Eugène Goossens, Op. 38, No. 1Scored for Wind Band by

Percy Aldridge Graingeredited by

R. Mark Rogers

U.S. $75.00

S954CB HL00236105

SHEEP-SHEARING SO

NG (Folk-Tune)

Goossens/ GRAINGER/ Rogers

Southern Music

S954CB HL00236105

SHEEP-SHEARING SONG(FOLK-TUNE)

Grade 4

MUSICRMUSIC

R

R. Mark Rogers began wri�ng for band while in high school, and con�nued with degrees from Texas Tech University and the University of Texas. Director of Publica�ons for Southern Music Company from 1993 and Managing Editor of the firm since 2015, Rogers has authored edi�ons of the music of Percy Grainger and John Philip Sousa that have entered band repertory worldwide. He is also widely published as an arranger and transcriber, with performances by all five of the Washington, DC service bands. Dr. Rogers is the conductor of the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio College, Texas Lutheran University and Trinity University, and prior to coming to San Antonio was on the faculty of the University of South Alabama and a staff member of the University of Texas Longhorn Band. A bassoonist, he performs with the orchestras of Corpus Chris�, Victoria, Laredo, San Antonio and Aus�n, as well as the Mid-Texas Symphony. He is ac�ve in church music and occasionally appears in music theater, performing numerous roles in the opere�as of Gilbert and Sullivan. Sudie, his wife of forty years, their children and spouses (and grandchildren), are the joy of his later years.

“Folk Tune” (also known as “Sheep Shearing Song”) was originally composed for piano by Eugène Goosens. This setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for.

Band Repertoire Classics Series

Eugene Goossens was born outside London on May 26, 1893, and his father and grandfather were both conductors before him. Goossens studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music, where he he later made associate. He was a violinist in Thomas Beecham’s Queen’s Hall Orchestra from 1912 to 1915. In 1921 he decided to make conduc�ng his career and founded his own orchestra. For nearly a quarter of a century, Eugene Goossens accepted posi�ons at U.S. orchestras, including the Rochester Philharmonic and the Cincinna� Symphony Orchestra before taking his career to Australia. There he conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these posi�ons concurrently un�l March 1956, when he was forced to resign a�er a major public scandal, only a year a�er being knighted. Eugene Goossens returned to England and died on June 13, 1962.

Percy Grainger was born in Australia on July 8, 1882. With a father frequently absent due to work, young Percy was doted upon by his formidable mother, the former Rose Aldridge, who supervised every aspect of his educa�on. He was tutored at home, with a large part of his diet consis�ng of the Anglo-Saxon Chronicles and the Icelandic sagas. He was fascinated with primi�ve peoples around the world, so that it became one of his life’s goals to incorporate aspects of their music into his own. Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), le� Australia in 1895 to study in Frankfurt for a period which lasted un�l 1901. At the same �me he began to compose and collect the musical folk material that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently so that he was always aware of the most recent innova�ons in the musical world. He greatly admired the composers and composi�ons that were scandalizing Europe at that �me, and his le�ers reveal admira�on for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and Schönberg (along with others long since forgo�en). In 1914, with the outbreak of the First World War, he emigrated to the United States. Although he took American ci�zenship, he never forgot his roots in Australia, and in the 1930’s he oversaw the construc�on of a Museum, located on the campus of the University of Melbourne, to house manuscripts and ar�facts from his life. He died in White Plains, New York, in 1961.

Copyright © 2017 Southern Music Company (ASCAP). International Copyright secured. All rights reserved.

