Listen to Past Winning Fanfares

Listen to a selection of our past winning entries to get inspiration for your own fanfare. Listen for how they used the motif bank to inspire their fanfares.

Presto by Dominic Wills

Dominic has written a fanfare that immediately captures our attention. He has used 7/8 to good effect. The repeated chords could be said to be inspired by the repeated notes found in the Il trovatore motif, but these repeated notes are also found in the Barber of Seville motif that has been used for the flute part that enters near the end of the second bar. Dominic has altered this motif from the outset, by removing one of the notes at the start of the motif to create a new version, then repeating this motif with a new extension (including a chromatic twist at the end). This new version of the Barber of the Seville motif seems to merge seamlessly with the Otello motif, retaining the chromatic movement that could be said to be inspired by the Nose motif. Dominic layers up the parts gradually so the fanfare builds to a homorhythmic close with all parts playing two quavers.

Evil Fairies by Eva Waters and Bronwyn Ploughman

This fanfare uses the motifs from Barber of Seville and Il trovatore. The girls have used the motif in imitation between the violin and flutes above a constant crotchet ostinato pattern created by lower strings and glockenspiel. Pizzicato strings and choosing high pitched instruments reinforce the title of fairies and magic. In bar 6 the oboe adds the first bar of the Il trovatore motif which becomes a repeating accompaniment pattern before breaking down into smaller cells derived from this motif. As the fanfare progresses, the Barber of Seville motif is also broken into smaller cells using notes 3,4,5 of the opening motif in sequence, creating a new three-note motif which is explored by the entrance of the brass, but in shorter note values.

Curtain Call by Jack Pepper

Jack’s fanfare starts with material that is seemingly original but we could trace back some of the rhythmic features of this opening material to the rhythm of the Otello motif. The bassoon part that enters in the third bar mirrors the chromaticism found in The Nose and also The Sleeping Beauty motifs. The syncopation in the bassoon part in bar 5, with the accent on the off-beat prepares us for the appearance of material that develops the shape of the Così fan tutte motif. This fits well with the trumpet playing the La traviata motif, augmented to double the note values of the original, joined by the Il trovatore motif appearing in bar 11 in one bassoon and answered by a trumpet in bar 11. The progression through these various motifs has been handled well, as Jack always prepares for the appearance of a motif by having a similar rhythm appear as a premonition of what is about to happen. The fanfare ends in a harmonic language akin to The Nose, and this builds effectively to a homorhythmic close similar to Dominic’s Presto.

Spring Awakening by Lucy Wickers

Lucy’s fanfare uses motifs from The Nutcracker, Tosca, The Magic Flute, La bohème, Swan Lake, Lohengrin, Salome and Don Giovanni.

Fanfare in A Lydian by Ben Pease Barton

Ben’s fanfare uses motifs from The Magic Flute, La bohème, Rigoletto and Salome.