Category: Uncategorized

As regular readers will know, alongside my current composing and arranging I have been going through my earlier music and making some of it more easily available – and an anthem that I came across recently was He will speak peace. I wrote this anthem in 1992 for the 350th anniversary of the foundation in 1642 of Lion Walk Church, the United Reformed Church in the centre of Colchester, Essex, in which I have worshipped for nearly forty years. Over time it has had several buildings, and the current one (opened a few years before this anniversary) retains the Victorian spire alongside a lovely and comfortable modern building above the shops with an octagonal worship area, a fine three-manual pipe organ (see picture) and an assortment of halls, kitchens, and other rooms.

During the year 1992 we had a number of special services, and a particular one focussed on the music ministry of the church, organised and led by the late Norman Hart, with Dr Ian Ray (who has been organist and choirmaster for longer than I can remember) in charge of the music – and for this I wrote a song for the youth group, another for the ladies’ choir, and this anthem for the SATB choir. The texts for all the music were selected or written by Norman Hart, and for He will speak peace he chose two verses from Psalm 85:

I will hear what God the Lord will speak, for he will speak peace unto his people, peace unto his saints.
Mercy and truth are met together; righteousness and peace have kissed each other.

One of the hymns chosen for the service was ‘Eternal Ruler of the Ceaseless Round’ for which the tune is ‘Song 1’ by Orlando Gibbons, and I incorporated this into my setting – mainly in the organ part, but with the choir taking up and developing the tune in the final bars. The year 1992 was also the 100th anniversary of the birth of my teacher Herbert Howells, and so I decided to dedicate the anthem to his memory. The last bar, in quotation marks in the score, is a characteristic Howells cadence (itself derived from late renaissance English musical language), but I think many of the other passages bear Howells’ influence too, and alongside that I enjoyed the opportunity to blend Gibbons’ seventeenth-century style with a twentieth-century one.

It strikes me now that the words of this anthem are as important today as it ever was, and I have really enjoyed looking through it again and making it available once more, and already it has started to regain interest amongst choir directors.

Here’s a link to a scrolling score, and you can see purchase details of the anthem here.

A few days after I wrote the above, the anthem was performed at a Remembrance Day service by The Chapel Choir of Selwyn College, Cambridge, director Sarah MacDonald. You can hear it here

 

 

 

Dear friends,

Welcome to my October/November newsletter, which is for anyone who has connected in some way with my music, both choral and instrumental.

This month’s focus is on music for piano, organ, and bassoon, some new, and some republished. (Next month’s will be mainly choral.)

The brand new publication is Aspects of Blue – seven piano pieces at intermediate level.  I wrote these pieces over the last year or two. Each of the pieces represent a different aspect of the twelve-bar blues structure. They are all based on the twelve-bar chord sequence, but each responds to it in a different way, with stylistic reference to the past as well as the present, providing an enticing and contrasting set of pieces which can be played complete or individually. The titles are Deep Blue, Bluetooth, Light Blue, Blue River, Stately Blue, Blue Sky, and Electric Blue. The score is published by Editions Musica Ferrum: you can hear a performance with scrolling score here, and details to order the music are here.

Another new publication, in which I had a part to play, is Piano Inspiration – Isata Kanneh-Mason. I made two arrangements for Book 1 (Grades 4-6) of this two-book series: Sometimes I feel like a motherless child (trad.), and The Man I Love (Gershwin). These were fun to do and I’m pleased that they form part of Isata’s eclectic and diverse musical collection. The books, published by ABRSM, are on sale here.

Prelude No. 9 from my ‘Twelve or Thirteen Preludes for solo piano, Set One’ continues to sell regularly here, as it is in the current ABRSM piano syllabus for Grade 7.  It is now joined by its neighbour, Prelude No. 8, which is in the current Trinity College London piano syllabus – also Grade 7 – which is now also available as a separate download here. They are very different in character: Prelude No. 8 is a fast-moving piece, with fanfares and running passages in constantly changing metre, moving to a big climax and a throw-away ending – a complete contrast to the calm and reflective Prelude No. 9. Details of both pieces, and the book that they come from, are here, and here are recordings of the pieces: Prelude No. 8, Prelude No. 9.

