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Arranged for Sax Quartet (SATB or AATB all parts included). In the Bleak Mid-Winter is a popular Christmas Carol which has been set to music by both Gustav Holst and Harold Darke. This saxophone quartet arrangement is based on the Holst version and combines the composer's beautifully simple harmony with the arranger's counter-melodies and intricate sax writing. Lovely writing for all instruments. An ideal work for Christmas concert programming. This is a through-composed instrumental arrangement that explores the melody and harmonies of the Holst hymn in 3 differently arranged verses. After a short introduction the first verse uses Holst's original 4-part harmonisation in its beautiful simplicity, with Soprano Sax playing the top line. In verse 2, the Tenor Sax presents the tune in a lower register while the Baritone plays a Baroque style walking bass'. Soprano and Alto weave countermelodies above them, introducing new material for a Pachelbel-like interlude of an ascending sequence - bringing the music to a climax before subsiding into verse 3. Here a slightly ornamented version of the tune returns to the Soprano Sax with the new material continuing in the bass line. After another smaller climax we return to the original Holst as the work ends quietly and thoughtfully.

In the Bleak Midwinter (Holst/Levey) arranged for Saxophone Quartet

Saxophone Quartet

Scored for 3 x Bb Clarinets with Bass Clarinet, or 4 x Bb Clarinets (all parts included)

The Renaissance period  saw great innovation in art, architecture, literature, and music. Renaissance art was the first to use perspective and its architecture brought us outstanding buildings with classical balance and symmetry. Music saw a flowering of rich polyphony, where the individual voices weave and intertwine with each other. The clarinet did not exist during the Renaissance, and would not appear for another 100 years, so clarinettists rarely get the opportunity to play the beautiful and inventive music of the era.

This collection of music from the late Renaissance (1530 to 1610) allows clarinettists to study and perform a variety of Renaissance musical styles first hand; including instrumental music, sacred choral works, and secular choral works. 

The collection will be particularly useful for teachers, because it contains 12 graded arrangements suitable for different stages of clarinet playing, with guidance on the performance of Renaissance music, and detailed programme notes and gradings for all pieces.

Tielman Susato (c.1510/15 to after 1570) - Flemish
La Morisque (a fanfare) from Danseyres 1551 - Instrumental

Giovanni Pierluigi da Palestrina (1525/26 to 1594) - Italian
Alma Redemptoris Mater - Sacred Choral - unpublished during his lifetime

Pierre Passereau (1509 to 1547) - French
Il Est Bel et Bon - Secular Choral Chanson - published 1531

William Byrd (c. 1540 to 1623) - English
Ave Verum Corpus - Sacred Choral Motet - published 1605

Gioseffo Guami (c. 1542 to 1611) - Italian (Venice)
Toccata for Organ - instrumental - published 1597

Thomas Tallis (c. 1505 to 1585)  English
If Ye Love Me - Sacred Choral Anthem - published 1565

Vittoria Aleotti (c. 1575 to after 1620) - Italian
Baciai per aver vita - a Madrigal (Secular Choral) - published 1593

Andrea Gabrieli (1532/33 to 1585) - Italian
Angelus ad Pastores Ait - Sacred Choral - published 1576

Tomas Luis de Victoria (1548 to 1611) - Spanish
O Magnum Mysterium - Sacred Choral Motet - published 1572

Gioseffo Guami (c. 1542 to 1611) - Italian (Venice)
La Brillantina - an instrumental Canzona - published 1610

David Peebles (? to c.1579) - Scotland
Psalm 100 "All People that on Earth do Dwell"

Michael Praetorius (1571-1621) - Germany
Three Bourees - Dances from Terpsichore of 1612

Renaissance Collection for Clarinet Quartet

Clarinet Quartet

This joyful Carol for All Seasons is an ideal work to be performed at any time of year, with its dance-like melody and interesting harmonies. It is especially suited for concert performances that are associated with festive holidays and celebrations, including Christmas and New Year.

