This seven-minute concert overture recalls the early days of the railways and one of the most famous engines of all time ‘The Rocket’. It was commissioned by the Director of the North Hertfordshire Wind Band Phillip Ellis who is the great-great-great-grandson of Stephenson and depicts the Victorian carnival atmosphere on the day of the engine’s inauguration. An ideal work for a good school youth or county level band.

The kid in each of us loves the circus. Probably the finest musical work ever written to celebrate the Greatest Show on Earth is Karl King's classic march. Jerry Brubaker has carefully extracted the technical difficulties while keeping the most recognizable integrity of the work. Your audience will immediately recognize each of the beloved melodies. The spirit of the scoring is superlative! (1:56)

This melody was used in the Harry Potter films and true to the composer's original intent. Here's an impressive Jerry Brubaker arrangement that will thrill your audiences and students alike. The arrangement has a variety of textures and dynamics, yet is recognizable to everyone who has seen either of the blockbuster films. Complete your program with this scrumptious arrangement. (3:25)

Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Ensemble à Vent

Par HUET ESTELLE. Je consacre toujours les cinq premières minutes de mes cours à des jeux de formation de l'oreille que j'ai inventés. Ce rituel est un moment très précieux où l'élève se concentre, 'ouvre ses oreilles' et expérimente son instrument par de nouvelles approches. Ces jeux sont très appréciés des élèves et sont parus en 2019 sous la forme d'une méthode de violoncelle. Dans cette deuxième édition, je m'adresse à tous les professeurs de flûte traversière qui cherchent des outils pour aider leurs élèves à progresser et qui souhaitent diversifier leur cours en expérimentant de nouvelles méthodes. Des oreilles magiques est une méthode originale par de nombreux aspects : L'oralité L'élève ne voit jamais la méthode, qui fait uniquement appel à la transmission orale. Ainsi, l'élève fait vraiment jouer ses capacités auditives. L'apprentissage par le jeu Les jeux rendent le cours vivant et permettent de surmonter les difficultés en les abordant dans un contexte nouveau. La transdisciplinarité Cette méthode fait le lien entre le cours d'instrument et le cours de formation musicale, et permet de faire des progrès dans les deux disciplines. Une progression illimitée La plupart des jeux sont déclinés selon cinq niveaux progressifs. Chaque jeu proposé est faisable dès le premier cours de flûte et jusqu'aux plus hauts niveaux, et s'adresse aux enfants comme aux adultes. Le cinquième niveau est présenté sur un ton humoristique pour mettre en évidence le caractère illimité des progrès potentiels. Le lien avec le chant Cette méthode emploie le chant comme un outil central du travail de l'oreille. Tout au long des jeux, l'élève est incité à chanter pour développer son chant intérieur. Je vous souhaite beaucoup de réussite avec cette méthode, et suis certaine que vos élèves adopteront ces jeux avec autant de plaisir que les miens ! Estelle Huet/ Etude / Flûte Traversière

Leos Janacek almost seventy years old characterised the wind sextet he had just finished as 'a kind of memory of youth' in a letter to Kamila Stösslová. The suite Youth was written in the summer of 1924 prompted by the composer's need to take stock on the occasion of his 70th birthday. Janacek also heard the Parisian ensemble Societe moderne des instruments a vent several times in Salzburg and Brno. He expanded the classic quintet scoring by the addition of a bass clarinet.Janacek referred to an earlier part of his life in this work not only by quoting a theme from March of the Blue Boys but particularly through his general freshness ofexpression astute humour and use of form which adhered to the classical style.The piece was enthusiastically received by both critics and the public and appeared in print as early as 1925 issued by the Prague publisher Hudebni matice.Wind sextet in the classical styleUrtext based on the Critical Complete Edition of the Works of Leos JanacekNew foreword by Jiri Zahradka (Cz/Eng/Ger)

Malcolm Arnold's Three Shanties arranged for Wind Octet by João M. Pereira. Set of parts.Three Shanties was composed in 1943 and is dedicated to the Portuguese Navy Band Wind Octet.The piece is arranged here for two Oboes two Clarinets in Bb two Horns in F and two Bassoons.

Par POE LARA. Lara Poe's (b. 1993) good-humoured Contradanse for eight wind instruments employs slightly off-kilter dance rhythms to create a rhythmic background structure to the piece. The melody lines constantly change timbre as they move through different instrumental combinations. Duration: 4'30'' Instruments: Flute Clarinet in B flat 2 Bassoons 2 Trumpets in B flat Tenor Trombone Bass Trombone This product includes the score and the set of parts. Lara Poe is a Finnish-American composer who is currently based in London. Her works have been performed across a wide range of venues throughout the US, Europe, and Asia. Her piece Kaamos, which she wrote for the Lahti Symphony Orchestra, was recently nominated for a Ivors Composer Award in the Large Scale Composition category. Kaamos also was selected by YLE Radio Finland to represent Finland at the International Rostrum of Composers 2021 in Belgrade, Serbia. Poe was the 2019 Tanglewood Music Patricia Plum Wilde Fellow and represented Finland at Ung Nordisk Musik 2019 in Piteå. She was also a 2018-2019 participant in the London Symphony Orchestra's Panufnik Scheme, where she worked under the guidance of Colin Matthews and Christian Mason. / Date parution : 2023-01-24/ Répertoire / Ensemble à Vents (8 parties)

African Dances is a continuous work for solo clarinet and wind ensemble consisting of five individual sections. The basis for the piece is the clarinet's construction from the wood of the African blackwood tree and its subsequent development into the instrument we know today. Each movement draws on different aspects of Pan-African music ranging from the styles and forms of the African choral tradition through to the complex cross-rhythms and patterns that characterise so much of the music of Africa.

The third movement of a major new work by Robert W. Smith based on Dante Alighieri's literary classic The Divine Comedy , The Ascension is a sizzling musical experience with bravura wind parts and dazzling percussion that is charismatic in its boldness. It's indicative of a highly creative period for this young American composer.

A 10-minute work which follows the journey of the Thames from its origins as a few drops of water in Wiltshire to the point where it meets the open sea. Along the way Hess draws upon many musical links along the Thames such as an old Wiltshire melody morris dancing in Oxfordshire boating songs from Berkshire.With such rich and diverse sources of music across several counties and centuries this has quite understandably become one of Hess's most popular wind band works to date.

Malcolm Arnold's 'Clarinet Concerto No. 2 Op. 115' was dedicated to Benny Goodman and first performed by him as part of the 'Red Rocks Music Festival' with the Denver Symphony Orchestra conducted by Brian Priestman on 17 August 1974. The third movement known affectionately as 'The Pre-Goodman Rag' is an outrageous ragtime parody with a hauntingly wistful middle section. The work has now been made more widely available in this transcription for wind band. This version conmtains full score and parts.

Score and parts to this suite from Bernstein's musical arranged by Ian Polster for wind band.

?His present pieces must convince both connoisseurs and others alike of the unbiased opinion that Beethoven will in time become one of the greatest composers in Europe? thus wrote Joseph Haydn when informing the Electorin Bonn on the progress of his pupil in 1793. However the elector replied that he was already familiar with parts of the Parthia Op. 103 that had been sent as evidence of the composer?s progress.Beethoven had apparently only reworked an earlier composition. Nevertheless we must agree with Haydn: the Parthia and the Rondo WoO 25 that was originally intended as the final movement provide wonderful evidence ofBeethoven?s great skill. This Urtext edition also contains additional parts for Horns in F.