SKU: CN.R10004

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

SKU: HL.44013270

This concerto for baritone saxophone was commissioned by saxophonist Makoto Asari, who is a close friend of the composer. VONGOLE ! consists of three movements Spumante (Sparkling wine), Bianco (White) and Rosso (Red). It is a unique and welcome addition to the baritone saxophone repertoire.

SKU: CN.S11220

Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Each of the three included movements is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite.

Jeuz d'enfants was originally written in 1871 as a Suite of twelve pieces for piano duet. Two years later, Bizet scored five of the pieces for orchestra to create a Petite Suite. Each movement shows Bizet's enormous skill as a miniaturist, the music exuding a concentration of power and atmosphere. Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Three of the movements are included in this arrangement. Each is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite. 1) Marche - Trompette and Tambour (Trumpet and Drum) 2) Duo - Petit Mari, Petite Femme (Little Husband, Little Wife) 3) Galop - Le Bal (The Ball).

SKU: RM.CALM02261-BA

ISBN 9790231022612.

CD Chorals - Carillon (5'58), Legende (3'55), Finale (3'19).

SKU: CN.S11251

Originally written for piano, Grieg later scored his Holberg Suite for orchestra. Geoffrey Brand has done a masterful job of setting two movements of the suite - the Sarabande and Gavotte - for wind band. Give your students the opportunity to perform first-rate classical music they wouldn't otherwise have access to.

Born in Bergen, Norway, into a family of Scottish descent, Edvard Grieg showed a talent for music early and at the age of 10 had piano lessons from his mother. In 1849 he went to study at Leipzig Conservatoire before moving to Copenhagen where he met Riokaard Nordaak, a young Norwegian composer who was immersed in Norwegian nationalism and greatly influence Grieg who felt his future was as a musician dedicated to romantic nationalism. Holberg Suite, originally for piano, was written in 1884 in response to a commission to mark the bicentenary of the birth of Ludvig Holberg, a Norwegian dramatist and satirist. A year later, Grieg arranged 5 movements for string orchestra. Sarabande and Gavotte are intended to be played segue but can, if desired, be performed separately. The music expresses Grieg and his native Norway in a manner which justifies his declaration I am not an exponent of Scandinavian music but of Norwegian..

SKU: CN.R10193

With inspiration taken from composers Maurice Ravel, Arthur Benjamin and Charles Ives, Bourgeois take s a tongue-in-cheek approach to this challenging 3-movement work. While the work is infused with humor throughout, it still showcases his mastery of the wind band idiom.

In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it Fantasy Triptych. There are three movements: 1. Le Tombeau d'Arthur Benjamin Ravel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.' 2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave. The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst. 3. The War March of the Ostriches The music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.

SKU: CN.R10240

Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title.

In spite of displaying remarkable musical gifts Chabrier (1841-1894) was sent by his father to study law and in due course, having taken a law degree, went to work in his native French Ministry of the Interior, stay there for eighteen years. During the whole of this time he was developing his real interests in music and painting, including composing operettas and music for the piano. Following a holiday in Spain in 1883, Chabrier wrote a rhapsody for orchestra based on Spanish tunes he had heard. This became Espana; it achieved immediate acclaim and is still his most performed work. Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title.