Our Christmas Carol tradition comes to us through a complex web of different sources; both religious and secular. The words carol' and carolling' come from 12th Century France, where the "carole" was a song and dance; more particularly a round-dance in which people held hands in a circle and sang as they danced. The carol spread across Europe and by the 14th century it had become quite an art form. Perhaps surprisingly, these early carols had absolutely nothing to do with Christmas. They could be sung at any time of year and most were not religious. Even as late as the early 20th Century there were examples of Easter Carols in British folk song collections.

The origin of A Carol for All Seasons is equally complicated. The basic 6/8 theme with its ambiguous major and minor modality came to me many years ago. I never wrote anything down, but it remained lurking at the back of my mind for decades. Its compound time and cheerful nature reminded me of the Sussex Carol, and I even had some ideas for Christmas lyrics about the joy of the nativity. However, it is seeing the light of day here as an instrumental work rather than a carol - and it has no lyrics. Nevertheless, it remains in the carolling tradition because it can be danced to and is joyful. Hence the title is A Carol for All Seasons and its subtitle is A Gentle Jig.

The joyful theme is combined with some gentle, contemplative passages which provide an introduction and interludes between verses'. Verses? Perhaps that indicates that I may yet write it as a Christmas Carol - one day!

A Carol for All Seasons

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Candles of Advent - SATB Choir with Organ accompaniment - by Hugh Levey and Blair H. Smith

Candles of Advent explores the Christian tradition of lighting a candle during each of the four Sundays in Advent, representing  sequentially  Hope, Peace, Joy and Love. These are the four universal corners of the Christmas message which is given to all, irrespective of any faith. A fifth, central candle is lit on Christmas Day, celebrating the birth of Jesus that will bring them to fruition. The carol has four verses on the themes of Hope, Peace, Joy and Love.

This cheery carol can be used in both secular and Christian celebrations of Christmas. It is also available in an a Capella version.

Candles of Advent - SATB with Organ accompaniment

SATB

This is a delightful and fresh arrangement of this ancient Christmas classic, in Dulci Jubilo. It is fresh because the arranger has chosen not to use the 19th century harmonisation that we are all so familiar with (by Robert Lucas de Pearsall). Instead they have based this new arrangement on the harmonies of the great Renaissance composer, Michael Praetorius, from the first decade of the 17th century. An optional fanfare and postlude, based on other works of Praetorius, are included to set the context of the Renaissance period. The first verse is pure Praetorius, but then the arranger takes us in different and interesting directions while remaining completely faithful to the beautiful melody. There are three differently arranged verses.

In Dulci Jubilo

Woodwind Quintet

Why stick with the usual rags by Scott Joplin (great though they are)? Show your creative programming, intrigue your audiences and have fun with this great 1911 rag by American composer Will B. Morrison! 

William Burdette Morrison (1874 to 1937) was a little known American composer of songs and piano music, who later became a publisher and arranger of others' work. His first
known compositions date from 1898 but it was two years later that he started using syncopation in a series of cakewalks for piano. Scarecrow Rag was written in 1911 and makes good use of syncopation; a key feature of the ragtime style. It starts with a descending diminished 7th arpeggio before settling into the key of C major for the main syncopated theme. The central Trio section, in F major, starts off hesitantly, but soon bursts into life with a delightful bubbly theme.

This arrangement for Wind Quintet remains faithful to the original piano version. It is in the original key, with the original structure, melody, bass line and harmonies throughout. However, it does fill out some of the passage-work in a manner that the composer may have chosen to do, if he had not been restrained by the capabilities of a piano and two
hands. This is mainly in the Trio section and adds to the enjoyments of the players and I hope the audience too.

Scarecrow Rag for Wind Quintet

In this poignant arrangement of the hymn Abide With Me  ("Eventide"), the hymn tune is combined with the Last Post bugle call, making it suitable for services of remembrance, funerals, or other solemn occasions. 