Out of print for some time, and now reissued, are my Six Dances for Four Hands – a set of light-hearted pieces at intermediate level, for piano duet (the set of pieces was formerly called ‘I Love Piano Duets, Book 3’). I really enjoyed re-discovering these pieces – quite traditional in style, and a lot of fun to play – and you can see and hear a scrolling score here.  Please visit this page to buy a copy (print or digital download), or this page to read a blog about them.

Those who have used the Pianoworks series (by Janet and Alan Bullard), published by Oxford University Press, may be interested to see the ongoing series of arrangements of popular songs and tunes for the beginner and intermediate pianist that we have been doing in the Janet and Alan Bullard Piano Series. These are new arrangements, not in the Pianoworks books, and are available as separate digital downloads – please follow this link.

For organists, my Christmas Preludes and Fantasia might come in useful at this time of year. As well as a Fantasia (with a bit of everything, to end a service joyfully) there are individual preludes on The Angel Gabriel, Infant Holy, Whence is that goodly fragrance?, As with gladness men of old, and He is born (Il est né). Published (complete, or separate downloads) by Banks Music Publications here.

And lastly, my bassoon piece, Blue Bassoon, has been re-published by Clifton Edition. This short piece was originally written for a competition for young bassoonists, and exploits several aspects of the instrument at an intermediate level.  Here’s a scrolling score, and the music can be ordered here.

Recent Pieces of the Week have included:
Autumn, for upper voice choir
Autumn Evening, for soprano, clarinet, and piano
Attitudes, for solo guitar
Cantate Gloria, for unaccompanied choir

You can also view previous newsletters as posts on this website.

I do hope you’ve enjoyed reading this newsletter. Any thoughts or suggestions are very welcome,

Best wishes, Alan

Last weekend, in York, was the Convention of the Association of British Choral Directors (ABCD). This was a big affair, and the first one since the Covid pandemic – previous to that there was one every August Bank Holiday weekend, in a different part of the country each year. Unfortunately I was unable to get to this one, but I have been to nearly 20 of them, and they are always an exciting and busy time, with a mixture of workshops, concerts, a large range of exhibitors, etc. And of course there is the opportunity to meet people and renew friendships with conductors, singers, publishers and promoters.

The first convention I went to was in Cambridge in 1999, and for this one I was invited, not only to write a piece for a visiting youth choir from Canada, but also to write a piece for the all the convention attendees to sing at the final concert!  The director of the convention for this year was the conductor Peter Davies, who has commissioned quite a few pieces from me over the years, and this time he decided that it would be an interesting approach if I were to write the piece during the weekend, in time for the final concert, and also that I should be seen to be writing it, sitting at a table in the main hall!  I duly complied on the Friday evening and the Saturday, although I did have a pretty good idea of what I was going to write, and then on the Sunday morning the photocopier whizzed into action and everyone sung it in the afternoon, conducted by Bruce Pullan, the guest conductor for the weekend.

Various texts were suggested, but in the end I settled on the words ‘Cantate Gloria’ and their English translation ‘Sing Glory’ – that was the complete text, which is suitably celebratory. I also, of course, had not only to write the music quite quickly, but also make it not too difficult to learn – and this helped me with giving the piece a logical design.

The words ‘Sing Glory’ gave me a rhythmic tag which recurs through most of the piece, sometimes in the foreground and sometimes in the background. The main melody, using the Latin text, appears three times, the first time in the upper voices accompanied by the ‘sing glory’ rhythm in the men, the second time in a two-part canon in the men (accompanied by ‘sing glory’ in the upper two voices), and the third time in a four-part canon in all voices. Then, following each of these statements, a grander and more chordal ‘Gloria’ leads to the ‘sing glory’ tag in all voices, each of these three statements beginning on a higher note than the previous one, making the final statement the most climactic.

The printed music is published by Oxford University Press here, and for digital downloads go to Chimes Digitalor to Sheet Music Plus

There is a YouTube recording here.

There’s also another YouTube recording here – please listen to the one above first because it is much more accurate: but this one is despatched with delightful enthusiasm!

It is often said by composers that the guitar is an instrument that they would be wary of writing for without a guitarist to help them – and it’s perfectly true that working with a skilled performer is a very good spur to creative activity, as I found recently with my ukulele pieces, Shoreline Sketches (see Piece of the Week no. 28).

