Only In Sleep: Brass Band

Phillip Littlemore's arrangement transforms Ešenvalds' choral masterpiece into idiomatic brass band writing that preserves the original's meditative core while giving each section meaningful material. The flugel horn soloist anchoring both opening and closing creates a natural arc that players and audiences recognize immediately, and the transparent orchestration means even intermediate ensembles can achieve genuine beauty without overblown dynamics.

Only in Sleep evokes the hazy, fragmentary quality of dreams themselves. Childhood memories surface not as narrative but as fleeting impressions: a familiar melody returns like something half-remembered, surrounded by shimmering textures that drift in and out of focus. The piece settles into stillness without heaviness, fading into silence like waking from a vivid dream.

Intermediate brass bands at 2nd Section level and above will find this arrangement both musically satisfying and achievable. The piece rewards solid intonation and controlled dynamics but does not demand virtuosic technical display, making it ideal for ensembles seeking contemporary repertoire with proven audience appeal.

• Shape the flugel horn solo with a singing, legato tone that recalls the human voice of the original choral work. This is the emotional center of the piece, not a virtuosic display.
• Resist rushing the sustained chordal oscillations in the lower voices. These harmonic movements require patient pulse control to land with full resonance.
• Allow the arabesques and decorative figures in the upper voices to breathe naturally rather than march metrically. Ešenvalds' writing rewards slight rhythmic flexibility.
• Balance the gradual decrescendo at the close with genuine support from the bass section. The music should dissolve, not collapse.

This work pairs beautifully in a program that balances contemporary and classical repertoire, offering audiences access to a globally recognized composer in a brass band context. Consider programming it alongside more energetic pieces to create programming contrast, or feature it as the contemplative centerpiece of a concert themed around imagination or memory.

• Sustaining consistent intonation across long phrases without vibrato
• Balancing transparent voice-leading in close harmonic spacing
• Shaping lyrical melody with rubato and natural phrasing
• Executing controlled dynamics across a full decrescendo to ppp
• Reading and executing contemporary harmonic language