The hymn tune "Eventide" was written by William Henry Monk in 1861, but the text of "Abide with Me" was written some forty years earlier by Henry Francis Lyte. Nevertheless,
Eventide is the tune most associated with the hymn Abide with Me. The Last Post is one of the bugle calls used by the British Army to mark different occasions or times of the day. As far back as the 1790s it signalled that the officers had completed their last sentry-post inspection of the day and that the military camp had been secured for the night. As military conflict continued in the 19th Century, the Last Post became a way of commemorating those who had lost their lives in battle or at sea. It has since become an important part of wartime memorial services in many parts of the English speaking world, and is particularly associated with Remembrance Day on 11th November each year.

Abide With Me/The Last Post

This collection of ten works consists of nine arrangements and one original composition which are suitable for Christmas and Holiday Season performances. They range from the medieval period to the present day and come from six different countries. Some are transcriptions but others have newly composed countermelodies or interesting arrangements. 

The works are listed below or can be heard/watched on the Christmas Collection playlist. (&lt;==Click)

In Dulci Jubilo - Anon - 14th Century German
Lulajze Jezuniu (Lullaby for Baby Jesus) - Anon - 16th Century Polish
Auld Lang Syne - Robert Burns, Tune Anon - 18th Century Scottish
O Holy Night (Cantique de Noel) - Adolphe Adam - 19th Century French
The Shepherds' Farewell (L'Adieu des Bergers) - Hector Berlioz - 19th Century French
Jingle Bells - James Pierpoint - 19th Century American
The Snowdrift Galop - Charles Coote Jnr - 19th Century British
O Saviour of the World - John Goss - 19th Century British
In the Bleak Midwinter - Gustav Holst - 20th Century British
A Carol for All Seasons - Hugh Levey - 21st Century British

O Holy Night (Cantique de Noel), The Shepherds' Farewell (l'Aideu des Bergers), and O Saviour of the World are all faithful transcriptions of the original works. Snowdrift Galop is a transcription of a lively piece for piano, but has some editorial changes to make it more fun to play as a quartet. The tunes of Lulajze Jezuniu, Auld Lang Syne, and Jingle Bells are completely standard, but have original accompaniments. In Dulci Jubilo and In The Bleak Midwinter both open with the original tunes and harmonisation before they are treated more freely with newly written countermelodies and accompaniment. A Carol for All Seasons is an original composition by Hugh Levey.

Christmas Collection for Clarinet Quartet

Arranged for Saxophone Quartet (SATB or AATB - all parts provided) by Hugh Levey.
Looking for some familiar, yet very different Christmas Music? Look no further than the Snowdrift Galop written by British composer, Charles Coote Jnr. This is a great fun piece that has echoes of Jingle Bells! Snowdrift Galop was published in London in 1868 in a small collection of works by various composers. The opening theme is immediately recognisable as the popular holiday favourite, Jingle Bells, which was published 11 years earlier, yet the composer gives no reference or credit to the earlier work. Although the opening theme is the same as Jingle Bells, we get a stately march instead of the familiar Jingle Bells chorus. A lovely Trio introduces another new tune which is played by the Tenor Sax, then Baritone before returning to the opening section. Charles Coote Jnr (1831-1916) was a prolific English composer of popular music, including quadrilles, waltzes and galops. His music was written for society balls and subsequently published for piano, so that others could play them at local dances or in their own homes. He was the son of composer and bandmaster, Charles Coote (1809-1880). Coote Snr worked for the 6th Duke of Devonshire for 30 years, conducted his private orchestra, and was referred to by the Duke as his personal pianist'. Growing up in this environment would have ensured that Coote Jnr was well connected with British society'.

The Snowdrift Galop for Saxophone Quartet (SATB or AATB)

This wonderful collection contains music suitable for recitals, weddings, funerals, Christmas and many other occasions. The works range from the Renaissance period to the early 20th Century and from the Sacred to the Profane. Over 180 pages of sheet-music and approximately 40 minutes of music. Scored for 3 x Bb Clarinets and Bass Clarinet.

It brings together the following two collections in one volume.

