Composer Spotlight: Philip Sparke

Philip Sparke is a composer best known for his compositions and arrangements for concert and brass bands, as well as his career as a conductor and adjudicator at band contests across the world. In 2000, he became a full-time composer, founding his music publishing company Anglo Music Press. 

I recently spoke with Philip about his career as a composer, his influences and inspirations, and his greatest achievements to date. Read the full interview below. 

Explore Philip Sparke Sheet Music

Where did your interest in writing for concert and brass bands come from? What do you enjoy most about this genre of music?

I  studied at the Royal College of Music in the early 70s and it was just a coincidence that my composition professor, Philip Cannon, also conducted the college wind band. I’d no knowledge of bands before that, but soon persuaded him to play a piece I had written for them. I also met a percussionist who played in a local brass band and he introduced me to this new genre! I also formed a brass band among the students and gave a couple of concerts with them.

The exciting thing for a composer is that both types of band are always willing to try new music and I was soon writing more pieces for both ensembles.

You have won many awards over the years, but what would you say is your greatest achievement to date?

I’m not sure I’m the one to judge that! Being a composer is a life-long learning process, so I think it’s fair to say I’m still a ‘work in progress’ even though I’ve been at it for a long time! The most satisfying thing from my point of view is for a piece to end up as I’d planned it. Normally, pieces take on a life of their own and develop during the compositional process. But I wrote a Trumpet Concerto for the River City Brass Band and that worked out just as I wanted. It may not be my greatest achievement, but it’s certainly the most satisfying.

You also have your own publishing company, Anglo Music Press. Can you tell us about this?

Anglo Music Press was founded in 2000 (with distribution help from the Dutch firm De Haske  - now part of Hal Leonard Europe). I’d worked in publishing since 1977 as a copyist and editor, but I wanted to take this to another level in terms of publishing quality. The solution was to start my own label and have complete say over production values etc, which can sometimes be compromised in band literature. Everything I’ve written since 2000 has gone into the Anglo catalogue.

Many of your compositions have been selected as test pieces at brass band championships and competitions. Have you written anything specifically to be played in a competition setting? 

Every test piece I’ve written has been commissioned either by an individual band or a contest organiser. I hope these pieces are enjoyable and satisfying to play while allowing bands to demonstrate their skill set at all contesting levels. All my 30+ test pieces were written specifically for contest use. I think most recently, the three commissions from the Cory band for the European Brass Band Championships have been the most exciting. The band won on all three occasions!

Growing up, I spent my weekends playing the flute in my local concert band and found that incredibly important in my musical education, not only for the practical skills I learnt by playing with others but also for the many concerts and events in the local community we took part in from a young age. How do you feel about the importance of bands in bringing communities together and the benefits for musicians when playing in a band?

It may be slightly controversial, but I regard bands – generally – as a rehearsal medium rather than a performance medium. 80-90% of their time is probably spent in the rehearsal room and I think this is where their value to players lies. I don’t know of any other activity that teaches such important life skills, such as cooperation, supporting others, controlling one’s ego etc. I once attended a rehearsal of a high school band in the US and this struck me when the band director asked the trumpets to play softer – they nodded. Where else in life are you asked to do LESS (ie not be the centre of attention) and it is accepted without question. What a life lesson is that!

What composition are you most proud of? Do you have a favourite? 

I don’t really have a favourite but I think the piece that has the most emotional heft is Music of the Spheres. It’s a piece I wrote without too much ‘thinking’ (ie relying purely on musical instinct rather than intellectual plotting) and I think this gives it a visceral intensity.

You’ve written extensively for instrumental solos and smaller ensembles too, such as with your Skilful Solos series. Can you tell us about those?

I really enjoy writing for beginners and learners. It uses a completely different part of the brain from more advanced composing. And it’s much harder! But I wanted to make sure the Anglo catalogue was comprehensive and wrote these books to try to give young players some interesting original pieces in a progressive way. I’m grateful that a couple of exam boards have adopted them and get perhaps more positive feedback about these books than anything else.

What was your own musical education/background like?

I was a late starter and didn’t study or play anything until I was about 12 when my parents inherited a piano. I started picking out tunes and one thing led to another. Studying at the Royal College was a huge boost and my first published band works were written during my time there - although I think composition has to be learned, not taught, if you see what I mean!

What have been the biggest influences and inspirations for you? Are there any recordings you have encountered of your work that stand out to you, or you would highly recommend?

Very hard to pin something down here. I take inspiration from many composers, mostly the late Romantics and early 20th century composers – times before things went (in my opinion!) too cerebral. In the last 10 years, I’ve been lucky to be asked to conduct some of the amazing professional bands in Japan, many of which have led to live concert recordings. Their playing is just ridiculously good and it’s an honour to have my pieces given such fantastic performances and recordings.

What is next for you?

More of the same! I’m enjoying working on a series of flexible trio books which will add to the Starter/Skilful series. This is giving my logical brain a real workout!

Publications and recordings mentioned in this interview