recedes, and though the movement appears to be fading into the distance, beware of a little sting in the tail.
Paul dedicates North Country to his wife Vicky. It was first performed by the Chapel Street Ensemble, on Paul Bryant’s instruments, in Chapel Street Methodist Church, Penzance on 31 October 2021.
I completed this version for string orchestra in January 2022.Publisher details & further information
- Clarinet Concerto
2222 - 2200 - T - solo cl - str
2019 25' Composers Edition
The Clarinet Concerto is dedicated to my wife, Mandy Burvill. Over the years I’ve listened to her performing concertos by Mozart, Weber, Debussy, Nielsen, Finzi, Copland and Magnus Lindberg, each performance an exercise in commitment and vitality, but with a surpassing sense of serenity and beauty in the slow movements. I’ve long wanted to write a concerto for her, but until now the opportunity hasn’t arisen. In 2018 the stars became aligned: Tom Seligman, principal conductor of Kensington Chamber Orchestra and a great friend, suggested bringing the idea to life. Funding was put in place – for which huge thanks to all those involved – and I wrote the piece intensively between November 2018 and February 2019.
The concerto, which lasts about 25 minutes, contains strong elements of autobiography, explored through three chronologically-themed movements.
The first, MCMXCVIII, focusses on our meeting in 1998. I’ve used Mandy’s date of birth in coded form as the basis of the main theme, which first appears in the free solo clarinet introduction. This theme sparks a series of twelve chords that fan out from a three-note closely spaced chord (D-F-G) to a widely spaced rapturous eight-note chord. This series recurs throughout the movement, but is first heard in the section near the opening that hints at big band. Then the solo takes the lead in a jazz-inflected section – further exploring the main theme – before a far more lyrical and expansive central section. Towards the close, after reworking and combining earlier material, a short cadenza builds towards the movement’s climax, which is crowned by a coded form of the year 1998, sung out by trumpets and horns.
The second movement, MM, is inspired by our wedding in 2000. Most of the material is derived from a short choral piece, ‘A Declaration’, that I wrote for the occasion, and which has languished in a box in the loft ever since – here it is resurrected, recast in instrumental form and presented mosaic-style over the course of the movement, intertwined with fragments of a little song I wrote for us to sing in our early years together. The third movement, MMIII/MMV, is about the arrival of our daughters Maisie in 2003 and Lily in 2005. Their years of birth, in coded form, are the basis of the jaunty main theme; this functions as a loose rondo theme, alternating with contrasting material. At the movement’s two climactic moments, our daughters’ initials in coded form are sung by espressivo high strings in unison. There are also allusions to a song I made up and used to sing to them when they were tiny. Punctuating the movement are pairs of miniature brass chorales – these derive from the harmonies of the first movement, but this time allied to our daughters’ theme. Each time the chorales appear they are more richly and outlandishly harmonised. The concerto ends with an orchestral crescendo culminating in a garish glissando on the solo clarinet.nnThe Clarinet Concerto, aptly, was finished on Valentine’s Day, 2019.
It was commissioned by Kensington Chamber Orchestra with funding from the Nicholas Berwin Charitable Trust and Damian Edwards. The first performance was given by Mandy Burvill and Kensington Chamber Orchestra, conducted by Tom Seligman, on Saturday 11 May 2019 in St Peter’s, Notting Hill, London.
Please contact composers edition to enquire about score and parts pricing.preview score
...a work set to delight listeners, orchestral players and soloist alike as Ian places his trademark styles of lyricism and humour throughout the piece...David Mintz and Elizabeth McLaughlin , Clarinet and Saxophone
- What’s For Starters?
orchestra (3222 - 4331 - T - 3perc - str)
2010 6' available from composer
I was commissioned to write What’s For Starters by the Royal Liverpool Philharmonic Orchestra for a food-themed Family Concert on 18 April 2010, conducted by James Clark, and presented by Dave Benson-Phillips. It’s a whistlestop tour through ten tunes about food or drink, ranging from nursery rhymes to popular songs. Works well as a quiz!