When I came, over thirty years ago, to write Attitudes for the guitarist Martin Plackett, I found the same, and I have happy memories of working with Martin in a rather cramped and overcrowded front room (due to an extension being built at the time, we only had half a house) and learning a great deal about what the guitar could do.  But I also did my own ‘homework’ as well on guitar technique, and much of that informed the way that I composed the piece.  In particular, I used the tuning of the guitar’s six strings to shape the way that the harmony and melody was developed, by devising a scale of alternating tones and semitones built up from each string. To be honest, I can’t remember exactly how that worked now, but the result gave me an expressive harmonic language which I was happy to use.

For the listener and player though, what might be more interesting is the range of colour that the guitar can produce and which I aimed to make use of.
The first movement, ‘Dramatic’ begins with an improvisatory rising melodic line. I’m particularly fond of using the guitar as a melody instrument, as this gives the player optimum opportunity to colour and vary the sound. Then, later, contrast is provided by using the guitar chordally, and also a section with harmonics. Finally, the opening melody descends to where it started.
The second movement ‘Capricious’ is very fast, in strict time but with no clear time signature, and apart from a few contrasting chords played on the lowest two open strings, and a central pesante section, the melody is played in high position on the upper strings, giving a fleeting and evanescent atmosphere.
The final movement, ‘Pensive’, begins in what is perhaps a more traditional way – melody in the upper strings while the thumb picks out isolated bass notes or chords. Within that texture there is a big range of colour, though, and gradually the melody takes over and develops into a dramatic unaccompanied section moving across all the strings, returning, in the final section, to the opening texture, and moving to a coda which emphasises the pull between major and minor third which characterises the motivic units used in all three movements.

I hope you enjoy it – it’s unpublished and will probably remain so until I have the energy to typeset it. But I’m rather fond of my (I hope perfectly clear) manuscript, which reminds one of those pre-computer days, and you can download it free from my website. And you can listen to the wonderful recording that Martin Plackett made, here, with a scrolling score.

 

At least two composers have reasons to be thankful for the poet James Thomson – for Thomas Arne he wrote the words for ‘Rule Britannia’, and for Haydn he was the inspiration behind one of his most well-known oratorios. Scottish born, Thomson (1700-48) spent most of his working life in London, where he wrote the four long poems which together formed ‘The Seasons’ – later translated into German, paraphrased, and used by Haydn in his work of the same name.

But I didn’t know any of this when I came across Thomson’s ‘Autumn’ when I was seeking a text for a new piece.  I was writing for a trio of soprano, clarinet, and piano (I was the pianist) and like many such trios we had a staple diet of Schubert’s ‘Shepherd on the Rock, Spohr’s ‘Six German Songs’, and other more recent pieces. When I came across this section from the poem, I was excited by the picture it painted of autumnal dusk, mist, and brightening moonlight:

The western sun withdraws the shortened day;
And humid evening, gliding o’er the sky,
In her chill progress, to the ground condensed
The vapours throws.  Where creeping waters ooze,
Where marshes stagnate, and where rivers wind,
Cluster the rolling fogs, and swim along
The dusky-mantled lawn.  Meanwhile the moon,
Full-orbed, and breaking through the scattered clouds,
Shows her broad visage in the crimsoned east.
Turned to the sun direct, her spotted disk
A smaller earth, gives all its blaze again,
Void of its flame, and sheds a softer day.
Now through the passing cloud she seems to stoop,
Now up the pure cerulean rides sublime.
Wide the pale deluge floats, and streaming mild
O’er the sky’d mountain to the shadowy vale,
While rocks and floods reflect the quivering gleam,
The whole air whitens with a boundless tide
Of silver radiance, trembling round the world.

My setting is a trio in which the soprano and the two instruments are equal partners. In the first section, the wide range of the clarinet enables it to emerge out of the low pitched darkness, and slowly climb high above the soprano voice, while the piano provides a kind of autumnal mist.

‘Meanwhile, the moon,’ suggested a change of mood – the music becomes very still as the piano articulates the moon breaking through the clouds, and then gradually picks up movement, moving to a high point on the word ‘blaze’.

In the final section (‘Now through the passing cloud’) there is a return to the opening textures, but soon the music becomes more agitated (‘While rocks and floods’), quickly reaching another high point on ‘radiance’ and rapidly falling to a final autumn mist again.

Thomson’s text is a gift to any composer and its expressive language really helped the music to flow. I wrote it in 1979, so I can’t remember much of the detail of how I worked on it, but several trios took it up and performed it in those early days. I hope you enjoy my evocation of autumn mists and moonlight!