FULL SCORE

Eugène Goossens, Op. 38, No. 1

SHEEP-SHEARING SONG (Folk-Tune)

Scored for Wind Band by

Percy Aldridge Grainger

Edited by

R. Mark Rogers

INSTRUMENTATION

1-FULL SCORE

1-SMALL FLUTE (Piccolo)

4-1st FLUTE

4-2nd FLUTE

1-1st OBOE

1-2nd OBOE

1-ENGLISH HORN

1-CLARINET in Eb (at will)

4-1st CLARINET in Bb

4-2nd CLARINET in Bb

4-3rd CLARINET in Bb

2-ALTO CLARINET in Eb

2-BASS CLARINET in Bb

1-DOUBLE ALTO CLARINET in Eb

(substitute for Bass Saxophone)

1-DOUBLE BASS CLARINET in Bb

(substitute for Double Bassoon)

1-1st BASSOON

1-2nd BASSOON

1-DOUBLE BASSOON

1-SOPRANO SAXOPHONE in Bb

2-1st ALTO SAXOPHONE in Eb

2-2nd ALTO SAXOPHONE in Eb

2-TENOR SAXOPHONE in Bb

1-BARITONE SAXOPHONE in Eb

1-BASS SAXOPHONE in Bb

3-1st TRUMPET in Bb

3-2nd TRUMPET in Bb

3-3rd TRUMPET in Bb

1-1st HORN in F

1-2nd HORN in F

1-3rd HORN in F

1-4th HORN in F

2-1st TROMBONE

2-2nd TROMBONE

2-3rd TROMBONE

2-1st EUPHONIUM (Baritones)

in Treble or Bass Clef

2-2nd EUPHONIUM

in Treble or Bass Clef

4-TUBAS

1-STRING BASS

3-PERCUSSION:

Kettle-Drum (only one drum required),

Suspended Cymbal, Gong

Grade 4 Duration: Approx. 2:30 Minutes SAMPLE

PROGRAM NOTES

Percy Grainger’s settings of the folk-music of various cultures are widely known to wind band conductors. Although he collected a

number of these melodies himself, he was equally willing to turn his attention to a melody collected by someone else. In the case of the

present setting, he neither collected the tune nor composed the setting. “Sheep Shearing Song” was collected in Somerset by the eminent

English folk-musicologist Cecil Sharp in 1904 from the singing of William King. Eugene Goossens’ setting for solo piano of this melody

appeared in 1923 as the first of Two Ballades, Op. 38 for solo piano, where it appears under the title “Folk Tune.” Grainger and Goossens

were part of a larger group of musicians who met regularly from about 1906 onwards to privately perform each other’s music and offer

encouragement. Goossens also participated in the first all-Grainger concert in May of 1912, playing 2nd violin in the string quartet that

performed “Molly on the Shore” and “Mock Morris.” In 1923, Goossens accepted George Eastman’s invitation to conduct the newly formed

Rochester Philharmonic Orchestra, by which time Grainger was already an American citizen and a fixture on the New York music scene.

In the 1940s, during the years Grainger spent working with the National Music Camp in Interlochen, he increasingly focused his

attention to improving the repertory of music for wind band. One of the items that took his fancy was Goossen’s setting of “Sheep Shearing

Song,” which prompted Grainger to set the work for “military band” (the term used by British-trained band composers to indicate a mixed

wind band of woodwinds, brass and percussion, as distinguished from the all-brass bands still heard today). Grainger’s scoring was written

July 2 to 6, 1942 with parts copied at Interlochen. Upon his return to Springfield, Missouri in September, he wrote out the conductor’s score.

While Goossens’ harmonic treatment of the folk melody is not similar to what Grainger himself might have written, it is not altogether unlike

Grainger’s second setting (1920) of “Irish Tune from County Derry,” distinguished from the earlier settings by featuring “elastic scoring.”

EUGENE GOOSSENS

Eugene Goossens was born outside London on May 26, 1893, and was the third member of the family to carry that name. The family

was of Belgian extraction and his father and grandfather were both conductors before him. [His father and grandfather spelled Eugène with a

grave accent; he himself did not. Nevertheless, Grainger persisted in the use of the grave accent in his manuscript parts, so that spelling

appears in the Southern Music Company edition of “Folk Tune.”] Goossens studied music at the age of ten in Bruges, three years later in

Liverpool, and in 1907 in London on a scholarship at the Royal College of Music. He won the silver medal of the Worshipful Company of

Musicians and was made associate of the Royal College of Music. He was a violinist in Thomas Beecham’s Queen’s Hall Orchestra from

1912 to 1915. In 1921 he decided to make conducting his career and founded his own orchestra. On June 7, 1921, he gave the British concert

premiere of Stravinsky’s The Rite of Spring at the Queen’s Hall with the composer present.