Clarinet Quartet Collection No.1: From Rags to Races
1. Il Est Bel et Bon - Pierre Passereau
2. Scarecrow RagWill B. Morrison
3. Sour Grapes RagWill B. Morrison
4. Scaramouche (Galop Brillant) - Charles Godard 
5. Blaydon RacesTraditional English Folksong
6. Jingle BellsJames Pierpoint

Clarinet Quartet Collection No.2: Calm and Contemplative
1. Chanson de MatinEdward Elgar
2. If Ye Love MeThomas Tallis
3. Stabat Mater DolorosaGiovanni Pergolesi (Woodwindly Top 3 Seller)
4. Abide with Me/Last Post
5. When Peace Like a River (All is Well)
6. Lulajze Jezuniu (Lullaby for Baby Jesus) - Traditional Polish Carol

12 Clarinet Quartets for Recitals and Occasions

The ever popular Jingle Bells was written by James Pierpoint in the autumn of 1857 with the title, "The One Horse Open Sleigh". It was not written as a Christmas Song, but it became increasingly associated with the festive season during the 1860s and 1870s, and has been a firm Christmas favourite for the last 150 years. Although attributed to Pierpoint, some authors suggest that little of the work was original. Nevertheless, it was copyrighted under his name during his lifetime. This is a simple and effective arrangement of Jingle Bells for Clarinet Quartet. It was created for a Scottish disabled children's charity, to help support their Christmas celebrations during the challenging year of 2020. The Saturday Cafe Clubs' is based in Glasgow: Charity registration number SC046501. Please include this dedication if you record or perform this arrangement please. Thank you.

Jingle Bells for Clarinet Quartet

4 Bb Clarinets or 3 Bb Clarinet and Bass Clarinet

Fugue in Blue started out as a Clarinet Trio called Jazz Fughetta, indicating that it was a simple fugue in a jazz style, but without the formality of a fully worked out fugue. In this
rewritten Clarinet Quartet version, the first three voices enter fugally with the second beginning on the dominant and the third back in the tonic. After a contrapuntal interlude based on the opening rhythms, the fourth voice enters on the sub-dominant.

The original work was a student composition exercise, combining a conventional classical form (fugue) with a syncopated jazz style. Many years later it has been reworked in swing style with a more laid back feel and some more inventive harmony and jazz articulation. Of course, it has also had a fourth part added to create the clarinet quartet that is published here.

The work is well suited to recital programmes, as a light-hearted opener or relaxed interlude in a more serious concert. It is also suited to younger players who wish to combine the discipline of classical' chamber music while learning about jazz articulation, such as falls and short notes at the ends of phrases.

Fugue in Blue for Clarinet Quartet

Mendelssohn's delightful Spring Song (Fruhlingslied) appears in the fifth volume of his Songs Without Words (Lieder ohne Worte), which were published between 1842 and 1844. The Songs Without Words are short, lyrical piano pieces that were intended for the drawing room but also well suited to the recital room. The Spring Song is one of the most well known and has been arranged for various combinations, including an arrangement by the composer for piano duet, and by others for small theatre orchestra and symphony orchestra. This arrangement for clarinet quartet retains the bright and Spring-like qualities of the original. The melodic material is shared between all four instruments which makes it fun for all players. It is scored for 3 Bb Clarinet and Bass Clarinet but an alternative 4th Bb Clarinet part is provided so a Bass Clarinet is not essential.

Spring Song - Fruhlingslied arranged for Clarinet Quartet

In the Bleak Mid-Winter is a popular Christmas Carol which has been set to music by both Gustav Holst and Harold Darke. This wind quintet arrangement is based on the Holst version and combines the composer's beautifully simple harmony with the arranger's counter-melodies and intricate wind writing. Lovely writing for all instruments. An ideal work for Christmas concert programming.