You can hear a performance with scrolling score here, and you can order the music from here.

Sing for Pleasure – the national charity which aims to encourage people of all ages to enjoy choral singing – is planning to celebrate its 60th anniversary next year with an excitingly wide range of singing and training events.
I got to know about Sing for Pleasure in the 1970s when my head of department was a musician called Donald Hughes.  He was a keen encourager of amateur music-making and was a founding figure in the Sing for Pleasure movement – and it was largely through him that I was asked to write a piece to celebrate their 25th anniversary, in 1989.

The piece was to contain movements for the different types of choirs that were taking part, mixed choirs (SATB), and upper voice choirs, both adults and children – and to emphasise the all-year-round activity of singing, the words were chosen to reflect the different seasons of the year. ‘Seasons’ as the piece came to be known (without a ‘The’!) contained eight movements, and approximately thirty choirs took part in a celebratory event in Huddersfield Town Hall.

Inevitably, with a piece of this size and scoring, a complete second performance was unlikely, but it was very nice that some of the separate pieces took on a life of their own, and Autumn for upper-voice youth choir was one of these, and it’s now been sung by a number of choirs. The words, taken from a collection of poems for and by young people, are by F. Politzer and paint a magical picture of autumn:

Whirling leaves, golden and brown,
Twisting and turning, hurrying down.
Driving wind, gusty and strong,
Whistling and sighing, rushing along.

So, the germ of the piece is a ‘twisting and turning’ melody line, sung at first by all voices together. Then, as the music develops, this line returns as a kind of chorus, first in a two-part canon, then in a three-part one, as the ‘whirling leaves’ are whipped up by the wind and scattered around. Between these sections there is more word-painting (laughing…galloping…chirping…) and finally a more relaxed moment as the dying embers of autumn await new birth in the spring.

Here’s a link to a recording by the Taplow Girls’ Choir, conductor Gillian Dibden, and here’s a link to the Autumn website page.

I’m ever-thankful to the late Donald Hughes and his Sing for Pleasure colleagues for asking me to write these songs so many years ago. I’ll introduce you to a ‘winter’ one when the time comes!

Dear friends,
Welcome! As has become usual, my newsletter replaces the ‘Piece of the Week’ for this week.
I will focus primarily on choral music here. Several readers have already told me about the carols of mine they are hoping to programme at Christmas, but if your choir hasn’t yet chosen all its Christmas music, here are three carols you might consider:

Candle Carol
I wrote this for a small village church, and it’s for SATB or SA (TB are optional), accompanied by piano or organ – easy to learn, tuneful, and flexible! I wrote the words myself, about the four candles lit in most churches during Advent, one each week, representing hope, peace, joy, and love. It is published by OUP in the new Carols for Choirs 6 and is also available separately as a digital download (pdf) from Sheet Music Plus and other OUP digital providers. There’s a recording, with video, here.

Sing out, Angels!
There are two versions of this carol: SATB, and unison with optional descant, both with piano or organ.  Here, the angels sing to the shepherds – but it becomes a song of gratitude to the ‘angels’ and ‘stars’ in our modern world who look after the homeless and the refugees, the sick and the troubled, and all who need care and help.  With words by me, it is now published by the American publisher GIA, and I’m pleased to say that they sold c.1000 copies last year! GIA publish both printed and instant digital download editions of both versions – for UK purchasers the digital downloads will of course avoid postage costs and delay. SATB version here, and Unison/2 part version here. A recording, with video, is here.

Sweet babe, sang she
As well as working with major choral publishers like OUP and GIA, I’m self-publishing many of my choral works under the Colne Edition imprint, and making these available as digital downloads from various sites. This carol, written in 2021, for soprano solo (or semichorus) and SATB chorus unaccompanied, is an expressive portrait of the traditional Nativity scene. The words are from the seventeenth century, and while the chorus sing an ostinato lullaby in the background, the solo soprano sings reflectively in the foreground. Passages of gentle ‘alleluias’ make contrasting interludes for all voices together. It was first performed in concert by The Houston Chamber Choir, Texas, director Robert Simpson, in December 2022. Details of the score are here, and a recording with scrolling score is here.

