This new edition of the 6th Concerto with scordatura violas in lieu of the less frequently available viole da gamba has been edited and arranged by the New Zealand doctoral scholar and violist, Andrew Filmer. He has provided an extensive commentary to accompany the score and makes a persuasive case for the use of scordatura violas in chamber performances of this work.

A full score with set of parts is available for hire.

Click to see Filmer's commentary and a performance of the piece

A short piece (after a pencil sketch) for bassoon and small orchestra.

Scored for Flute, Clarinet in A, Horn in F, Solo Bassoon, Harp, and strings (5,5,4,3,2).

Duration c.6 mins.

This is the composer's orchestral version of the concerto commissioned by the National Youth Brass Band of Great Britain in commemoration of its 40th Anniversary in 1992. Scored for trumpet and full orchestra.

The score and parts are available for hire.

Duration c.21 minutes.

The Guitar Concerto was completed in April, 2000 and first performed later that year by Craig Ogden and the Leeds Symphony Orchestra conducted by Martin Binks. The work is scored for a large orchestra with a large array of percussion, glockenspiel, harp and celeste.

Unlike the Nordic aspect of much of Butterworth's music, this concerto is unmistakably Mediterranean in outlook with moments of brooding intensity and sorrow reflecting Spain as clearly as Italy in his Italian Journey and Concerto alla Veneziana.

The score and parts are available for hire.

Duration c.24 minutes.

Butterworth completed the work in 1992 and it was first performed by Peter Lale (Vla) with the BBC Philharmonic conducted by Jason Lai to mark the composer's 70th birthday.

The concerto has been recorded by Sarah-Jane Bradley with the Royal Scottish National Orchestra conducted by the composer.

The score and parts are available for hire.

Duration c.37 minutes.

Although one might perhaps discern veiled hints of the great Scandinavian composer Carl Nielsen in the first movement of this symphony it was initially contemplated in Yorkshire and the borders of County Durham in late autumn - bright, but cold November days with frost at night. The second movement - a scherzo - recalls the composer’s war-time experiences: early field exercises and training in the north, the land of Shakespeare’s “Macbeth” which had so fascinated him in school days. There follows a contemplative slow movement and the last movement, like the frenzied finale of the First Symphony is a moto perpetuo.

Recorded by Dutton Epoch CDLX 7212

Duration c.42 minutes.

The Fifth Symphony was composed as Butterworth approached his 80th year. It is essentially a contemplative and reflective work, more purely classical and restrained than the previous four symphonies, although sharing an emotional affinity with the third, 'Sinfonia Borealis' of 1979. Unlike the first, second and fourth, where the multifarious timbres of a large orchestra are exploited, this symphony takes more account of line and shape than of colour. Except for harp and some modest percussion, the scoring calls for quite slender resources and a sense of clarity prevails.

Duration c.27 minutes.

The Symphony was completed in 2006 and premiered at the St Petersburg British Music Festival in 2009 by the St. Petersburg State Academic Capella Orchestra conducted by Matthew Taylor.

Duration c.26 minutes.

The Seventh Symphony was completed in 2010 and premiered on 28 February 2012 by the Huddersfield Philharmonic Orchestra conducted by Nicholas Smith.

Duration c.17‐18 minutes.

This short piece was written in 2006 for the Lancaster based Haffner Orchestra with whom the composer had appeared on a number of occasions as guest conductor. The music was inspired by the view from the high moorland overlooking Morecambe Bay towards the distant hills of the Lake District on a midsummer evening.

Recorded by Dutton Epoch CDLX 7253

Duration c.6‐7 minutes.

Throughout his creative life Arthur Butterworth lived in the North of England and much of the music he wrote was first brought to life there by the many local musicians and orchestras. This brisk concert march was composed in 2008 for the Settle Orchestra with whom the composer had a long association. In June 2017 they celebrated 50 years as a community orchestra including Grey Moorland in their anniversary concert.

Duration c.8‐9 minutes.

In the early 1950's Butterworth was a trumpet player with the Royal Scottish National Orchestra when he met and married Diana Stewart. He had yet to make his name as a composer. It was when he then joined the Halle Orchestra that Sir John Barbirolli's encouragement resulted in the premiere of his first Symphony at the Cheltenham Festival. This performance in 1955 established Butterworth as a significant British symphonist. The Symphony is dedicated to Diana.

The 'Elegy for Diana' is a short work for strings and one of the composer's last completed works. A slow yearning introduction leads to a Passacaglia, a musical form which perhaps references his admiration for the music of Brahms, one of his earliest musical influences. Butterworth's own comment about the work ‐ "This Elegy, unlike the flamboyant Symphony for large orchestra, is but a short expression of farewell."

Duration c.8‐9 minutes.

'Tarka' was composed in 2013 and premiered by the Manchester Chamber Ensemble conducted by Richard Howarth at the Ilkley Concert Club David Pyett Celebration Concert given at the King's Hall, Ilkley on 2 October 2013.

The programme also included the original version of Copland's 'Appalachian Spring' and Butterworth chose the same instrumentation for his own work.

A full score with set of parts is available for hire. Please contact us about an inspection score.

Flute, Clarinet, Bassoon, Violin I (2 players), Violin II (2 players), Viola (2 players), Cello (2 players), Double Bass, Piano

Duration c.11‐12 minutes.

Five colourful and evocative pieces - 'Through Crowded Streets', 'Bicycles in Summer Rain', 'Boys on the Beach', 'Summer Evening' and 'Tuscan Diary'. The work was written for the Sussex Symphony Orchestra who have recorded it for Claudio Records (CC4833-2).

Scored for string orchestra (3,3,2,2,1) and wind quintet (flute, oboe, clarinet – optionally doubling alto saxophone, horn and bassoon).

Total duration c.14 mins

A tuneful and engaging work in three movements, scored for solo soprano and alto saxophones with double wind (omitting clarinets), two trumpets, two horns and strings (3,3,2,2,1), and with optional percussion and a few added notes on the tuba.

The concerto, together with other works of Paul Carr, has been recorded by the Sussex Symphony Orchestra on the CD "Crowded Streets", Claudio Records (CC4833-2).

The full score and the parts are available for hire.

Total duration c.18 minutes

'Another Orpheus sings again, and loves and weeps and dies' – Shelley, 'Hellas'

Composed in 1993 and revised in 2014, Another Orpheus is a dramatic single movement for strings with obligato viola solos.

Duration c.9 minutes.

A single movement work inspired by William Blake's prophetic book. Composed in 1983 for Paul Silverthorne, it was later scored by the composer for viola and string orchestra (Vla + 4,4,3,3,2), and there is also a version for viola and chamber orchestra (Strings with alto flute, oboe, clarinet, bass clarinet and 2 horns). Digital inspection scores are available. Please contact us for more information.

Duration c.9 minutes.

An approachable work in three movements. Well worth your consideration.

Duration c.27 minutes.

Scored for a standard classical orchestra, the concerto consist of the usual three movements, Allegro, an expressive Adagio and a Rondo. The work has been edited by Christopher Wellington who has provided cadenzas – one in the first movement and two in the last; they are technically a little harder than the concerto itself.

Set of parts for 2 oboes, 2 horns, solo viola and strings (5,5,4,4). Extra parts available if required.