This is a through-composed instrumental arrangement that explores the melody and harmonies of the Holst hymn in 3 differently arranged verses. After a short introduction the first verse uses Holst's original 4-part harmonisation in its beautiful simplicity, with oboe and flute taking turns to play the top line. In verse 2, the French horn presents the tune in a lower register while the bassoon plays a Baroque style walking bass'. The flute,oboe, and clarinet weave countermelodies above them, introducing new material for a Pachelbel-like interlude of an ascending sequence - bringing the music to a climax before subsiding into verse 3. Here a slightly ornamented version of the tune returns to the flute and oboe with the new material continuing in the bass line. After another smaller climax we return to the original Holst as the work ends quietly and thoughtfully.

In the Bleak Midwinter (Holst/Levey)

Lulajze Jezuniu is a traditional Polish Christmas carol which first appears in the 1705 Archdiocese Archives of Poznan in Poland, although it is thought to have been written in the 17th Century. Polish composer Frederick Chopin hints at the tune in the slow section of his Scherzo in B minor opus 20 for piano. This arrangement for Clarinet Quartet retains the carol's essential simplicity and beauty. It consists of two verses and choruses, with the second having a slightly more elaborate arrangement, so that it maintains the interest of performer and audience, without overcomplicating its natural charm

Lulajze Jezuniu (Polish Carol)

Mendelssohn's delightful Spring Song (Fruhlingslied) appears in the fifth volume of his Songs Without Words (Lieder ohne Worte), which were published between 1842 and 1844. The Songs Without Words are short, lyrical piano pieces that were intended for the drawing room but also well suited to the recital room. The Spring Song is one of the most well known and has been arranged for various combinations, including an arrangement by the composer for piano duet, and by others for small theatre orchestra and symphony orchestra. This arrangement for wind quintet remains in the original key of A Major, which Mendelssohn probably chose for its bright, Spring-like qualities. The melodic material is shared between all five instruments which helps bring some additional tonal variation and colour to this lovely piece. 

The clarinet part can be played by either A or Bb clarinet. Both parts are included in the set.

Spring Song - Fruhlingslied arranged for Wind Quintet

Arranged for Clarinet Quartet (4 Clt. or 3 Clt. + Bass Clt.) by Hugh Levey

Looking for some familiar, yet very different Christmas Music? Look no further than the Snowdrift Galop written by British composer, Charles Coote Jnr. This is a great fun piece that has echoes of Jingle Bells!

Snowdrift Galop was published in London in 1868 in a small collection of works by various composers. The opening theme is immediately recognisable as the popular holiday favourite, Jingle Bells, which was published 11 years earlier, yet the composer gives no reference or credit to the earlier work. Although the opening theme is the same as Jingle Bells, we get a stately march instead of the familiar Jingle Bells chorus. A lovely Trio introduces another new tune which is played by clarinet 3, then bass clarinet before returning to the opening section.

Charles Coote Jnr (1831-1916) was a prolific English composer of popular music, including quadrilles, waltzes and galops. His music was written for society balls and subsequently published for piano, so that others could play them at local dances or in their own homes. He was the son of composer and bandmaster, Charles Coote (1809-1880). Coote Snr worked for the 6th Duke of Devonshire for 30 years, conducted his private orchestra, and was referred to by the Duke as his personal pianist'. Growing up in this environment would have ensured that Coote Jnr was well connected with British society'.

The Snowdrift Galop for Clarinet Quartet

Arranged for Clarinet Quartet (4 Clt. or 3 Clt. + Bass Clt.) 

In the Bleak Mid-Winter is a popular Christmas Carol which has been set to music by both Gustav Holst and Harold Darke. This clarinet quartet arrangement is based on the Holst version and combines the composer's beautifully simple harmony with the arranger's counter-melodies and intricate wind writing. Lovely writing for all instruments. An ideal work for Christmas concert programming.

