During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage) after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances the Reel and the Jig. In between these two dances there is a short breathing space during which a traditional Irish rhythm can be enjoyed.

It is often thought that this melody came from the Victorian era when Irish songs were very popular however this Air was first published in 1813 and has been adapted and arranged by many composers and arrangers over the years. This arrangement as a Flugel Horn solo by Gary Westwood is a new treatment and shows off this tender and wistful love song.

Quelques-unes des mélodies traditionnelles les plus importantes font partie du grand patrimoine de musique d?Irlande. Ces mélodies qui sont parfois aussi enjouées que charmantes réussissent d?une façon ou d?une autre à entretenir la saveur de la culture et des traditions irlandaises. Cet arrangement pour brass band contient un assortiment connu de mélodies au rythme de danse qui sont tirées de l?histoire plus récente des chansons traditionnelles irlandaises.

A thoroughly gripping melody of Irish descent constitutes the basis on which this exceedingly beautiful little piece of music rests. Down by the Salley Gardens is a guaranteed heartbreaker on your next concert. Since the lyrics of this Irish traditional are also supplied with the set a combination of band with solo voice or even choir is a definite possibility. The Arranger: Leafing through a song-book containing traditionals etc. I was immediately struck by this song and its exceptionally beautiful and atmospheric melody. I simply had to do something with it. Een meeslepende traditional van Ierse komaf staat aan de basis van dit wonderschone werkje. Down bythe Salley Gardens belooft een hartenbreker te worden op uw eerstvolgende concert. De tekst van deze Ierse traditional wordt meegeleverd en daarmee is een combinatie met zang ook zeer goed mogelijk. De arrangeur: Bladerend door een liedboek met traditionals enz. was ik meteen getroffen door dit nummer en zijn uitzonderlijk mooie en sfeervolle melodie. Ik moest gewoon iets mee doen.

Ireland is a multi-faceted country that has developed a popular and distinctive musical culture. The first movement of Dublin Pictures reflects Irish festivals where there is dancing and traditional beer flowing. More tranquil in its feel the second movement illustrates the landscape that can be seen from the Ha’penny Bridge a bridge that crosses the River Liffey in Dublin. This movement highlights the wide range of the orchestra’s sound colours as the musicians’ voices combine with the wind and percussion to accompany the soloist. The lively and joyful rhythms of the last movement take the listener to Temple Bar the famous tourist quarter of the city well knownfor its vibrant nightlife. The music’s energy and virtuosic motifs are in contrast to the previous movement and provide a spirited and festive finale.Marc Jeanbourquin wrote this piece in three movements for Azimuts Brass in 2011. He then arranged it for Concert Fanfare or Brass Band