This piece is designed to be enjoyed by a wide range of performers - from young musicians who have just begun learning their instruments to adult enthusiasts.
The work is structured in four parts (plus percussion), making it flexible enough to be performed as a quartet with any combination of instruments or as a full ensemble with a larger group. Each of the four parts (SATB) has its own role and function, and players are encouraged to reflect on the rhythms and phrases together with their peers. I hope they will enjoy the process of creating ensemble music through discussion and collaboration.
The piece consists of four contrasting movements, each written in a different key: F major, G minor to B-flat major, E-flat major, and F major. These keys are commonly used in wind band repertoire, so performing this work is likely to have a positive effect on the players' future musical development. In terms of form, the piece also draws partially on the structure of Fancies, Toyes and Dreames, a well-known brass quintet arrangement by Elgar Howarth based on Renaissance dance tunes by composer Giles Farnaby. While maintaining the fundamentals of ensemble playing in a quartet (or a quintet including percussion), the piece allows performers to aim for a high level of musical cohesion and quality even in such a compact instrumentation.
When the original version for brass quartet premiered in 2021, the world was grappling with unprecedented circumstances, and social activities in Japan were also heavily restricted. In this context, I titled each movement with the hope that young musicians - especially junior high and high school students - and other music lovers would still be able to feel a sense of hope and dream for the future.
For ensemble competitions, where performance time is often limited, the piece may be performed without the "Fanfare and Processional" movement. In that case, the total performance time, including pauses between movements, should be around five minutes.
In the Renaissance period, instrumental works were rarely written for specific instruments, and this piece follows that tradition. I believe performers will enjoy the freedom of creating music with any combination of instruments. Please feel free to explore and enjoy the piece in a variety of ensemble configurations.

Performance Notes:
- If a 32-inch timpani is not available, please play the sounding F (written on the first ledger line below the staff) an octave higher.
- In Movement III "Dream," the pizzicato marking for string bass may be played arco instead if there are no other instruments covering Part 4, in order to maintain overall balance.
*If percussionist is not available, please omit measures 30-31 of 'I. Fanfare and Entrance'

(Kei Misawa)