For nearly a quarter of a century, Eugene Goossens accepted positions at U.S. orchestras. He conducted the Rochester Philharmonic

from 1923 to 1931, and from 1931 to 1946 he conducted of the Cincinnati Symphony Orchestra, succeeding Fritz Reiner. One of the lasting

impacts of his time in Cincinnati came during World War II. Goossens wrote to several composers and commissioned 18 fanfares meant to

support the war effort. One of the fanfares that the orchestra received and premiered during the 1942-43 season was Aaron Copland’s Fanfare

for the Common Man. Goossens spent nine years in Australia, from 1947 to 1956. He conducted the Sydney Symphony Orchestra and other

groups, and was the director of the NSW State Conservatorium of Music. He held these positions concurrently until March 1956, when he

was forced to resign after a major public scandal, only a year after being knighted. Eugene Goossens returned to England and died on June

13, 1962.

PERCY ALDRIDGE GRAINGER

Percy Grainger was born in Australia on July 8, 1882. His father was an architect from London, his mother the daughter of a London

hotel manager who had come to Australia to make his fortune. The father, John Harry Grainger, was a man of some learning who was

regularly away from the household supervising the construction of public works in Australia. In his absence, young Percy was doted upon by

his formidable mother, the former Rose Aldridge, who supervised every aspect of his education. He was tutored at home, with a large part of

his diet consisting of the Anglo-Saxon Chronicles and the Icelandic sagas. Rose Grainger was a beautiful woman with strong Nordic features

(inherited by her son), but like many people of that day, she passionately disliked members of other ethnic groups, and she instilled in Percy

many outrageous notions. He was fascinated with primitive peoples around the world, so that it became one of his life’s goals to incorporate

aspects of their music into his own.

Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), left Australia

in 1895 to study in Frankfurt for a period which lasted until 1901. At the same time he began to compose and collect the musical folk material

that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently

so that he was always aware of the most recent innovations in the musical world. He greatly admired the composers and compositions that

were scandalizing Europe at that time, and his letters reveal admiration for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and

Schönberg (along with others long since forgotten). In 1914, with the outbreak of the First World War, he emigrated to the United States. In

1928, he married the Swedish beauty Ella Viola Ström. Although he took American citizenship, he never forgot his roots in Australia, and in

the 1930’s he oversaw the construction of a Museum, located on the campus of the University of Melbourne, to house manuscripts and

artifacts from his life. He died in White Plains, New York, in 1961.

R. MARK ROGERS

R. Mark Rogers began writing for band while in high school, and continued with degrees from Texas Tech University and the

University of Texas. Director of Publications for Southern Music Company from 1993 and Managing Editor of the firm since 2015, Rogers

has authored editions of the music of Percy Grainger and John Philip Sousa that have entered band repertory worldwide. He is also widely

published as an arranger and transcriber, with performances by all five of the Washington, DC service bands. Dr. Rogers is the conductor of

the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio College, Texas Lutheran University and Trinity University,

and prior to coming to San Antonio was on the faculty of the University of South Alabama and a staff member of the University of Texas

Longhorn Band. A bassoonist, he performs with the orchestras of Corpus Christi, Victoria, Laredo, San Antonio and Austin, as well as the

Mid-Texas Symphony. He is active in church music and occasionally appears in music theater, performing numerous roles in the operettas of

Gilbert and Sullivan. Sudie, his wife of forty years, their children and spouses (and grandchildren), are the joy of his later years.

SAMPLE

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∑Copyright © 2017 by Southern Music Company (ASCAP).

International copyright secured. All Rights Reserved.Digital and photographic copying of this publication is illegal.