This is a through-composed instrumental arrangement that explores the melody and harmonies of the Holst hymn in 3 differently arranged verses. After a short introduction the first verse uses Holst's original 4-part harmonisation in its beautiful simplicity, with Clarinet 1 playing the top line. In verse 2, Clarinet 3 presents the tune in a lower register while the Bass Clarinet plays a Baroque style walking bass'. Clarinets 1 &amp; 2 weave countermelodies above them, introducing new material for a Pachelbel-like interlude of an ascending sequence - bringing the music to a climax before subsiding into verse 3. Here a slightly ornamented version of the tune returns to Clarinet 1 with the new material continuing in the bass line. After another smaller climax we return to the original Holst as the work ends quietly and thoughtfully.

In the Bleak Midwinter (Holst/Levey) for Clarinet Quartet

This Lament for the Young is based on a sombre, melancholy march that I wrote many years ago. I did not publish it, but always remained fond of its modal melody, its subtle dissonance, and its shifting tonal base.

In September 2024, I decided to rework it in a gentler form. It is no longer a march, but a gentle and sometimes passionate lament. It is for all those who have left us far too young; whether that be through illness, accident, or conflict. Its title has two meanings. It may also be interpreted and performed as a lament for the loss of one's own youth. You can interpret the music as you wish, but it reflects changes of mood; encapsulating numbness, anguish, tenderness, and eventually peace and acceptance.

DEDICATION
In memory of my much loved niece, Dr Cara Louise Levey (1982 to 2024); wife, mother, daughter, sister, cousin, and niece. Cara was a lecturer in South American Studies at University College Cork and had spent time as an undergraduate in Granada, so the cover painting is chosen in her honour too. It is by Andalusian artist, Julio Romero de Torres and is a picture of a young woman, with the title "Tristeza Andaluza" or Andalusian Sadness.

Duration 2',35"

Este "Lamento por la juventud" esta basado en una marcha sombria y melancolica que escribi hace muchos anos. No la llegue a publicar, pero siempre senti apego por su melodia modal, sutil disonancia y base tonal cambiante.

En septiembre de 2024, decidi darle una forma mas ligera. No es ya una marcha, pero un suave y por momentos intenso lamento. Es por aquellos que nos han dejado demasiado jovenes, sea por enfermedad, accidente o por un conflicto belico.

Su titulo tiene un doble significado. Es posible tambien entenderlo (y tocarlo) como un lamento por la perdida de la propia juventud. Se puede interpretar la musica como se desee, de cualquier manera, refleja cambios de humor, encapsula turbacion, angustia, ternura y, finalmente, paz y aceptacion.

DEDICATION
Dedicado a la memoria de mi muy querida sobrina Dra. Cara Louise Levey (1982-2024), esposa, madre, hija, hermana, prima y sobrina. Cara era profesora de Estudios Latinoamericanos en la Universidad de Cork y habia pasado un tiempo como estudiante en Granada, asi que el cuadro de la portada ha sido escogido tambien en su honor. Es obra del artista andaluz Julio Romero de Torres y muestra a una mujer joven, con el titulo "Tristeza andaluza".

Lament for the Young (Wind Quintet)

The Blaydon Races is a folksong from the North East of England, that canters along a quite a pace. It tells the tale of a group of men and women on a day trip to the races on 9th June 1862 and the mishaps they had along the way; a wheel flying off the coach, someone getting a broken nose, and torrential rain that made everything muddy. The words were written by local music-hall performer Geordie Ridley in the same year. Although the story was not based on a specific series of real events, it paints the scene of what race day was like, with all its fun, jollity and mishaps. This arrangement captures the joyfulness and chaos of the 1862 trip. The four verses have different arrangements, with the clarinet 1, 3, and bass clarinet each getting an opportunity to play the tune. Like their journey, the arrangement starts off in good spirits, but there are unexpected key-changes, mimicking the carriage's lurching and rolling. It all whips up to a fast and furious finale. Blaydon Races has become a local national anthem' for the people of north east England, especially around the city of Newcastle and the town of Gateshead. Locals sing this song in their Geordie' dialect on many occasions, including the soccer matches of Newcastle United Football Club. It is also the Regimental Song of The Royal Regiment of Fusiliers .

Blaydon Races for Clarinet Quartet

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