Premiered by the Royal Liverpool Philharmonic Orchestra at a Family Concert on 18 April 2010, conducted by James Clark.preview score Publisher details & further information
- We’re Going on a Bear Hunt
narrator, actor and orchestra (2222 - 2111 - T - 3perc - pno - narr - actor - str)
2009 22' available from composer
We’re Going on a Bear Hunt was commissioned by the Royal Liverpool Philharmonic Orchestra for a Family Concert on 18 October 2009, with narrator Dave Benson-Phillips, actor Emma Mills and the Royal Liverpool Philharmonic Orchestra, conducted by Alasdair Malloy, at Liverpool Philharmonic Hall.
Dave worked with Emma Mills on the script – it’s a version of the well-known tale with a few added twists and turns (e.g. a diversion through a samba band), plenty of audience participation, and a lot of comic touches. Once the script was pretty much complete, Dave and Emma made a video for me showing the pace and mood of each section, and I used this as the framework for the music. The music for the repeating section (We’re going on a bear hunt / We’re going to catch a big one / I’m not scared / what a beautiful day! etc.) is the same each time it appears. For each of the obstacles (grass, mud, river, snowstorm, samba band) I’ve written different music, though each of these is loosely based on a theme which appears in the repeating section.
We’re Going on a Bear Hunt has been performed many times by orchestras including the Hallé Orchestra, Royal Northern Sinfonia, Albert’s Orchestra, Cambridge Philharmonic, Covent Garden Sinfonia, Kensington Chamber Orchestra, St Albans Symphony Orchestra, Guernsey Camerata and Southampton Youth Concert Sinfonia.
On 1 September 2013 at 4pm We’re Going on a Bear Hunt formed the framework for the entirety of Prom 66 at the Royal Albert Hall, a Family Matinee concert titled The Big Proms Bear Hunt. The narrator was Michael Rosen, who popularised the story in his hugely popular children’s book. The Royal Liverpool Philharmonic Orchestra was conducted by Matthew Coorey, and they were joined by the Liverpool Philharmonic Training Choir and Melody Makers. Also playing was the West Everton Children’s Orchestra, the performing ensemble of the In Harmony project in Liverpool. Tony Ross, whose illustrations are known to countless children through Horrid Henry and The Little Princess, created live illustrations, projected onto a big screen, throughout the concert.
Music hire is directly through the composer – please use the contact form on this website
When hiring, please note that Michael Rosen must not be mentioned with regard to this work in marketing or other contexts. This work is a musical treatment of a public-domain folk tale. This requirement (to not mention Michael Rosen) must be passed on to the marketing and communications department of your organisation.
Rates for performances from 1 September 2021 until 31 December 2022:
professional orchestra: one performance £350, subsequent performances £175 each
amateur orchestra: one performance £220, subsequent performances £110 each
text: Dave Benson Phillips and Emma Mills
Premiered by the narrator Dave Benson-Phillips, actor Emma Mills and the Royal Liverpool Philharmonic Orchestra, conducted by Alasdair Malloy, at Liverpool Philharmonic Hall on 18 October 2009.preview score
I feel that Ian’s setting of the much-loved story We’re Going on a Bear Hunt is the Holy Grail of narrated pieces for family concerts! It is engaging and interactive for the audience and stimulating and fulfilling for the orchestra and is immediately appealing on every level with its highly descriptive contemporary musical style including references to rock and world music. As a specialist programme deviser for these kind of events, I also think that it is just the right length to allow the rest of the programme to include complementary pieces with Bear Hunt providing the perfect theatrical focal point.Alasdair Malloy (conductor, percussionist and deviser of children’s concerts)
It's fantastic!!! The rhythms and textures are perfect ... plus it's so funny. The audience are truly enjoying themselves from start to finish and interacting the whole time. Anything that gets kids (and adults for that matter) listening and appreciating the orchestra gets my vote.Chris Jarvis (CBeebies presenter)
Your piece was a huge hit with audience and orchestra alike.Tim Redmond (conductor, Cambridge Philharmonic Orchestra)