Moving away from Christmas now, recent Colne Edition choral publications and re-issues have included an arrangement of the traditional spiritual Steal Away for SATB unaccompanied which I made over forty years ago, and a lively and rhythmic Alleluia, also for SATB unaccompanied. In a different vein, Three Nonsense Songs (from Mr Lear) for SATB and optional childrens’ choir would lighten up any concert!  The full Colne Edition catalogue is here.

But the biggest Colne Edition publication recently has been my cantata Endless Song, together with off-prints of most of the individual movements. For SATB choir and strings or piano, Endless Song is a celebration of singing, in five contrasted movements lasting nearly half-an-hour. One of the advantages of self-publishing is that I can produce the material much more quickly than a large publisher would be able to, and to sell it or hire it more cheaply as well. The separate movements and the complete vocal score are all now available on sale, with full score and instrumental parts on hire. I’ll say more about the individual movements another time, but for now please follow this link for more details and recordings.  And in these times when choral finances are tighter than ever, I’m always prepared to talk about ways to make things work…

Finally, my seasonal celebration A Feast for Christmas (SATB, optional children’s choir, narrator, brass quintet (or string quintet) or piano has continued to enliven many a Christmas concert and several choirs have enjoyed it so much that they have performed it at successive Christmases! This 8-movement cantata (c.30 mins) contrasts the cooking of the Christmas dinner and the pulling of crackers with more reflective Christmas themes, with an opportunity for the audience to join in at the end.  It’s available on sale or on hire from here.

Recent Pieces of the Week have included:
Olympian Sketches (clarinet or saxophone quartet)
Summer Afternoon (double SATB choir)
In such a night (SATB and piano)
Six Dances for Four Hands (piano duet)

I do hope you’ve enjoyed reading this newsletter.  With my best wishes for a smooth and fruitful Autumn!

Alan

What was the first piece of classical music that you were aware of?  For people of a certain age, perhaps it was the theme music for ‘Listen with Mother’ – the Berceuse from Fauré’s ‘Dolly Suite’ for piano duet. I think that’s what it was for me, and, in that way that you can’t forget things that you grew up with, it’s probably been at the back of my mind ever since – that soaring melody in octaves, growing from two repeated notes into something quite magical, expanding over the upper half of the keyboard, supported by a simple but memorable broken chord pattern.

Unwittingly, I think that childhood memory was in my mind when I was asked to write some piano duets (four hands at one piano) for a series called ‘I Love Piano Duets’, published by the now-defunct Spartan Press. Mine was Book 3 of the series (other composers wrote the first two) and it was published as Grades 3-5 ABRSM, though some of it might perhaps be a little more of a challenge.  I had forgotten about these pieces until someone, very recently, asked me if they could buy a copy, so I found the original files and prepared a new edition – now re-named Six Dances for Four Hands.

It was a very pleasant rediscovery for me, and the six movements cover a range of moods and styles. Looking back now, always in the background is that French tradition of piano duet writing – Bizet, Fauré, Debussy – though possibly with some more upbeat rhythms at times. In fact, the music seems to flow so naturally that I wonder if I veered quite close to these models – if it were too near a mirroring, it certainly wasn’t intentional, and I hope that these light-hearted miniatures might be seen as a kind of homage to those composers, and perhaps to those days when piano duets were more popular than they are today.

So, the pieces are resurrected in this YouTube digital scrolling score, and I hope you might enjoy them.   And you can see more details, and buy a copy, here.

During the recent very hot September weather that the UK has been experiencing I’ve been lying in bed at night, windows open, listening to the sounds around me – distant sounds of traffic and railway trains – closer sounds of birds and animals rustling in the undergrowth, people passing by chatting, and in the background that repetitive and hard-to-define sound which always seems to be there when otherwise you think it’s quiet.

Perhaps it’s a church bell ringing – or a stray windchime – or is it a neighbour’s grandfather clock? – anyway this was perhaps the starting point for my song In Such A Night, for mixed choir (SATB) and piano. The poem is by Anne Finch, Countess of Winchilsea (1661-1720) – pictured. She must have been an interesting lady – a royal lady-in-waiting whose Catholic husband got into some trouble when William and Mary became joint monarchs, resulting in a move to the countryside, and who lived under some stress during much of her life. She was a prolific poet and you can read all about her on Wikipedia.

