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On Walmer Beach (2022)
A modular piece in 3 parts Level: Moderately Advanced Duration: 4.5 mins |
WATER'S EDGE I AUBADE - INTERLUDE WATER'S EDGE II |
For Cor anglais & Bassoon Duo*
*Or Alto & Baritone Saxes English Horn & Baritone Sax Tenor Recorder or Oboe & Guitar |
SCROLL DOWN, TO VIEW SCORES
BESPOKE SCORES
Bespoke scores are also available. Kindly send a message, to discuss your requirements & receive a quotation.
Eg: EH & Bass Clarinet OR Clarinet & Guitar
Eg: EH & Bass Clarinet OR Clarinet & Guitar
PERFORMANCE VIDEOS
English Horn & Bassoon
Alto & Bari Saxes
Tenor Recorder & Guitar
English Horn & Bassoon
Alto & Bari Saxes
Tenor Recorder & Guitar
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Dedicatees Kathleen Carter Bell & Conor Bell rehearse prior to their World Premiere performance on Sunday 12 November 2023 at 3 p.m. at Northen Recital Hall, West Texas A&M University, Canyon, TX, USA
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In this brief excerpt, Emily Barker and Ash Fairs rehearse for their lunchtime concert at St. Alfege Church, Greenwich, on Thursday 12 June 2025. The full saxophone performance video is due out later in 2025.
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Lizzie Knatt & Declan Hickey rehearse for the British Premiere at Deal Town Hall, Kent, as part of the Deal Music and Arts Festival, on Monday 08 July 2024. Walmer lies one mile south of Deal, en route to Dover.
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To purchase a PDF EDITION from
June Emerson Wind Music,
click on image: Price: £12.50
June Emerson Wind Music,
click on image: Price: £12.50
English Horn & Bassoon
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Alto & Bari Saxes
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EH (Cor) & Bari Sax
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Tenor Rec./Ob. & Guitar
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To purchase a PRINTED EDITION
from June Emerson Wind Music,
click on image: Price: £15.95
from June Emerson Wind Music,
click on image: Price: £15.95
EH & Bassoon
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Alto & Bari Saxes
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EH (Cor) & Bari Sax
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Tenor Rec./Oboe & Guitar
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MUSICIANS!!!
Looking for MORE DUETS?? Check out Three Country Dances by I. Sancho (1729-80), arr. AT-H! For High-Low Woodwind or String Duo C. Ignatius Sancho was originally a slave in Blackheath, London. Later, he became a financially-independent Abolitionist and writer; finally, he was the first Black Briton known to have voted in a general election (in 1774 & 1780)! Portrait: T. Gainsborough (Bath, 1768) 4 different scores are available, for instruments in C, Bb, Eb & F. There's even one for Oboe & Bari Sax! |
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Denise Wilson & Sean Barela give the West Coast premiere of On Walmer Beach, Sunday 11 February 2024.
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Aftermath of a beautiful performance on EH & Baritone Saxophone!
With Eugene and Lisa Ryoo after the IDRS premiere on Thursday 25 July 2024, Kitt Recital Hall, Northern Arizona University, Flagstaff, AZ, USA. |
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The Story
Walmer in Kent, England, is located by the English Channel, seven miles north of the Port of Dover. On fine days it is possible to see the French coast from the beach - as well as to watch the many car ferries that cross the water throughout the day and night.
From May 2015 to December 2017, my husband and I resided temporarily in Walmer - taking a break from life in London. From our rented house in Cambridge Road, we were able to see the sea from the bathroom window - and to walk on the beach within one minute! Walmer has a fine shingle (pebble) beach which - although it is less romantic than a sandy beach - is far better for year-round walking. I made great use of it during my time there; and would often get up early in the morning in November, particularly, to photograph the dawn, which was at its best at that time of year, owing to the low angle of the sun in the sky. The play of light on the water, the crimson hues of the clouds were stunning: and can be seen on the photographs on the score.
It was during my time in Walmer that I began to develop as a composer. Not only did I study the technique of composition, but I was also greatly inspired by the beautiful environment. Pieces dating from that time are Vallum Mare: An Adventure Suite; Ego Flos Campi; and Soyuz Departing. Various pedagogical works also came to life, during that sojourn.
