Kenneth Hesketh

Concert Repertoire for Flute combines imaginative arrangements with original pieces all of which have been carefully selected and written for players of Grade 4-7 standard. The pieces are varied and fun ranging from Billy Mayerl's Bats in the Belfry to Brittens Gemini Variations the pieces in this book are bound to be a hit with both players and audiences alike.

The term Danceries can be found in a copy of Playford's Dancing Master which is an extensive collection of folk and popular tunes of the 17th Century (and no doubt earlier). The melodies themselves are a mixture of new and old (although where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material). The harmonies and rhythms bring a breath of the new into these themes and add to the drama of the set.

Par HESKETH KENNETH. After Kandinsky / Niveau : Difficile / Recueil / Clarinette de Basset en La et Piano

A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice'. The chaos of this dramatic dance is depicted in this 'Masque' by Hesketh. The main theme is bravura and is often present in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little! 'Masque' has been transcribed for wind band by Kenneth Hesketh from his 'Scherzo for Orchestra' commissioned by the National Children's Orchestra in 1987.

Autumn’s Elegy is a consortium commission in celebration of the 75th birthday of the distinguished wind band conductor Timothy Reynish. The music derives from a youthful symphony written when Hesketh was 16 the same source as his popular Masque. Full of big tunes and bitter-sweet harmonies Autumn’s Elegy is a heartfelt thank you to a conductor who has done more than most to widen the vision of the wind orchestra movement.Brass Band Grade 5: 1st Section. Duration: 7 minutes. Autunm's Elegy has been recorded by the Leyland Band conductedby Jason Katsikaris and is available on the CD Penlee. 

A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice'. The chaos of this dramatic dance is depicted in this Masque by Hesketh. The main theme is bravura and is often present in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little! 'Masque' has been transcribed for wind band by Kenneth Hesketh from his Scherzo forOrchestra commissioned by the National Children's Orchestra in 1987.

A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice'. The chaos of this dramatic dance is depicted in this 'Masque' by Hesketh. The main theme is bravura and is often present in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little! 'Masque' has been transcribed for wind band by Kenneth Hesketh from his 'Scherzo for Orchestra' commissioned by the National Children's Orchestra in 1987.

In Danceries by Kenneth Hesketh the melodies themselves are a mixture of old and new. Where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material. The contemporary harmonies and rhythms bring a breath of new into these themes and add drama to the suite. The first movement Lull Me Beyond Thee is gentle and lilting almost a barcarole this movement is very much a reverie. The original tune had the name Poor Robin’s Maggot a rather disconcerting title. Maggot however in seventeenth-century parlance meant whim or fancy. The second Catching of Quails is acolourful buoyant scherzo on an original melody. The thematic material is shuttled around the band to contrast with full-blooded tuttis. The last few bars fade to almost nothing before a final surprise! My Lady’s Rest is a tender pavane also on an original melody with Moorish leanings. Beautiful solo passages expressive contrapuntal writing and warm tuttis provide an opportunity to show off the most lyrical of playing. The final movement Quodling’s Delight is a clever combination of the 17th century melody Goddesses with an original contrasting melody creating a rousing and exuberant finale to the work.

A Festive Overture received its world première on 23rd March 2002 at the BASBWE International Conference Royal Northern College of Music Manchester by the Central Band of the RAF conducted by Wing Commander Rob Wiffin.  The outer sections are busy and colourful framing an expansive middle section where Hesketh introduces a typically broad melody. Brass Band Grade 6: Championship Duration: 7 minutes

Le titre de cet ouvrage est une référence à l'Ode à un rossignol poème par John Keats. Les images importantes du poème sont librement connecté à suggérer des gestes musicaux et les contours. Expressions telles que 'mers périlleuses' et 'l'hymne plaintive' placé musicalement côté de l'autre donnent à l'oeuvre une continuité non proposée par le poème original. La topographie dans le dernier verset du poème trouve aussi sa place dans le travail: passées les prés, sur le ruisseau encore, jusqu'à la colline du côté, et maintenant 'tis enfoui au plus profond Le travail résultant utilise donc une forme organique et associative musicale , celui qui est dramatique et souvent capricieuse dans la nature. Les s'évapore de travail à sa fin - à l'instigation de Keats - à travers les mots 'la fuite est que la musique: - dois-je éveillé ou endormi?'. Grâce à Battants magiques a été écrit pour William Cale à l'occasion de son dernier récital au Royal College of Music. © 2009 KH / Piano / 12 pages / niveau : Avancé / Partition

For SATB Choir with Piano or Organ accompaniment. A lively setting of an English translation of Les Anges dans nos campagnes.

'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.