The poem I set is actually a selection of lines from a longer poem called A Nocturnal Reverie: here they are:

In such a night, when passing clouds give place,
Or thinly veil the heav’ns’ mysterious face;
When in some river, overhung with green,
The waving moon and the trembling leaves are seen;

When freshened grass now bears itself upright,
And makes cool banks to pleasing rest invite,
Whence springs the woodbine, and the bramble-rose,
And where the sleepy cowslip sheltered grows;

In such a night let me abroad remain,
Till morning breaks, and all’s confused again;
In such a night let me remain.

(abroad = outside)

I found this a really inspirational poem, and it was a joy to respond musically. A repeated piano note (a clock-chime?) sets the nocturnal scene, and continues throughout the piece while the voices, moving all together in rich harmony, follow the poetic shape. The music moves to a climax three lines from the end, with a widely spaced loud but gentle diatonic dissonance on ‘night’, while the repeated piano note is enriched with other ones. Then the music is gradually calming, falling and quietening – for a few moments the repeated piano note stops for the choir to sing the last three words, then resumes and dies away into the distance.

I only realised afterwards that the note I had chosen was an A flat – the same note that is repeated throughout Chopin’s ‘Raindrop Prelude’ – but I don’t think there is much trace of a rainstorm in this dreamy song.  In any case, if you have trouble sleeping, you could try repeated A flats….

Here’s a link to a recording with scrolling score, and here’s a link for details of the song.

Footnote:
In Such a Night is a movement from my choral suite called ‘Pictures of Night’ which was commissioned by Essex Young Choirs and first performed in a concert directed by Janette Ruocco. Some of the movements are for SATB and some for SA and you can hear the whole suite here.  All of them can also be performed separately.

(PS: I mistakenly typed ‘woodland’ instead of ‘woodbine’ in my setting: this is now corrected in the score, though not in the scrolling score video!)

I was going to write about an Autumn piece today, but, in the UK, a hot summer seems to have returned after a few autumnal days – so I’ll leave that for another week.  So, instead, here’s a piece about those lazy summer afternoons!

I often used to go to the conventions organised by ABCD (the Association of British Choral Directors) – there hasn’t been one since Covid, but there will be one later this year. They are an excellent way of meeting people in the choral world, hearing choirs, seeing what publishers are selling and people are singing, and generally networking – and at one of these, as I was walking from one session to another, I was approached by Norman Morris, founder and conductor of the excellent Reading Phoenix Choir. He got straight to the point – ‘we commission a new piece every year, would you write us one, I can pay you £xxxx, it needs to be unaccompanied SSAATTBB, and around 15-20 minutes’.  Of course I said yes, and set to work!

Norman Morris founded the Reading Phoenix Choir in 1969 and directed it until his death in 2009 – and the choir continues to flourish under their current director, Christopher Hann.  For some years, they did an annual concert in the Hexagon in Reading, a large modern performance space which they made full use of, with imaginative lighting and the opportunity for the choir to enter while singing, and move around the stage during the concert. And they sung everything from memory (and I think still do!). So my piece, ‘A Year in a Day’ was conceived with this setting in mind.

The five movements begin and end with Winter, flanking the three other movements, Spring, Summer, and Autumn. In the piece, I attempted a kind of symphonic structure, in which the sounds and textures were in the foreground, and chose, for the most part, fragments of poetry rather than complete poems, often for their colour just as much as for their meaning.

Summer Afternoon is the centre-piece: it is for double choir, and there was time and space, during the vocalised opening bars, for the choir to move into double-choir position.  The words are anonymous (really ‘home-made’) as follows:

Hazy, lazy (daisy, maisie) summer afternoon…
Out in the sun I lie,
Under the pale blue, humid and cloudless sky…
Hazy, lazy (daisy, crazy, maisie) summer afternoon…

The music is quite laid back, with fragments being passed between the two choirs, and at times the simple two-note phrases morph into extended decorative passages, which are finally taken up, in canon, by the whole choir, dying away to a final ‘lazy’. The overall intention is to communicate a kind of weary, light-headed, enjoyable excitement!

You can hear the first performance here, recorded on a mini-disc recorder (remember those?) from the back of the auditorium – a not-ideal recording of a wonderful performance!  It’s a scrolling score, so you can follow the music as well. (The recording is of the complete five-movement piece, but this link takes you to the beginning of ‘Summer Afternoon’)

More details of the complete score can be seen (and purchased) here. I shall probably make a separate copy of just this movement – please let me know if you would be interested.  And I hope you enjoy ‘Summer Afternoon’!