The response to the piece was overwhelmingly positive – our audience for these concerts tends to be KS1 kids and so the level of participation went down incredibly well. Eavesdropping post-concert people were incredibly enthusiastic about the performance.Hannah Reynolds (Planning Manager, The Sage Gateshead)
The children in our audience found We’re Going on a Bear Hunt really appealing and listened spellbound to this cleverly devised musical story. The work succeeds by setting the story’s repetitions to correspondingly attractive and repetitive musical interludes and giving the narrator and audience chances to join in with the story’s repetitions with theatrical devices and actions. By the end of the work, we have all been on a bear hunt, felt the anticipation and pretended we’re not scared, been under it, over it, through it and round it, seen the bear, and ... we can all sing the music! The piece kept the RLPO audience riveted with Dave Benson Phillips’ wonderfully over-the-top narration, movements and actions. Ian Stephens’ music is brilliantly conceived, keeps the orchestral players busy and interested, and sustains the storyline and presenter’s antics with good tunes. I wouldn’t hesitate to recommend this work to other orchestras – it’s a gift for younger children and a great fun addition to children’s concerts which will hold even the most fidgety audience spellbound! It should receive tonnes of performances and I’m personally looking forward to doing it again soon.Nicholas Cox (ex-principal clarinet, Royal Liverpool Philharmonic Orchestra)
We’re Going on a Bear Hunt is brilliantly conceived: Stephens has thought about every aspect of the story and brought it to life with his instinctive feel for orchestration. With its catchy tunes and intricate scoring, Bear Hunt is as fun to play as it is to listen to, and has proven a huge success with audiences.Josephine Frieze (percussion, Royal Liverpool Philharmonic Orchestra)
This summer I was lucky enough to take part in a performance of We’re Going on a Bear Hunt by Ian Stephens. This is a magical piece, full of delights for nursery and primary age children, with the music perfectly capturing the upbeat mood of the book.Miranda Dodd (Key Stage 1 Learning Leader and Year 2 Teacher, St Andrew’s C of E Primary School, Fontmell Magna, Dorset; amateur violinist)
The children loved listening to We’re Going on a Bear Hunt and we followed with the book. All the children were really engaged with the story and it was a brilliant way of introducing repeated phrases in stories and drama-supporting learning. They have learnt skills we can adapt for other stories (e.g. showing emotion in facial expressions) which they will be using throughout this year and KS1.Lucy James (Reception Teacher, St Joseph’s Catholic Primary School, Rotherhithe)
We’re Going on a Bear Hunt is absolutely superb! Both children and adults within schools will love this interactive and musical storytelling device. The children are engaged and enthused by the music and ask to listen to it over and over again. Every foundation stage and KS1 teacher will want this. Even my Year Fives were completely engrossed.Richard Preston (Year 5 Teacher, St Joseph’s Catholic Primary School, Rotherhithe)
"It was brilliant because I liked it when the bear chased after us. I like bears!” “I liked it in the mud because it was squelching.” “It was great. I was scared because they left the door open. I thought the bear was going to catch up with them!”Reception students (St Joseph’s Catholic Primary School, Rotherhithe)
We came as a family to the Teddy Bear’s Picnic concert at Liverpool Philharmonic Hall last year and had a fabulous time. We’re Going on a Bear Hunt itself was really atmospheric and involving for the children, who were caught up in the drama of it all. It was a great way to introduce children to live performance and classical music.Nina Bueno del Carpio (parent of children aged 4 & 6)
- Oxbow (dai-hu, guzheng and orchestra)
2009 12' available from composer
It’s not often that a composer is asked to write for a new and largely untested instrument. Oxbow is the result of just such an approach. In summer 2007 I was asked by Andrew Cornall, then Executive Director of the Royal Liverpool Philharmonic, to compose a rather unusual piece as part of Liverpool’s celebrations as European Capital of Culture 2008.
The new piece was part of ‘Celebrating the Year of the Ox’, a concert given by Ensemble 10/10, the contemporary music group of the Royal Liverpool Philharmonic Orchestra, on 24 January 2009 in The Cornerstone at Liverpool Hope University’s campus in Everton, Liverpool. Yu LeFu was the dai-hu soloist, Clark Rundell the conductor.
