SKU: PE.EP68707

ISBN 9790300761626. 303x232 inches.

The Penguin Cafe Orchestra, founded by Simon Jeffes, created an instantly recognisable sound world, beautifully crafted to convey simple wonder and joy. Phillip Littlemore's arrangement for concert band of their famous Music for a Found Harmonium perfectly captures the exuberance of this uplifting music.

SKU: CN.R10103

Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

Stuart Johnson has the fine ability to capture moods and scenes in music. He was born in Staffordshire, the county for which he was Director of Music until his retirement in 1997. After experience as a player in brass bands, he served in the band of the King's Dragoon Guards before training as a teacher and working in schools. Following a period as a lecturer at Northumberland College of Education he became Music Adviser to the Metropolitan District of Sandwell prior to his appointment to Staffordshire. He has long experience as a conductor, particularly in the choral and band fields and also wide experience as an adjudicator and examiner. He has written prolifically for bands and orchestras and his didactic publications are used in many countries. He has over eighty published compositions and arrangements, many of which have been broadcast on radio or television. His commissioned works include the cantata David and Goliath which was first performed at the Royal Festival Hall, Oregon Overture for wind orchestra, Landscapes, Sinfonietta No 2, Wessex Dances and A Castle Suite. Stuart Johnson has recently completed several commissions, funded by National Lottery grants, for bands in Cumbria, the Isle of Wight, and Staffordshire. Requiem for Soprano, Chorus and Orchestra, was premiered successfully in front of a capacity audience in Lichfield Cathedral in March 1997, and received its first London performance at St. John's Smith Square in March 1998. This prestigious venue also saw the first performance of Songs and Sonnets for unaccompanied mixed choir in 2001. Stuart Johnson has written extensively for the theatre, his music for the production of Anna of the Five Towns was used for both the radio and television adaptations His music ranges in style from the evocative and demanding Sinfonietta for Wind Orchestra, which has received many performances since its premiere in the Royal Festival Hall, including a broadcast by the Band of the Scots Guards, to his ubiquitous Bandstand Boogie which has set feet tapping all over the world. Apart from the latter his most performed work is probably Circus Suite which was the British Youth Band Championship test piece in 1980. Northumbrian Suite and Landscapes have also been used as National Brass Band Championship test pieces. The Flint Knappers commissioned as a test piece for the 1998 East Anglian Band Festival was selected as a test piece for the 1999 Australian Championships. Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

SKU: CN.S11185

Michaelson utilizes the flutes as the featured instrument in this heartbreaking arrangement of Gluck's most famous aria from the opera Orpheus. Orpheus is in despair at this point in the opera: he sings of losing his love Eruidice, She is gone and gone forever, (Che Faro senza Euridice). What is the point of staying on earth without her?

This is probably Gluck's most famous aria, coming from the opera Orpheus which was based on the Greek legend and produced in Vienna in 1762. Orpheus is in despair at this point in the opera: he sings of losing his love Eruidice, She is gone and gone forever, (Che Faro senza Euridice). What is the point of staying on earth without her?

SKU: CF.CPS13F

ISBN 9780825843617. UPC: 798408043612. 9 X 12 inches.

Commissioned by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC. Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer. She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization's Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina. It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris' love of the hymn song that prompted this arrangement of My Lord, What a Momin'.
Commissioned by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC.Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer.She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization’s Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina.It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris’ love of the hymn song that prompted this arrangement of My Lord, What a Momin’.

SKU: CN.S11267

This arrangement of the entire March from A Moorside Suite brings this refreshing music to concert bands of all levels. It should be played with full appreciation of its splendid sense of purpose and direction, from the bold fanfare-like opening, based on a pair uplifting leaps of the interval of a fourth, in which every instrument takes part, right through to the exaltant flourish in the final bars marked Allegro vivace. Truly, a March to lift the spirits!

Gustav Holst (1874-1934) can claim a distinction shared with a relatively small number of composers in that his music is more performed now than it was during his lifetime. A Moorside Suite, Holst's only work for brass band, is in three movements, Scherzo; Nocturne; March; and was written as the set work for the National Brass Band Championships of Great Britain in 1928. It has become recognized as one of the truly great original works for brass band. This arrangement of the entire March brings this refreshing music to concert bands of all levels. It should be played with full appreciation of its splendid sense of purpose and direction, from the bold fanfare-like opening, based on a pair uplifting leaps of the interval of a fourth, in which every instrument takes part, right through to the exaltant flourish in the final bars marked Allegro vivace. Truly, a March to lift the spirits!

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: MH.1-59913-064-5

ISBN 9781599130644.

I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.

SKU: CN.R10220

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: CN.R10018

The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies.

Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band.

SKU: CN.R10255

The quirky and cute theme song to the cartoon 64 Zoo Lane has been arranged for concert band by the composer himself.

The Zoo Lane childrens' TV programme has been a huge success. This theme tune has been arranged by the composer himself!

SKU: CL.013-0017-00

Instrumentation: Db Piccolo, C Flute and Piccolo, Eb Clarinet, 1st Bb Clarinet, 2nd & 3rd Bb Clarinets. Eb Cornet, Solo Bb Cornet, 1st Bb Cornet, 2nd & 3rd Bb Cornets, Solo Alto (Eb Horn), 1st & 2nd Altos, 1st Trombone, 2nd Trombone, 3rd Trombone, 1st Bb Tenor, 2nd Bb Tenor, Bb Bass (3rd Trombone TC), Baritone BC, Baritone TC, Tuba, Drums Note: This is a reprint from a vintage publication of 1889. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Due to the era of this work, saxophone and double-reed parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.