I produced this page on Colin Hand in response to requests from clients. The information has been drawn from various sources including the internet. It probably provided enough facts to satisfy the viva element of the old Trinity exams.
Colin Hand's music is available from many publishing houses. His collections of recorder arrangements come from Kevin Mayhew.
This page composed July 2010.
Colin Hand (b.1929 in N. Lincolnshire) After a proposed career in biochemistry he turned to music, studied organ with Dr Melville Cook and a MusB at Trinity College, Dublin. He has composed steadily throughout his career and spent fifteen years as a lecturer in further education and another fifteen years (part-time) as an examiner for Trinity College of Music, London. His works comprise choral, orchestral and chamber music, with several pieces for teaching purposes and he performs regularly both at home and abroad. In the late seventies he spent time in research on Taverner and Renaissance music for a PhD.
Icons for Orchestra.
Orchestration, 2121/2200/timp.perc/str.
Variations & Fugue on a Cheshire Souling Song
Orchestration, 2222/2220/timp.2perc/str.
Sonatina For Guitar.
Stabat Mater.
Chorus and Orchestra/Ensemble.
Chorus, SSA, Orchestration, 2221/2000/timp.
Welcome Yole.
Chorus, SA ,Orchestration, pf.
King of the Golden River (For Young Performers)
Orchestration, descant recorder, treble recorder, perc, vn, vc.
Trilogy for Organ. Animus.
Colin Hand's compositions for recorder have achieved wide recognition and are well known through the Associated Board exam syllabuses. He has also produced an extensive list of arrangements for organ and his familiarity with the instrument is clear from this piece. Trilogy for Organ uses the instrument's resources in an impressive manner and it is perhaps worth noting at the outset that for the piece to be played to full effect will demand a well specified organ; contrary to the publisher's note at the beginning, it is doubtful whether it would transfer to an instrument of two manuals with ease unless a full battery of general pistons and memory were available, those and a good solo tromba or tuba. There are five movements - all relatively short: maestoso, con moto, allegretto, moderato espressivo, and marziale. The opening movement is almost heroic in concept and sets the tone for the remainder where interesting and effective use is made of ground basses together with an appropriate and individualistic triplet motif first given out in the opening maestoso and then reintroduced in the closing marziale. The whole is pervaded by a bittersweet irony and would repay close attention to the many rhetorical flourishes. Altogether, very approachable music, well organized and with good recital potential. Players will need to be at least diploma standard and with a resourceful instrument at their disposal.
AH