On Walmer Beach was composed in November 2022 as a 'thank you' to my American collaborators Kathleen and Conor Bell, for all the work that they have put into helping me to bring several pieces into the public domain. We had a such busy year in 2022! I composed Byzantion I - Hagia Sophia for them and American pianist Stephen Ellis. Just like On Walmer Beach, Hagia Sophia is scored for Cor anglais & Bassoon (and Piano), rather than Oboe & Bassoon. One reason for this is the excellent blend. In my opinion, Cor and Bassoon sound far better together than Oboe & Bassoon: and I am surprised that there are so few pieces for this combination.
In the Autumn of 2022, Kathleen, Conor and pianist Tiantian Liang undertook several audio and video recording sessions at First United Methodist Church in Lebanon, Tennessee. The works were Ego Flos Campi , Troparion, The Church at Errislannan & Fantasia Dodecaphonica - in addition to Byzantion I - Hagia Sophia . Their videos can be viewed on the linked feature pages.
From May 2015 to December 2017, my husband and I resided temporarily in Walmer - taking a break from life in London. From our rented house in Cambridge Road, we were able to see the sea from the bathroom window - and to walk on the beach within one minute! Walmer has a fine shingle (pebble) beach which - although it is less romantic than a sandy beach - is far better for year-round walking. I made great use of it during my time there; and would often get up early in the morning in November, particularly, to photograph the dawn, which was at its best at that time of year, owing to the low angle of the sun in the sky. The play of light on the water, the crimson hues of the clouds were stunning: and can be seen on the photographs on the score.
It was during my time in Walmer that I began to develop as a composer. Not only did I study the technique of composition, but I was also greatly inspired by the beautiful environment. Pieces dating from that time are Vallum Mare: An Adventure Suite; Ego Flos Campi; and Soyuz Departing. Various pedagogical works also came to life, during that sojourn.
On Walmer Beach was composed in November 2022 as a 'thank you' to my American collaborators Kathleen and Conor Bell, for all the work that they have put into helping me to bring several pieces into the public domain. We had a such busy year in 2022! I composed Byzantion I - Hagia Sophia for them and American pianist Stephen Ellis. Just like On Walmer Beach, Hagia Sophia is scored for Cor anglais & Bassoon (and Piano), rather than Oboe & Bassoon. One reason for this is the excellent blend. In my opinion, Cor and Bassoon sound far better together than Oboe & Bassoon: and I am surprised that there are so few pieces for this combination.
In the Autumn of 2022, Kathleen, Conor and pianist Tiantian Liang undertook several audio and video recording sessions at First United Methodist Church in Lebanon, Tennessee. The works were Ego Flos Campi , Troparion, The Church at Errislannan & Fantasia Dodecaphonica - in addition to Byzantion I - Hagia Sophia . Their videos can be viewed on the linked feature pages.
Theoretical Notes
The work consists of three miniatures, each of about 1' 20" in length. It is a modular piece, meaning that performers can either play through from start to finish, or just select one or two parts of it.
On Walmer Beach is a set of short variations upon an initial wave-like theme played first by the cor anglais; then varied by the bassoon in Aubade; before the cor resumes the lead in Water's Edge II. Each movement has a different time signature, and this affects the development of the wave motif.
The piece becomes increasingly abstract and elliptical, as it progresses. This is by design. It was my objective to move from my natural twenty-first century post-minimalist writing style (noticeable in the structured nature of Water's Edge I) into the linear freedom which is a common feature of twentieth-century music. In Water's Edge II, the two instruments move more independently, coming into alignment and then moving away from it. The bassoon is frequently higher than the cor anglais; and the piece ends with a question.
On Walmer Beach is a set of short variations upon an initial wave-like theme played first by the cor anglais; then varied by the bassoon in Aubade; before the cor resumes the lead in Water's Edge II. Each movement has a different time signature, and this affects the development of the wave motif.
The piece becomes increasingly abstract and elliptical, as it progresses. This is by design. It was my objective to move from my natural twenty-first century post-minimalist writing style (noticeable in the structured nature of Water's Edge I) into the linear freedom which is a common feature of twentieth-century music. In Water's Edge II, the two instruments move more independently, coming into alignment and then moving away from it. The bassoon is frequently higher than the cor anglais; and the piece ends with a question.