SHEEP-SHEARING SONG(FOLK-TUNE)

from Somerset, England

Eugène Goossens, Op. 38, No. 1scored for Wind Band by Percy Aldridge Grainger

edited by R. Mark Rogers

Full ScoreS954

*This metronome marking is not shown in the players’ parts.

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S954 Goossens/Grainger: Folk-Tune

SAMPLE

Eugène Goossens, Op. 38, No. 1Scored for Wind Band by

Percy Aldridge Graingeredited by

R. Mark Rogers

U.S. $75.00

S954CB HL00236105

SHEEP-SHEARING SO

NG (Folk-Tune)

Goossens/ GRAINGER/ Rogers

Southern Music

S954CB HL00236105

SHEEP-SHEARING SONG(FOLK-TUNE)

Grade 4

MUSICRMUSIC

R

R. Mark Rogers began wri�ng for band while in high school, and con�nued with degrees from Texas Tech University and the University of Texas. Director of Publica�ons for Southern Music Company from 1993 and Managing Editor of the firm since 2015, Rogers has authored edi�ons of the music of Percy Grainger and John Philip Sousa that have entered band repertory worldwide. He is also widely published as an arranger and transcriber, with performances by all five of the Washington, DC service bands. Dr. Rogers is the conductor of the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio College, Texas Lutheran University and Trinity University, and prior to coming to San Antonio was on the faculty of the University of South Alabama and a staff member of the University of Texas Longhorn Band. A bassoonist, he performs with the orchestras of Corpus Chris�, Victoria, Laredo, San Antonio and Aus�n, as well as the Mid-Texas Symphony. He is ac�ve in church music and occasionally appears in music theater, performing numerous roles in the opere�as of Gilbert and Sullivan. Sudie, his wife of forty years, their children and spouses (and grandchildren), are the joy of his later years.

“Folk Tune” (also known as “Sheep Shearing Song”) was originally composed for piano by Eugène Goosens. This setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for.

Band Repertoire Classics Series

Eugene Goossens was born outside London on May 26, 1893, and his father and grandfather were both conductors before him. Goossens studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music, where he he later made associate. He was a violinist in Thomas Beecham’s Queen’s Hall Orchestra from 1912 to 1915. In 1921 he decided to make conduc�ng his career and founded his own orchestra. For nearly a quarter of a century, Eugene Goossens accepted posi�ons at U.S. orchestras, including the Rochester Philharmonic and the Cincinna� Symphony Orchestra before taking his career to Australia. There he conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these posi�ons concurrently un�l March 1956, when he was forced to resign a�er a major public scandal, only a year a�er being knighted. Eugene Goossens returned to England and died on June 13, 1962.

Percy Grainger was born in Australia on July 8, 1882. With a father frequently absent due to work, young Percy was doted upon by his formidable mother, the former Rose Aldridge, who supervised every aspect of his educa�on. He was tutored at home, with a large part of his diet consis�ng of the Anglo-Saxon Chronicles and the Icelandic sagas. He was fascinated with primi�ve peoples around the world, so that it became one of his life’s goals to incorporate aspects of their music into his own. Percy Aldridge Grainger (when he entered into public life, he adopted his mother’s maiden name as his middle name), le� Australia in 1895 to study in Frankfurt for a period which lasted un�l 1901. At the same �me he began to compose and collect the musical folk material that was to provide the raw material for much of his greatest work. At the turn of the new century, he moved to London, but toured frequently so that he was always aware of the most recent innova�ons in the musical world. He greatly admired the composers and composi�ons that were scandalizing Europe at that �me, and his le�ers reveal admira�on for Richard Strauss, Debussy, Ravel, Stravinsky, Bartók, and Schönberg (along with others long since forgo�en). In 1914, with the outbreak of the First World War, he emigrated to the United States. Although he took American ci�zenship, he never forgot his roots in Australia, and in the 1930’s he oversaw the construc�on of a Museum, located on the campus of the University of Melbourne, to house manuscripts and ar�facts from his life. He died in White Plains, New York, in 1961.