The dai-hu has been developed by Liverpool resident Mr K.H. Li, leader of the Pagoda Chinese Youth Orchestra, the first and largest Chinese youth orchestra in Europe, which he established in 1980. It belongs to the huqin family of Chinese stringed instruments, of which the best-known member is the erhu. The erhu has two strings, tuned to the D above middle C, and the A above that. The dai-hu also has two strings, but is pitched over two octaves lower, with the strings tuned to the C two octaves below middle C and the G above that, like the bottom two strings of the cello.
An important consideration behind Mr Li’s development of the dai-hu is his desire to fill a gap in ensembles of Chinese instruments. Though the higher string parts are normally taken by the erhu and other members of the huqin family, lower parts tend to be played on the Western cello. The dai-hu extends the characteristic colour and technique of the erhu down to the bottom of the cello’s range, and blends much more readily with the tone of the Chinese ensemble. It is with this piece that Mr Li is displaying the capabilities of his new instrument.
I met Mr Li a number of times in 2007 and 2008, recording him improvising on the dai-hu both at the Pagoda Cultural Club and in The Cornerstone. The title draws together three aspects of the piece – firstly, the piece celebrates the Year of the Ox; secondly, the dai-hu is played with a bow (it passes between the two strings); and thirdly, the piece is roughly in the form of an arch, following the shape of an oxbow lake (a U-shaped lake formed when a wide meander of a river is cut off).
Two musical ideas provide much of the material used in Oxbow. The first is a complex chord derived from the pentatonic (five-note) scale that is central to much of Chinese music. The notes of pentatonic scales linked to five pitches which are the interval of a fifth apart – C, G, D, A and E – are piled up on top of each other to create a 25-note chord which is rich in harmony but dissonant between its high and low extremities.
The second idea is my response to the frequent inclusion of traditional melodies in Chinese music. Though I live near Liverpool, I was born and brought up in Devon in the south-west of England, and I have chosen a particularly beautiful folk song from Devon to form the heart and soul of the piece. Titled ‘The Forsaken Maiden’, the song was taken down from a hedger names James Parsons in 1888 by Sabine Baring-Gould, and published in his collection ‘Songs of the West’. It’s thought to date back to the 16th century. The first and last verses are as follows:
A maiden sat a-weeping
Down by the sea shore,
What ails my pretty Sally,
What ails my pretty Sally,
And makes her heart sore?
I’ll spread my sail of silver,
I’ll sail towards the sun,
And thou, false love, will weep for me,
And thou, false love, will weep for me,
For me when I’m gone.
Fragments and transformations of phrases from the song are present from the opening bars and throughout the piece, though it is not until the central section that the whole melody is revealed by the dai-hu.
I was further inspired by the idea of an oxbow lake to cast the piece in the form of a river’s journey. The first section takes us from the source high in the mountains, flowing onwards through narrow rapids and wider reaches, through rural and urban landscapes, until the floodplain is reached. This descent is marked by a very gradually descending pentatonic scale, outlining the notes of the 25-note chord. A cadenza for the dai-hu creates a sense of timelessness, representing the oxbow lake itself, cut off long ago from the flow of the river, obsolete and stagnant. The folksong gradually appears and is then further transformed and developed. A second dai-hu cadenza begins rhapsodically but then regains its urgency, leading to a return to the steadily flowing river. In the final section the river enters the estuarine landscape where fresh and salt water merge and blend, with violent tidal eddies and currents giving way eventually to the understated power of the ocean.
