Sheet music in detail
Tea for Two & Lost Dreams
About the composers
Stephen ScotchmerStephen Scotchmer (*1955) studied music at the University of Bristol and conducting with Arthur Davison. During his many years as musical director of the Basingstoke Symphony Orchestra, he conducted a large part of the standard repertoire for both orchestra and choir, including performances of all of Beethoven's and Brahms's symphonies, "A Child of Our Time," and Verdi's Requiem. He had the privilege of working with some of Britain's finest musicians, including Lesley Garrett, Kathryn Stott, Anthony Marwood, Martin Roscoe, James Lisney, Natalie Clein, and Martino Tirimo.
As a composer, Scotchmer has written an extensive body of work in many different genres. His style is predominantly tonal, and the compositional techniques he employs are traditional. His interest lies more in the manipulation of the various musical elements that determine perceived expression in music than in the exploration of sound as a science.
The works for cello were written for his daughter, the cellist Lucy Scotchmer.
Vincent YoumansVincent Youmans (1898-1946), American composer
About the composition
Vincent Youmans: Tea for Two arranged for 6 cellos (Stephen Scotchmer) and Stephen Scotchmer: Lost Dreams, originally for 6 cellos, score and parts. The arrangement of Tea for Two was written by Stephen Scotchmer for the cello section of the National Youth Orchestra of Great Britain.
Stephen Scotchmer says about the edition:
I wrote the arrangement of “Tea for Two” for my daughter when she was in the cello section of the National Youth Orchestra of Great Britain. I was determined to give all six cellos an interesting part to play. The piece displays a variety of textures and it is driven by exuberant rhythms. I am hoping that it will bring a smile to the face of those who hear it, or play it.
The initial idea for 'Lost Dreams' was for a television theme tune. I then adapted the music for cello ensemble. It has two principal romantic melodies, the second of which is very intimate. The central section is particularly dramatic and passionate and it makes full use of the large pitch range afforded by six cellos. After beginning in the fairly dark key of d minor and passing through the more remote key of F sharp minor the music settles on a sunnier D major tonality for the conclusion of the piece.