Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Ensemble à Vent

Mixed Bag No. 6-Graham Lyons’s lively mind is apparent in this arrangement of Christmas carols for wind ensemble created to mixed-ability ensembles to make music together. Part I is the most demanding while Parts 2 and 3 are more simplified. Then there are ‘filler’ parts for beginning musicians. The parts can be doubled however your needs and tastes desire. The sheet music includes a score and double sets of parts and is sure to be a concert favourite includingmelodies of The Wassail Song The Holly and The Ivy Away in a Manger The Coventry Carol and Unto Us A Boy Is Born.Graham Lyons is something of a polymath which is not that unusual among musicians. Originally a pianist heswitched to clarinet when he was inspired by Benny Goodman but he also plays jazz bassoon. Lyons has performed with Orchestras and ensembles throughout the world both in live performance and on broadcasts and recordings. Hehas written a book on Soviet international policy. If you or your students began your clarinet career on a Clarineo a scaled-down instrument appropriate for younger students then you have Lyons to thank as he is its inventor.

Autograph Editions - Full Score-Composed by Pulitzer Prize winner Aaron Jay Kernis in 1992 his raucous and larger than life New Era Dance was written immediately after the Los Angeles riots and was inspired by the music that blared on the streets ofhis New York City neighborhood. Everything from Latin salsa to disco '50s jazz and rap culminate in an explosion of New York exuberance. Kernis and Martin have created an exciting and unique addition to the repertoirefor mature wind ensembles. Note: This item is the full score only. Performance parts are available on rental from the publisher. (G. Schirmer Autograph Editions - Grade 5)

The TV Detectives brings together five of Nigel Hess’s best-known television themes all originally written for small-screen sleuths in whodunnits that have been enjoyed by TV audiences worldwide. The themes standalone as imaginitive and challenging pieces that will stretch wind ensembles and delight audiences. This is a continuous suite arranged for wind band.

Firefly was composed by award-winning composer Simon Dobson (b.1981) to provide an entertaining up-tempoconcert work for community and youth bands. Composed in funk-rock style and is based on the groove beat with which it opens. Dobson says “Firefly was written as a break from my more serious music and as a ‘hat tip’ to the various types of beat orientated music I listen to.” It was first performed by Oslofjord Brass in Norway and in its wind version by Harmonie Shostakovich Switzerland. Duration: 5-6 minutes. INSTRUMENTATION:1 EflatSop. Cornet Solo Cornets (4) Bflat Rep. Cornet (1) 2nd Bflat Cornets (2) 3rd Bflat Cornets (2);Flugel horn Solo Eflat Horn 1st Eflat Horn 2nd Eflat Horn; 1st Bflat Bar. 1 2nd Bflat Bar. 1st Trombone 2ndTrombone Bass Trombone; Bflat Euphoniums (2); Eflat Tubas (2); Bflat Tubas (2); 2 percussion

Meridian comes very much out of the composer's love for ostinato or groove-based music. Other diverse influences include the World Music-infused jazz of Keith Jarrett and Jan Garbarek as well as the symphonies of Shostakovich. This exciting and creative work is written with a consistent rhythmic drive throughout and features a prominent role for Piano.