The orchestral version was premiered by Yu LeFu, guzheng soloist Zi Lan Liao and the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko, at Liverpool Philharmonic Hall on 2 October 2010. There is also a version for dai-hu and ensemble.preview score Publisher details & further information
- Nautical Notes
2004 4' available from composer
After hearing the many short orchestral ‘play-ons’ that I’d composed for the Liverpool Phil, percussionist and presenter Alasdair Malloy asked me to write this piece for his pirate-themed family concerts, which he presents around the world. In it I’ve intertwined thirteen easily recognisable tunes to do with water and the sea, ranging from nursery rhymes to folk and popular songs and beyond. Nautical Notes has been performed many times by the Royal Liverpool Philharmonic Orchestra, and also by the London Mozart Players, Bournemouth Symphony Orchestra, RTÉ Concert Orchestra, Ulster Orchestra, Orchestra of Scottish Opera, Malaysian Philharmonic Orchestra, Guildford Philharmonic Orchestra, Hallé Orchestra and City of Birmingham Symphony Orchestra.preview score Publisher details & further information
- The World In One City (orchestral version)
orchestra, optional organ (3333 - 4331 - T - 3perc - hp - org - str)
2004 2' available from composer
Early in the morning of 4 June 2003, I heard the news that Liverpool had been selected as European Capital of Culture 2008. I was so struck by this that I contacted the Phil and asked Principal Conductor Gerard Schwarz if I could write a celebratory fanfare to be played at that evening’s concert. He agreed, stipulating that it should be 30 seconds long and for brass alone. It was performed that evening. At the suggestion of my wife Mandy, I based it on a rhythm and melodic shape suggested by the motto of Liverpool’s Capital of Culture bid, ‘The World In One City’. For the RLPO’s Classic FM concert at the Royal Albert Hall in October 2004, I was asked to extend and rescore it for full orchestra and organ.
Premiered by the Royal Liverpool Philharmonic Orchestra at the Royal Albert Hall on 7 October 2004, conducted by Owain Arwel Hughes. Also available in short version for brass septet – see under Small Ensemble.preview score Publisher details & further information
- Crosby Symphony Overture
2222 - 4331 - T - str
2003 9' available from composer
I was commissioned to write Crosby Symphony Overture by the Crosby Symphony Orchestra to celebrate the 60th anniversary of its foundation, which took place in 2003. The overture was written between January and April 2003. Getting it completed was a little fraught as my wife Mandy was heavily pregnant with our eldest daughter at the time, and I was counting on the final week of her pregnancy to get it completed. However our daughter Maisie had other ideas and arrived ten days early – in a sleepless daze I managed to deliver the music to the conductor with only hours to spare when she was three days old. Many thanks to Robert Sells and the Orchestra for their faith in me and to the individuals and companies who have been so generous in their support.
Crosby Symphony Overture opens with a slow prelude. The central motif of the whole piece – a melody underpinned by a characteristic twist of harmony – makes its first appearance within this section. After a brief pause, the con moto (‘with movement’) dance sequence is introduced in the strings. The musicians of the CSO reliably inform me that they can hear touches of Eastern European folk music and Appalachian fiddle music in this section. The woodwinds take centre-stage as the music becomes increasingly agitated. After a brief climax and a hint of the central motif, a darkening of the mood heralds the lilting triple-time grazioso (‘gracefully’) section, which is announced by an oboe duet. Tension builds as the strings take over the theme, and after an abrupt halt, a pianissimo string passage leads into the heart of the overture, a jubilant and extended reiteration of the central motif. The con moto returns with renewed vigour, and the final bars are truly celebratory.
My experience of conducting the Crosby Symphony Overture confirmed my first impressions of the piece gained when we read it through at Music Camp. The strong rhythmic drive of the ‘con moto ‘ sections, the very effective use of syncopation, the frequent changes of mood from a lilting ‘grazioso’ through a dark threatening section in the middle, to the pure exuberance of the main theme, appealed to the young people of the orchestra.
When selecting repertoire for a youth orchestra, one is always conscious of the demands made on the strings. When I first looked at the score, it was immediately obvious that the composer was a string player; the string parts used a variety of textures, but were always idiomatic and rewarding to play, without being too demanding technically. Meanwhile the woodwind and brass parts had plenty for the players to get their teeth into, not least because they were rhythmically much more complex. The audience enjoyed the piece as much as the players, partly because there is a very obvious recapitulation, and a brilliant conclusion. I would strongly recommend the Crosby Symphony Overture to any youth orchestra conductors who are looking for modern music which is challenging, stimulating and fun to play.
Sir Richard Mynors, co-conductor of Herefordshire Youth Orchestra
One of three works to be shortlisted for the Making Music category of the British Composer Awards 2004.preview score Publisher details & further information