Summer Sketches (Score)

Score only

0 Full Score A3 - 1 Full Score - 1 Soprano Saxophone I - 1 Soprano Saxophone II - 2 Alto Saxophone I - 2 Alto Saxophone II - 2 Tenor Saxophone - 1 Baritone Saxophone - 4 Flugelhorn I - 4 Flugelhorn II - 4 Flugelhorn III - 1 Cornet Eb - 2 Trumpet I - 2 Trumpet II - 2 Trumpet III - 2 Trumpet IV - 1 Solo Horn - 2 Horn I + II Eb - 2 Horn I + II F - 2 Horn III + IV Eb - 2 Horn III + IV F - 2 Trombone I C - 1 Trombone I Bb (TC) - 1 Trombone I Bb (BC) - 2 Trombone II C - 1 Trombone II Bb (TC) - 1 Trombone II Bb (BC) - 2 Trombone III C - 1 Trombone III Bb (TC) - 1 Trombone III Bb (BC) - 1 Trombone Bass C - 2 Baritone C - 2 Baritone Bb (BC) - 2 Baritone Bb (TC) - 2 Euphonium C - 2 Euphonium Bb (BC) - 2 Euphonium Bb (TC) - 2 Bas Bb (TC) - 2 Bas Bb (BC) - 2 Bas Eb (TC) - 2 Bas Eb (BC) - 2 Tuba C - 1 Percussion I - 1 Percussion II - 1 Percussion III - 1 Percussion IV - 1 Timpani

Summer Sketches' for Horn and Fanfare Orchestra was written for Tijmen Botma on the occasion of his 35th wedding anniversary with Horn player Petra Botma-Zijlstra. The composition was made possible by financial support from Musidesk Rijnbrink. The concert consists of 2 parts. The first part, 'Quasi una Fantasia' is, as the title suggests, free of structure. In the introduction, the Saxophones introduce a motif consisting of two chords, B flat major and A minor. This harmonically modal connection functions as the musical germ cell for the entire work. Moreover, this chord progression symbolises the name BotmA. Besides the emphasis on melodic and lyrical playing, the archetypal Horn as a signalling instrument is also addressed. A short cadenza concludes this part. In the second part, 'Caccia e Choral', the emphasis lies on virtuosity and staccato playing. The spirit of Henk van Lijnschooten haunts this movement, whose music, and particularly his Chorales, formed the backdrop for the budding love between Tijmen and Petra, both of whom were members of the Nationaal Jeugd Fanfare orchestra led at the time by Piebe Bakker. This part ends pensive, in a distant memory of music by the English virginalists, surrounded by the sounds of van Lijnschooten and the author himself.